Archive for July, 2009

Glitterbug in Beijing, part 2

Thursday, July 23rd, 2009

I actually am already back in Cologne, and i had to briefly go through my 800 or so pictures I took during that week… so to put together this sequel took me a bit. I am still a little overwhelmed by all the new impressions, and realizing how little I actually know about this little planet of ours… and I am already dying to go back. I also want to use the opportunity to thank all these amazing people that took such great care for me and thought that its worth the effort to fly me all the way out there: Thomas, Yang Bing, Fu Yan, Max, but also Isabelle, Caroline and the rest of the bunch. Thank you all so much! I can’t wait to see you again!

First of all, Beijing is huge. Really huge. Here is a little taste of it, taken from Patrick Yu‘s terrace on the 26th floor:

Here is one of the kiosks i passed several times every day:

and one of these awesome electric scooters. Here you see a very nicely pimped one, look at the pedals:

I also visited the “798 Art District“, a former ammunition factory, which 15 years ago was turned into an underground art area, but as usual and everywhere else around the globe, after some time became a commercial arts & crafts kinda market, with some exceptions. But mostly it became an artist’s nightmare (as you can read in the sign- i hate it when art becomes degraded to something decorative…)

well, yes. It certainly wasn’t “Too Artistic”:

I actually loved this work- Yan Pei-Ming’s “Landscapes of a childhood” which deals with the fate of street children in China:

and even in a fancy gentrified area, the difference between rich and poor is grief and poverty strikes hard, people trying to find something in the garbage, this picture was taken just across the street from a super fancy art gallery:

And across the street of all these galleries, we found an old workers neighborhood:

funny fake shoes: the Kappa couple on top of the Nike swoosh:

and almost everywhere, really huge buildings.

the new CCTV Tower:

And the burned out 40-story Beijing Mandarin Oriental Hotel, that caught fire during the celebration of the Chinese new year:

The club where the performance would later take place at, the “China Doll”, before the party:

biiig poster in the entrance of the club:

and- the club during the party (sorry for the horrible flash…):

hmm, that was strange- a dance performance in the middle of the party:

the “VIP Lounge” of the Club (the place was even trashier than it looks in the pictures):

the day after, we went to some markets… oh boy, so much revolutionary kitsch (sorry Mao, i did not mean to offend you):

we also went to the “Summer Palace“, i guess that was the only really touristy thing i did all those days:

pollution was really bad that day… the grey tone is actually from the bad air, it was not about to rain:

still the Summer Palace, with dear Thomas, one half of the White Rabbit Club, on the stairs (hey mate, thank you so much for everything!)

Glitterbug in Beijing, part 1

Thursday, July 16th, 2009

So: i am actually here, meaning, in Beijing… which is a little unbelievable in my opinion. I landed a bit more than 24 hours ago, and am pretty overwhelmed, pretty jet lagged, and pretty happy. It’s hot and humid as hell, the pollution does not really let the sun through, I am really well taken care for, the food is beyond anything I was hoping for, and the city is… well… much larger than it looks in the pictures bellow. It’s huge. And i haven’t even seen a small percentage so far.

Here is the proof that i will really really be playing here:

sadly, the “white rabbit”, the club that i was supposed to perform at, was closed by the officials until further notice. So my performance was moved to one of the more mainstream night clubs, the “China Doll”:

and yes. the city is biiig. everything soooo biiiiiiig.

parts of the city make you forget where you are. Who can find the apple in the picture?

whenever something is not big enough or suitable anymore, entire neighborhoods get demolished and rebuild in larger scales over night, so i was told. The city bursts with construction sites.

just some street crossing:

the mainstream club area, some of them have pretty impressive facades.

“the village”, an area with all the western designer stores, galleries and coffee shops, at night:

by day:

a cute little apartment building, Beijing style:

the embassy area, right next to my hotel, with many people in uniforms in uncomfortable positions.

Interview and feature about c.sides on Deutschlandradio Kultur

Thursday, July 9th, 2009

There was a really really nice 6 minute feature on c.sides and the glitterbug / ronni shendar duo on Deutschlandradio Kultur, aired on the 7th of July… you can listen to the feature here (stream on demand).

If you are interested in the transcript, you can find it here, or just read bellow…

***

Mit Techno und House um den Globus

Till Rohmann und Ronni Shendar organisieren Israels größtes Musik- und Medienkunstfestival “C.Sides“
Von Sven Töniges

Der Kölner DJ Till Rohmann und die Jerusalemer Medienkünstlerin Ronni Shendar bieten der elektronischen Subkultur in Israel ein Forum: Sie kuratieren “C.Sides”, das deutsch-israelische “Festival für unabhängige elektronische Musik und kritische Medienkunst”. Nun gehen sie auf Welttournee.
Ein Hinterhof in Köln-Ehrenfeld. Einst rauchten hier die Schlote der Helios-AG und trieben die Elektrifizierung Europas voran. Im gewissen Sinne ist das auch Teil der Mission von “C.Sides”: “C.Sides-GBR Rohmann und Shendar” steht an der Tür, hinter der eine großzügige, helle und gepflegte Halle wartet.

Ronni Shendar und Till Rohmann brüten über ihren Rechnern. Demnächst gehen die Videokünstlerin und der Klangkünstler auf gemeinsame Tournee – rund um den Globus: In China, Indien, Nord- und Südamerika werden dann Ronni Shendars Visuals und Till Rohmanns Musik einander ergänzen. Vor 20 Jahren hätte Till Rohmann sich nicht träumen lassen, dereinst in Sachen House und Techno um die Welt zu fahren.

“Das ist eine alte Liebe eigentlich, die angefangen hat als Partygänger irgendwann Ende der 80er-Jahre mit den ersten Acid-Partys. Ich komm aus dem Ruhrgebiet und es gab damals eine sehr starke Acid-Szene und eine illegale Partyszene und von da aus ist das dann gewachsen. Erstmal als aktiver Teilnehmer, dann als Organisator und als DJ immer häufiger.”

Till Rohmann, Kapuzenpulli über schwarzem Hemd, rot-weiß karierte Skater-Schuhe, ein blonder Scheitel; geboren 1972 in Hattingen. Nach dem Abitur geht er nach Köln. Nicht nur, um Politikwissenschaften zu studieren:

“’91 bin ich nach Köln gezogen und war hier seitdem auch mal mehr, mal weniger aktiv auf dieser Schnittstelle zwischen experimenteller Musik und dem Techno, der seinerzeit aus Köln kam. Da gab es eine Menge interessantes Zeug und eine Menge schöner Clubs.”

15 Jahre später produziert der DJ und Clubkultur-Logistiker Till Rohmann schließlich eigene Musik: unter seinem Pseudonym Glitterbug legt er 2008 mit “Supershelter” ein umso reiferes und viel beachtetes erstes Album vor.

Seine Partnerin bei C-Sides, Ronni Shendar, hat er vor gut sieben Jahren in Köln kennengelernt. Die Fotografin aus Jerusalem war damals als Stipendiatin im Rheinland und inspizierte dort die elektronische Musik-Szene. Denn auch sie ist Techno-Veteranin:

“Geboren wurde ich in Israel, aber dann zog meine Familie in die USA – deshalb habe ich auch diesen ziemlich amerikanischen Akzent. Meine ganzen Teenie-Jahre habe ich in Minneapolis verbracht, nicht weit von den Techno-Hochburgen Detroit und Chicago. So kam ich mit 14, 15 mit dieser fazinierenden Welt in Berührung. Und klar, als amerikanisches Vorstadt-Kind liebte ich Musik, alles Mögliche, habe auch versucht Musik zu machen. Aber nach ein paar Jahren wurde mir klar, dass das wohl nicht die richtige Plattform für mich ist.”

Fotographie und Video entdeckt sie schließlich als ihre Medien. 1997 kehrt sie aus den USA nach Israel zurück, wird politisch aktiv und gründet schließlich ein Zentrum für Gegenkultur und -kunst in Jerusalem – elektronische Musik eingeschlossen, erzählt die 30-Jährige mit den dunklen Haaren und der braunen Hornbrille:

“Es gibt ein paar sehr entwickelte Strömungen, zum Beispiel Goa-Trance. Elektronische Musik aus Deutschland, vor allem House-Musik infiltrierte auch die israelische Szene, aber das passierte sehr spät. Und besonders mit Beginn der Zweiten Intifada kam buchstäblich kein ausländischer Künstler mehr nach Israel. Allerdings entwickelte sich durch diese Abschottung eine sehr kleine unabhängige Szene, die dadurch funktionierte, dass Leute mit Passion dahinter standen. Irgendwelche infrastrukturelle Unterstützung gab es nicht.”

Da kam Ronni Shendar und Till Rohmann die Idee, mit einem deutsch-israelischen Netzwerk Abhilfe zu schaffen: Im Sommer 2005 kuratierten sie in Jerusalem das erste “Festival für unabhängige elektronische Musik und kritische Medienkunst” – “C.Sides”. Inzwischen ist es zu Israels größtem Medienkunstfestival avanciert. Zuletzt lud man nach Tel Aviv und Jaffa. Till Rohmann:

“Natürlich funktioniert so etwas nicht ohne Geld. Wir arbeiten nicht mit kommerziellen Sponsoren zusammen, sondern mit Mitteln etwa vom Goethe-Institut, und egal ob diese Mittel jetzt aus Töpfen des Auswärtigen Amtes kommen, sie ermöglichen uns etwas, was ganz viel mit so einer alten Party-Struktur zu tun hat, weil wir auch sehr nomadisch sind, wir machen das Festival immer an einem anderen Ort.”

Ronni Shendar und Till Rohmann wohnen inzwischen gemeinsam in Köln. Nach jahrelangem Pendeln zwischen Israel und Deutschland; nun schätzt das Künstlerpaar die beschauliche rheinische Provinz als Refugium. Und zusammen zu leben und zusammen zu arbeiten? Für Ronni Shendar mehr ein Prvilieg als ein Risiko.

“Wir haben gemeinsame Auftritte, arbeiten zusammen im Studio. Aber ich fliege regelmäßig nach Israel, Till ist als DJ oft allein unterwegs – und ich habe auch noch andere Projekte, die mit Till nichts zu tun haben”

“What?”

(lacht…)

Long interview in Beijing magazine “This is Beijing!”

Wednesday, July 8th, 2009

Well. Interviews are a funny thing at times… specially when they get shortened. But this is very exciting- out of all places, there are a few articles and interviews that are published in Beijing magazines and newspapers about me, due to my upcoming performance. And it’s quite overwhelming that a 12 hour flight away, people take enough interest in what i do to fly me all the way out there. Expect a looong blog entry and many pictures upon return…

You can find the original article here.

***

DJ Glitterbug:Falling Down the Rabbit-Hole

Straight from Cologne, Germany into the dark depths of White Rabbit, DJGlitterbug, a.k.a. Till Rohmann, brings his long awaited debut album Supershelter to Beijing. It’s his first time spinning in China.

Supershelter’s twelve tracks are an elegant concoction of deep house, abstract electronica and techno. But it’s the unexpected mix of orchestral arrangements, industrial snare and gritty sounds that makes Glitterbug’s “shelter” so inviting. that’s interviewed the festival organizer/peace activist DJ about his upcoming show at White Rabbit on the 17th.

What music are you listening to right now?
It’s a bit embarrassing, but these days I mostly listen to new tracks of mine. I’m working on two new EPs (being released this autumn) and a new album (for next spring). Taking tracks out of the studio and listening to them mid-production helps to make sense of the music.

What inspires your music and DJing?
Everything! Life, social dynamics, art, and, of course, music of all kinds.

How would you describe the sounds in your debut album Supershelter?
Supershelter is a hybrid of techno and house, and other influences — from experimental electronica to expressionist orchestral arrangements and some indie rock without rock (as somebody wrote in a review).

Why do you/we need a “shelter”? What can music protect us from?
Art and music are powerful forces that help us relate to the world in new ways. But horrible injustices happen on this planet — like war and inequality — that we need protection from. Supershelter is somewhat of a self-contained world, and I made it for those hopeful moments post-nuclear fallout.

Which track best represents Supershelter’s concept?
For me, Supershelter is best listened to in one sitting. The album tries to push the boundaries of club music, introducing new ideas and moods [to the genre], but is also danceable.

You’re a man of many trades working in many mediums. You’ve composed music for films and experimental radio plays, created video and audio installations, curated exhibitions, held lectures and organized events. How do all these influence your music?
Just as my music is a strange hybrid, so is the rest of my life. Many years I suffered from not really knowing where I belonged, until I realized I can’t fight who I am. My art and music benefit from the many projects I’m involved in. Be it as an artist, musician, DJ or curator, I always try to [combine] different content, contexts and concepts. My music mirrors this.

You’ve become a staple in the Israeli electronic music scene. Why Israel?
It happened by chance when I was invited for a performance there years back. Being a German in Israel, aware of the painful history that connects both countries, left me with many questions. I met many wonderful people and artists who became important and close friends. Mutual interest and curiosity lead to the development of the c.sides Festival for Electronic Music and Media Art (that I initiated, curated and produced together with Israeli artist Ronni Shendar).

Are you a promoter of peace through music?
I certainly hope I can do my humble share.

After Supershelter, what’s new in your set? What styles are you spinning these days?
I have been a DJ for 15 years now, and this influences what I spin. I work with music from the last 20 years of house and techno (and music totally off those charts), and favor melodic materials that make crowds scream. A recent article described me as a master of slow motion raving. I play at a low speed between 120 and 126 BPM — a mixture between playing somewhat live and traditional DJing. I love long mixes that still treat the tracks as tracks and not just tools.

What can we expect from you at White Rabbit?
I’m really excited about being in China for the first time. I love playing in front of a fresh, hungry crowd. I’m playing a long three-turntable DJ set, and promise to share my heart with everybody that joins us that night.

glitterbug in Beijing/ China: Friday, 17th of July

Wednesday, July 8th, 2009

One of the gigs that i am most excited about… if you are in Beijing on Friday, the 17th of July, come and find me at the White Rabbit Club: Lucky Street C2, Chaoyang Park Xilu, Chaoyang District, 100013 Beijing…

I get to play a very epic, extended, three turntable DJ set. And I can’t wait!!

glitterbug double gig in Berlin / 11/12th of July 2009

Wednesday, July 8th, 2009

glitterbug double gig… first live, then on Sunday DJ. Fun fun fuuuun!!

Saturday night starting at 23:59 h with:

pawel (dial / orphanear)
glitterbug live (c.sides)
mombasajoe (4augenvögeln)
silva (elektricdress / ://about blank)

Starting at 10am on Sunday in the garden:

djane dahlia (ctm / paloma)
düito
glitterbug (c.sides)
resom (homoelektrik, l)
artemis (://about blank)

Close to S-Bhf Ostkreuz
Entrance: 6 € (until 1:00 h 4 €), Sunday is free