Hello, winter started today in the Southern Hemisphere brrr, that is if you are one of those 800 million living there, even then it 's hardly ever cold in Brazil, South Africa or Australia, let alone Indonesia in fact the bizarre fact is that the number of people possibly freezing in the Southern Hemisphere is no more then a few million (if at all)- no use starting an isolation business there.. But then, we at the other end can look forward to summer, that is if the normal weather patterns will comply, after the torrential downpoor these last weeks in middle Europe and the subsequent floods, it was Alberta-Canada's turn to see the water rising beyond belief yesterday. Two days ago it was 30 C in my room well past midnight, next week forecast is about 16 C max. Confused ? Don't be it's just another episode in the never ending weather soap.
Meanwhile we're here for some beats, we've been getting serious and clinical and it should hardly be a surprise we turned to Germans for that, the coming Beats we remain in Berlin as it is such a cosmopolitan city where creativity /art is highly regarded, it's evident that there's much more to be explored and we just follow the beats. The fall of the wall meant reunification, but above all, a sense of no holds barred. The eastern part of the city became the anarchic, creative playground for a euphoric youth, now freed from bureaucracy. The early 90s were formative years for today's artist as well....... N'joy
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The early 90s after the Berlin Wall fell were formative years for Kalkbrenner, and after spending many long and sleepless nights on the dancefloors of E-Werk, Planet and Whale, the dream was born to make music himself. A job as TV editor got him through the mid-90s and financed his first music gear. By this point Kalkbrenner had already decided that he did not want to be a typical DJ playing other people's records, but rather to play only his own music, live in a club setting. His first tracks as Paul Kalkbrenner were released in 1999 on Berlin-based BPitch Control (the newly founded label from Ellen Allien) as the Friedrichshain EP, titled after his home district in the city's east. A series of further singles and two full-lengths (Superimpose and Time) followed, plus continuous live performances.
Together with Paul Kalkbrenner, BPitch Control gained a strong momentum. Kalkbrenner's third album Self (2004) would mark the beginning of a new era. His melodic sound, with its affinity for grand emotional gestures, obeyed the logic of the dancefloor, but Self introduced a narrative aesthetic, serving as a soundtrack to a film that did not exist (at least, not yet). "Gebrünn Gebrünn", released one year later, became a crossover hit.
In early 2006, German director Hannes Stöhr, an avid fan of Self, decided to get in contact with Kalkbrenner. His idea was to produce a film about a Berlin techno musician during the new millennium, and Kalkbrenner would compose the soundtrack. The two met, traded ideas and experiences, and soon after began working on the screenplay's first draft. In the course of their exchange, Stöhr had the realization that Kalkbrenner should not just contribute the music, but that he would be the perfect choice as the film's star. Without hesitation, Kalkbrenner accepted the offer. They decided to title the film Berlin Calling.
For the soundtrack's production, Kalkbrenner and his friend (and Bpitch colleague) Sascha Funke spent half a year in Aix-En-Provence in southern France. One song already had a title: Sky and Sand with vocals by brother Fritz. Upon Kalkbrenner's return to Berlin in 2007, the filming began, and the finished work was brought to German theaters in October 2008. Berlin Calling and Kalkbrenner's debut acting performance received positive reviews, and the film, thanks to its authentic depiction of the Berlin club scene and drug culture, became a cult classic.
The soundtrack and especially the single "Sky and Sand" broke many sales records. That track in particular went gold in Belgium where it remained in the charts' Top Ten for weeks. The 2009 DVD release of the film brought Kalkbrenner to a new, much larger audience around the world. By the end of the year, he separated with BPitch Control after a decade-long relationship to take the next steps of his career alone. In early 2010 Kalkbrenner completed a twelve-city live concert tour throughout Europe (with over 50,000 tickets sold within just a few weeks), followed by many headlining appearances at summer festivals.
Kalkbrenner uses software-synthesizers, sequencer (Ableton Live) in combination with midi-controllers, hardware-synthesizers and -drummachines for his live shows. On April 12, 2011, Kalkbrenner announced the album Icke Wieder, which was released on June 3, 2011 via his own new label Paul Kalkbrenner Musik. About the album, he stated: "There won't be any singing on the album, no music of tomorrow either, it feels generally more like... well, old times". On 25 August 2012 he married Simina Grigoriu. His latest album, Guten Tag, was released on November 30, 2012.
xxxxx xxxxx xxxxx xxxxx xxxxx
The early 90s were formative years for a young Paul Kalkbrenner as well. Eventually, in one of many long and sleepless nights on the dancefloors of E-Werk, Planet and Whale, the dream was born to make music himself, and anything less important would be put aside. A job as TV editor got him through the mid-90s and financed his first music gear. By this point Paul had already decided that he did not want to be a typical DJ playing other people’s records, but rather to play only his own music, live in a club setting. His first tracks were released in 1999 on Berlin-based BPitch Control (the newly founded label from Ellen Allien) as the Friedrichshain EP, titled after his home district in the city’s east. A series of further singles and a full-length Superimpose followed. His music is ass-moving and hypnotic at the same time. As one of the most inspired Tech-artists, Paul is releasing this debut album, even though he only is 23 years young. Minimal melodic Techtracks and melancholic slowbeat creations will delight the enthusiasts of electronic music.
Paul's debut album "Superimpose" on Ellen Aliens capital label BPitch Control is a bit different than, for example, the colleagues from the vault: gentle, diverse, without losing sight of the party from the eyes - as you would already have always been of the U.S. parent city with the could learn a great D. With a lofty poem by Erich Fried over the decline of society ("who are still not sick feeling at this time in which we must live is sick.") Is the whole thing to start shortly with - Charged critical theory - pretty simple . Then simply run the party from Metroplex, from moody tech-house and minimal slender models on schnarzenden Knurspel-Electro and currently yes modern breakbeat tracks to sometimes small Acidschleifen - all of course executed with enough oomph. So here is each and every docking points and identification possibilities. In any case, more than just a collection of tools, and also more than just back "Berlin Techno", as so often gets him on the ear.
With Erich Fried's 'sick' as an intro positioned 'Superimpose' perhaps too bold in the genre of 'intellectual techno', but that does not matter. Experimenting with creaking times, sometimes swirling sounds give the other twelve tracks; beautiful and the occasional breakbeats, which are only partly extremely scarce, and the 4 / 4th Very Berlin.
Paul Kalkbrenner - Superimpose ( flac 329mb)
01 Krank (Spoken By Peggy Laubinger) 1:31
02 Feature Me 5:38
03 La Force 4:01
04 Seaquest 5:26
05 Accès Rapide 5:52
06 Wasser 4:20
07 Mono Play 6:13
08 Far Away 6:06
09 Radius 3:49
10 Tag 407 5:17
11 Rubin 6:07
12 Kurz 3:41
13 Gia 2000 5:08
xxxxx xxxxx xxxxx xxxxx xxxxx
Paul Kalkbrenner's new, third, album is called "self", and the title fits perfectly. What has always been applied in the predecessors, for me, but then often became very sound technically perfect swallowed by Greater trance now determined the tracks that are still broad, but much more introverted sound much more personal. The whole album, with all its loving Interludes and downtempo tracks seems so harmonious, so homogeneous and yet so calmly that the tracks seem to flow into each other like short stories. A soundtrack of crystalline melancholy, although it is still in the club head but the dictates of the dancefloor replaced by a dance at übereinandergetürmter areas and melodies. Trance is here among others, shall we say intimate, conditions instead. His melodic sound, with its affinity for grand emotional gestures, obeyed the logic of the dancefloor, but Self introduced a narrative aesthetic, serving as a soundtrack to a film that didn’t exist (at least, not yet…). It was Paul’s most musical and mature album to date, although still taking cues from the dancefloor and rave culture, offering a first glimpse of what was yet to come. “Gebrünn Gebrünn”, released one year later, became a crossover hit found in every DJ’s record bag and finally cemented Paul’s status as a Techno MVP.
Paul Kalkbrenner - Self ( flac 248mb)
01 Page One 0:26
02 Press On 5:51
03 Castanets 5:30
04 Queer Fellow 4:16
05 Since 77 5:09
06 Page Two 0:25
07 Marbles 4:17
08 Dockyard 5:39
09 The Grouch 6:08
10 The Palisades 3:46
11 Page Three 2:31
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In early 2006, German director Hannes Stöhr, an avid fan of Self, decided to get in contact with Kalkbrenner. His idea was to produce a film about a musician in Techno City during the new millennium, and Paul would compose the soundtrack. The two met, traded ideas and experiences, and soon after began working on the screenplay’s first draft. In the course of their exchange, Hannes had the realization that Paul should not just contribute the music, but that he would be the perfect choice as the film’s star. Without hesitation, Paul accepted the offer. They decided to title the film Berlin Calling. For the soundtrack’s production, Paul and his friend (and BPitch colleague) Sascha Funke spent half a year in Cézanne’s hometown of Aix-En-Provence in southern France.
Unencumbered by the cold, gray Berlin winter, Paul devoted himself entirely to the musical aspect of the project. One song already had a title: “Sky and Sand” with vocals by Paul’s brother Fritz. Upon Paul’s return to Berlin in 2007, the filming began, and the finished work was brought to German theaters in October 2008. Berlin Calling and Paul’s debut acting performance received positive reviews, and the film, thanks to its authentic depiction of the Berlin club scene and drug culture, became, slowly but surely, a cult classic. The soundtrack and especially the single “Sky and Sand” broke all sales records. That track in particular went gold in Belgium where it remained in the charts’ Top Ten for weeks. The 2009 DVD release of the film brought Paul to a new, much larger audience around the world. A good idea to check it out (it's available in many languages in torrent world)
Paul Kalkbrenner - Berlin Calling OST ( flac 372mb)
01 Aaron 6:01
02 Queer Fellow 4:17
03 Azure 6:11
04 Sky And Sand (Voc. Fritz Kalkbrenner) 3:59
05 Square 1 6:43
06 Altes Kamuffel (Berlin Calling Edit) 4:35
07 Torted 5:30
08 Sascha Funke - Mango (Berlin Calling Edit) 4:33
09 QSA 5:25
10 Castenets (Berlin Calling Edit) 5:04
11 Bengang 5:37
12 Peet 3:34
13 Train 2:48
14 Gebrünn Gebrünn (Berlin Calling Edit) 7:14
xxxxx xxxxx xxxxx xxxxx xxxxx
Meanwhile we're here for some beats, we've been getting serious and clinical and it should hardly be a surprise we turned to Germans for that, the coming Beats we remain in Berlin as it is such a cosmopolitan city where creativity /art is highly regarded, it's evident that there's much more to be explored and we just follow the beats. The fall of the wall meant reunification, but above all, a sense of no holds barred. The eastern part of the city became the anarchic, creative playground for a euphoric youth, now freed from bureaucracy. The early 90s were formative years for today's artist as well....... N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
The early 90s after the Berlin Wall fell were formative years for Kalkbrenner, and after spending many long and sleepless nights on the dancefloors of E-Werk, Planet and Whale, the dream was born to make music himself. A job as TV editor got him through the mid-90s and financed his first music gear. By this point Kalkbrenner had already decided that he did not want to be a typical DJ playing other people's records, but rather to play only his own music, live in a club setting. His first tracks as Paul Kalkbrenner were released in 1999 on Berlin-based BPitch Control (the newly founded label from Ellen Allien) as the Friedrichshain EP, titled after his home district in the city's east. A series of further singles and two full-lengths (Superimpose and Time) followed, plus continuous live performances.
Together with Paul Kalkbrenner, BPitch Control gained a strong momentum. Kalkbrenner's third album Self (2004) would mark the beginning of a new era. His melodic sound, with its affinity for grand emotional gestures, obeyed the logic of the dancefloor, but Self introduced a narrative aesthetic, serving as a soundtrack to a film that did not exist (at least, not yet). "Gebrünn Gebrünn", released one year later, became a crossover hit.
In early 2006, German director Hannes Stöhr, an avid fan of Self, decided to get in contact with Kalkbrenner. His idea was to produce a film about a Berlin techno musician during the new millennium, and Kalkbrenner would compose the soundtrack. The two met, traded ideas and experiences, and soon after began working on the screenplay's first draft. In the course of their exchange, Stöhr had the realization that Kalkbrenner should not just contribute the music, but that he would be the perfect choice as the film's star. Without hesitation, Kalkbrenner accepted the offer. They decided to title the film Berlin Calling.
For the soundtrack's production, Kalkbrenner and his friend (and Bpitch colleague) Sascha Funke spent half a year in Aix-En-Provence in southern France. One song already had a title: Sky and Sand with vocals by brother Fritz. Upon Kalkbrenner's return to Berlin in 2007, the filming began, and the finished work was brought to German theaters in October 2008. Berlin Calling and Kalkbrenner's debut acting performance received positive reviews, and the film, thanks to its authentic depiction of the Berlin club scene and drug culture, became a cult classic.
The soundtrack and especially the single "Sky and Sand" broke many sales records. That track in particular went gold in Belgium where it remained in the charts' Top Ten for weeks. The 2009 DVD release of the film brought Kalkbrenner to a new, much larger audience around the world. By the end of the year, he separated with BPitch Control after a decade-long relationship to take the next steps of his career alone. In early 2010 Kalkbrenner completed a twelve-city live concert tour throughout Europe (with over 50,000 tickets sold within just a few weeks), followed by many headlining appearances at summer festivals.
Kalkbrenner uses software-synthesizers, sequencer (Ableton Live) in combination with midi-controllers, hardware-synthesizers and -drummachines for his live shows. On April 12, 2011, Kalkbrenner announced the album Icke Wieder, which was released on June 3, 2011 via his own new label Paul Kalkbrenner Musik. About the album, he stated: "There won't be any singing on the album, no music of tomorrow either, it feels generally more like... well, old times". On 25 August 2012 he married Simina Grigoriu. His latest album, Guten Tag, was released on November 30, 2012.
xxxxx xxxxx xxxxx xxxxx xxxxx
The early 90s were formative years for a young Paul Kalkbrenner as well. Eventually, in one of many long and sleepless nights on the dancefloors of E-Werk, Planet and Whale, the dream was born to make music himself, and anything less important would be put aside. A job as TV editor got him through the mid-90s and financed his first music gear. By this point Paul had already decided that he did not want to be a typical DJ playing other people’s records, but rather to play only his own music, live in a club setting. His first tracks were released in 1999 on Berlin-based BPitch Control (the newly founded label from Ellen Allien) as the Friedrichshain EP, titled after his home district in the city’s east. A series of further singles and a full-length Superimpose followed. His music is ass-moving and hypnotic at the same time. As one of the most inspired Tech-artists, Paul is releasing this debut album, even though he only is 23 years young. Minimal melodic Techtracks and melancholic slowbeat creations will delight the enthusiasts of electronic music.
Paul's debut album "Superimpose" on Ellen Aliens capital label BPitch Control is a bit different than, for example, the colleagues from the vault: gentle, diverse, without losing sight of the party from the eyes - as you would already have always been of the U.S. parent city with the could learn a great D. With a lofty poem by Erich Fried over the decline of society ("who are still not sick feeling at this time in which we must live is sick.") Is the whole thing to start shortly with - Charged critical theory - pretty simple . Then simply run the party from Metroplex, from moody tech-house and minimal slender models on schnarzenden Knurspel-Electro and currently yes modern breakbeat tracks to sometimes small Acidschleifen - all of course executed with enough oomph. So here is each and every docking points and identification possibilities. In any case, more than just a collection of tools, and also more than just back "Berlin Techno", as so often gets him on the ear.
With Erich Fried's 'sick' as an intro positioned 'Superimpose' perhaps too bold in the genre of 'intellectual techno', but that does not matter. Experimenting with creaking times, sometimes swirling sounds give the other twelve tracks; beautiful and the occasional breakbeats, which are only partly extremely scarce, and the 4 / 4th Very Berlin.
Paul Kalkbrenner - Superimpose ( flac 329mb)
01 Krank (Spoken By Peggy Laubinger) 1:31
02 Feature Me 5:38
03 La Force 4:01
04 Seaquest 5:26
05 Accès Rapide 5:52
06 Wasser 4:20
07 Mono Play 6:13
08 Far Away 6:06
09 Radius 3:49
10 Tag 407 5:17
11 Rubin 6:07
12 Kurz 3:41
13 Gia 2000 5:08
xxxxx xxxxx xxxxx xxxxx xxxxx
Paul Kalkbrenner's new, third, album is called "self", and the title fits perfectly. What has always been applied in the predecessors, for me, but then often became very sound technically perfect swallowed by Greater trance now determined the tracks that are still broad, but much more introverted sound much more personal. The whole album, with all its loving Interludes and downtempo tracks seems so harmonious, so homogeneous and yet so calmly that the tracks seem to flow into each other like short stories. A soundtrack of crystalline melancholy, although it is still in the club head but the dictates of the dancefloor replaced by a dance at übereinandergetürmter areas and melodies. Trance is here among others, shall we say intimate, conditions instead. His melodic sound, with its affinity for grand emotional gestures, obeyed the logic of the dancefloor, but Self introduced a narrative aesthetic, serving as a soundtrack to a film that didn’t exist (at least, not yet…). It was Paul’s most musical and mature album to date, although still taking cues from the dancefloor and rave culture, offering a first glimpse of what was yet to come. “Gebrünn Gebrünn”, released one year later, became a crossover hit found in every DJ’s record bag and finally cemented Paul’s status as a Techno MVP.
Paul Kalkbrenner - Self ( flac 248mb)
01 Page One 0:26
02 Press On 5:51
03 Castanets 5:30
04 Queer Fellow 4:16
05 Since 77 5:09
06 Page Two 0:25
07 Marbles 4:17
08 Dockyard 5:39
09 The Grouch 6:08
10 The Palisades 3:46
11 Page Three 2:31
xxxxx xxxxx xxxxx xxxxx xxxxx
In early 2006, German director Hannes Stöhr, an avid fan of Self, decided to get in contact with Kalkbrenner. His idea was to produce a film about a musician in Techno City during the new millennium, and Paul would compose the soundtrack. The two met, traded ideas and experiences, and soon after began working on the screenplay’s first draft. In the course of their exchange, Hannes had the realization that Paul should not just contribute the music, but that he would be the perfect choice as the film’s star. Without hesitation, Paul accepted the offer. They decided to title the film Berlin Calling. For the soundtrack’s production, Paul and his friend (and BPitch colleague) Sascha Funke spent half a year in Cézanne’s hometown of Aix-En-Provence in southern France.
Unencumbered by the cold, gray Berlin winter, Paul devoted himself entirely to the musical aspect of the project. One song already had a title: “Sky and Sand” with vocals by Paul’s brother Fritz. Upon Paul’s return to Berlin in 2007, the filming began, and the finished work was brought to German theaters in October 2008. Berlin Calling and Paul’s debut acting performance received positive reviews, and the film, thanks to its authentic depiction of the Berlin club scene and drug culture, became, slowly but surely, a cult classic. The soundtrack and especially the single “Sky and Sand” broke all sales records. That track in particular went gold in Belgium where it remained in the charts’ Top Ten for weeks. The 2009 DVD release of the film brought Paul to a new, much larger audience around the world. A good idea to check it out (it's available in many languages in torrent world)
Paul Kalkbrenner - Berlin Calling OST ( flac 372mb)
01 Aaron 6:01
02 Queer Fellow 4:17
03 Azure 6:11
04 Sky And Sand (Voc. Fritz Kalkbrenner) 3:59
05 Square 1 6:43
06 Altes Kamuffel (Berlin Calling Edit) 4:35
07 Torted 5:30
08 Sascha Funke - Mango (Berlin Calling Edit) 4:33
09 QSA 5:25
10 Castenets (Berlin Calling Edit) 5:04
11 Bengang 5:37
12 Peet 3:34
13 Train 2:48
14 Gebrünn Gebrünn (Berlin Calling Edit) 7:14
xxxxx xxxxx xxxxx xxxxx xxxxx
Dear Rho:
ReplyDeleteI remember that a decade ago or so I was at a club dancing to electronic music and I asked the DJ to play Gebrünn Gebrünn. She did play it, but after a few minutes of beats, moved the crossfader and changed the song too quick, before the exciting vocals started. As you know, the high pitched vocals and the scratching part of the song start at the final section of the song and the DJ wasn't probably patient enough (maybe she didn't know what was yet to come). I always wondered why Kalkbrenner decided to structure it this way, leaving the "chorus" to the very last section of the song...
Good time to ask for a reup...
Thank you!
T.S.