A ramshackle and joyous celebration of DIY spirit, raw techno and uninhibited abandon, Birmingham’s legendary hive of sin and damnation, the House of God, celebrates its 20th anniversary this year. LWE caught up with promoter Chris Wishart, resident Surgeon, and long time guest, Regis, to discuss the genesis of one of the world’s most seminal and idiosyncratic techno events.
To many, Ben Klock is techno. Given his lengthy CV, this is hardly surprising. LWE sat down with Klock in New York to talk about the ’90s, the warmth of Berghain techno and his dad’s experience at the club.
Adam X’s is a fascinating story of identity politics, personal reinvention, and career resuscitation. He sat down for a revealing and surprisingly relaxed interview with LWE to explain the whole thing.
In discussions of his solo and collaborative productions for Ostgut Ton and his own MDR label, his biting remixes for folks as disparate as Modeselektor and Sandwell District, and his infamously expansive DJ sets, club music commentators invariably accuse Marcel Dettmann of being a purist. But purism — as a stance on techno — implies pretension, and you’d be hard pressed to meet a man who puts on fewer airs about this music than Dettmann. At his headlining appearance at New York’s famed Bunker party, he may have threaded the needle from Tan-Ru’s “Assembly” (his fitting tribute to the late Ian Loveday, who passed away in June) to Newworldaquarium’s “Trespassers” and touched on countless rare techno sides in between. But if Dettmann — casually clad in jeans and an MDR t-shirt and handing out high-fives to all who approached him — played professor in any regard that night, it was only delineating how one brings down the house and keep revelers enraptured straight through 6 a.m. A few hours before all this madness commenced, I sat down with the famed Berghain resident for a chat on dubstep, Deuce, and what this whole techno thing means to the man who has lately come to personify it.