Words, interview & translation by Philipp Vogt
Images courtesy of Veronica Losantos and Niemand & Keiner
I first met Clemens at a techno festival in Garbicz, Poland.
It was at a bar, third night into the festival in between two amazing DJ sets that the two of us found ourselves in a conversation about men, women, and desire. I remembered that guy even after the festival, because he claimed to not give a fuck at all about how pretty a girl is.
Much later I found out that he happens to be co-founder of Niemand & Keiner, one of my favorite Berlin-based DJ combos, whose deep, dreamy sets had made so many of my late nights during that cold last Berlin winter bearable. Berlin winters are tough motherfuckers, you know? They require some musical countermeasure. And Niemand & Keiner’s mixes are the perfect remedy, providing some damn warm, friendly beats that are able to relax you while sending your brain into 360 degrees of different direction.
Founded in 2011, Niemand & Keiner are the downtempo-slash-after-hour project in the portfolio of the over-arching electronic music unit tanz+klangkombinat. Since then, the duo consisting of Clemens and former drum ‘n’ bass DJ Thomas Sinneswandel has played over 100 gigs across the globe, including Germany, Brazil, and the Netherlands.
I met Clemens and Thomas for a few glasses of red wine to chat over girls, music, their Fusion festival experience, and latest developments.
So, Clemens, you said that pretty girls leave you unimpressed if I remember correctly? I am still not sure if I can believe that. Your last chance to correct yourself…
Clemens: “Let me clarify this. Appearance is secondary. When I meet someone, the main thing that interests me is: How is someone’s vibe? I am interested in people in general, men and women, I approach them openly and find it enticing to see what they are doing with their lives. Personality quickly starts to overlay everything else, although there is an underlying mechanism that you automatically find beautiful people interesting.”
OK, kids, let’s get serious. Music! I read a DJ mag article recently that ‘deep house’ is a label often falsely attached to music. Similar to the wrong use of the term ‘electro’ widely applied in Germany for ‘techno’ and electronic music in general. Just for my amateur record – is Niemand & Keiner ‘Deep House’?
Thomas: “It is deep house but there are substantial differences within. With the tempo alone you can do a lot. The more I reduce tempo, the deeper it gets, and the less ‘housy’.”
Clemens: “I have my own philosophy with regards to that. Worldwide consensus is that there is house of which techno is a sub-genre. I was socialized differently. For me everything is techno, as in technoid music, and house is a sub-cluster to that. Regarding the stuff that we play I would cluster broader: a very important part for our live sets is deep house, especially when we are playing peak times. But in general I refer to what we do as techno nonetheless. We buy all the stuff we use, and the record labels list it as tech-house, deep house, and techno. If you put these genres next to each other like in a bookshelf, there is one red line across them for all our sets: I call it ‘Fliege-Musik”[editor's note - approx.: 'levitation music'].
Where does your passion for the downbeat genre of electronic music stem-from?
Clemens: “Good question. In fact, we got slower and slower over time.”
Thomas: “In the beginning we were at like 120 [bpm].”
Clemens: “I was socialized with techno when I was 13 years old, and I listened to a lot of really freaky techno. Back then it used to be called Brighton techno, and that was the weird stuff. Then, I got a little faster for a while, listening to Schranz, and the older I got the more I appreciated emotions. I don’t like disco house for example, I’m not into this staged, happy music. I find it stressful.”
Thomas: “I don’t like that either.”
Clemens: “With the arrival of the first deeper tracks and minimal I found myself really fascinated. There is a correlation between tempo and pitch. When you slow down the tempo you decrease the pitch, everything becomes deeper. And on the sound systems in the clubs that sounded more powerful, it embraced you more. It blew you away. That fascinated me enormously.”
Thomas: “Yes, the sound then rolls differently. It really rolls. Stretching it brings this massive impact. Regarding my musical roots: back in the days, I listened to punk although I never was punk. I’ve done a lot of drum’n’bass, jungle, very up-tempo music. Music that, in spite of it’s fast tempo, has this strong emotional touch.”
Please describe the soul of your music. The essence of what Niemand & Keiner is trying to capture. Your idea.
Clemens: “Three things. Firstly: emotional. Second: the levitation effect. Close your eyes and get carried away. Three: storytelling. Our first mix Luftschloss im Schneegestöber was more like, our favorite tracks well arranged. But since then we are trying to tell stories. We begin with an intro, then go deep, and become brighter towards the end. Like a fairy tale. The hero enters the stage, then there is a struggle, and in the end it goes…(makes rocket sound) There is always an idea behind it, also when we play live.”
I noticed your Fusion set consists of a lot of tracks that have been around for a while, like one or two years old. Am I right?
Clemens: “Always. Not only in the Fusion set, also in all of the others. That’s a personal preference of mine. I don’t like this whole hype thing. That’s really important to me: there is always some [tracks] from 2008, 2009, and 2010, which are older. That comes from the storytelling approach: if it fits in there, I want it right there! On the other hand we always feature at least one unreleased track, also in this case.”
Recorded at Fire Space, Fusion Festival on Saturday, 29.06.2013, from 7:30 am to 9:45 am (set list below).
How was Fusion? I heard some damn crazy stories about that place.
Clemens: “Have you been already?”
Clemens: “Whoa. Next year. Absolute must-buy. No matter how. In my opinion the best festival in Germany…”
Thomas: “I’d say even in Europe – at least with a multicultural approach… OK, firstly, it is not a techno festival for me. It is a subculture festival. There is a Goa floor; there is a trance floor…”
Clemens: “…drum’n’bass floor, you got Reggae, there is a lot of Punk bands playing. If you ask me, the idea is exactly as displayed through their Motto 2005: ‘holiday communism’. You go there, total strangers feel super-close to you permanently, and for all possible subcultures, may it be Reggae, Dancehall, Dub, Trance, Techno, whatever…”
Clemens: “…there is a place to go to. Although I would say it is mainly electronic. And the emphasis goes beyond music.”
So it is more than a music festival?
Clemens: “By far more than a music festival.”
Thomas: “There is theatre, cinema…”
Clemens: “…a lot of art, especially indie art, or, what really impressed me this Fusion: you are sitting somewhere at night, and all of a sudden you see these three giant drone-controlled dragons that are hanging in the air like worms, visiting all the dance floors. It is closer to being an art festival, just like Burning Man.”
And music is the accompanying soundtrack?
Thomas: “Big time.”
Clemens: “Exactly. You dive into a completely different awareness of life. That also manifests in the fact that you can bring anything. Drinks. All your stuff.”
Thomas: “As a visitor it’s up to you if you party on techno five days in a row or if you want to experience culture – you can do cabaret, there are live book readings…”
Clemens: “…and Fusion-typical is also that [DJ] line-up is not disclosed, only the live bands. It’s totally experience-based.”
How did you experience Fusion emotionally?
Clemens: “For me it was a total dream. You usually undergo a lottery process in which you can win the right to buy a ticket, if you are lucky. So I did not win anything in the first and second round, leaving me with only the option to play there in order to go. Or come with a Sunday ticket maybe…”
Thomas: “…which can also be a good choice. I think staying from Sunday till Monday-Tuesday, that’s fine. Relaxed experience.”
Clemens: “It’s on for five days. I got there Tuesday, and left Tuesday, so seven days in a row this time. That’s heavy.”
Thomas: “Yeah, well, they don’t kick you out there. This year was the first in a while that I stayed there all the way through. The past two years, only Sunday. In 1999 we went there already for the first time with a community from Dresden. Back then, there was this Russian hangar, almost nothing was open-air. And it has grown steadily ever since. 2007 was the last time I was there all the way through, with like 30-40,000 people attending. But that was somehow too big then.”
Clemens: “Now it’s up to 80k already.”
Thomas: “That’s a massive crowd.”
Clemens: “Tiring. You keep losing everybody.”
Thomas: “Well, the spirit is still there, you can feel that. What I like is that there is no advertising, for example. They have their two beer brands but no contracts.”
Clemens: “No obvious sponsoring. There is sponsoring but…”
Thomas: “…yeah I think so, they have cooperation with, like, Veltins I think. It is a purely veggie/vegan festival, no meat can be bought at the food stalls, and the stalls on location are checked with regards to that.”
With regards to sustainability?
Thomas: “Yes, so, the idea behind it all still works. No matter how many people may curse this festival. All those who were part of it back in the days.”
Clemens: “Yeah, people bash it saying ‘there’s only commerce left’. But you can feel that they [the organizers] really care. For example there was this robot concert, you walk past it, and it’s all like a huge world to explore. You walk there at night and everything is illuminated, and you have these walking robots breathing fire, I imagine it’s like Burning Man, all of a sudden there’s this guy riding a robot elephant, only freaked out stuff like that. Well, for me it is THE festival, better than anything I have ever seen anywhere. I haven’t seen Burning Man. I think Burning Man is on the same level. I have also been to South America – nothing can compare [to Fusion], not even close.”
Thomas: “I have no clue which event in Europe could be comparable. Maybe there’s something small that is cool but something comparable of this scale is not known to me.”
Clemens: “For me it was a dream come true, too. Well, even three years ago when we started we talked about that it would be THE dream to play there.”
So a dream come true for you guys?
Clemens: “Mega, not only a little. Well, for me it was mega. Even though it started to rain at some point. Open-air festival, third day, light rain, clothes wet, OK, you have people leaving then…”
Thomas: “Sure, people wreck themselves first and second day (laughs), and third they don’t show up when it keeps pouring.”
How old are you guys?
Clemens: “I’m 30.”
Thomas: “I’m 31.”
Who is your inspiration within the electronic realm?
Clemens: “For me there are clearly Lake People, killer. We invited him over to Brazil, he was my favorite producer for a while. Rodriguez Jr., Max Cooper is strong…”
Clemens: “…yeah, he used to be too freaky for my taste but meanwhile I’m into it. Then NHAR is very strong. OXIA is strong. I got him from you (nods at Thomas).”
Thomas: “OXIA is a French guy, played Fusion this year, too. In my opinion he won the coolness award this year.”
Clemens: “Then for me there is also, just to finish this…”
Thomas: (laughs out loud after realizing I was joking)
Clemens: “Clearly, even though he is tiring, but all productions really rad: Acid Pauli. Then there’s NU. Mega-rad.”
Thomas: “[From] Kater[holzig], Bar 25.”
Clemens: “..aaand I have one more for this dark… uh, yeah: Stimming.”
Thomas: “Guenther Lause is also good.”
Clemens: “Guenther Lause is not good in my opinion. It’s killer. They are… (dramatic voice)…two. Tweens. From Munich.”
Clemens: “They are performing live, everything live, always, I mean, nowadays they are also playing sets but… they have boiled down what used to be Brighton techno for me to some 110 bpm. Totally rad. That level of musical understanding that these two guys from Munich are displaying… (enthusiastic) …well, Guenther Lause for me is… gold. At last year’s Fusion they were the best act in my opinion – and you could tell beforehand they would be.”
And inspiration outside of electronica? Not necessarily limited to music.
Clemens: “Salvador Dali. Clearly. [It’s] rad how this guy rolls. I love reading, so… writers. Used to be Stephen King but – been there, done that. Not a big horror fan anymore. I don’t have to upload anxiety to my subconscious, my strong belief. Then, Chuck Palahniuk, the guy who wrote Fight Club, one of the best books of all time…”
Book or screenplay?
Clemens: “Book. Not only is this one of the best books of all times, it was also translated into one of the best movies of all times, in my opinion. I like Christopher Nolan a lot when it comes to movies. His Batman movies, especially the Joker adaptation – congenial. Quentin Tarantino for sure, he’s a storyteller that manages to convey an awful lot with movies consisting almost only of dialogues. I’m totally into sculptures of all kind, especially photo-realistic sculpture. Michelangelo’s David I find mega. All classical painting that is photo-realistic I think is strong, also in connection with surrealism, mega-rad. And more writers, Hermann Hesse, Siddhartha, for example… I stopped reading fiction a couple of years ago, because I am lacking the time – but Siddhartha, wow. Perfect.”
Thomas: “I really like Fat Freddy’s Drop from New Zealand. I think they released a new album this year. They are doing a balancing act between Reggae, little off-beat, hip-hop-like, synth sounds… a really rad band I can totally recommend. I still listen to some punk, a German band that is precious to me called Smoke Blow from Kiel, they don’t exist anymore- they split up last year. Very punk-rock. I also like listening to some ambient-like music that’s adding to relaxation. Trial of the Bow for example. Apart from music…moviemakers, directors – I like the latest Batman stuff, I like comic adaptation, the stuff that Marvel did. This new Superman for example, I like that the comic screen adaptations have moved away from this yes-i-am-a-super-hero-and-i-have-to-save-the-world-thing, like the first Spiderman, I always found that too kitschy.”
Politicians? Are there inspiring politicians?
Thomas: “I like that we have a female chancellor as a representative, and a gay minister of foreign affairs. I like that this is possible in Germany. For sure that’s also possible elsewhere in Europe, especially Scandinavia. I visited India beginning of the year, in the south, and what I liked was that the head of Kerala is a female minister, which you cannot picture in India, and she is loved and everybody likes her. I like the attitude when in India a woman can reach that position. I found it impressive, and it’s inspiring when society is moving outside of the established clusters.”
Clemens: “I have more musical acts – apart from techno, I am almost only into neo-classical acts. And Kruder & Dorfmeister could be named but they are electronic. Gonzalez, the guy that recorded the solo piano album – killer album. Yann Thiersen I find mega-strong. Philip Glass, he made some movies in the 80’s. Chopin. Rad guy. Soundtracks: Hans Zimmer.”
What is the perfect environment for you to put together a new set? Do you have any rituals?
Thomas: “The approach is: we collect music, and we have new music on our mind, that is, compared to the old sets. Well, new for us, not necessarily new released music. And from there we listen to those tracks, and sort them. And beginning with an intro for example, start thinking about how to build it. Where does which track fit in? And it happened that, the set that came out in the end was completely different from the one we thought about in the beginning. We did it at Clemens’ place. We need the right stuff for that.”
Clemens: “It needs to be quiet, and we need good speakers.”
Do you have a studio?
Clemens: “So far, we have done it in my place. We invested in good monitor speakers, very honest ones, unforgiving, that don’t allow for mistakes.”
Thomas: “Low bass.”
Clemens: “Very honest, you feel instantly when something is wrong, because it sounds wrong. And they are currently in my place. There we sit down, we both have lists, and just recently we have switched to having a theme. With the older sets the theme was often found retrospectively. Going forward, all sets will be recorded in Ritter Butzke studio. I have had my office there for three or four months. Next to it is a studio that we can use more or less as we see fit, and they have monitor speakers that are supreme compared to everything we could do in my place so far, my neighbors hate me (laughs). Before a set gets released I have listened to it minimum 20 times, on the way to work, while doing workout, while doing things where I am focused, or not focused at all, when I am making out with a girl… I don’t like things to be preserved for eternity that I am not 100% happy with.”
I imagine it must be very time-consuming to keep up-to-date. How much time per week do you spend listening to new releases?
Thomas: “I do a lot through YouTube. Every night I listen to music, a lot of DJ sets from others, too, listen to what they play. When I am at home there’s always music playing. Looking up individual tracks: five hours per week, maybe.”
Clemens: “Well, for me it’s mainly a question of system. That’s why I came up with my own. I wouldn’t be able to break it down to a net amount of time, but the buying process alone swallows minimum two hours. I usually buy before every gig. But I separated the buying process from the search. For example, I do not listen to any new releases at all. Martin Anacker does that for us, a friend of ours, who started tanz+klangkombinat with me back then. He used to listen one hour straight to new releases right after work every day. I never did that. Reason for that is mainly, that I can’t listen to too much crap. It gets to my mood. When I listen to too much bad music I get onto a bad vibe.
I came up with my own system that happens on my Evernote. Do you know it? An online notebook, it synchronizes everywhere, cell phone, PC, through which I do a big chunk of my knowledge management. I have a list there called ‘tracks listened’. ‘Tracks listened’ are things that I either listened to on Facebook – I am quite often on Facebook, and when somebody I like posts a track, I listen to it. If the artist is good, I put him on a special list. The track goes on a ‘possible buy’ list. I go dancing a lot every week, when I really like a track, I write it down. I buy from all eras. When I find an artist that has done more than two tracks I like, I usually listen through all tracks he has done. And I listen through all remixes. I do not listen to complete record labels, nor do I listen to all new releases. My approach is mega selective, according to some kind of referral system. People that have a good taste in music in my opinion, or sets that impressed me from which I absolutely needed to know what that one track is called, are like lighthouses to me. And from there I go further, if the artist seriously fascinates me. If I listen to a track…happened with Oxia for example. One track that is cool, and I listen to the next three tracks, and they are crap. Then I stop listening until I hear a track that I find cool again.”
That means you are sacrificing being in the very front line regarding latest stuff for the sake of storytelling.
Clemens: “I don’t want to play the latest shit but I want to have the good stuff.”
Thomas: “Good music isn’t time-based.”
Clemens: “And I don’t want to have every piece of shit. There is an anchor effect: if you have just listened to a shitty track, and after that comes a track that’s actually rad, you will maybe not buy the second one because the first one was so shitty. Main criteria for me is – I go dancing a lot, and if something worked well in a club, it gets on a list. If it really worked well I add an exclamation mark. When I listen to it again, and it doesn’t convince me, but has an exclamation mark, I buy it nonetheless because that means it worked in the club. It worked where the emotions were. Then it may be due to my bad listening, or due to something else that I did not find it cool. So I want to give it another chance.
Currently we are only buying lossless, so FLAC or WAV, no mp3s anymore. And I will exchange our complete archive backwards. Because I played on a Funktion One, and my tracks were thinner then from that guy who played before me, and that sucks. When you start playing and sound goes down, that’s crap. Don’t want that. I’m a vinyl fan, we started traveling early so I said, “OK, carrying those vinyl cases all the time…”
On Beatport there’s an unbelievable amount of crap released, and when you listened to fifteen shitty tracks the sixteenth track will not rock you although it is actually rad. You are exhausted, you know. That doesn’t work. So, everybody who does that: respect. It takes a lot. But it also takes a lot of wrong purchases as well, I bet.”
Thomas: “It also changed. Back in the days when I was playing drum ’n’ bass, I went to a record store, listened to some new and some old vinyl. You did try to stick to your style, of course, but nowadays there’s a totally different opportunity.”
Clemens: “And an overwhelming, too, with this mass.”
Thomas: “Yeah, and partly you drown in trash with all these tracks. Back then you bought vinyl – firstly, it’s more expensive. Secondly, because of that you only bought what you really liked. You were much more willing to dedicate to that track, focused. Sometimes it would be a full day job to hang out in this record store. A feeling totally different than nowadays.”
So you also save a lot of time nowadays.
Thomas: “Sure, you save time but you may also miss out on something.”
Clemens: “Permanently. Some tracks I bought because I knew: this one is timeless; I want to play it next year. Now I can’t play it anymore but next year I will. And I always carry my little black notebook. And it’s full of tracks. I go backwards, and there are recos, there’s chit-chat, when a buddy says ‘hey this track really flashed me’, and then I listen to it.”
Thomas: “I also listen to them most of the time, but most of the time recos don’t work for me.”
Clemens: “Well, I have some people that I really trust.”
Thomas: “OK, on Facebook, when I see people with a good taste I also listen to the tracks.”
What do you see as the most rewarding part in your work as DJs?
Clemens: “Happy faces.”
Thomas: (nods to confirm)
What is your most memorable experience in terms of connecting with a crowd?
Clemens: “The gig in Rio [de Janeiro]. Rooftop terrace in the middle of a favela. My set was at sunrise. Wow. Sysiphos. It was one of my first sets with CD only. Right after Brazil, we had to play CD a lot in Brazil. The monitoring sucked, and I was pretty dissatisfied but the crowd was screaming non-stop during each track. There was so much love that it blew me away. You are behind the wheels and you are overwhelmed by love. I am not shy but…you become shy, man! And everybody is just adoring you, and you are like FUCK MAN, how do I deal with this. Rad, man. What thrills me every time is when you look people in the face, and you feel that they feel what you feel for this track. When you got them. When you could convey what the music means to you. And we both are guys that don’t stand around, and do their mixing very cool, well, we go with the music, we love it, we play ‘Lieblings-Musik’ [editor’s note: approx.: favorite music]. It thrills us, mega.”
Thomas: “We dance along with it.”
Clemens: “The Brazil gigs were fat. Playing on a Funktion One for the first time. Wow.
D.Edge in Sao Paulo. It is THE club in Sao Paulo.”
Thomas: “STATTBAD Wedding.”
Clemens: (almost spits out the wine he is about to swallow) “That was a rad gig, too! On a Turbosound system. We were both painted as the Joker in Batman. I don’t like at all when the DJ stands above the crowd, and when you are made a star, like staged. Stressful, I don’t like that. Everything where you are on eye-level with the crowd, and the emotions that are so important to yourself within this music are reflected back on you by the crowd – that’s it. And that’s it every single time. The smaller the gig the better. That’s why we play a lot of small gigs in spite of a lot of big booking requests. Because the feeling is different. I played in front of a thousand, and playing in front of 1000 people means you are hyped, and there’s people approaching you all the time. They don’t find your music cool they just want to hang with somebody famous. It is tiring when you feel that it doesn’t matter how good the music of the moment is but instead that you have 30,000 plays on Soundcloud.”
Which venue of the world would you love to play?
Clemens: “I have three. Burning Man on Sunday at sunrise. Warung. An old Pagoda in South Brazil. Because the sunrise feeling there is the best. And Berghain/Panorama Bar. If you played Berghain somebody with a really critical eye has screened you, and liked it. To have the honor of being chosen by this tough selection for me would be rad.”
Thomas: “I will not cite one club or party. I do not have a dream location but a dream feeling. I remember vividly when I was living in this occupied building for one year, and those parties we had there, and the feeling that was created there… I always refer to it as ‘ecstasy parties’. Where the people lived what it was. Everything could happen, and it was just… just… there was nothing written. Outlaw, somehow. Playing on one of those parties gives you more than any Berghain or Panorama Bar. It can be somewhere where the overall experience is just rad. Where the party concept, the thing that was supposed to work is just rad. Where you feel as a guest in spite of musically contributing to the party.”
Any other projects or productions coming up that you want to talk about?
Clemens: “We are working on two productions. But that’s still in an early stage. It’s developing; we started producing like a year ago. But unfortunately nothing I could really talk about right now. If we are lucky we will have a few releases within the year to come.”
What’s your personal take on Berlin being widely acknowledged as the creative capital of the world right now?
Clemens: “Well, I have two perspectives on that. One: I think there’s no place that offers this explosive power at the moment. That’s mainly due to the fact that the creative scene built something extraordinary here, and many great minds are coming here. It’s not Berlin-specific, not about Berlin in itself, it’s simply good people from all over the world coming here doing great stuff. Leipzig and Hamburg are still very fascinating, and there are interesting creative cores everywhere else, too.
Secondly, I would like to reply with a quote that I found incredibly rad. Andreas Henneberg said it in an interview, when faced with the question what his advice to new DJs would be: “Retract your elbows a little, and don’t think Kreuzberg is the hub of the world”. And that is the feeling I have.
The Berlin scene pretty much circles around itself, especially in regards to music. The people hyped in Berlin are by far not as great outside of it. And sometimes that’s the only thing you look at because it’s a nucleon in itself. I find that difficult, sometimes. Very difficult, indeed, because a lot of cool tendencies out there are argued down, which is a pity in my opinion. Anyway, regarding start-ups, creativity, and partly also music, Berlin is unbeaten at this point in time. But if you sleep on that and complacency kicks in, that’s a pity.”
Thomas: “With regards to electronica, sure, a hub. I find this hype a little exaggerated, which means that a lot of people are leaving already because they are annoyed, or distancing themselves from this city exactly because of that. Everybody can come to Berlin. It was a place-to-be, because for example for art there was space that was cheap and affordable or for free, there were off-locations where you could make art, in every form – may it be music, may it be a party, may it be an exhibition, may it be whatever, you could illegally do something or achieve a lot with little effort to display something.
But this art, for which Berlin applied worldwide with stuff, they are now destroying it themselves! Best example is Tacheles, it was a building, or rather a community than a building, a collective of various people who did things. And that has to make way now because the place that is adjacent can be used differently. Because they simply brought people to Berlin who destroyed what they actually think is rad. There is no space anymore for stuff… If you walk down Torstraße and around, there is one studio after the other, and I ask myself: how do they finance? The artist must sell a piece for a few thousand at least twice a month to afford this joint and his cost of living. Well, for sure that exists, too. I don’t want to demonize this. I think it is good if one can finance oneself with it. It’s a matter of taste, right? Art is a matter of taste. Berlin is a good platform but as Clemens already said: it’s just business too, right?”
I saw you already played Brazil. Which countries are on your list for upcoming gigs? Any chance that our friends in California will be able to Witness you live?
Clemens: “Absolutely. In fact, for me the list is like this: I definitely want to go back to Brazil. Will do that, also because I established some good connections there…and because I love the country. The next country on the list of the ones I absolutely want to check is USA. That is, especially California before all others.”
We can make that happen easily.
Clemens: “Flights aren’t cheap. Well, California is the thing for me. San Francisco would appeal to me, LA appeals to me, even Vegas appeals to me, and I saw it’s affordable, too. Because obviously people who book people there don’t care too much about the money. Flights are the critical part. What appeals to me mega is Peking, well, China in general, and Japan. Thailand I would love to play.”
Thomas: “These Asians are so funky. For me the thing with the foreign country gig is: what vibe are the people on. How are they partying? That’s the curiosity: what atmosphere is arising there. I can imagine that quite well with the Asians, somehow. I have been around Asia a lot. The atmosphere fascinates me. Sure, it’s also about music and the crowd but I’d be more interested in how the Chinese or the Japanese are dealing with it, and how they roll.”
Thank you, guys. My pleasure, and can’t wait to have you play the after-hour at my wedding.
Niemand & Keiner @ Fusion-Festival 2013 | Peterchens Mondfahrt
Recorded at Fire Space, Fusion Festival on Saturday, 29.06.2013, from 7:30 am to 9:45 am.
Ludwig Hirsch – 1928
Herbert – Its Only (DJ Koze Remix) | Pampa Records
Lee Burton – Breath (Lake People Remix) | XLR8R
Lake People – Changeover (Original Mix) | Connaisseur Recordings
Herr Koreander – Regenbogenblick (Original Mix) | Multi Vitamins
Coma – Raindrops | Kompakt
Audision – Yellow Sunset (Robags Stoylago Edit) | &nd
Lee Jones – MDMAzing (Original Mix) | Aus Music
Britta Arnold – Chicken Curry (Lee Jones Remix) | Katermukke
Thomas Atzmann – A Propos Kalypse | Underyourskin – not released yet
Siopis – I Try To Fight feat. Alfons (Original Mix) | Get Physical
Dominik Eulberg – Wenn Es Perlen Regnet (Original Mix) | Traum Schallplatten
Kollektiv Turmstrasse – Ordinary (Lake People’s Circle Motive Remix) | Musik Gewinnt Freunde
Kollektiv Turmstrasse – Tristesse | Connaisseur Recordings
Pedro Mercado & Karada – Behind The Sun (Rodriguez Jr. Remix) | Gold Records
OXIA, Delon & Dalcan – 248km feat. Oxia (Original Mix) | Boxer Recordings
Syap – Versatile (Original Mix) | Inlab Recordings Dominik Eulberg – Der Tanz Der Gluehwuermchen (Original Mix) | Traum Schallplatten
Freedarich, Stiggsen – Lago (Original Mix) | Areal Records
Lula Circus – Irreversible (Original Mix) | Agora Audio
Matzak – African Roots (Rodriguez Jr. Remix) | Boxer Recordings