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Bloc 2012: What went wrong?

  • Bloc 2012

If you have a cursory interest in festivals and a modicum of social media understanding you will no doubt be aware of the unfortunate early closure of Bloc 2012, which should have taken place over the weekend at the newly opened London Pleasure Gardens venue. The festival was subject to a controlled shut on the first night by the organisers due to public safety concerns. The rumour mill on site burst into gear… with people saying that tickets for the 15,000 capacity festival had been massively oversold.

The atmosphere on the ground was tense, with massive queues throughout the night. In fact, many had to queue for over two hours to enter the site (there’s a pointed irony that the online ticket agent used for the festival was called Crowdsurge). Queues for venues were always long, particularly the much-hyped MS Stubnitz boat, resulting in many festival goers missing acts they wanted to see.

Tent barriers were soon breeched with the overwhelmed security doing their best to control the enormous crowding. At 12:45, before headliner Snoop Dogg could take the stage, the Metropolitan police assisted on site staff evacuate the site. At 03:15 the official Bloc website announced the rest of the weekend would be cancelled, informing ticket holders to “Stand by for full information on refunds”.

Despite the obvious negative feeling amongst ticket holders the evacuation was for the most part good-natured; it could’ve descended into violence and arrests, thankfully it didn’t. That in itself is a credit to the festival goers, the on site team and the police.

It would be all too easy at this early stage to point the finger of blame, but remaining subjective let’s not forget the organisers didn’t want to have to shut it down. However, there are still some keen lessons that can be learnt, notably:

1. Use social media responsibly!

The official Bloc Twitter account was never used to communicate what was going on leaving punters having to rely on hashtags reporting scraps and conjecture which only helped exacerbated the problem. Social media is not a PR tool in instances like this – it’s a necessary news source.

2. Apologise and explain as quickly as possible.

The initial official announcement never actually apologised nor offered an explanation beyond the self-evident “crowd safety concerns”.

3. First year teething problems?

Previous Bloc festivals have been held in Butlins holiday camps. This concept works perfectly as the chalets naturally designate the capacity of the venues. As a site the London Pleasure Gardens reports a 15,000 capacity but the tents didn’t seem to match this. Did London Pleasure Gardens miss-sell the venue to the Bloc organisers? The site map displayed a bridge that crossed the dock. This was not present meaning all the crowding was confined to a relatively small area. Was the site actually finished and fit for purpose? These questioned will no doubt be answered but in the silence awaiting answers the noise of the rumour mill takes over.

4. “We’re gonna need a bigger boat…”

Many on Twitter have facetiously quoted this iconic line from Jaws in reference the colossal queues to gain entry to the Stubnitz boat. This venue was a major coup for the festival, and consequently became the first to become shut down for safety concerns. On board the venue worked incredibly and would’ve proved unforgettable had the festival ran to plan.

There is no doubt that much has to be learnt from this year if Bloc is to have a future. Cynics may say it was the victim of its own success, but for the short time the festival ran there were some truly amazing performances from Steve Reich and Nicolas JaarAmon Tobin’s ISAMshow was visually stunning and worked as an epitome of the forward thinking nature of the festival. In the coming weeks there will be some bitter pills to swallow for all concerned as the reasons behind what happened become more clear. But let’s hope this serves as a lesson to all festivals and that this can be prevented again. Let’s also hope that Bloc can make suitable reparations and prove themselves next year.

By Nik Jeffries.


Sonar Barcellona Announces New Acts and Attractions

New Order, Die Antwoord, James Murphy, The 2 Bears, Totally Enormous Extinct Dinosaurs, Untold, Daniel Miller, DJ Harvey and Daedelus are among the many new additions to Sónar 2012 Barcelona.

New Order, one of the most influential British bands in the history of music, will be headlining Sónar by Night on Saturday 16 June. New Order is undoubtedly one of the key names in the history of music and one of the most influential bands of recent decades. The Manchester outfit pioneered the use and assimilation of the language of electronic dance music in a pop context after the end of Joy Division, and succeeded in creating a style all their own. Innovative and highly respected by the critics, as well as being massively successful, New Order have been responsible for an extensive catalogue of hits as timeless as “Blue Monday”, “Bizarre Love Triangle”, “True Faith”, “The Perfect Kiss,” “Regret” and “Fine Time,” among many others.

South Africa’s Die Antwoord has been also added to Sonar 2012, returning to the festival after their triumphant concert last year to present the excellent new “Ten$ion”. Other additions include the wisdom of James Murphy (LCD Soundsystem) on the decks on Friday the 15th at Sonar by Night; danceable electronica with a pop sensitivity from Britain’s Totally Enormous Extinct Dinosaurs; The 2 Bears, the new house project by Joe Goddard (Hot Chip) and Raf Lundell; the highly respected dj Untold, a mainstay of British bass music; the session by Daniel Miller, the founder of Mute and a living legend of new wave; the up and coming Barcelona kraut-pop duo Pegasvs; and the colourful show of mirrors by the American beatmaker Daedelus.

Besides those mentioned above, the festival will also feature Cornelius presenting the band salyu x salyu, the Brazilian experimentalist Ricardo Donoso, the Canadian remixers Keys N Krates, unusual musical-scientific ideas from Japan’s Masaki Batoh, the mysterious 5-piece band performing under the Mostly Robot monicker (in a show conceived by Native Instruments), and some of the most interesting outfits currently working in Spain, such as Lenticular Clouds, Lolo & Sosaku, D.Forma and Esperit!, among many others.

Red Bull Music Academy comes back to the SonarDôme stage with another stellar selection of Academy affiliates, introducing fresh new sounds from around the globe. Performers on the programme include the legend that is Dj Harvey, Chicago footwork pioneers Dj Spinn and Dj Rashad, as well as recent Academy graduates Nguzunguzu, Canblaster, Barcelona’s own Nehuen, future R&B crooner Jesse Boykins III and Doc Daneeka, among many others. More artists will be announced soon.

SonarPro is the Sónar platform where you can watch, experience and find out about the major new developments in the field of technology applied to art. At Sónar 2012 in Barcelona, SonarPro assumes a new dimension and expands its activities to other areas of the festival. Among the contents of this latest version of SonarPro are the second Music Hack Day, the talk with the director of the new film by The Chemical Brothers, and the Meet the Expert activity, with main speakers such as international programmers of music festivals. You can also follow Sonarpro in Twitter @SonarPro2012

All Sónar 2012 tickets are now on sale: Sónar Passes, 2-Night Tickets, individual tickets for Sonar by Day and Sónar by Night and SonarPro Professional Accreditations. Also remember that on Saturday March 31 sees the end of the offer to purchase the 3-Day Sónar Pass in two easy installments.

All the information on Sónar 2012 is available at www.sonar.es and on the official pages of Facebook (Sonar Festival Official Page, Sonar Festival Página Oficial en Español) and Twitter (@sonarfestival #sonar2012).

Sónar 2012 Barcelona: Latest additions

New Order (UK)
Die Antwoord (ZA)
James Murphy (US)
Daedelus Archimedes Show (US)
Cornelius presents salyu x salyu (JP)
Totally Enormous Extinct Dinosaurs (UK)
The 2 Bears (UK)
Daniel Miller (UK)
Pegasvs (ES)
Pretty Lights (US)
Lolo & Sosaku (ES)
Ricardo Donoso (BR)
Masaki Batoh – Brain Pulse Music (JP)
Mostly Robot (DE)
Keys N Krates (CA)
Madeon (FR)
Esperit! (ES)
Discodromo (IT)
D.Forma (ES)
Lenticular Clouds (ES)
Stand Up Against Heart Crime (ES)
Untold (UK)
Sinjin Hawke Vs. Zora Jones (ES)

Red Bull Music Academy presents SonarDôme
DJ Harvey (US)
DJ Spinn & DJ Rashad (US)
Nguzunguzu (US)
Club Cheval feat. Canblaster, Myd, Panteros 666 & Sam Tiba (FR)
Doc Daneeka (UK)
xxxy (UK)
Jesse Boykins III (US)
Om Unit (UK)
Nehuen (ES)
Andrea Balency (MX)
Salva (US)
Raisa K (UK)
Nightwave (UK)
Yosi Horikawa (JP)
Santiago Latorre (ES)
Sizarr (DE)
Exeter (CA)
Clip! (ES)
Eltron John (PL)
Monki Valley (ES)

Sonar São Paulo Line-up

Björk (IS)
Cee-Lo Green (US)
Justice (FR)
Chromeo (CA)
Mogwai (UK)
James Blake (UK)
Alva Noto & Ryuichi Sakamoto (DE – JP)
Squarepusher (Uk)
Modeselektor (De)
Jeff Mills (US)
Gui Boratto (BR)
Skream feat. Sgt Pokes (UK)
Four Tet (UK)
Little Dragon (SE)
Hudson Mohawke (UK)
Dj Marky Vs Dj Patife (BR)
Seth Troxler (US)
KTL
Criolo (BR)
Emicida (BR)
Totally Enormous Extinct Dinosaurs (UK)
Muti Randolph & Clara Sverner (BR)
Austra (CA)
John Talabot (ES)
Munchi (NL)
Super Guachin (AR)
Za! (ES)
The Twelves (BR)
Ricardo Donoso (BR)
Bruno Belluomini (BR)
Nedu Lopes (BR)
M Takara X Akin (BR)
Psilosamples (BR)
Gang Do Eletro (BR)
Silva (BR)
Dago (BR)
Tahira (BR)
Thomash (BR)

Red Bull Music Academy Presents
Flying Lotus (US)
DOOM (US)
James Holden (UK)
Rustie (UK)
Cut Chemist (US)
Tiger & Woods (EU)
James Pants (US)
Mauricio Fleury (BR)
Zegon (BR)
Pazes (BR)

SonarSound Tokyo Line-up

Squarepusher (UK)
Clark (UK)
Ken Ishii presents Metropolitan Harmonic Formulas (JP)
The Cinematic Orchestra (UK)
Vincent Gallo (US)
Mount Kimbie (UK)
Rustie (UK)
Anchor Song (JP)
Ukawanimation presents XXX Residents (JP)
Ryoichi Kurokawa (JP)
Dorian Concept (AUT)
Kyoka (JP)
Ao Inoue (JP)
Mergrim (JP)
Seiho + Avec Avec (JP)
Jealousguy (JP)
Keiichiro Shibuya + Takashi Ikegami (JP)
Masaki Batoh (JP)
Bun / Fumitake Tamura × takcom (JP)
Dub-Russell x Vokoi (JP)
Go-qualia
Oorutaichi (JP)
Nightwave (UK)
Broken Haze (JP)
Typingmonckeys (JP)
Fugenn & The White Elephants (JP)

Red Bull Music Academy presents SonarDôme
Global Communication (UK)
Hudson Mohawke (UK)
Culoe De Song (ZA)
Teebs (US)
Jesse Boykins III (US)
Daisuke Tanabe (JP)
Yosi Horikawa (JP)
Kez YM (JP)
sauce81 (JP)
Akiko Kiyama (JP)
Hiroaki Oba (JP)

Première screening
Amon Tobin “ISAM Live”
“The Unspeakable Chilly Gonzales Live With Orchestra”

Installation
Party (Shinji Kawamura × Kanta Shimizu)


New Orbital album due in April plus UK Tour Dates

New orbital album ‘Wonky’ due in April this is their first album for eight years since 2004’s ‘Blue Album’ The album was recorded in Brighton and mixed by Depeche Mode/U2 producer Flood.

I’ve got to say this track does remind me of listening to Orbital while travelling along motorways like this one on the way to free raves and techno nights in Birmingham like the House of God and Atomic Jam at Que Club what a time. This track brings me back to those halcyon days. Thank you orbital for some of the best nights of my life.

Tour Dates April 2012
Thu 5th Apr Manchester Academy
Fri 6th Apr O2 Academy Leeds
Sat 7th Apr O2 ABC Glasgow (ABC1 & ABC2)
Sun 8th Apr O2 Academy Liverpool
Mon 9th Apr Cambridge Corn Exchange
Tue 10th Apr Royal Albert Hall (RAH) London

Full Details of the upcoming April 2012 UK/Europe mini tour are available at the official orbital site

http://orbitalofficial.com/


Vince Clarke and Martin L. Gore to collaborate on new Minimal techno project

 


After 30 years working on their respective ongoing music projects, Vince Clarke (Erasure/ Yazoo/ Depeche Mode) and Martin L. Gore (Depeche Mode) come together for the first time since 1981 as VCMG to release a brand new album preceded by a series of EPs.

VCMG is the fruit of initially tentative discussion and subsequent enthused collaboration where Vince and Martin, both influential as pioneers in electronic music, get to exercise their lifelong love of the genre as the techno inspired VCMG.

As Vince explains: “I’ve been getting into and listening to a lot of minimal dance music and I got really intrigued by all the sounds… I realised I needed a collaborator… so it occurred to me to talk to Martin.”

Says Martin: “Out of the blue I got an e-mail from Vince just saying, ‘I’m interested in making a techno album. Are you interested in collaborating?’ This was maybe a year ago. He said, ‘No pressure, no deadlines,’ so I said, ‘OK’.”

The writing and recording of the album was done in a typically unique way with the pair working alone in their respective studios, communicating only via email, exchanging files until the album was ready.  It was in May 2011 that the pair met for the first time to discuss the project when they both performed at Short Circuit presents Mute festival in London.

The album (title to be announced soon) was produced by Vince Clarke and Martin L. Gore and mixed by the  Californian electronic artist Überzone/ Q and will be released in thespring of 2012. 

The first release is an EP entitled Spock. EP1/ SPOCK will feature remixes from Edit-Select, aka Tony Scott, the UK DJ / producer and founder of EditSelect Records whose previous remix credits include Speedy J, Death In Vegas and Gary Beck; Regis, British techno musician Karl O’Connor, member of the Sandwell District collective and co-founder of Downwards Records); DVS1, Brooklyn based producer Derek VanScoten (Radiohead/ Sleigh Bells/ Emancipator); plus XOQ, the alter ego of Überzone/ Q, who mixed the VCMG album.

 

EP1/SPOCK will be available initially as a global exclusive on Beatport on 30 November, and then on all DSPs from 12 December with the 12” release following on 19 December 2011.

EP1/ SPOCK TRACKLIST 

Spock – Album version
Spock – Edit Select Remix
Spock – Regis Remix
Spock – DVS1 Voyage Home Remix
Spock – XOQ Remix

SonicAngel Launch Lektroland Dedicated to new Electronic Musicians

SonicAngel Launch Lektroland a new bootstrapper site for electronic musicians

SonicAngel, a Belgium-based hybrid record label that harnesses the power of the fan base via web and mobile technology, has launched SonicAngel Lektroland, a sub-label that focuses specifically on electronic music.

“I am and will always been impassioned by electronic music,” explains Engelen (aka Praga Khan). “My already established record label, Antler-Subway, has released amazing records by bands like The Neon Judgment, A Split Second, The Klinik, Vomito Negro and of course Praga Khan and Lords of Acid. I feel that once again there is a unique opportunity for a internationally oriented label for electronic music, especially since social media allows the fans to be involved with their favorite artists.”

SonicAngel was founded in January 2010 by veteran Belgian label-owner, musician/producer Maurice Engelen, a.k.a. Praga Khan of the group Lords of Acid. His business partner is Bart Becks, former CEO of Belgacom Skynet and Chief Innovation of the SBS/ProSiebenSat1 media group is a well-known European internet entrepreneur.

SonicAngel combines the best of both worlds. Expert knowledge of A&R, promotion, distribution, publishing and media deals with extensive experience in new media, direct communication between artists and fans via social media. Fans are involved in every step of the process, from discovery via funding to production and release. The FanShares allow the fans to invest in the artist and give the fans a complete part of the entire experience. One FanShare is $15 and gives the fan a full album download, an invitation to the album presentation and a share of the profits.

By leveraging crowd funding and a series of corporate sponsorships, SonicAngel’s artists are able to pre-finance their releases and avoid the pitfalls of an insurmountable debt from inception. This means there is no recouping. This fundamentally changes the music industry’s principles. Artists, the fans and the label each get one-third of the net profit – contrary to the traditional 90-10 label-artist share.

During SonicAngel’s first year of operations it achieved 15 fully funded bands, a gold record, a platinum single and successful international publishing and licensing deals.

Bart Mandonx, known for his groundbreaking work with The Neon Judgment, The Bollock Brothers & Implant amongst others will be in charge of A&R and label management. Even though Belgium has an immense history and impact on this genre, LektroLand will immediately position itself as an international platform with international acts like Lords Of Acid (USA), Radical G (B), Fiji (SUI) ,BAK XIII (SUI), Cynergy 67 (USA), A Digital Death (USA) , Equitant (USA) , W.O.R.M (USA), Miss Duckin’ (F), Christopher Kah (F) , Brown & Kraft ( F) and Belgium’s electro-icons Nid & Sancy and Praga Khan. SonicAngel is currently accepting artist submissions for their label.

More information: http://lektroland.sonicangel.com. SonicAngel Lektroland is currently accepting artist submissions via http://www.sonicangel.com/auditions.


Brandt Brauer Frick – Acoustic Minimal Album out December 6th

Brandt Brauer Frick are an interesting ensemble who have taken it upon themselves to create a wholly acoustic sound that in a reductive fashion takes on some of symbolic and recognisable stylistic elements of modern minimal electronica and produce a both backward and forward looking result.

The German trio have taken the familiar structures and rhythmic elements of minimal music and at once made them engaging on a performance level but also made an album (‘You Make Me Real’) that will not feel out of place in the music collections of either a progressive classical music fan or that of a progressive electronica listeners.

Brandt Brauer Fricks tracks are heavily rhythm focused and at times extremely mechanical in precision, once could almost believe that the pianos and drums on some of the tracks were sequenced on ableton live, but there is always the core of “aliveness” in the sound that is only achieved by the best electronic producers and is so sadly lacking in so much identikit “by the numbers” techno and electronica out there.

“We had felt for years that most instances of combining techno and classical music lack an authentic approach,” says Paul Frick. “Instead of using only the typical epic orchestra or piano sounds, we love to explore the dirty and percussive sides of those instruments, adapting techniques from composers like John Cage or Helmut Lachenmann: preparing our piano with screws and rubbers, knocking against every single part of an instrument, until we find that one great sound.”

Like their classical and dance music forefathers, Brandt Brauer Frick’s music takes on new dimensions when experienced live. Where many of their peers’ live sets offer little besides an artist staring intently at a laptop, the trio’s performances convey the movement of their music as strongly as the thumping beats do: Frick and Brauer set up complex song structures and play blushing piano chords while Brandt metes out beats on his drum kit.

The group recently expanded their live experience to more fully realize their initial aspirations, recruiting highly skilled instrumentalists for a 10-piece ensemble and training them for the rigors of their tracks. Transcending audiences’ expectations for what sounds should be heard where, the BBF ensemble is majestic to behold whether they’re esconsced in the pristine halls of the Modern Art Museum or the sweaty confines of a club like Berghain.

Their debut album ‘You Make Me Real’ is out on December 6th via !K7 and they are playing live at the ICA London on December 1st


Bleep.com / Warp Launch New Podcast.

For thsoe of us that have a penchant for the more broken and leftfield side of things. Warp Recordings digital downloads imprint Bleep.com have launched a new podcast.

The first episode gives a good feel for the eclectic output of warp over the years, if you like to have your musical horizons this is definitely one to subscribe to. Veering from the broken beat of Flying Lotus to the more techno tinged sound of Modeselektor this 60 minutes is on heavy rotation round here right now.

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Subscribe to the Bleep Podcast

Track Listing

1. Flying Lotus – Pie Face (Warp)
2. Dam Mantle- Grey (Halleluwah Hits)
3. DibiaseCircuit Breakin(Alpha Pup)
4. Solar Bears – Solarization (Planet Mu)
5. Blue Daisy – Blood Petal Roses (Remix) (Black Acre)
6. MF DOOM – Go With The Flow (Live) (Gold Dust)
7. Arp 101 – Dead Leaf (Eglo)
8. James Blake – I Only Know What I Know (R and S)
9. Zomby – The Forest (Ninja Tune)
10. xxxy – Flew (Fortified Audio)
11. Gold Panda – Before We Talked (Notown)
12. Modeselektor – VW Jetta (Monkeytown)
13. Superisk – Find Your Way (Punch Drunk)
14. Pariah – The Slump (R and S)
15. Velour – Booty Slammer (Night Slugs)
16. Maddslinky ft. Skream – 50 Shades Of Peng (Tru Thoughts)
17. Untold – Fly Girls (Soul Jazz)
18. Optimum – Crash Riddim (Planet Mu)
19. Ikonika – Shouldn’t Be Here (Planet Mu)
20. T. Williams – Hard Cash (Deep Teknologi)
21. Roska & Untold – Myth (Numbers)

Terence Fixmer Album – Comedy Of Menace Release Set for 27th Sept

Terence Fixmers Comedy of Menace has been announced for release on Jochem Papps Electric Deluxe label.

‘Comedy of Menace’ is Fixmers fourth Album. He already released two solo albums on DJ Hell’s Gigolo, the seminal “Muscle Machine” helped creat a masterful fusion between old style industrial/EBM music and techno (perhaps “Techno Body Music”?) As many will know Fixmer to this day has a side project Douglas McCarthy the legendary voice of seminal EBM band Nitzer Ebb (The Between The Devil album is a great chunk of dark aggressive techno tinged industrial). Terences third album, “Fiction Fiction” released on his own ‘Planete Rouge’ imprint in 2009 and veered far more towards deep ambience, emotive and cinematic by turns.

How does he get such dirty sounds from such clean machines?

How does he get such dirty sounds from such clean machines?

With ‘Comedy Of Menace’ Terence Fixmer has moved forwards towards a true blending of what he has learned from his previous projects, it has a pervading deep and dark atmosphere taking elements of minimal and the old school detroit sound and mashing it up with a more aggressive edge. This album is not for those who need it mellow and easy on the ears, but if you can stand your beats and sounds with a more aggressively sculpted edge then this is a tour de force we will be listening to a lot over the next few months.

As Fixmer explains: “I wanted that people can feel a soul, a story, and the sound of every track to open up the imagination of the listener, creating images in their minds… Its an art and a passion, my heart is bumping for electronic sounds. I love when the music is really coming from the heart of the machine, when the sound is pure and raw. Comedy of Menace suggests that although they are funny, they are also frightening or menacing in a vague and undefined way. Even as they laugh, the audience are unsettled, ill at ease and uncomfortable.”

I eagerly await Terences next appearance as a guest on the Electric Deluxe podcast as he never disappoints.

Album Preview Samples

Track List

01 Dark Line
02 Things are Over
03 Impakt
04 Drastik
05 Phantoms
06 Breathless
07 My Experimentation
08 Alert
09 Dance Like Paranoid
10 Last Heroes


Tragedy at the love Parade

We are very saddened to hear of the tragic loss of life over the weekend at the love parade, out hearts go out to the friends and families of those who lost their lives and all the others who were injured. How could this hell on earth have happened at what when I attended many years ago in Berlin could only be described as a techno fans idea of heaven?

Almost a million Love Parade attendees wound their way from the rail station in the summer heat and into a death trap. The industrial west German town of Duisburg has rarely seen such a grand spectacle or such a tragedy

Germany and the dance music world has been shocked by the events that ended in the deaths of 19 or more, and 340 injured. It was “the party from hell”, one local policeman said. Another attendee Kevin Krausgartner, a 21-year-old who was among those bottlenecked in the tunnel, described the scene to Welt “There were 25 people lying in a heap. I screamed – people could no longer get any air. I saw dead people, and one person was sitting there looking extremely pale. I wanted to give him some water, but the ambulance medic told me there was no point as he was already dead.”

Prosecutors have opened an investigation into the cause of the tragedy, but one thing is already clear for some unknown reason the normally calm festival at some point in the afternoon turned into a crazed and deadly stampede. The festival had received authorisation for 250,000 attendees b this number was vastly oversubscribed with approximately 1.4 million attending according to a Spiegel magazine report. When Berlin staged the Love Parade in the 1990s, the large crowds could spill over into the nearby Tiergarten park. But the Duisburg site is surrounded by high fencing keeping the dance fans trapped and squeezed in like sardines. “There have been serious management blunders,” said Dr Motte, the Berlin DJ and founder of the Love Parade.

The main problem appears to have been that the festival goers had to pass through a single long railway tunnel to enter the main festival compound. Hundreds of thousands ended up solidly packed into the virtually unventilated tunnel and many were stuck for several hours. Then at the tunnel entrance, some atendeeds tried to scramble up an escarpment. Some of whom tumbled backwards off ladders and into the crowd. This appears to have been on of the main triggers for a mass panic.

Many people were already fainting because of dehydration, and they too were lying on the ground as the crowd surged forwards and backwards. Doctors reported many punctured lungs and damaged livers and kidneys among the dead and injured.

In the aftermath Rainer Schaller on of the Loveparades’ organisers, announced that this would be the last Love Parade. The Love Parade, has been a highlight of the German dance calendar since 1989, and is the world’s largest techno party.

Big Edit: A further statement made by German techno legend Chris Leibing…

Chris Liebing on Love Parade 2010

5 days after the tragic events at the Love Parade in Duisburg / Germany, I would like to share my thoughts in a more detailed statement. First of all I want to again express my sincere compassion for all the relatives and friends of the victims, as well as for the injured and traumatized who will have hard times to recover from what they experienced. I am still shocked about what I have seen and heard so far.

The Love Parade has been developing throughout the 90s, parallel to what I would call the “Techno Movement”. More precisely speaking, the Love Parade has been an expression of this movement. It has been a movement beyond any profit or image seeking ideas, which developed completely self-sufficient out of the underground. It was all about celebrating, dancing and having fun together.

Over the years, the numbers of attendants have been rising, and so have the financial needs. The costs were rising (city cleaning, etc.) and so has the profit (for the community and the others involved), and suddenly there was a certain “image” attached, which brands could use to increase their value.
Looking back, it is actually a logical consequence and maybe also easy to recognize, that an event like this would eventually fall into the hands of people who see “celebrating, dancing and having fun together” not as the main reason to host a Love Parade. This would actually still be tolerable, as long as human life would not be endangered, but what happened here is beyond anything one would have ever imagined.

It is absolutely appalling and shocking that the responsible organizers of the Love Parade and the city council in Duisburg have misused the “Techno Movement” with those fatal results. In their striving for image and profit, they have disregarded all measures of control and security and put people who really just wanted to celebrate, dance and have fun together in a situation in which 21 innocent persons had to die and countless have been injured and traumatized.
I hope that it will be possible to entirely clear up what has happened and that the guilty persons will be held responsible and punished as soon as possible.
But even this will not lessen the caused pain.

The least we owe to those who have died and those who got injured, is that we make sure that something like this won´t happen again in the future. New laws and rules won´t really help. We have seen that we can´t even trust those who should make sure that those rules are getting observed.
To really change something, we have to start with ourselves. We as DJs, we have to be even more sure about the “Who” we are playing for and the “Where” we are playing at – only like this, the fans can get a better orientation of where it is worth going and where it is save to celebrate. Basically everybody can change a lot with his or her behaviour in this world. The more alert we go through life, the more conscious we can make choices between good and bad products, services, events or other things. Like this we minimize the scope of action for cold-blooded profiteers.

In memory of the victims of the Love Parade in Duisburg 2010,

Chris Liebing


Funk Devoids Treasure Trove Of Flyers

Found while techno artist and DJ Funk Devoid was going through one of his old vinyl boxes, a veritable Aladdins cave of old event flyers and back stage passes.

Funk Devoids Flyer Fest!

Funk Devoids Flyer Fest!


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