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Documente Cultură
1 (00:00)
W&P Genesis Breyer P-Orridge|T o-ton 119. Ostgut Ton. Miss Jackie Songs (BMI).
2 Rosa Damask Our Heroes Are Leaving Us, Our Heroes Are Gone (00:00)
W&P Nastia Reigel|T previously unreleased. Hospital Recordings. Copyright Control.
5 Genesis Breyer P-Orridge One Being, One Orientation, One Power (01:03)
W&P Genesis Breyer P-Orridge|T o-ton 119. Ostgut Ton. Miss Jackie Songs (BMI).
6 Genesis Breyer P-Orridge One Being, One Orientation, One Power (01:53)
W&P Genesis Breyer P-Orridge|T o-ton 119. Ostgut Ton. Miss Jackie Songs (BMI).
29 Tomohiko Sagae Danger Signal (Death Abyss All You Need Is Kill Remix) (22:37)
W&P Tomohiko Sagae|T MAK 048. Rodz-Konez. Copyright Control.
30 Genesis Breyer P-Orridge Nomad (excerpt) (23:32)
W&P Genesis Breyer P-Orridge|T previously unreleased. not on label. Miss Jackie Songs (BMI).
80 Prurient God Is The Truth, The Way, And The Light (1:10:59)
W&P Dominick Fernow|T DAIS 028. Dais Records. Copyright Control.
83 Militia Black Wolves Music (Dedicated To The Animal Liberation Front) (1:14:03)
W&P Militia|T Tactics 02. Tactical Recordings. Copyright Control.
90 Genesis Breyer P-Orridge One Being, One Orientation, One Power (1:25:39)
W&P Genesis Breyer P-Orridge|T o-ton 119. Ostgut Ton. Miss Jackie Songs (BMI).
The first DJ mixes I heard were on cassettes. I’d drive around my car listening to them at
night obsessing over the color xerox covers that usually included the DJ’s phone number
but rarely included track lists. When I first started playing live with Vatican Shadow nine
years ago, I used a series of tape decks – each one playing a stem from a track. For my
first set at Berghain I used two Walkmans.
My interest in DJing developed naturally out of industrial music traditions such as mail
art, tape trading, and sound collage. Oftentimes a contact would include a tape inside a
package – it could be a dub of some advance tracks, a field recording, or an audio mes-
sage from the sender.
While this mix, of course, does not solely focus on cassettes, they were used as the
bridge between the seemingly disparate areas and cross-sections of subcultural edits you
will find sewn together from diverse factions to create a sonic “cut-up”.
Specifically, it uses tapes from Genesis Breyer P-Orridge from 1981 that were given to me
as source material and consist mostly of vocal loops and field recordings – some found,
and some directly from Genesis. They function as a counter narrative cut-up between
references and locations in the music itself as well as track titles. Furthermore, the exclu-
sives feature a selection of new producers and cult figures, collaged into the spectrum of
dance music. In the past, the DIY shops like Dance Tracks, Generator Records, and later
my own brick and mortar shop, Hospital Productions – illegally located in the basement
of a reggae store into which one gained access through a trapdoor down a ladder into
the basement all on E 3rd street in the East Village – all carried cassettes decades apart.
The artists featured – both on the mix and the vinyl release – span several continents and
generations of electronic music subculture, from the birth of industrial in the UK and the
rhythmic loops of Japanese noise, to the raw collision of genres found in the NYC under
ground. Berghain 09 is a tribute to the techno mixtapes that influenced me during my
introduction to raves and dance music in the 90s.
Thanks to
Ostgut cult, Alexandra, Norbert, Andre, Tim, Kathrin, Sabine,
Sven, Hardy, Saskia, Alex, Daniel, Walter, Yusuf, Tobi, and Guido.
Special Thanks to
Michael Wollenhaupt, Nathaniel Young, Becka Diamond, Hayden Payne,
Jim Siegel, Masami Akita, Ryan Martin, and Genesis Breyer P-Orridge.
OSTGUTMIX05