Erta Ale
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バイオグラフィ
- Genesis takes place continuously in an ocean of NirvanaDJ, producer, live performer and label owner (Solenoid Records), Erta Ale has consistently proven himself to be an exciting, multi-faceted artist. Erta has been building a rapidly growing catalogue of house, techno, electro and breakbeat releases, receiving critical acclaim for records on label such as DJ International (Chicago), Exploited, Twirl and many others. Resident dj at Church Club in Amsterdam and co-founder of PULVA party in Berlin, he has played at Grießmühle, Wilde Renate, Sisyphos, KitKat Klub in Berlin as well as internationally at Radion and Church in Amsterdam, Micro in Sofa, AND club, Kitcheners & Modular in South Africa, Häkken Klub Hamburg, Wunderwandel Festival in Tirana, Connections Festival in Budapest, Point in Kiev, Swim in Prague and for radio such as HÖR, Red Light in Amsterdam, Rinse FM to name only a few. :: The moment of truth. When a painter makes their first strokes on canvas; when a new rocket is T-minus ten seconds to lift-off; when a DJ cues up a record with no certainty it’ll fit the rest. Time stands still, every forehead-droplet a well of intense anticipation, melting into fear. A fork in the road to a multiverse: success, failure or total disaster. If you’re ever looking for Erta Ale, chances are you’ll find him in this moment – tucked inside any one of Berlin’s most popular clubs. It’s a place the house and techno DJ is perpetually searching for – revelling in, in fact – for the thrill of spontaneity it delivers. You can't confine Erta into a genre. He's a modern shaman who transports the crowd every time in a mystical state of mind. Dedicated to the craft of vinyl with infectious personality, he describes his warm, propelling and researched touch as a “tight hug made of sound.” :: Something about being a musician: "As a DJ, I don't like to prepare my set before playing. Of course, choosing the vinyl you will play can tell a story or create a kind of “perfect set”, but somehow one loses all sense of spontaneity and most importantly, is that you put yourself out of the risk. Playing vinyl (or in my case, it's also like playing piano, guitar, a drum machine or any kind of "instrument"), personally, means taking the risk to surprise yourself and your audience in a good or bad way. I'm looking for what one might call "the moment of the truth", just like the first lines a painter creates on their canvas. This particular moment, as a musician, is when you are not sure if the track or sound is going to fit with the rest. Creating beauty is not the only goal and perhaps not even the most important... ...Without a sense of risk there is no art and maybe there is no life. Being out of the comfort zone, you have the chance to discover yourself and prevent becoming bored of what you think you are. This is just one of the reasons why I prefer playing LIVE with machines and avoid using a laptop, Ableton or a sampler machine. Not because it's impossible to create something beautiful in this way, but because they create a kind of "safety". Playing and modifying an already prepared track is not playing live for me. It's not performing but more about presenting something that already exists. It could be beautiful and exciting, but the performance becomes comfortable and maybe lost his nature. In this way, the music simply becomes a product to use and not a human experience... ...The same goes to playing Vinyl. With records, you always have to take the risk. Of course the risk is small, but a risk nonetheless. It's not only about things like a sync button, it's a combination of factors that makes playing vinyl more performative than playing with a laptop... Buying music and creating your own "style" also has something to do with going out of this comfort zone. I love techno tracks, but what I find really exciting is to find a original techno tracks on a typical House Label. A techno piece with some house soul inside although it's only a hidden sensation. The same happens when I play House music trying to find a House element in a "typical" techno track at 129 bpm. In a long set, I also find it more difficult to move organically through many different genres that remain constant in the same way. In the End, Playing, for me, is sharing these kinds of emotions with my audience. Playing is to be surprised and sometimes even scared of what you hear. Playing is taking the fucking risk". E.A.̸https://www.discogs.com/label/1174795-Solenoid-Records
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