Das Berliner Label Shitkatapult veranstaltet wie schon viele Jahre zuvor auch im Pudel Club seine Shitparade – ins Leben gerufen
als Gegenveranstaltung zur Loveparade und den dadurch angeprangerten Ausverkauf von Techno.
Die Loveparade gibt es nicht mehr, ähnlich geplante Paraden kommen über obskure Planungen erst gar nicht hinaus,
nur die Shitparade ist immer noch am Start !
CHRISTIAN VOGEL
Born in Chile 1972 and raised in the UK, he is now based in Berlin.
Cristian Vogel has been a long-term innovator in the composition, mixing and performance of electronic sounds.
Over a 20 year career at the vanguard of European electronic music, his work has been highly acclaimed for its quality, vision and attention to detail. He has been acknowledged for blueprinting the "minimal" and "wonky" techno music styles back in the mid-nineties, as well as outstanding work in the field of avant-garde composition for contemporary dance, film and sound art.
Considered by some as "a producers producer". He has been asked to remix Radiohead, Maximo Park, Thom Yorke and many more talented artists.
Philip Sherbourne writes about Deconstructructions from Cristian's most recent 2012 release The Inertials;
"The ashen chords of Deconstructions might sound familiar from scads of dusky techno releases, but the timbres Vogel achieves, not to mention the yawning sense of space, are miles beyond the work of his contemporaries. His palette is unusually dynamic and unusually interconnected: it's difficult to tell where a given sound begins and ends. Instead, scrapes and plucks and thumps and twangs fuse into something at once hard and hazy, a rippling continuum perpetually reassembling itself in mid-air."
As a performer and songwriter, he has been the other founder of the duo "Super_Collider" alongside Jamie Lidell, as well as his own songwriting project "Night Of The Brain".
Currently, whilst continuing to think and work in music space as a daily practice, his divergent artist research streams are ongoing;
- state-of-the-art electronic music
- sound and music computing
- systemic music composition
- music futures in a digital networked society
Presentations of research and interventions have included;
- Music Reseach Colloquia, Oxford University (2012)
- RedBull Music Academy (2001 / 2010 / 2011)
- Kyma International Sound Symposium (2009 / 2010 / 2011)
- Sound and Music Computing Conference (Barcelona 2010)
He has designed and lead a number of workshops and symposiums, notably;
- the 1st Kyma International Sound Symposium (Barcelona 2009)
- Dialog:Sound and Movement (GVASessions, Geneva, 2011)
- LiveConnections Workshop (Electron Festival, Geneva, 2011)
- Club Glop (wine tasting and music events, Barcelona, 2009)
DANIEL MILLER
Daniel Miller is the founder and chairman of Mute, one of the world’s most innovative record labels and publishing companies, with a long history of Number One chart successes in the UK, US and Europe.
Since its launch in 1978, Mute has grown from Miller’s one-man operation into an international company with an artist roster that includes Depeche Mode, Grinderman, Nick Cave & The Bad Seeds, Goldfrapp, Maps, Richard Hawley, Erasure and recent signings Josh T. Pearson, S.C.U.M, Polly Scattergood and A Place To Bury Strangers and offices in London, New York and Berlin.
Running parallel to its strong commercial track record, the guiding spirit behind Mute has always been one of artistic freedom and creative adventure. Hence the label’s commitment to artists as varied as Liars, Diamanda Galás, Simon Fisher Turner and NON.
This consistent balance of quality pop, forward-thinking electronica and sonic experimentation not only reflects Daniel Miller’s broad musical tastes. It has also ensured Mute’s continued commercial and critical success through a challenging period in the history of the music business.
Miller has always been an innovator – as record producer, recording artist and head of Mute. Indeed you could say that the label was born out of necessity: Miller set up Mute in 1978 to release a single he recorded as The Normal. Called ‘TVOD’, it was backed with ‘Warm Leatherette’, a futuristic collision between JG Ballard and Kraftwerk which investigated the erotic possibilities of a car crash. This electro-pop classic was later covered by Grace Jones on her epochal 1980 album of the same name.
Before punk, it would have been inconceivable for someone of Miller’s self-confessed musical limitations to make or release a record. Born in London in 1951 to Austrian actor parents who came to Britain as refugees during the Nazi period, Miller spent his youth making standard 8 movies and dabbling, with little success, in school rock groups.
In truth, Miller was always more interested in electronics and synthesisers than guitars. After school he studied for a diploma in film and TV at Guildford School of Art (1969-72), where he became involved in student politics. After college, he worked as an assistant editor and editor in TV and advertising, before travelling and DJing across Europe. In 1976 he was intrigued enough by the new musical movements emerging from London and New York to return home.
The convergence of punk and electronica, fuelled by the increasing availability of cheap synthesisers, opened up a whole new realm of musical possibilities. While punk was about guitars, Miller believed the synthesiser to be the ultimate instrument. After all, you didn’t even need to know punk’s basic three chords to play it. With a KORG 700S keyboard and a TEAC four-track recorder, he made The Normal’s first single. He initially planned a minimum pressing of 500, but Rough Trade offered to distribute the single nationally, persuading Miller to press 2,000 copies.
Thus Mute was born, but Miller still had no ambitions to become a label boss. Only a year later, when he was introduced to Frank Tovey of Fad Gadget, did the idea blossom. “Fad Gadget was the first artist I decided I would like to release on Mute,” Miller says. “That was really when the label started.”
Further Mute releases soon followed from, amongst others, US noisemaker NON, German electronic duo DAF and the Silicon Teens. The latter were Miller’s fictional cartoon teen-pop creation, based on the concept that a new generation of bands would soon emerge that had grown up playing synthesisers rather than guitars.
In 1980, this prophecy came true when Miller first met Depeche Mode, and offered to work with them on Mute. No contracts were signed, only a handshake agreement on a record by record basis. This groundbreaking arrangement epitomised the artist-friendly ethos of the post-punk independent scene. “Nobody had a contract, nobody had a manager, nobody had a lawyer,” Miller recalls. “And it was all based on a 50/50 profit share.”
But Mute very quickly outgrew Miller’s one-man bedroom operation. When Depeche Mode’s original songwriter Vince Clarke left to form the synth-pop duo Yazoo in 1981, Miller suddenly found himself with two highly successful pop acts. “In two years we went from being an underground label to having two international hit artists,” he says.
Throughout the 1980s, Mute expanded its roster at a deliberately careful pace, growing in accordance to the needs of its artists. Nick Cave’s fabled post-punk band The Birthday Party and long-running successor group The Bad Seeds soon joined the label, alongside Vince Clarke’s phenomenally successful new electro-pop duo Erasure. Meanwhile, Miller maintained a close creative involvement with all his artists, co-producing the first five Depeche Mode albums.
As the 1980s progressed, Miller signed partnership and licensing deals with labels in Europe and America, helping to build a network that brought alternative rock and left-field pop to the mainstream without diluting its independent spirit. Mute also launched their catalogue label The Grey Area, an archive for historically important recordings by Throbbing Gristle, Can, Cabaret Voltaire and others. “It’s a home for artists that we loved who were not originally on Mute”, Miller explains.
In the mid 1980s, Miller entered into joint ventures with the prophetic avant-rock label Blast First, whose roster included Sonic Youth, Dinosaur Jr, Big Black and Butthole Surfers and the dance imprint Rhythm King. The latter became prime movers in the emergent house music boom with acts such as Bomb The Bass and S’Express, whose ‘Theme from S’Express’ became the first Number One single on Mute’s family of labels in 1988. As part of the same deal, Mute also distributed landmark early releases by the legendary Sheffield electronic label Warp including Aphex Twin, LFO and Nightmares on Wax.
In 1992, Mute launched its own underground techno label NovaMute, releasing music from Richie Hawtin / Plastikman, Speedy J, Juno Reactor and more. The Britpop boom followed, ushering in a lean period for more left-field and forward-looking labels like Mute. “But just as things were getting really bad,” Miller recalls, “the cavalry came over the hill in the form of Moby.”
Moby’s 1999 album ‘Play’ grew slowly from a modest success into a 10 million selling phenomenon and since then the label has continued to build on Mute’s long history of commercial and critical success. Alongside big-selling albums from Goldfrapp and Depeche Mode, Mute continues to nurture fresh talent and with long term commitment to highly influential artists such as Liars, Diamanda Galás, Boyd Rice / NON, Simon Fisher Turner, Laibach and Can, Mute have shown that the guiding spirit behind their roster has always been one of artistic freedom and creative exploration.
2010 saw the label return to its independent routes and announce a new structure which sees recorded music, publishing and an artist / producer management company brought together under the Mute name.
Today, as ever, Miller remains heavily focussed on Mute’s creative output. He also hosts a monthly show on Radio Eins in Berlin, and occasionally plays minimal techno sets as a club DJ. More than three decades after he founded the label, Mute remains true to Miller’s original vision of adventure, experimentation and artistic freedom.
T.RAUMSCHMIERE
T. Raumschmiere... is Marco Haas, born in Heidelburg, Germany in 1975 Industrial, punk rock and hardcore gave Marco Haas (aka T.Raumschmiere) his first musical direction. Soon the rallying cry “stay anti” became a way of life. In the early ‘90s, Marco drummed with the classic hardcore band Zorn (translation: anger), performing more than 300 shows around Europe and releasing two albums on Maximum Voice Records (Leipzig). In 1997 Marco won a contest with his rock band Stormbow, which financed the making of their debut record. The Stormbow release was the first on Shitkatapult, the now infamous record label he founded with Marcus Stotz in Heidelberg. William S. Burroughs died in the same year and gave Marco his solo moniker for electronic music, T.Raumschmiere. The name is a cut-up from the title of the short story ‘Die Traumschmiere’ (translation: The Dream Cops) by Burroughs. The German title unfolds several different connotations: TRAUM = dream, subconscious etc., RAUM = room, space, venue etc., SCHMIERE = grease, lubricant, smear, spread (but also slang for police). At this time, Marco was also working with Ulli Bomans on a project called shrubbn!!, based on noise improvisation. Moving to Berlin in 1998, Marco got busy fine-tuning his sound ideas for T.Raumschmiere and experimenting with dark matter, dirty noises and eternal reverbs. The first tracks under this new name appear on the compilation series Cozmick Suckers (Shitkatapult). Around this time, he also began work on a stage project called Pop Poisoned Poetry featuring Miss Tigra and kicked off a monthly event called Erlosung Durch Strom (translation: salvation through electricity). In 2000, the first T. Raumschmiere records were released. He made his debut as King of Gnarz on Shitkatapult with the mini LP Stromschleifen. Cologne based label Kompakt released the 12” Boltzplatz (“gnarz-shockers from hell”) and Sender Records from Berlin put out Himmel uber Berlin, which included the smash hit H-Babe. At this time, T.Raumschmiere established his minimal, funky but dirty style techno. He also picked up his drumsticks again, drumming with his punk rock band Mos Eisley Rock, recording the single ‘High on the Heels of Love’ on the band’s own label Bender Entertainment. In 2001, the Zarbitter EP (Fucking brilliant! Goosebump warning!) was released on Shitkatapult and Musick (a slice of rock and roll history) on Kompakt. Raumschmiere played more than 150 live and DJ gigs all over the world and Hefty Records from Chicago released a T. Raumschmiere remix for their artist Slicker, which was followed by remixes for Komeit (Monika Enterprise) and Sythis (Third Ear). In 2002, the Great Rock ‘n’ Roll Swindle went off at Shitkatapult, which bundled together the best of T.Raumschmiere’s Greatest Gnarz Hits (Sid Vicious would have been proud). A little later, the album ‘Anti’ was released by Hefty Records. A dark minimal techno epic, the album found many friends in the US (“if the new rock has no guitars, then this is its Elvis Presley”). His incredible stage breaking live performances became legendary. “He jumped around so violently that audience members has to prevent him from knocking his equipment to the ground”, (The New York Times). Marco had also been working on new songs with his band Mos Eisley Rock, a few of which have appeared on different compilations. In 2003, T.Raumschmiere was listed as Best Live Act and Shitkatapult as Best Label in several Reader Poll Top 10s. Daniel Miller of Mute gave him a call after seeing him on stage in Berlin and offered him a record deal on novamute. The first single to be released was Monstertruckdriver and The Game Is Not Over (feat. Miss Kittin). The debut album, Radio Blackout followed, featuring a multifaceted playlist of groaning techno, snotty electro and abstract hip hop. The ‘King of Gnarz’ had taken the throne. Remixes for Goldfrapp (Mute), Das Bierbeben (Shitkatapult) and Dave Gahan (Mute) followed and the single, Rabaukendisko, hit the record shops featuring the dancehall devil himself, The Bug. Raumschmiere received the highest musical accolade soon after, when John Peel invited him to record a live session in London. In 2004, A Million Brothers (feat. MC Soom T), the next single from album was released. In Berlin, he assisted Cobra Killer, the red wine rocker heroines and produced their song Let’s Have A Problem (M-Enterprise) and also One Man Army, which was featured on the soundtrack of the Japanese anime movie Appleseed (Sony). More remixes followed including one for his friend Quasimodo Jones (Shitkatapult), a white thrashy rock’n’roller from America. After touring continuously since 2003, Raumschmiere tried something new. He enlisted drummer Dirk Mielenhausen and bass player Andreas Paruschke along with sound engineer Allert Aalders as his stage cover band for all live concerts and started to sing. 2004 saw the T.Raumschmiere band tour extensively all over Europe, playing festivals in Belguim, Holland, UK, France, Italy, Spain and Germany. In 2005, the brand new album Blitzrieg Pop was released on novamute. T.Raumschmiere expands his musical repertoire by abstract ambient soundscapes from his analogue equipment park, rock and electronic pop songs with melodies. For the first time T.Raumschmiere performed as a singer, or in this case, a shouter. On two songs further voices are added by Ellen Alien (Bpitchcontrol), Sandra Nasic (ex-Guano Apes), Judith Juillerat and Quasimodo Jones (both Shitkatapult). Raumschmiere has also worked on remixes for Andreas Dorau (Mute), Ika Schier (Monitorpop), Felix Kubin (Pudel Produkte) and again Goldfrapp (Mute).
In autum 2005 the T.Raumschnmiere Band is touring the USA for the first time.
2006, in between more than 100 shows with the T.R.Band and as DJ marco produces the album of his punk-rock band The Crack Whore Society (formerly known as Mos Eisley Rock) for the german label Angora Steel (a division of Compost Records).
Together with his friends and partners Daniel Meteo and Florian Schmieg he founds the publishing company Random Noize Musick GmbH.
In late 2006, T.Raumschmiere’s 5th full length albumThe Random Noize Sessions Vol.1 was released on Shitkatapult.. It features a collection of lost studio and live recordings made between 1996 & 2005. Dark ambient tracks, beats and pictures, in best tradition of dark asian movies fighting the new minimal deal. Traditional new musickal footprints by heroes like Robert Hood or Mike Ink married to influences of great artists like Coil, Pan_Sonic or Steve Albini.
Marco presents the Random Noize Sessions live and solo on a few hand picked occasionss.
DANIEL METEO
Jack of all Trades, Daniel Meteo (born 1973 in marburg , grown up in essen, moved to cologne and escaped finally to berlin in new year 1997) splits his time up between many artistic activities. Along with Tom Thiel, he's one-half of the dub / hip-hop electronica duo Bus (released 2 albums and 3 x12" on Pole´s ~scape label). He also runs alongside Marcop Haas (aka T.Raumschmiere) and Florian Schmieg Random Noize Musick GmbH incl. labels as Shitkatapult, Musick and his own dub experimental imprint Meteosound aswell as the Random Noize publisher company.
On top of all this, Daniel frequently plays DJ sets to accompany Bus shows or with Shitkatapult, Oceanclub Radio or Scape, in which he spins a variety of music. This can include everything from abstract elecronic or mellow reggae, roots and hip-hop early in the night to dancy techno and house music at the end of the night. DAniel Meteo released his solo debut album „Peruments“ (Meteo 20) in 2006 and several club vinyl 12“ on the labels kalk pets and meteosound. In september 2009 his second solo album „WORKING CLASS“ will be released by SHITKATAPULT.
SCHIERES
Ulli Bomans founded his solo-project SCHIERES in 1990 in order to create trashy electronic and industrial beats and soundscapes. He didn‘t really change his style that much so far, but refined it and developed it into dark, dirty and trip� py Anti-Minimal-Techno. For the audience it is always a challenge but definately a great experience once you ́re open minded to this style.
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