The Dirt on 2017: A Year in Review

2017 was the best of times and the worst of times. Everything caught fire, we confirmed that essentially every man in power is a turd, and we’re all depressed since we spent our bitcoin on mediocre drugs rather than getting rich. But hey, it wasn’t all bad: Nolan got hit by a taxi and they actually stopped to make sure he was ok. Gabe found €10 on the ground at Edeka. Schmutz was founded. The list goes on!

One thing that we can take solace in is the fact that it was a real good year for music, both live and recorded. We know how forgetful you can be, so we thought you would appreciate a refresher.  With the help of some of our favorite Berliner tastemakers, we’ve compiled our lists of the finer albums and shows of the year. This is also the best opportunity we’ll have to thank everyone who has been following, humoring, and tolerating us thus far. We sincerely appreciate you and look forward to another schmutzig year.

Nolan Parker

Schmutz Big Spoon

Best shows of 2017 in chronological order:

Max Richter – Säälchen
King Khan & BBQ Show – Wowsville
Grails – Musik & Frieden
Electric Wizard – Columbia Theater
Mantar – Lido
Desertfest ft. Wolves in the Throne Room // Sleep // Weedeater – Astra
The Body – Cassiopeia
William Basinski – Hangar49
The Holydrug Couple – Urban Spree
Merzbow, Keiji Haino & Balazs Pandi – Elisabethkirche
Föllakzoid // White Hills // 10000 Russos – Lido
Terry Riley – Funkhaus
(Thee) Oh Sees // White Fang – Urban Spree
Atonal ft. Shackleton + Anika // Demdike Stare // Puce Mary // Pact Infernal // Carla dal Forno // Fis // Pan Daijing // many more – Kraftwerk
GAS – Funkhaus
Jarboe // Sultans of Gedankenbrain – Quasimodo
Forest Swords // Blanck Mass – Berghain
Ben Frost // Lotic – Funkhaus
Acid Mothers Temple // Minami Deutsch – Musik & Frieden
Fennesz // The Nent – silent green
Nick Cave & The Bad Seeds – Max-Schmeling-Halle
Swans – Berghain (two nights)
Mount Eerie – silent green
Pharmakon // Moor Mother – Festsaal Kreuzberg
Einstürzende Neubauten – Columbiahalle
Destroyer – Festsaal Kreuzberg
Wolves in the Throne Room – Bi Nuu
Bohren & der Club of Gore – Columbia Theater
King Krule – Astra
Lydia Lunch – Quasimodo

Best albums of 2017 in alphabetical order:

A. Savage – Thawing Dawn
Arca – Arca
Ben Frost – The Centre Cannot Hold
Björk – Utopia
Emil Amos – Filmmusik
Fever Ray – Plunge
Forest Swords – Compassion
GAS – Narkopop
Grails – Chalice Hymnal
King Krule – The OOZ
Love Theme – Love Theme
Mount Eerie – A Crow Looked At Me
Slowdive – Slowdive
Visible Cloaks – Reassemblage
Wolves in the Throne Room – Thrice Woven

Gabriel Dunn

Schmutz Little Spoon

Best shows of 2017 in the order he remembered them:

Lebanon Hanover – SO36
Nick Cave & The Bad Seeds – Max-Schmeling-Halle
Mount Eerie – silent green
Hauschka – Funkhaus
(Thee) Oh Sees // White Fang – Urban Spree
Desertfest ft. Wolves in the Throne Room // Sleep // Weedeater – Astra
Angel Olsen – Columbia Theater
Lebenden Toten // Diät – Acud Macht Neu
Atonal ft. Shackleton + Anika // Puce Mary // Pact Infernal // Carla dal Forno // Fis // Pan Daijing // many more – Kraftwerk
Swans – Berghain
Forest Swords – Berghain
Dying Fetus // Psycroptic – Lido

Best albums of 2017 in alphabetical order:

Boris – Dear
Fever Ray – Plunge
Forest Swords – Compassion
Godflesh – Post Self
Grizzly Bear – Painted Ruins
Mount Kimbie – Love What Survives
Unsane – Sterlize
Wolves in the Throne Room – Thrice Woven

Colette Pomerleau

Contributor for Schmutz // Music Journalist and High Priestess of Experimental Photography

Best shows of 2017 in order of favorite:

Atonal ft. Belong – Kraftwerk
Agar Agar – Internet Explorer
Nicolas Jaar – Täubchenthal
50 cent – da club
The Radio Dept. – Doug Fir Lounge

Best albums of 2017 in order of favorite:

Marker – Marker
Kelela – Take Me Apart
John Maus – Screen Memories
Moses Sumney – Aromanticism
Beach Fossils – Somersault

Marie Bungau

Harsh Noise Heavyweight // Writer for Local Suicide and The Brvtalist

Best shows of 2017 in order of favorite:

Swans – Berghain
Jarboe – Quasimodo
Atonal ft. Powell & Wolfgang Tillmans – Kraftwerk
Boy Harsher – Urban Spree
group A – Krake Festival
Diamanda Galas – Funkhaus
Current 93 – Apostel Paulus Kirche
The Mulholland Free Clinic – about blank
Schwefelgelb – Urban Spree
Nurse With Wound – Sophienkirche

Best albums of 2017 in order of favorite:

Blush Response – Infinite Density
The Mulholland Free Clinic – The Mulholland Free Clinic
Kangding Ray – Hyper Opal Mantis
Steffi – World Of The Waking State
Broken English Club – The English Beach
Drab Majesty – The Demonstration
Call Super – fabric 92
Tzusing – L.I.E.S.
Pharmakon – Contact
Ryuichi Sakamoto – async

Ingrid Huhn

Bad Gal Tastemaker at City Slang Records

Best shows of 2017 in order of favorite:

This Is Not This Heat – Off Festival, Katowice
Grace Jones – Primavera Sound Festival
Kelly Lee Owens – Reeperbahn Festival
Anna von Hausswolff – Off Festival, Katowice
John Maus – Festsaal Kreuzberg
Solange – Primavera Sound Festival
Alex Cameron – Pop-Kultur Festival
Timber Timbre – Reeperbahn Festival
The Breeders – Heimathafen Neukölln
Shintaro Sakamoto – Urban Spree

Best albums in order of favorite:

Kelly Lee Owens – Kelly Lee Owens
Palm – Shadow Expert
Timber Timbre – Sincerely, Future Pollution
Slowdive – Slowdive
Corridor – Supermercado
Juana Molina – Halo
John Maus – Screen Memories
Jakuzi – Fantezi Müzik
Cate Le Bon – Rock Pool EP
Alex Cameron – Forced Witness

Chris Onton

Rattlesnake Warrior with Diät // Founder of Companion Coffee

A list that has to do with music and 2017:

– Itchy Bugger cassette (Little Winners)
– Sect/LOTION live at Köpikeller NNTS
– Paco at Berghies
– Pharmakon at Teufelsberg
– The insert from the Impalers – Cellar Dweller LP (Static Shock)
– Disguise live at Kastanienkeller on my birthday
– Exit Group live in general
– Die Pest second to last show at West Germany
– Lux/Bad Breeding live at K19
– Idiota Civilizzato every gig

Sven-Erik Stephan

Vibe-architect for Beats International // XJazz Festival

Best shows of 2017 in order of favorite:

Peter Broderick plays Arthur Russell – By the Lake Festival
Camille – Festsaal Kreuzberg
ChkChkChk – Festsaal Kreuzberg
DJ Shadow – Festsaal Kreuzberg
Grizzly Bear – Huxley’s Neue Welt
Jarvis Cocker & Chilly Gonzales – Volksbühne
Kelela – Berghain
Mount Kimbie – Astra
Portico Quartet – Radial System
Tori Amos – Tempodrom

Best albums of 2017 in alphabetical order:

Daniel Brandt – Eternal Something
Everything Everything – A Fever Dream
Grizzly Bear – Painted Ruins
Kelela – Take Me Apart
Little Dragon – Season High
Mount Kimbie – Love What Survives
Oneohtrix Point Never – Good Time
Sophia Kennedy – Sophia Kennedy
Tom Schilling & The Jazz Kids – Vilnius
Washed Out – Mister Mellow

Andreas Oberschelp

Head Haunch of Puschen

Favorite Berlin shows in alphabetical order:

Mount Eerie – silent green
Palm – Internet Explorer
Richard Dawson – Kantine am Berghain
Sparks – Columbia Theater
Tonstartssbandht – Urban Spree

Favorite albums of 2017 in alphabetical order:

Aquaserge – Laisse ça être
Faith Healer – Try
Mount Eerie – A Crow Looked At Me
Richard Dawson – Peasant
The Weather Station – The Weather Station

Josh Murphy

Rock n’ Roll Guy // Music Curator at Urban Spree

Boy Harsher – Urban Spree
Kid Congo – Urban Spree
Zs – Urban Spree
Gnod – Urban Spree
No Zu – Urban Spree
Maulwurfe – Urban Spree
In Zaire – Urban Spree
Maggot Heart – Urban Spree

Ciaran Bauer

Mad Hatter in a Battle Vest // Founder of Easy Tiger

Best shows of 2017 in chronological order:

Death Valley Girls // All The Ghosts – Urban Spree
Gurr – Lido
Fred & Toody – Quasimodo
Blondie – SchwuZ
Those Poor Bastards – Cassiopeia
Cherry Glazerr – Badehaus
The Builders and The Butchers – Badehaus
The Coathangers – Cassiopeia
Nikki Lane – Privatclub
Salem’s Pot // Vug – Badehaus
Vidunder – Monarch
Bleached // Balagan – Badehaus
Demon Head // Ill Wicker – Monarch
L.A. Witch – Kantine am Berghain
Travelin Jack – Cassiopeia
Satan’s Satyrs – Cassiopeia
Spindrift // Hekla – Zukunft am Ostkreuz
Johnny Flynn and The Sussex Wit – Bi Nuu
Alice Cooper – Tempodrom
Hällas // Vug // Ursular – Urban Spree

Best albums of 2017 in alphabetical order:

The Black Angels – Death Song
Bleached – Can You Deal? EP
The Buttertones – Gravediggin
Cherry Glazerr – Apocalipstick
The Coathangers – Parasite EP
Craig Brown Band – The Lucky Ones Forget
Hällas – Excerpts From A Future Past
Heat – Night Trouble
Hekla – Hekla
John Hoyles – Night Flight
Lana Del Rey – Lust For Life
Nikki Lane – Highway Queen
L.A. Witch – L.A. Witch
Lonesome Wyatt and the Holy Spooks – Grim Weepers
Mind Meld – Mind Meld
Monolord – Rust
Occvlta – Night Without End
Petyr – Petyr
Travelin Jack – Commencing Countdown
Yacht Communism – Yacht Communism


The Dirt
Seasons EP

The quiet storm that is Noah Klein’s new EP is moving on a fundamental level. The Berlin native uses a subtle mix of live instrumentation, MIDI pads, analogue synthesizers and the natural soft smoke of his voice to convey the pulse of the world through his eyes.

The melancholy felt while moving through the songs on the Seasons EP seem to be tailored to autumn in Berlin. There’s a ritualistic knowledge of sadness at the loss of summer as you move into fall and winter but an underlying expectation that Spring won’t abandon us. The impending doom of a Berlin winter but the hope of a beautiful Berlin summer is felt most acutely on mid-EP slowburn ‘Cold.’ Noah Klein’s simple breaths that tell us to “hide no more” and to “keep clean, keep growing” will get us through the next 6 months of low, grey skies.

The following track, ‘Boy,’ seems to be a melancholic look into Noah’s own self reflection that we’re lucky enough to be flies on the wall for. A boy going home and grappling with what he was and what he has become. An age old tale that most can relate to. Bewitching drones and MIDI controlled drums feature heavily in ‘Boy’ to create a sense of blurred through the lense of time.

Finishing the EP is the most serene and powerful track, ‘In Season.’ Through delicate piano and voice effects, Noah Klein creates a one man choir of emotions. A growing drone emerges from the background that falls away at its peak to leave Klein’s voice alone with the piano and a beautiful finish. A track that has been on repeat for us for weeks.

Noah Klein unfortunately doesn’t have any upcoming show dates in Berlin. But you can believe that we’ll keep you informed when he does.

More Noah Klein:

A Happening. Interview #2: A Fireside Chat with Bijan Berahimi

Bijan Berahimi is a Portland via L.A. designer that has worked with the biggest names in the business down to the closest of Portland homies. He has taken charge of the aesthetic of A Happening. festival this year and will be producing a limited newspaper/zine type situation for the event. He took the time to have a (digital) fireside chat with Schmutz:

Hey Bijan, I’ve been a fan of your design for years now through your work and relationship with Beacon Sound Records. We’ve met in passing several times but have never had the chance to sit down and chat, so this’ll be cool.

Thanks Nolan! Really happy to meet in Berlin, at long last.

How did you get involved with Andrew and the greater Beacon Sound community?

It was magical. I wanted a change of scenery after graduating from design school in 2013 in Los Angeles. New York didn’t feel right, and Portland seemed cool. I packed my car up and drove north. I met Andrew a week in through Sarah Cline, who I worked with while interning in Portland in 2011. The first project I did for Andrew was a four color screen print for the launch of his record label, it was a 2 night showcase on the Oregon coast. I drove up there, not knowing anyone, kind of nervous, and barely knowing Andrew. It was the best introduction to the scene in Portland I could ask for. There were hikes, late nights drinking, campfires, fresh food, amazing music and even better conversations. A lot of the people I met then are here in Berlin with me and still good friends today. I think I officially became apart of the greater Beacon Sound community that weekend. From there, the rest was history, as they say. Our relationship really blossomed through design, collaboration and friendship. He had a need for a designer and I had a desire to do record packaging. It was great timing.

Your project FISK seems to be an ever-evolving entity that is dedicated to pushing the boundaries of design and how people consume design. Can you give us a little FISK history and shakedown of what’s going on right now?

It started as an art school project in 2009 focused on community and opportunity. Since then it has repeatedly been killed and been reborn. Most prominently it’s transformed into an art gallery, which I founded with Michael Spoljaric in 2014. And a graphic design studio, which acts as my full-time practice, serving commercial and cultural clients. FISK has been a vehicle for me to pursue projects and create an environment I want to work in with others. It does have some underlying themes; most importantly FISK has been centered around opportunity, collaboration, and community. Sharing and people. Those two things are my lifeline and FISK will always place emphasis on them. We’re coming into a bit of stability in the coming months for the first time. In the past two years we’ve changed spaces over three times, and cities twice. We just closed our satellite gallery in Los Angeles to focus full-time on Portland.

FISK, at one point, was occupying space in the Beacon Sound storefront on Mississippi Ave. in Portland, Oregon, utilizing it as a gallery space and featuring one artist at a time. Whenever I was working at Beacon people would often be a bit skeptical about the space and its contents. FISK seems to be a bit of an eye opener for some people in Portland, where do you think that’s coming from and how do you think FISK fits into that?

It has to do with us not being from Portland. We come from Los Angeles and New York, which most people would roll their eyes at in Portland. But we have a deep love for creative culture on a global level. We saw opportunity in Portland because it was lacking that. We don’t really fit into Portland but that’s why we exist.

What is next for FISK? I’ve heard whispers that FISK will be opening a new HQ in Portland sometime soon. What’s the word on that?

We are making a real home for ourselves and investing in Portland 100% for the near future. For the first time, the gallery and studio of FISK will live together in one space. Our first show is slated for November 18, with New York by way of Portugal-based artist Braulio Amado. We’re excited about this show and so many other things. We will finally have a space that will allow us to shine.

I’m also good friends with FISK collaborator Abby Morgan and have been following along with your creative processes and shenanigans. The both of you recently went to Japan and came back brimming with design concepts. The most delicious one being the JPN line of chocolates. What are they? Where did the inspiration for them come from? And where can I get one?

JPN is a chocolate inspired by some of the flavors Abby and I experienced during our visit. The packaging was inspired by our relationship with the architecture, nature and convenience stores in Japan. It’s hard for me not to be scheming projects even while on vacation, Abby now knows this. I wanted this to be a true vacation so I promised her I wouldn’t work while in Japan. So in this case we meditated on our trip after the fact and quickly after getting back home we knew we wanted to make something. The opportunity to work with client and friend, Sebastian Cesanaros of Cocanú Chocolate casually came up. We did some design work for him and offered to barter for chocolate. After a week back in Portland, we were missing all the flavors we tasted in Tokyo. Especially all the tasty treats so we thought we should make our own flavor with Sebastian! It felt right. Everything just lined up perfectly, the idea and design came within a matter of days. In the end, it’s more than a chocolate to us, it’s an artifact of our experience in Japan. You will see that if you purchase it and hold it in your hands. You can buy and read more about the chocolate at

As far as your trip to Berlin and your involvement with A Happening, how are you and FISK involved?

FISK is involved because of our relationship with Beacon Sound which involves being responsible for their visuals across all record packaging. We are bringing the full experience to Berlin, not just with the musicians but by having me out here too! Which I feel very fortunate for. We will be creating a collaborative newspaper or publication of sorts that will feature interviews with the greater community of Beacon Sound. It will act as a souvenir for people who attend and a time capsule for people who aren’t able to be in Berlin. Physical objects representing physical experiences is something that is very important to me.

Have you been to Berlin before?

I have not been to Berlin before. It’s been a dream of mine for many years, Abby and I are both so excited to visit as we have only heard good things. Also, lots our friends and colleagues live here so it will be especially special.

Last but not least/fav. question: What have you been listening to lately? You’ve been making your way towards Berlin via Reykjavík, Paris and Amsterdam, any select tunes you’ve been crushing on?

Most recently, Icelandic hip-hop. We just spent some time in Reykjavik and walked by a poster that really caught our eye. It was a album release party by a group called Cyber for their new EP, Horror. It blew our mind, it was super refreshing and fun to see. Now we are a bit obsessed with the music scene there.

Check out what Bijan has been cooking up for A Happening. over at Acud Macht Neu on November 4th. If you’re feeling sinister, enter to win tickets here.

The Dirt
New & Notable #2

This issue of New & Notable is an emotional rollercoaster, with high crests of positive soul and low troughs of warm drone. Take a ride with us. 


INRA is a project by Adam Ben-Nun and Philipp Rhensius: an attempt to bend time, shape worlds and vaporize our hyperreal surroundings. They use a just intonation guitar that shift between pure overtones and a mass off harmonic substance, drums, field recordings and text to conjure a viscous yet danceable, meditative yet nervous sound. Drawing from clubmusic, free improvisation, drone and dub, they exhale an alienated ontology, haunted by the presence of the real and memories of the future.

From: Berlin

Overland Inn

Overland Inn is a French duo, formed in 2006. Etienne (Guitar/Machines) and Chloë (Voice/Keyboards/Machines) have recorded their first album ‘Long Way Home’ (2010) in Portugal, followed by ‘Technicolor’ (2012) in England, and ‘Between a Dog and a Wolf’ (2016) in the Czech Republic.

On stage, the band has taken different forms depending on their location and influences. Overland Inn is now playing as a duo, accompanied by analogue synths, beat boxes, and various retro-futuristic instruments borrowed from the trip-hop scene of the 90’s, the dark-wave movement of the 80’s, or the hip-hop from the 70’s.

From: France


With the new mini-album ’Morgondröm’ (Morning Dream) LEHNBERG dives into a mental musical calmness where the rhythm driven soundscapes now completely been switched out for the stillness of the sun’s first silky morning rays which creates a silhouette to the dream like music.

The modern ambient sounds on Morgondröm can be described as a fusion of the softest of sound worlds, meditative states and thoughtfulness, where David’s wayward musicality is highly present and on display. That allows the experimental side of things to play a more audible role in both space and time.

From: Sweden


Having made their debut in March this year with their hymn to the cosmos, ‘Universal’, Anglo-French trio Safetalk return in September with their second transmission, ‘Gold of the Highest’, a light in the darkness celebrating humanity’s potential.

Fusing psychedelic soul to intricate, pulsating electronic rhythms and radiant synths, Safetalk want us to look beyond our weak flesh and, with ‘Gold of the Highest’, open our hearts and minds to the strength we all possess within ourselves.

In an age when our worst instincts are being fed back to ourselves with a passionate intensity ‘Gold of the Highest’ shines like a beacon, an electronic sigil glowing in the darkness, a reminder that even as things fall apart the power is within us to rebuild both our world and our spirits.

From: France

Lion, Meet Lizard

Lion, Meet Lizard is the electronic solo project of Chris Tieken, based in the Netherlands. He combines synths, slow beats, and melodic guitars with vocals drenched in effects. This results in the unconventional mix of indie and electronic sounds, influenced by the likes of Tycho, Bonobo and The xx. 2014 saw the release of the EP “I want to believe”, followed by live shows throughout the Netherlands. His debut album “Disappear Here” was released in June 2015. 2016 brought a string of singles released independently as well as a mini-tour in Canada.

From: Netherlands

Lou Val

From: Canada

Big Akasha

“When Mansions On The Moon took a hiatus about a year and half ago and I started working as a farm hand for an MMJ operation, I still had the feeling that I needed to create music which was a reflection of the records I grew up loving. This track is my love letter to music (and a hate letter to demagogues). I produced this record the old school way – live everything, minimal edits, high quality mixing and mastering.”

– Jeff from Mansions On The Moon

From: US


Written, recorded and produced over a period of about 6 months. Bayou tries to incorporate elements from various genres (sweeping orchestral movements, tone-fuelled guitar solos and vocal sampling) to create a chilled-out and relaxed track with a solid beat.

From: UK

The Tunnel

“Our new Plasma Den/Overland 2-song EP (recorded by Jai Young Kim of Secret Chiefs 3, Hedersleben) was just released and is available on bandcamp with a run of 250 10″ 45rpm vinyl along with a short custom run of 50 cassettes. The Plasma Den/Overland EP is our first recording featuring drummer Michael Jacobs of pOrch.”

From: US

Nikolaj Efendi

Nikolaj Efendi or “When Leonard Cohen and Einstürzende Neubauten are composing soundtracks for deliriums”.

The intention of the Viennese composer and singer of the balkan-punk band „Roy de Roy“ Nikolaj Efendi was to create an inter-disciplinary work of art and the result is a conceptual double release: both a CD and a theatre play.

The Carinthian Slovene alternates between English and Slovenian lyrics and his compositions are staggering from joy of living to longing for death.

His new album Temper is filled with a gloomy, electric-ridden atmosphere, created by a gang of great musicians and Efendi’s self-made effect pedals. The quartet enjoys the reputation of being a great live-band, builds post-rocky soundscapes and lives from Efendi’s hypnotic storytelling. The songs are full of dark, romantic intensity waiting to be released.

From: Austria

The Dirt

If an anxiety attack and an existential crisis had a baby, its screams might sound something like The Lumes.

Two years since the release of The Lumes’ EP, Lust, we are greeted with an album which takes on the form of another one of the seven deadly sins: Envy. While Envy shares the same frustrated ethos as its predecessor, it is noticeably more articulate in communicating these frustrations.  This is their first release on Berlin-based independent label, Crazysane Records. 

This three-piece noise-rock formation from Rotterdam drips and oozes with societal unease. The first track, Anguish, opens with their characteristic sound: a fast-paced and animalistic rhythm section, artfully chaotic guitar riffs with a double dose of distortion and nervous lyrics. The track alternates between valleys of moody paranoia-fueled musings and peaks of noisy emotional outbursts until we find ourselves in the middle of a mental breakdown. 

“Are you making fun of me?”

At the risk of sounding reductive, this distinctive recipe can be said to hold true for much of the album. The lows and highs both keep listeners attentive and leaves them slightly shell-shocked. Mitchell’s drumming is ever-present and remarkably tight to match Lennard’s steady, driving bass. Maxime is still feeling helpless, but the dreamy, almost uplifting guitar solo at the end of ‘Slow’ suggests a flicker of light at the end of the tunnel. 

“A frown is a smile turned upside-down.”

While it isn’t exactly a record for a breezy sunny afternoon (I started in the park and ended in a dark bedroom lit by candles), this album strikes an important chord. It begs a question that we’ve all asked ourselves, either at a crowded party to or lying awake at night staring at the ceiling: What the hell does this thing called ‘society’ want from me? And perhaps: Why should I give it to them?

Join us on November 4th at Internet Explorer to catch The Lumes in the flesh.


Christopher Lewis has roots in the woodsy, cornfield-filled, and conservative Indiana. In Groningen, the Netherlands, he fell in love and started a bookings and management business, COK Bookings, with his now wife, Annalie. He’s rather fond of psychedelic rock and fried chicken.

The Garden

Back with a more fleshed out sound, former Berlin darling, Carla dal Forno shares her otherworldly second effort, The Garden. You can hear the effect that her move from Berlin to London has had on her music. The production is a little more smooth and filled out, with a little less bedroom and a lot less Kotti grime around the edges.

The four track banger of an E.P. opens with “We Shouldn’t Have To Wait.” The vocal cadence feels rather similar to her “Fast Moving Cars” track off her excellent 2016 debut album, You Know What It’s Like. A little too similar you say? We think not. The track looms over you like nothing we’ve heard from dal Forno before. The lyrics hold a more personal feeling truth, one that is both self critical and more confident.

The Garden carries on with personal favorite, “Clusters.” A lackadaisical wander through your favorite park on a crisp morning in fall. The trees are ablaze with color but the impending winter is approaching and there’s nothing you can do about it so you might as well enjoy the ride. Is the song a reference to German electronic pioneers Cluster/Kluster/Qluster? We hope so.

On “Make Up Talk” we hear something entirely fresh from dal Forno. An eerie, hollow start gives way to dal Forno’s crooner like warning that the cold darkness is approaching. The track has an edge to it that seems to be the end destination dal Forno has been travelling towards since we first heard her. I wonder what’s over the edge?

All good things must come to an end, and here we are. The Garden appropriately ends in “The Garden.” A Twin Peaks feeling effort that feels like what Laura and Bob would be listening to while slow dancing in The Black Lodge. The track finishes with a warning Laura should have heeded… ‘Go outside.’

The Garden is out on what might be Schmutz’s all time favorite label, Blackest Ever Black. It really should be picked up when reminiscing dal Forno’s Atonal set a few months ago. If you couldn’t catch her at Atonal, she’ll be playing Kantine am Berghain on November 11th.

Check out our review for her 2016 record, You Know What It’s Like and see how much better at writing album reviews we’ve gotten.

More Carla dal Forno:

Urban Spree Launches The Smallest Record Store in the World

Tucked away in the corner of the Urban Spree Art Galerie is the latest brain child of Josh Murphy, the venue’s music curator and all around nice guy. A vintage Temp-Rite refrigerator has been outfitted with a modest mixer, table, and stacks of boutique vinyl releases from Berlin labels. The mobile music-box has been dubbed, “The Smallest Record Store in the World.” We spent an unseasonably beautiful Berlin afternoon chatting with Josh to find out what the hell is going on here. 



Like most great ideas, it was cooked up pretty early in the morning. The idea was to showcase a physical manifestation our curation of the musical program here. The smallest record store is based on two things: either bands that have played here and who’s records we’ve bought directly, or local label curation like Aufnahme + Wiedergabe, that we’re working with currently. We work with them based on the fact that we’ve done countless shows of theirs here. Most of the bands that we’re putting into the record store have either played here already or are booked to play here in the future. So it was a pretty easy step, ya know? Everyone had merch, we wanted to find a way to make a physical representation of our concept and curation here. Because Urban Spree isn’t a venue that takes just any show. You can’t just write me and say, “I want to play here,” like a lot of venues in Berlin. As long as their rent is covered, basically anyone is allowed to play. It doesn’t work like that here. There is a specific concept and a vision. The idea was to put that together, to take our favorite parts and put them in a physical store. And obviously it was a pretty easy step for us since we already have the gallery. Urban Spree is a collective and community space. We have the gallery, we have the bookstore, and we have the concert room. The gallery is open 12-19:00, the concert room opens at 20 or 21:00. We’ve got a period of a couple hours during the day where Urban Spree is closed. Except for the summer period. So it’s a way to link the two together. The record store is situated in the gallery. It’s open during the day, you can come see, whilst looking through the books or whatever, stop and check out the records to get a taste or feel of what you might find at nighttime here. So it’s a way to put the two artistic mediums together.

Just how small is the collection?

At the moment, it’s about 50 records, but obviously the number will fluctuate. Given the type of labels that we’re working with, they’re not just going to be continued pressings. Some of them will be, but others, once they’re sold out, that’s it. It won’t continue to grow with everything being constantly restocked. We’re going to keep it fluid and ever-changing.  The next label we’re going to take on is Grautag, then Instruments of Discipline, and then Fleisch. All of which are Berlin-based. To give you an idea, Fleisch just has five releases. Instruments of Discipline have a few more. Aufnahme is probably going to be the staple of the store, since they’re of the size that allows them to repress. But even so, they’re not doing it often. There could be a gap of two years between pressings.

So the core concept of this project is “boutique”?

It’s boutique but we will push more. I reckon we can probably fit 100-200 releases in there, before it gets too messy.

You mentioned to me before that you’d be applying for status in the Guinness Book of World Records. Does that refer to the volume of the space or of the number of records?

This refers to the size of the actual space. We mostly looked into this because we thought it would be funny. There is another store in Alabama about the size of two phone booths that holds the current record. I’m not sure if this is something that we’ll ever follow up on, or if it’s just for comedic value. But yes, technically the smallest record store in the world.

Who specifically is curating the selection? And what’s the process for curating?

It’s me (Josh) and Nico. Nico is my booking partner here. We’re running all of the curation at Urban Spree. We work with carefully selected bookers and promoters who present things to us. Within that, we have our own production company called “Milk Me.” Through this we’re doing coproductions with some of these labels as well. The curation falls in line with our musical concept. It has to be exciting and it has to be underground, celebrating the home of little-heard music. I don’t want to say anti-mainstream…

But basically anything you consider good?

Exactly! Because saying ‘anti-mainstream’ means buying into that bullshit or validating it, and our whole concept is about not buying into it. So how are we curating it? It has to fall in line with the vision of the venue. That’s the most on-point answer. It doesn’t have to be genre-specific. That’s important. They have to have played here, or they have to be part of a local label that hosts nights here. It becomes community-based. The cool thing about this is that we can couple the curation of the store at a specific moment with events. For instance, on 1st December Instruments of Discipline have a night here alongside Aufnahme + Wiedergabe. The record store will be moved into the merch area of the show. That in turn will be the launch of their guest curation spot of the store.

Do you have any personal favorites that are in the collection right now?

Oh Sees! Their show here in August was killer. Codex Empire’s stuff is also great. Emma Ruth Rundle too.

Since the record store is on wheels, do you have a list of places that will be hosting it other than here? And how often do you want to move?

We’ll have to see. We just started this in the summer, or what there was of it, so we’re just getting our feet now. The plan is to start a few more stores in other cities. We’ll set one up at La Station in Paris and another at La Vallée in Brussels.

And you’ll be making independent stores for each of these?

Yep, exactly. We’re going to call them one, two, and three. And after that we’ll be looking at other record markets and festivals around Berlin, like the punk record market at Cassiopeia.  But honestly, we’re just starting to look at these things. For now, It’ll stay where it is in our gallery.


The smallest record store in the world can be found inside the Urban Spree Art Galerie. Open Tuesday-Sunday, 12:00 – 19:00 at Revaler Str. 99, 10245.

The Dirt
Schmutz Playlists | October 2017

Tricks or treats, y’all? Well… we’ve got some treats right here. We give you the two playlists for October, 2017. Lots of spooky numbers in here to get yer skin crawling and heads boppin’. All these acts will be haunting Berlin this month and it looks like we’ll have a full schedule. See you in the graveyard!

The Dirt
Jarboe & Co. Darken the Depths of Quasimodo

It was one of the first proper fall nights in Berlin as we rode out west to a venue for the first time. As we dodged puddles and attempted to keep warm, the graffiti and trash of Kreuzberg was gradually replaced by the glitz and glam of Charlottenburg. Our destination, Quasimodo, sits in the basement of the Delphi Filmpalast that was built in 1927. Formerly hailed as Berlin’s “Mecca of Jazz,” it has hosted countless giants of the genre, including Dizzy Gillespie, Chet Baker, and Art Blakey since the ’20’s. There is even a rumor floating around that Prince made an after show appearance at Quasimodo in ’87.

With all of this music history floating around in our heads, we descended the stairs and staked our ground to catch the first act, Sultans of Gedankenbrain. The Sultans have been members of some pretty heavy hitting bands in the past and the head Sultan happens to be Kristof Hahn, a current member of Swans and a former member of Angels of Light. When Hahn & co. took stage, the dusty rock & roll unfurled and had this west Berlin crowd twisting all around the floor. It sounded as though Poison Ivy from The Cramps was having break up sex with Leonard Cohen à la ‘Death of a Ladies Man’, in the best possible way. The crowd lost it when The Sultans covered The Gun Club’s Sex Beat and maintained the energy until the lip-licking end. Seriously, there was a lot of lip-licking.

After a break that was intended, I’m sure, for everyone in the audience to take cold showers, the tribal noise of Father Murphy beckoned all loyal apostles back to worship at their shrine. The music was abrasive but rhythmic, the chanted lyrics were of pain and realization, the crowd stopped what they were doing and focused on what was before them. This was an extremely brief set and there was a moment of confusion to as what was going on as Father Murphy left the stage.

The mystery was soon solved when the two members of Father Murphy returned to stage followed by the lady of the (witching) hour, Jarboe. The queen of experimentalism has had her fingers in so many pies over the years and released some inimitable albums; the crowd was charged and ready to consume this musical treat. With Father Murphy as her backing band, Jarboe caressed those in the audience in a way only she knows how. We were guided through a world informed by ambient, new age, goth, drone, and so much more. The crescendos were vast and the crevasses were narrow. The audience was hushed, for no one wanted to miss a note of this rarely witnessed séance.

The ritual couldn’t last forever, but we’re beyond pleased to have FINALLY seen Jarboe, and very grateful for her support Father Murphy and Sultans of Gedankenbrain. Let us share a moment of silence and pray that she graces Berlin with her presence again soon.


Huge thank you to Trinity Music and Swamp Booking for making this night happen. Upcoming shows from these collections of legends includes, but is not limited to:

Mayhem / 29.09 / Columbia Theater

The Black Angels / 01.10 / Huxley’s

Windhand / 02.10 / Cassiopeia

Acid Mothers Temple, Minami Deutsch / 09.10 / Musik & Frieden

The Dirt
Love What Survives

Mount Kimbie starts their new album, Love What Survives, off with the big track “Four Years and One Day”. It moves from ambient to IDM to grunge to noise all in the space of three minutes and sshoween seconds. It’s a whole album in one song and is a good indicator of where Mount Kimbie is and where Love What Survives is coming from.

The duo of Dominic Maker and Kai Campos have always been hailed as a top class electronic act and have gained some traction in the greater musical arena with their recent work with Jay-Z and Chance the Rapper. But on this new effort they often feel like they have a full band with them. Even the track “We Go Home Together” featuring another high prince of soulful electronics, James Blake, has the feel of live organ drones that wouldn’t immediately be associated with either act.

The natural first single and initial crowd pleaser is the second track on the album, “Blue Train Lines” and features everyone’s favorite red-headed stepchild Archy Marshall, aka King Krule. This isn’t the first collaboration between the London heavyweights and you can feel that. Mount Kimbie sets the stage for what makes Marshall so unique, his voice. Krule is allowed to talk, croon and wail over a simple but ecstatic beat that drives like a classic kraut track.

The remainder of the album sees another collaboration with James Blake, the laidback and exotic “Marilyn” featuring Micachu and a noisy “You Look Certain (I’m Not So Sure)” with the bedroom vocals of Andrea Balency. Mount Kimbie have come back to us with a big album that will be able to get us through the fall months and beyond.

Love What Survives is out on the inimitable Warp Records and can be picked up at quality record stores worldwide. Mount Kimbie will be coming back to Berlin on the 10th of November to the mighty Astra and should not be missed.

More Mount Kimbie:

Schmutz Playlists | September 2017

Summer festival season has finally come to close. With that, Berlin is once again inundated with raw international talent. This month we’ll all get the chance to see Moderat, Forest Swords, Cattle Decapitation, and Sisters of Mercy, just to name a few. Check out the playlists and get a taste of who to see.

The Dirt

Beach Fossils revealed their album Somersault a few months ago, one that “captures flashes of life in New York grounded in personal experiences”, and one we simply can’t let go of.

The band introduced themselves via their self-titled debut in 2010, which set them apart from other lo-fi alternative options through faraway vocals and minimal fuzzy vibes. Somersault is the band’s first release since 2013’s Clash the Truth and the first release on lead singer Dustin Payseur’s new label Bayonet Records.

Standout songs include, but are not limited to, the harmonic pop gem “Saint Ivy” with Payseur’s biting political lines “wanna believe in America, but it’s somewhere I can’t find”. “Tangerine” is both intricate and relentless, featuring guest vocals from Slowdive’s Rachel Goswell. The driving bass introduction for “Down the Line” is enough hook us in and the proper single to begin with for die-hard fans of their self-titled. It’s the perfect bridge between the past and where the Brooklyn trio is right now.

We listened to this album in its entirety from start to finish, over and over again. The progression from the beginning of Beach Fossils, just seven years ago, is one to take notice of: the layered sounds are much more intentional and rich. It’s important to also notice that you can still sense the nod to their lo-fi launch, and that feels good.

Thanks to PuschenBeach Fossils will play Berlin at Musik & Frieden Wednesday, 6 September 2017. Buy tickets here.

More Beach Fossils:

A Schmutz Guide to Berlin Atonal 2017

(photo cred: Camille Blake)

The history of Berlin Atonal begins in November 1982. Set up at SO36 in Kreuzberg, the festival became ground-zero for altogether new forms of musical experience; Einstürzende Neubauten, Sprung aus den Wolken, Malaria, Notorische Reflexe, Alu, White Russia, Didaktische Einheit and many other like-minded musical pioneers used Berlin Atonal to launch their entirely novel ideas about the possibilities of sonic expression. Throughout the 1980s Berlin Atonal was at the vanguard of the progressive electronic and experimental music and art scenes in Berlin. The festival closed in 1990 with the fall of the Berlin wall.

In its fifth year back and housed in the beautifully brutal Kraftwerk complex, Berlin Atonal hasn’t lost an ounce of its experimental core established in the 1980s. Since its re-launch in 2013, Berlin Atonal has invited acts including Cabaret Voltaire, Death in Vegas, Outside the Dream Syndicate, Lawrence English, Ben Frost, Terry Riley, Tim Hecker, Glenn Branca, Raime and many more to explore the far reaches of what audio and visual performances can mean.

Below is a schedule of performances that Schmutz is especially looking forward to, but you can check out the full lineup here. Everything from harsh noise to sweeping classical, dancy post-punk to experimental opera. There is nothing like Berlin Atonal anywhere on Earth. Come have a look.

Wednesday, August 16th

Karlheinz Stockhausen presents OKTOPHONIE

Main Stage 20:00

OKTOPHONIE is the 8-channel spatial acousmatic piece composed by Karlheinz Stockhausen as part of his monumental opera cycle LICHT. According to the octophonic system Stockhausen conceptualised the electronic sounds (meant to represent the chaotic soundfield of modern warfare) exist in three-dimensional space, with the audience listening inside a “cube of sound”. Berlin Atonal recreates Stockhausen’s octophonic set-up on its opening night, for a presentation of OKTOPHONIE projected by long time Stockhausen collaborator and director of the Stockhausen Foundation for Music, Kathinka Pasveer.

Ena + Rashad Becker present Oktophonic (World Premiere)

Main Stage 21:20

Japanese producer Ena and Berlin based musician Rashad Becker will collaborate on a new piece especially conceived for the Stockhausen Oktophonic set-up. The two artists previously worked together on a new piece for the first time in the context of Berlin Atonal’s New Assembly Tokyo festival in February, creating an exceptionally detailed soundscape, benefitting from Ena’s remarkable sound design and Rashad Becker’s masterful control of dynamics and spacing.

Carla dal Forno

Stage Null 00:30

Carla dal Forno – of F ingers and Tarcar – brings her laconic vocal style to centre stage for her eponymous solo project. Her dub-disoriented pop sensibilities leak through the sparse, Spartan arrangements, resulting in an honest, direct and unsentimental live show.

A favorite of Schmutz, check out one of our earliest album reviews here for Carla’s album, You Know What It’s Like.

Thursday, August 17th

LCC with Pedro Maia (German Premiere)

Main Stage 21:00

Editions Mego affiliates LCC are a duo from northern Spain. Working with Serge and Buchla 200 synthesisers, they recently completed a residency at the lauded EMS Stockholm studios. This new live A/V show is made in collaboration with Portuguese filmmaker and archivist Pedro Maia, and will be shown for the first time after its debut at Sonar festival in Barcelona.

Demdike Stare with Michael England (World Premiere)

Main Stage 23:00

Demdike Stare are the Manchester duo who unpredictably extract the best from ‘90s jungle, drum n bass, industrial and ambient techno sound design. Existing in the outskirts of convention and genre allows the pair to let their intuitive grasp of rhythm and sound breathe freely in their own rarefied air. At Berlin Atonal 2017 they present their own new live A/V show on the Main Stage with visuals by Michael England, while also curated a night at OHM under the auspices of their innovative DDS label.

Damien Dubrovnik presents Great Many Arrows (World Premiere)

Main Stage 00:00

Formed in 2009, Damien Dubrovnik is a Danish electronic duo of Christian Stadsgaard and Loke Rahbek, founders of the Copenhagen based record label Posh Isolation. In their day job as label managers, Stadsgaard and Rahbek have been instrumental in presenting and promoting a new Scandinavian expression and sound. As a label Posh Isolation has outgrown its humble beginning, achieving the cult status of cultural entity that serves as an outlet for experimental music and art through now 200 releases that have reached remarkably wide international fan following. The newest release by Damien Dubrovnik, Great Many Arrows, being label release number 200. Damien Dubrovnik is the duo’s longest running project that has published work across half a dozen LPs. Damien Dubrovnik’s live shows are well known for their raw intensity and expressiveness, incorporating elements of performance art and body acoustics into their powerful physical sound where harsh industrial meets poetic ambience to leave long lasting impression.


OHM 00:00

Goner is Berlin based sound artist and music producer Martin Maischein. His current release on Hospital Productions – Yogascum – circles around combining electronic soundsources with natural instruments, chief among the cello of noise artist UnterLala.

Mick Harris presents Fret (World Premiere)

Stage Null 02:00

The combined effect of Mick Harris’ work in the realms of music is hard to overstate. As the drummer for pioneering grindcore band Napalm Death he invented the blast beat – one of the defining tropes of all subsequent black metal and death metal. After leaving Napalm Death, Harris played drums for Doom and Extreme Noise Terror, started the projects Defecation and Scorn. His ambient and electronic productions – Quoit, Monrella – deserve better recognition as high-water marks of 90s and 00s electronica. The dark lord Mick Harris plays Berlin Atonal 2017 under his own name, presenting his Fret project.


OHM 03:00

LoneLady is Julie Campbell, a songwriter-musician-producer from Manchester, based in Manchester and London. Her two critically-acclaimed albums on Warp range from urgent, austere minimalism to post-punk funk, and Julie is currently resident at Somerset House Studios, London where she has built a new studio setup incorporating analogue sequencers and synths to work on her next album.


Stage Null 04:00

Pessimist, with his recent release on Blackest Ever Black, achieved a mix of ice-cold jungle and futuristic techno that put him squarely in a league of his own. Minimalistic but weighty, shape-shifting but exquisitely monotone, Pessimist somehow achieves a fusion out of what in lesser hands would remain contradictory, Berlin Atonal 2017 let’s him unpack more clearly his references and directions with a closing set on Stage Null.

Friday, August 18th

Yair Elazar Glotman presents Blessed Initiative (World Premiere)

Main Stage 20:00

Yair Elazar Glotman is a musician and sound artist living in Berlin. His compositions are currently concerned with analog tape loops, electronics and contrabass. He trained as a classical contrabass player, and has studied electroacoustic composition. For his Blessed Initiative project, Glotman utilises an ambiguous harmonic sphere constituted by microtunings, integrated into idiosyncratic rhythmical structures and concrete, almost-recognizable organic sounds, blending them all together to create a dissonant state of simultaneous highs and lows.

Puce Mary presents A Feast Before the Drought (World Premiere)

Main Stage 21:50

Puce Mary is the solo moniker of Copenhagen based noisenik Frederikke Hoffmeier. Since 2013 she has been invigorating industrial and noise music through the exquisite power of her releases on Posh Isolation and, especially, her transfixing live shows. For Berlin Atonal 2017 she has prepared a brand new live performance entitled A Feast Before the Drought.

Roly Porter + Paul Jebanasam present ALTAR (World Premiere)

Main Stage 23:30

ALTAR is a collaboration from Roly Porter and Paul Jebanasam based on a performance of ritual system music. A new approach uniting the technical and creative abilities of two of contemporary music’s most powerful composers, this project finds its world premiere in the context of Berlin Atonal 2017.

The Lefty (European Premiere)

OHM 00:00

The Lefty unites the two main forces behind the legendary Japanese label/collective Black Smoker – Killer Bong and Jube. To help Black Smoker celebrate its 20th year in the game, The Lefty link up for their European debut, taking hip-hop past its logical limits and into another realm.

Sissel Wincent

OHM 01:00

Sissel Wincent is a Stockholm based producer and part of the 12-person collective of female and non-binary artists Drömfakulteten. Her pointillistic synth works range from aggressive stab fits to beautifully defined sonic textures.

Saturday, August 19th

Robert Rutman

Main Stage 19:30

Robert Rutman left Germany for Scandinavia in 1938, before attending refugee schools in England. In 1950 he left for the United States, becoming a travelling salesman. He fell in with the beat poets, establishing galleries and shows in New York and Maine. He built his own instruments and scored works by Euripides, Shakespeare, Coleridge, Rilke, Thoreau, and others. In 1980 he gave a concert at the original Berlin Atonal show.

Fis + Renick Bell (World Premiere)

Main Stage 20:50

Renick Bell and Fis link up in search of next-level sonic happenings. Starting with an injection of Fis’ gastric, sinuous sound into the cutting-edge expressive power of Bell’s live-coded algorithms, their performance plays on apparent distinctions between their live modalities.

Shackleton + Anika with Strawalde + Pedro Maia present Behind the Glass (World Premiere)

Main Stage 21:40

Behind the Glass is the unapologetically ambitious new project coming out of the overlapping creative forces of Shackleton, Anika, Strawalde and Pedro Maia. Shackleton – of Skull Disco and Honest Jon’s semi-fame – provides a vivid backdrop of infinitely detailed sonic complexity that conjures up something between devotional music and avant trance with the use non-standard time signatures often running against each other, an unusual and occasionally atonal sound palette, repetitive melodic motifs and a blatant disregard for the conventional 3 minute song format. Over this canvas Anika – perhaps best known for her self-titled debut album -narrates a tale of love, longing, fate and compulsion which stretches out in the style of a surreal fable. Her deadpan vocals and priestlike sermons meanwhile stand in direct counterpoint to the tales of unbridled lust, fury and the themes of dominance and submission in the world of love, romance and all their related afflictions. The whole is
ably backed for the stage by keyboard maestro Takumi Motokawa and the human metronome Raphael Meinhart on mallets. The visual side sets Pedro Maia’s constructive and reconstructive filmic talents against the ink of legendary Berlin artist Strawalde.

Killer Bong (European Premiere)

OHM 22:30

Killer Bong aka K-Bomb is the Tokyo-based enfant terrible of Japanese experimental hip-hop and the head honcho of the long running left-field collective Black Smoker. Mutant jazz-infused beats spiral around distorted vocals, watching a live show of his has recently been described as like ‘gazing at an uncontrollable vehicle driving at full speed’.

Powell + Wolfgang Tillmans (World Premiere)

Main Stage 00:00

This premiere show sees Atonal regular and electronic music enfant terrible Powell on stage performing with Turner prize winning artist Wolfgang Tillmans. The two artists have been collaborating on music which will reach ears for the first time in this live A/V show.

Broken English Club

Stage Null 02:00

Oliver Ho’s early productions made clear his ability to inject a dark narrative into functional electronics. With Broken English Club, he delivers monotone vocals and shards of live instrumentation over stuttering beats and bleak synths. The blank-stared, pinpoint focused electronics and layers of noise betray no/wave and post punk influences, dragging together industrial experimentation and pitch-black techno.

Andy Maddocks

OHM 03:00

Andy Maddocks is an entrepreneur and musician who founded Skam Records, an independent electronic label, in 1990. He is also a member of the almost mythical Gescom group with Darrell Fitton, Russell Haswell and perhaps some others. Maddocks recently toured Europe with Autechre, which brought him to OHM for the first time. Berlin Atonal gladly welcomes him back for a reprise.


Tresor 03:00

Dark mysticism from the past swirls like winter winds around the pitch black atmosphere of Ulwhednar, the conjurers are Abdulla Rashim and Varg. They combines their musical styles into a collaborative effort producing dancefloor black magic.

Sunday, August 20th

Varg + AnnaMelina

Stage Null 18:00

AnnaMelina and Varg’s new collaboration explores the differences in their solo projects to find a common ground informed in equal parts by techno, bass drum, romantic synths and AnnaMelina’s vocals.

Mattie Bye

Stage Null ???

Matti Bye started his career 25 years ago composing and doing live improvisations to silent film and early cinema. Since the late 1980s, Bye has been employed by the Film House in Stockholm (“a hive of film-related activity”) and there he has created, in his own words, a “private world of music”. Bye will have a chance to present some of it during Varg’s curated Nordic Flora programme at Berlin Atonal 2016.

Belong play October Language

Main Stage 21:00

Belong is the New Orleans based project that blends early 1990s shoegaze, ambient electronica, and drone. Guitar based, heavily processed and distorted loops that seem to go on forever layer on top of each other creating unashamedly beautiful and powerful textures. Their 2006 album October Language was a high-water mark for this kind of often emulated and rarely mastered music and at Berlin Atonal they prepare a special set based on this material.

Pact Infernal (World Premiere)

Main Stage 22:00

Preferring to let their conceptually driven music stand in place of interviews and biographical information, Pact Infernal is the latest shadowy project to emerge from the impeccable Horo arsenal. The music arranges a broad palette of sonic resources into mutated tribalistic patterns, verging on but never quite fully settling with genres including ritual ambient and techno as well as those that haven’t been invented yet.

Pan Diajing presents Fist Piece (World Premiere)

Main Stage 23:00

Chinese performance artist and composer Pan Daijing presents at Berlin Atonal the world premiere of Fist Piece. “I am rubbing my eyes. I am putting it back. I am taking them away. I am stretching. I am holding. I am denying. I am losing.”

Check out our latest album review for Pan Daijing’s Lack here.


Mainstage 00:00

Emptyset is the project of James Ginzburg and Paul Purgas dedicated to examining the material properties of sound and its correspondence with architecture, performance and physical modes of production. This show marks the first time they have adapted their live presentation for Berlin Atonal and the sublime industrial grandeur of the Kraftwerk space working in collaboration with visual artist Sam Williams.

Lots of text and bios lifted from the Atonal website.

The Dirt

Lack, the debut full length release from Chinese born, Berlin based artist Pan Daijing is a world unto itself. Comprised of two years worth of performances, improvisations, field recordings and found sound, Lack is a fruitful challenge for those interested in the harsher, more abrasive side of ambient music.

Meeting the two ends of harsh electronics and hyper-intimate, often indiscernible gurgling vocals to create something akin to your favorite, darkest secrets about yourself, Pan Daijing sonically expands on what we’ve heard from her before. Lack is at times filled with repetitivity that builds on itself and becomes almost overwhelming to the point of panic. This repetitive beauty shines its black light brightest on the aptly named track ‘The Nerve Meter’ with the constant nagging of what might be Berlin city traffic at its most hectic or the traffic of a Chinese capital at its most sereine. This build goes on for minutes and right when your nerve meter is peaking, you can discern a flute like voice trying to reach you over the din of traffic noise. The repetitivity of ‘The Nerve Meter’ and the controlled kick under the drones of ‘Act of the Empress’ recall Pan’s more techno focused releases (probably doesn’t hurt that the album was mastered by Rashad Becker either).

In her interviews with The Quietus, Pan has likened the sonic effect of her music to BDSM. We fucking love that. Like BDSM, Lack is harsh, abrasive and not for everyone but at the same time intimate and beautiful because it’s of the flesh, a flesh that everyone on planet Earth is comprised of.

If voyeurism is in fact participation, we can’t wait for Berlin’s premiere experimental music summit, Atonal, taking place in the Kraftwerk complex from August 16th to the 20th. Pan Daijing has been billed along with Rashad Becker, Carla dal Forno, Demdike Stare, Puce Mary, Fis, Powell and a slew of other artists and performers. An show not to be missed.


Schmutz Playlist | August 2017

We’ve got some big acts coming through this month. From the stacked lineup of Atonal to the Mykki Blanco, Boris and Wrekmeister Harmonies shows. These playlists only reflect a small number of the acts rolling through Berlin this month be we hope to see you in the pit!

The Dirt

Schmutz likes Boris. Schmutz is glad to witness Boris’ return to the deep drones and noise that made us fall in love with them in the first place. With their new album Dear, the Japanese lords of noise get back down to business and we are all ears.

From the thick drones of opener ‘D.O.W.N. (Domination of Waiting Noise)’ to the eerie mid-album séance that is ‘Kagero’ right through to the final (and title) track of the album that recalls the power of Electric Wizard, Sleep and Earth all at once, we’re down with Dear. Spend some time with aptly named track and Schmutz favorite ‘The Power’ that delivers towers of doomed sludge that could topple over and crush you at any moment but you can’t manage to tear yourself away from the building of such a monument.

When we are treated to the treats that are the vocal arrangements on Dear, we get a bit of everything. On ‘DEADSONG’ we are dragged through a mire by slow screeching right before soaring 80’s metal vocals swoop us from what was looking to be our demise. On the very next track, ‘Absolutego,’ just over the huge sabbathian riffs, we pick out a voice that isn’t unlike that of Ozzy himself. Speckled throughout the album we also come across chanting, whispers and howling; all placed in a manner that flows in a way that can only be created by a band that has been around for 25 years.

Dear is out on a little record label (and Schmutz fav.) called Sargent House. Boris will be crushing Berlin on the 8th of August this year, 2017, at that classic corner spot, Lido. They will be joined by stoner/doom buddies Acid King. See you there?

Speicher: Concerts in Water Reservoirs

This weekend, Speicher will be coming to a water reservoir near you.

Speicher is a two-evening show with six artists of eclectic backgrounds, put together by the appropriately named Bohemian Drips. It will be set in the underground foundation of two water towers that are a staple of Prenzlauerberg’s scenery. Among Berlin’s oldest, they were completed in 1877 and in use until 1952. After being abandoned for decades, the towers were recognized for what they could offer in unique acoustics, boasting an 18-second reverberation time in the larger reservoir and 4-6 seconds in the smaller reservoir. In the weeks leading up to the show, the artists have been given access to the ancient edifices to rehearse and customize their sets to the particular acoustics. Considering what we know of the mixed bag of musicians, we’re expecting performances to run the gamut of catchy, hypnotic, and psychedelic. These are the types of shows that we live for. 

Wasserspeicher at Prenzlauer Berg
Access via Belforter Straße, 10405 Berlin

Saturday & Sunday

Doors: 17:00
Start: 18:30 (sharp)
End: 22:00

 Given the unconventional setting, this has a very limited capacity. As of this post, you can still get pre-sale tickets at the following locations:

• Staalplaat Recordshop & Mailorder / Kienitzerstr. 108 (Mo-Fr 12-8 pm)

• Zabriskie – Buchladen für Kultur & Natur / Manteuffelstr. 73, 10999 Berlin (Di-Sa 12-7 pm)

• Heiners Bar / Weserstr. 58, 12045 Berlin (Mi-Sun 8 pm-openend)

• Cashmere Radio / Lichtenberg / via Cashmere Community

Have a listen to see what to expect:

Saturday, June 15

Big Beats Big Times


Richard Stott & Axel Dörner

Sunday, June 16

Arnold Dreyblatt



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Schmutz Playlist | July 2017

Happy Gin Rickey Month! This is the Berlin playlist of the summer, folks. We’ve put this doozy together based on the bands and artists coming through Berlin this July. We’re excited to check out these legends live and hope you are too, tiny dancers.


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Soviet Soviet Guides ACUD in Introspection on 31.05

The Italian post-punk trio, Soviet Soviet, headlined ACUD last Wednesday night in support of their latest album, Endless.

I watched a man in the audience stare out the window for twenty minutes. Soon after, I realized how perfect Soviet Soviet is for introspection. The three-piece created the perfect atmosphere for thinking about it all. I imagined the thick layers of sound filling in every corner of the barely-lit room while casual goths slowly nodded their head. The night moved slowly, even when the rhythm was fast-paced and insisting.

Andrea Giometti (bass and vocals) created his own chaos in the corner of the stage, throwing his bass around as the speed and sound increased. Alessandro Costantini (guitar) and Alessandro Ferri (drums) were often closing their eyes, joining everyone else in their own head.

One thing that sets Soviet Soviet apart from other modern post-punk bands are the vocals. Giometti’s pitch somehow fit in just right with the darker tones of the genre and it was executed perfectly in a live setting.

Random Chatter called Endless, “a musical journey that is completely built on hope”, and I walked away from the venue feeling just that, despite the current state of the world.


Colette is a freelance writer based in Berlin. She likes Turkish psych rock, wandering, data sculptures, and white sauce.  For more Colette, visit here

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Homeshake takes over Lido on 28.05

The appeal for Homeshake seems obvious, especially on a blazing spring evening in Berlin. Lido was packed with swaying floral button ups, sun-dazed expressions and an eagerness to hear the Montreal-based headliner. Aldous RH opened and said hello to the crowd by mentioning how their 9 hour drive was worth it. Berlin seemed to agree when we submitted to the frontman’s request for everyone to take a seat together. The pairing was ideal: the band mixes bedroom pop with 90’s R&B in a way that somehow still sounds fresh.


Peter Sagar, the man behind Homeshake, wore sunglasses and maintained a nonchalant stage presence for the entire set. The four musicians worked their way through crowd pleasers, building up hype within an already excited room. Three songs before it would all end Sagar mentioned,

“We’re going away for a year.”

Here’s to hoping the absence will be to work on a fourth album. We’re all ready for more R&B-soaked stoner synth days.


Homeshake came through Berlin in large part due to Puschen. Be sure to check their other shows coming up this summer…

NOTS @ Urban Spree on 12.06

Froth @ Badehaus on 12.06

WHY? @ Festsaal Kreuzberg on 20.06

Peaking Lights @ Kantine am Berghain on 12.07

of Montreal @ Festsaal Kreuzberg on 20.07

The Men @ Kantine am Berghain on 03.08

Chastity Belt @ Kantine am Berghain on 17.09


Colette is a freelance writer based in Berlin. She likes Turkish psych rock, wandering, data sculptures, and white sauce.  For more Colette, visit here

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Humanz, the first studio album we’re seeing from virtual band Gorillaz in seven years is chalk full of guest spots. The bigger names include Grace Jones, Zebra Katz, Popcaan, Vince Staples, Pusha T and Danny Brown. With a roster like this, one would expect another huge album like Demon Days. Alas, Humanz falls a touch flat compared to other records in the Gorillaz universe. An especially disappointing moment comes with the entrance of Grace Jones (who is normally an absolute goddess) to album. She laughs maniacally over choppy guitars saying “I am the ghost”. What are you the ghost of Frau Jones? Disco past?

There are, of course, beautiful little pools of creative genius in Humanz that we have to cherish if our faith in Gorillaz is to remain in tact. Popcaan brings that same Jamaican feel to ‘Saturnz Barz’ that we fell in love with on Jamie xx’s 2015 summer banger ‘I Know There’s Gonna Be (Good Times)’. Another gem can be found in the melancholy croons and the atmospheric synths of ‘Busted and Blue’.

At the end of the day Humanz is still a Gorillaz record. They’ve always given us gloomy yet danceable albums to throw on during good times, hard times and end times. And we’ll always love them for that.

The virtual outlaws 2-D, Murdoc, Noodle and Russel Hobbs will be rocking through Berlin on November 11th at Max-Schmeling-Halle. No matter what era Gorillaz fan you are, you know it’s going to be a feel good time.

Schmutz Guide to XJazz Festival 2017

Here we go again, it’s XJazz time!!

Kicking off next week, from May 3rd to the 7th, XJazz is a unique festival when put in the context of the Berlin live music landscape. One of the main goals of XJazz is to blur and break the boundaries of jazz, experimental electronic, neo-classical and other genres to give Berlin something not always witnessed. XJazz is also a multi-venue, multi-day show, taking place in some of the most iconic venues in the city including Funkhaus Berlin, Emmauskirche, Bi Nuu, Lido, Prince Charles, Privatclub, Monarch and Watergate. No other Berlin music festival offers such an eclectic roster of artists, performing in such unique spaces. The Schmutz team is especially keen to see the performances at the historical Funkhaus and Emmauskirche.

Every year XJazz Festival has an international partner that forms the backbone of the booking and performances taking place. This year XJazz has announced Poland as their partner. The two countries have always had a passionate cultural exchange, inside the musical arena and out. For this year’s festival, XJazz has organized an exchange of artists to come to Berlin and collaborate with local musicians. This special line-up includes The Berlin x Warsaw Ensemble collaboration, Stargaze featuring Käptn Peng & Malikah and Wallis Bird performing together with Berlin musicians. What Schmutz has got for you jazz cats is a little guide to XJazz 2017 with our favorite shows and recommended listening for good measure with a playlist. Dig it, ya jive turkeys!

The festival starts out with a bang in what is probably the most unique show space of the festival, Emmauskirche. The collaboration of Cyminology & Korhan Erel will be the act to christen the church on behalf of the festival. This collab is comprised of the Berlin quartette Cyminology and the sound architect Korhan Erel, and will be serving up minimalistic improvisations and compositions starting at 18:00. Following Cyminology & Korhan Erel we get the pleasure of the Berlin based composer Martyn Heyne in Emmauskirche. With his one guitar, drum machine, pedals and loops, Heyne builds variations on a theme until you forget where you started but can’t wait to arrive where you’re going. The third act of the evening is Dillon. With her engaging vocals and experimental take on pop music, she’ll fill Emmauskirche to the rafters with emotion. To round out this whopper of an opening night we’ve got the drones and jazz saxophone of Rain Sultanov & Isfar Sarabski. This performance is especially not to be missed if you’re interested in the cultural development of Azerbaijan. Sultanov has been an integral part of the jazz scene in Azerbaijan and that history can be felt when listening to his compositions. Rolf Kühn will also be playing a show at 19:45 at Watergate on the 4th. The legendary German clarinetist will be opening Watergate for the night but have no fear, if you miss him tonight he’ll be playing with his brother at Funkhaus on Sunday the 7th.

Friday, May 5th:
Schmutz will be doing a bit of venue hopping to catch the shows we’re feeling. Our first stop is the XBerg classic, Lido. Our buds in Liima will be gushing their world and jazz informed versions of pop and indie. They kick off at 21:15 sharp, giving us enough time to catch them and then hustle back over to Emmauskirche to catch Federico Albanese at 01:00 (technically on Saturday morning, but this is Berlin…). Albanese’s works are akin to the great modern minimalist composers, think Steve Reich and Philip Glass. Federico Albanese’s performance will reach for and fill every nook and cranny of Emmauskirche.
Saturday May, 6th:
Third day’s a charm! With the evening of Saturday the 6th, we see more Schmutz buddies rolling through XJazz Festival. Opening the night in Emmauskirche we’ve got the Portland, Oregon virtuoso Peter Broderick. Broderick is hot off the heels of his two 2016 releases, Partners and Grunewald (check out our album review for Partners here). The latter was recorded in just one night just outside of Berlin in the Grunewald Church. His work on this mini-album is minimal while at the same time creating a growing sense of corners to be explored, begging the listener to listen to the record over and over. Our next recommendation is right around the corner at Privatclub with Chat Noir. They’ll be taking the stage at 21:30. Chat Noir have been around the block and have expanded their sound over the years to include electronics and sequencers, producing what we’ll see at Privatclub, their doomed out jazz feels.
Sunday, May 7th:
For the closing night of XJazz Festival 2017, they have certainly saved some of the best for last. All of the shows tonight will take place at Berlin’s now legendary GRD Radio Headquarters turned venue and recording studio, Funkhaus Berlin. Opening the closer, we have Rolf and Joachim Kühn, two brothers that have been shaping and reshaping the idea of jazz for decades. They’re not often seen round these parts, so best to get out to Funkhaus for this 17:00 show early. Though there are the wonderful acts of Jacob Collier and Matthew Halsall & Dwight Trible making up the meat of this jazz sandwich, Schmutz is brimming with excitement for the closer of the entire festival Pantha du Prince. His takes influence from all over the musical map: jazz (obviously), classical, hip-hop, ambient, noise, etc. His closing set, sure to turn dance party, will be one for the books.
Check out the official XJazz website here for full listings and tickets for all the excellent gigs for their 2017 festival!
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With her third studio album Margaret Chardiet, a.k.a. Pharmakon, holds nothing back physically or electronically. Her new album Contact expresses a bizarre truth held between the pure physicality of Chardiet’s voice (screams, cries, yells, whispers) that achieves relatable abrasiveness and the harsh angles and atmospheres she breathes into her electronic soundscapes. The aptly named Contact is the meeting ground of two differently created worlds that are fighting to get to the same point.

Chardiet has always featured herself on the covers of her albums with literal visual translations of the album titles and philosophies. Contact is no different. Before you put the record on, you have an idea of what you’ll be getting yourself into. A sea of hands that might have a combination of sweat, saliva and tears on them grope Chardiet’s face as she takes a finger into her mouth out of self defense or curiosity.

As with her last two albums, Abandon and Beastial Burden, Chardiet has released the latest Pharmakon LP on a Schmutz favorite, New York’s Sacred Bones Records. Pharmakon will be bringing her sounds to Berlin on the 22nd of April, 2017 to the intimate venue Ausland.

Check out the extremely physical music video for the album’s fifth track, Somatic, below:

Damage and Joy

19 years after their last full length effort, The Jesus and Mary Chain have come back at us with Damage and Joy. Although not the perfect 10s that are Stoned and Dethroned and PsychocandyDamage and Joy still has the swagger that made us fall in l-u-v with early The Jesus and Mary Chain. The new album, out on ADA and Warner Music Group, delivers the amphetamine highs of Psychocandy and the hazed out lows of Stoned and Dethroned. The new album even brings similar vocal pairings of earlier albums to the table on the songs “Song for a Secret” and “The Two of Us” with former Belle & Sebastian member Isobel Campbell.

Although not at their peak, The Jesus and Mary Chain are certainly still worth checking out live, we can vouch. Seeing them a few years ago in Seattle is still one of the better shows of the last years. They’ll be supporting Damage and Joy with a lengthy tour and will be stopping at Huxley’s Neue Welt in Berlin on April 24th.

Show Recap | Wolf City Presents Blood Incantation

Sometimes the metals become so mighty, the death so real, that the skin sprouts fur and the claws come out. When you hit werewolf-grade seven, your voice is raw, shrieking along as your fist pounds the air; when you hit eight, you’ve made it to dawn; once you hit nine, you’ve probably thrown up the defenseless deer you consumed and kept going. Don’t ask about ten. Aptly-named Wolf City brings the best metal to Berlin for those special nights when the werewolf needs to come out, and lordy was Saturday a proper banger.

Local stalwarts Carnal Tomb opened the evening with the appropriately grim motions, and by the time they left the stage Urban Spree was packed, tipsy, and ready for Killtown Booking’s fairly unbelievable package to hit the stage. Up next was the UK’s Cruciamentum, who released one of the most solid and satisfying death metal albums of recent years with Charnel Passages (2015).

With riffs for miles, ranging from chugging brutality to soaring fireballs, set to life by blistering solos and top-notch drumming, they annihilated the place and set the crowd well on its way into lycanthropic fervor. Blood Incantation followed with much anticipation; their debut LP Starspawn blew the scene away completely in 2016, with its progressive and cosmic—yet entirely catchy and crushingly heavy—concoction.

Although inspired chiefly (to these ears) by late Death, early Suffocation, and Steve Tucker-era Morbid Angel, Blood Incantation achieves its own, distinctive sound and delivers the whole package live, and leaving this werewolf howling all the way to Monday.

Huge thanks to Wolf City for supplying tickets for our raffle when the show was sold out. Legends.

Gottlieb Brenner is a Berlin-based Schmutz contributor. He enjoys kabusecha, gin, and believes “Superunknown” was the best album of the ’90s.

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March Playlist

Everyone on this playlist is playing in Berlin this month. Listen. Go to their shows. Be merry.

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Chalice Hymnal

The members of Grails have been around the block, both with Grails and with other projects (Om, Lilacs & Champagne, Holy Sons), and bring that solid foundation to the table when recording their new album Chalice Hymnal. On this, their sshowh proper LP, you feel that the Portland, OR group has been around the world, seeing things through smoke blurred lenses while listening to everything from Bollywood and porn soundtracks from the 60s and 70s to hip hop and classical scores. A record that can suite any current mood or can be used to transport you where you want to go.

The new album, out on Temporary Residence, will be backed by a European tour in March with Grails hitting Berlin on March 19th at Musik & Frieden with Majeure.

No Home of the Mind

On his first album for 4AD, Bing & Ruth mastermind, David Moore moves forward with his minimal compositions on No Home of the Mind. On first listen it would not be hard to comfortably place No Home of the Mind in the genres of classical or piano music and leave it there. But after several sittings with the album you start to pick out drones that you hadn’t noticed before, or the processed tapes that might seem more akin to Grouper than Philip Glass.

When Bing & Ruth played Acud Macht Neu last year the setting was perfect: intimate venue, small crowd, pillows on the floor, the tone was set. As the musicians on the stage drifted forward with their set, all eyes were on Moore, leaving the crowd with the notion that he was incomplete control of the compositions without having to give anything away, this is how No Home of the Mind feels.

Bing & Ruth will be playing the Grüner Salon on May 21st.

Max Richter Releases New Video For Modular Astronomy

Earlier this year, German-born British composer Max Richter released his score for the narrative dance piece entitled Three Worlds: Music From Woolf Works on Deutsche Grammophon. The pieces were initially scored to accompany the choreography of Wayne McGregor that are based on three of Virginia Woolf’s novels (Mrs. Dalloway, Orlando and The Waves), but after seeing him perform and speak about these pieces earlier this year in Berlin, it was made clear that Richter penned these not only with the choreography in mind but also telling the stories Virginia Woolf did through his music using the lenses of time and memory.

Richter has released a new video to accompany the piece ‘Modular Astronomy’ that was scored for Woolf’s Orlando. The video was directed by Mark Nunneley at the Babelsberg Studios outside of Berlin and features time-lapse cloud formations and vast cloudscapes in black and white.

We were among the lucky attendees at Säälchen when Richter performed last month. If you weren’t so fortunate, check out the video below and pray to the ambient gods that he plays Berlin again soon.


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Slow Forever

We’re approaching a year since this was released, but Schmutz didn’t exist then and this is an album we really wanted to talk about. A long hiatus coupled with a lineup change usually proves fatal to a band, but Cobalt proves to be an exception on its latest record, Slow Forever, which is at least a return to form, if not their strongest release of all. The departure of the band’s founder and former vocalist Phil McSorley following a fairly epic social-media meltdown did not bode well, until news arrived of his replacement by the appropriately monstrous Charlie Fell (ex-Lord Mantis). Multi-instrumentalist Erik Wunder handles the rest with panache, all the way through nearly 84 minutes of material spread across twelve tracks, with zero filler. The overall approach and sound harkens back less to 2009’s Gin than 2007’s Eater of Birds, a hearty heavy metal stew that did not shrink from milking a good riff for a few extra bars or paring back the blast beats to lend a more dynamic structure than your usual black metal record. In other words, Slow Forever is a headbanger whose stylistic debts range all across the world of extreme metal, but has its own distinctive grooves—and it does groove, recalling Tool more than Marduk—and savage ambitions. Despite Cobalt’s earlier successes, 2016 is a much kinder year for such an album than 2007 or 2008 would have been, and so it is no accident that many consider Slow Forever amongst 2016’s best—if not the best—metal release. They are right. Hail Cobalt redivivus!


Gottlieb Brenner is a Berlin-based Schmutz contributor. He enjoys kabusecha, gin, and believes “Superunknown” was the best album of the ’90s.

Who is Schmutz?


Who’s asking? Who are any of us, really? I have yet to see substantiated evidence that you aren’t all figments of my reality simulation. Or we could all be some sort of Westworld-esque, sexy robots, teetering on the brink of self-awareness, insanity, and an inevitable murder spree. All that aside, music is our life (Lives? Musics are our lives..?). Music is really important to us. We have other things going on, but at the core of it all, music is what keeps it all together. You know when the looming awareness of your existential insignificance starts to creep in? Music helps us tune all that nonsense out.

Two native daughters of Cascadia.


Live music of all kinds, as long as it’s good. If it’s happening in this city, we want you to know about it. We indiscriminately love black metal, rnb, pop, powerviolence, etc.


The trigger point for this site was the regular occurrence of walking by a flyer on the street for an amazing band, only to see that the date for the show had past.  If we had a euro for every time this happened to us, we could finally afford to start paying our Deutschland Radio bills. Perhaps more importantly, we consider this a sort of civic duty for the city we love.


We’re right behind you. Shhhhhh.

Liebe Gruße,


The Dirt
Life Will See You Now

The brilliant pop lyricist from Sweden, Jens Lekman, is back with his first album in five years, Life Will See You Now. As always, Lekman is unreasonably witty while never fully letting you wash the bitter taste of melancholy out of your mouth. With the first (rather tropical feeling) single from the album, “What’s That Perfume You Wear?”, Lekman recalls the scent of a former lover, whom he guesses he still loves.

Although this is Lekman’s first studio album since 2012 (out on Secretly Canadian), he has been busy. In 2015 Lekman wrote and produced one song per week for the entire year, the series is entitled “Postcards“.

Jens will be playing at Silent Green on April 18th, 2017.

Ty Segall

With his second self-titled album, Ty Segall doesn’t stray from his glam-garage formula, something we can all be pleased about. Ty has always had an affinity for bringing two of the best 70s sub-genres to the fore of his music, but with his first release of 2017 he proves that his love for Marc Bolan and Sabbath might be getting closer to perfection.

With the help of the likes of Steve Albini and Mikal Cronin, Ty gives us his ninth studio album and his sixth for Drag City. Segall is playing Berlin’s Astra Kulturhaus on August 24th, 2017.

Fun facts: this album was released on my 28th birthday and Ty Segall will be playing Berlin on my mother’s 58th birthday. Alles gute mutti, Ty and I love you.

You Know What It’s Like

On her solo album debut, You Know What It’s Like, Berlin resident Carla dal Forno occupies a curious space between minimal pop and experimental electronics. Each song builds on itself while building on the song before it, lending an eerie yet familiar haze to an album that seems to have been recorded to listen to while walking alone on a crisp Berlin night in autumn. As if challenging its listeners, one of the album’s first singles is cuttingly titled ‘What You Gonna Do Now?’, beckoning its audience to occupy a (head)space dal Forno has created for us.

You Know What It’s Like is out on one of Schmutz’s most beloved labels, Blackest Ever Black, formerly holding court in both Berlin and London, but recently moving all operations to London.


The Synarchy of Molten Bones

In the greater scheme of things, the formula for metal can be relatively restrictive. This is evident in the ambiguous subgenre tags given to any band that challenges the standard confines. Not to say that “Atmospheric avant-garde black metal” isn’t an apt description of Deathspell Omega, but it probably comes across as gibberish to normal folk. 

The Synarchy of Molten Bones should make a lot of veteran DO listeners happy. While in some ways it picks up where Paracletus left off, you can also detect a nod to the visceral fury that came through on 2007’s FAS.  Their composition style might be characterized by how chaotic it sounds at first listen; an overwhelming assault of time changes in an sea of tritones. But those with time and a tolerance for dissonance are rewarded with the catchiest of microgrooves and melodies, which are made even more infectious with the power of contrast. For fans of Gorguts, Nietzche, and getting lost in a forest on mushrooms.