What Does Techno Mean to You?

(From Reddit)

"Techno is like an oil change for my soul. It's a connection to my youth and it keeps my spine aligned because it's all killer and no filler."

"For me techno means freedom, no lyrics to tell you how to feel, just music and pure emotions. Thats why i love techno, cause you have so much space for your interpretation, your own story."

"Techno is a vehicle by which I can explore myself on the dance floor - drifting through my life and musing about my future."

"Techno is the expression of my creativity thru the adaption of technological means."

"It sounds like music that really fucked up robots would make and it sounds dope as fuck. I love the energy of the genre and progressions in sounds. It feels like listening to a sort of classical music that really pays attention to detail. It's not super complicated, I just love hedonistic bangers"

"I love techno because, to me, it’s about creating a massive landscape with which to immerse the listener in. You’re not just playing simple grooves and melodies on a loop with some ups and downs on clean drum samples. It’s distorted and gritty. This music is extremely powerful, intelligent, thought-provoking, and is always pushing the boundaries of my imagination, through synthesizers and syncopation."

Berlin's Techno Clubs

Today Berlin has the reputation of still having some of the best techno clubs in the world, many
of which started off as illegal raves before establishing themselves as proper venues. The
clandestine beginnings of many if these clubs is kept alive by strict door policies, which get
circulated almost like urban myths. For example, a friend told me with full sincerity that you are
more likely to get into Berghain if you are wearing a scarf, and she knows this cos she heard it from
someone who knows someone who got in wearing a scarf...

Berghain is so notoriously difficult to get into that there are memes about it, including this website which
‘trains’ you on how to get in

https://berghaintrainer.com/

I also found this instagram filter which analysed your face to see if you would be allowed in or not, and things like this boost the feeling of exclusivity the clubs have - it's basically become a joke.

NO PHOTOS PLEASE
 “Most clubs have a no photo policy to make sure you’re living in the moment and not worrying about if you look like you’re having a good time in your selfies, but just concentrating on having a good time in real life.”

"Because while photography is a central part of nightlife in other cities, in Berlin, most clubs have strict rules against taking pictures. There are two reasons for this: to allow dancers to lose themselves in the music without distraction and to protect clubgoers' freedom and privacy.

It's the kind of liberty we've come to expect from German's capital. After the Berlin Wall fell in 1989, young squatters, artists, gallery owners, and DJs from the East and West took over the city, filling empty buildings, factories, and vacant lots with life. Clubs, bars, galleries, and studios began popping up everywhere. The club and cultural scene became the driving force behind the city's rejuvenation, pointing the way for a new generation of young creatives."

I went to Tresor (one of the techno clubs in Berlin) a few years ago and snapped a photo of my friend inside on my film camera, and I managed to get away with it. I could incorporate this into my work some how. Here's the photo:

'28 Looks That Will Get You Into Berghain' - There are countless articles like this online, some of
them serious and some more satirical - either way, it shows how much of a cultural 'meme' Berlin's
club's policies and exclusivity has become.

From xceed.me

 

Why Is Techno So Successful in Germany?

Short history of Techno in Berlin

From technostation.tv

“In opinion of many techno fans, especially the younger ones, Berlin is the centre of techno music. And the story is starting at the very beginning of 90s.

After the fall of the Berlin Wall, the people once divided united, and a culture of unity presented into sub genre of electronic music never seen before. Fans of electronic music at parties and raves promoted freedom and hedonism, and after a short while it was unstoppable movement. Abandoned buildings were turned into temporary clubs and DJs became the stars of the hour. What is now Berlin’s primary reputation took a long time to flourish. Here is how Berlin became the undisputed capital of techno.

Techno originated from Detroit, it was developed there in late 80s. In opinion of many, new machine sound was also inspired by German band Kraftwerk. Techno came to West Germany at the very end of 1980s. After the fall of the wall, many abandoned buildings were taken over by young people who organised illegal raves. Power plants, bunkers, hangers and underground stations became temporary clubs. The relief and freedom after the reunification was celebrated with nonstop parties and flourished through the strong gay, art and underground scenes. Young people from East Berlin were pushing a much harder electronic sound — no vocals, harder basses.

When it comes to club culture, Tresor, Der Bunker and E-Werk played a major role in the establishment of techno music and club culture in Berlin. Tresor started as Ufo Club and was an illegal party for more than three years. The venue of today reopened in 2007 in Mitte. Der Bunker is now closed, and E-Werk is used as a general location venue these days.

This culture remains and even today many of the people who started illegal raves after the fall of the wall own most of the successful Berlin techno venues. They understood how to turn their illegal activities into successful business opportunities. Knowing how to satisfy the music lovers from the early days, they built up a club scene where everybody can feel at home and be who they are.

The important event for techno in Berlin that established it as contemporary capital is Love Parade. It first took place in July 1989 in West Berlin with 150 people attending on the initiative of the famous Dr. Motte. The Berlin Love Parade was one of the greatest street parties ever that grew over the years gathering more than 1,5 million attendees.

Nowadays, Berlin is the place where some of the most famous clubs in the world are located. There is not an electronic music fan who hasn’t heard of Berghain, club that became more famous than its predecessor Ostgut. Each club has its own vibe, its own people and label. For example, Berghain-goers favor darker, more raw industrial techno than Tresor-goers who go there for the Detroit techno. Techno clubs in Berlin do not have a closing time. What happens in the morning hours is called ‘after hour.’ You can dress any way you want — there is no dress code etiquette.

Even today, there are no comparable clubs elsewhere in the world. Clubs, which are open the whole weekend nonstop, are home to many freaky music-loving individuals who come together to celebrate life. Even big promoters such as HYTE are throwing events in Berlin’s abandoned warehouses keeping the spirit of raves alive today.

And if you really want to know the history of techno in Berlin, its on the dancefloors, inside clubs walls and in the music you can hear from German artist. The best way to learn the history is to be a part of it and join the crowd on the dancefloors.

HOW THE FALL OF THE BERLIN WALL FORGED AN ANARCHIC TECHNO SCENE
from mixmag.net

For almost three decades, a brutish man-made barrier divided the city of Berlin. The German capital was split between East and West, in the hope of divorcing a capitalist ideology from a socialist enclave.

This metropolitan membrane stood strong from August 1961 until November 9, three decades ago, when it all came down.

What followed was an era of political and cultural unification. East and West Berliners were now Berliners, free to roam as they please. Clusters of previously corporate-owned buildings were rendered abandoned around the fallen wall, housing the birth of an anarchic electronic music scene that would go on to garner eminent status around the world.

In light of this anniversary, I’ve spoken to those who lived through this period of change to gain an understanding of how, and why, political unrest can prompt the production of such powerful music.

RESIDENT AT TRESOR & E-WERK AND WORKED AT HARD WAX RECORDS - DJ HELL

“In the ‘80s we believed in a so-called "no future generation”— Berlin was a Mecca for outsiders, punks and different-thinking people. Early ‘80s German punk and new wave music was becoming very strong — it was the first time innovative experimental music was in the spotlight with German lyrics. The music scene was very radical at that time. Lots of people in Berlin weren’t fitting into society and created their own world.

“I was in Bavaria when the wall fell. It definitely helped to grow the scene. Suddenly there were thousands of young people from the former GDR celebrating their freedom.

“Techno music in Berlin was political and totally against the system. Most places or clubs had no license or any contract, so it was all illegal — everybody could do it with a sound-system and some DJs. The alliance of American techno producers and DJs was born at Tresor — they booked DJs from Detroit, Chicago or NYC. The music was new and revolutionary. Underground Resistance (Jeff Mills, Mad Mike, Robert Hood) had a big impact on everybody in Berlin. The Berlin-Detroit connection was very strong and influenced everybody involved.

“East and West people were creating a new musical and political haven of electronic music and nightlife which today rules the world of techno. Techno was exploding in Berlin and the unification took force all over. East people became DJs, bouncers or dealers, and brought in a wave of unstoppable power — the party hasn’t ended since 1989.”

MEMBER OF ELECTRONIC DUO TERRANOVA - FETISCH

“I was born here, and after spending time away, moved back in 1979. Berlin didn’t have a Johnny Rotten or Mick Jagger, but it made up for it in its musical technology, with interesting bands like Malaria — although I did in fact meet Iggy Pop and David Bowie when I returned to Berlin.

“In 1988 I moved to London, which is where I was when the wall fell. My friends in Berlin told me that East Berlin was very claustrophobic before this

“I didn’t see a musical difference between people from East and West Berlin – I just saw people who were into electronic music and those who weren’t. In nightclubs, it was as if nothing ever happened.

“After the wall fell, you could go out without a penny and it just worked. There were no bouncers or rules – anything kind of went. You could just start something.

“Those responsible for Berlin’s scene after the fall of the wall are Tresor and their Detroit connections, Westbam, Gigolo Records, Kompakt from Cologne and Planet club (which is, to this day, one of my favourites). I think Berlin wouldn’t be Berlin without all the foreign people who live here.

“Politically, I’ve always been against government. For me, anarchy is about deciding who is responsible for what, and if they fail you, they lose that position. The politics of unity and interaction would be the politics of nightlife."

DJ AND FORMER RESIDENT AT TRESOR & E-WERK - ELLEN ALLIEN

“It almost felt like living in a cage. When the wall came down, I did not believe it. I cried like crazy, it was like a dream. It was a celebration of freedom, like somebody coming out of a prison – I explored East Berlin straight away. It was so different.

“I started playing at Tresor in around ’96 — Tresor is my godfather, my mentor. Acid house actually came first from the UK and America. It was the new underground sound. Then that sound became more minimal, harder and faster, and techno started.

“Young people from East and West wanted to meet each other, and we celebrated our togetherness in the club - we became one. Without the divide in the first place, the club scene would not be what it is today. It would not be as compassionate as it is now. Berlin club owners were really passionate – they had ideas about free-form living. They loved what they did – it was a lifestyle. This energy comes from the political situation.

“Clubs like Planet and E-Werk were really important for the scene. Kiss FM was also really important – there was a mixture of pop, techno, drum ‘n’ bass, breakbeat. Monika Dietl, in ‘89-early ‘90s, was super important. She played all the hot shit on her radio show; she was the angel of the scene. I remember asking my boyfriend “What kind of music is that!?” She had a fantastic selection."

FIRST ARTIST TO PAINT THE BERLIN WALL - THIERRY NOIR

“I came from France to Berlin in 1982, and everybody I met was an artist. I started to try to prove myself as an artist there. After two years, I started to paint on the Berlin wall – it was such a melancholic life. It was an emergency act, and it changed my life.

“Punk and new wave had similarities to street art. All the punk girls had rats on their shoulders, and they changed the colour of the rat to match their hair each week. It was very hardcore. All those guys live with their heart – musicians, painters, designers – that movement was very strong in Berlin.

“When the wall came down, we realised there were creatives in the East, too. The two groups merged together.

“I think art accelerated the fall of the wall – it showed the world that it’s not normal to have a big border like that in the middle of the city. This mutation of the border was shown on TV, and the government had to react to it. It was very important that it happened.

“I was happy when the wall fell – it wasn’t an art project for me. It was great to see it gone. The scene was so strong. We were underground fighters all together.”

DJ AND FOUNDER OF LOVE PARADE FESTIVAL - DR. MOTTE

“I’m a born Berliner – I grew up in a city surrounded by a dark age. As a West Berliner, we felt somehow ‘cosy’ – a big city with lots of space, but not many people living there. We didn’t focus on the wall that surrounded us, we focused on having a good time. To me, a wall was what characterised a city. I never felt locked in.

“Berlin nightlife had no curfews after the war, and because of this we had a lot of people who wanted to have their freedom rather than go to the army. We wanted to have our liberty, our free spirit. West Berlin was filled with artists, painters, musicians and writers. It had a similarity to the way of life in New York.

“When it came to Love Parade, I was together with an American girl called Danielle de Picciotto. We talked about how we wanted to create a Mardi Gras-type event: a street carnival. My friends had been telling me about underground illegal parties in English cities like London, Manchester and Sheffield – about how somebody just switched on a ghetto-blaster and started dancing in the street. This is what Danielle and I liked. Our solution was to put on a dancing demonstration march, and when it happened it gave me goose bumps. It was initially quite an esoteric event; we wanted the music to last forever, and this, with the power of the ecstasy – I’ve never felt anything like it before. Ecstasy was the drug of togetherness.”

NATIVE NEW YORKER, WORKED THE DOOR AT PLANET CLUB - MAC FOLKES

“I considered Berlin, then, to be a backwater outpost for draft dodgers, gays, punks, artists and crazy people. So somehow, I fitted in, but I did miss the opportunities for glamour that were offered in NYC.

“The music scene gave the youth something they could build together and take equal ownership of."

In response to being asked what it was like to be homosexual at that time:

“Berlin, for me, has always been a free, open and liberal city. As a so-called West Berliner, I didn’t really feel a freedom change. I am fairly certain that if you posed that question to an East Berliner you would get a very different answer.”

Upon returning to Berlin in 1988:

“Little did I know that the geopolitics of the world would shift, and I would somehow play a small part in the resurgence of Berlin. Several months later the wall would fall, techno took its grip on the youth, and as they say, the rest is history."

FOUNDER OF THE FIRST TECHNO/TRANCE LABEL (MFS), PROTAGONIST OF LUST & SOUND DOCUMENTARY - MARK REEDER

“I went to Berlin in 1978 to search for records, and found this totally fascinating, unknown place – especially the East: nobody went there. I discovered this fledgling, wannabe punk-rock scene. You weren’t allowed to be punk – they saw it as the failing of capitalism, and they didn’t want people to think that communism had also failed.

“I had access to all this Western music that those from the East could only dream of, so I recorded my record collection and smuggled it into East Berlin. In the eyes of East Germany, I was considered ‘Subversiv Dekadent’. They were intrigued as to what my agenda was –- but I just wanted to alleviate their misery.

“West Berlin was avant-garde – creatives, transvestites, gays and others could live a normal life there. The scene that I discovered was one of expression –- the mindset was radical. The idea of a dual city definitely spurred bands’ creativity.

“Joy Division elected me as their representative to sell their records in Berlin –- I’d go to the shop that Gudrun Gut worked at to sell them. I ended up becoming the manager of her band Malaria! and travelled around Europe with them. Soon after, I became the sound engineer of Die Toten Hosen, Germany’s leading punk band, who I smuggled into East Berlin for an illegal concert disguised as a church service. This created a whole ripple through East Berlin of kids who wanted to be in punk bands. Prohibited music, like illegal drugs, had a kind of natural allure to it.

“In 1989, the band Die Vision asked me to produce their album – I was sat in a studio, as a Westerner, while East Berlin was falling apart all around us. We finished recording on November 2, and on the 9th the wall came down. It made me the last Westerner to produce an album in East Berlin.

“The city that we left on November 8, 1989 was not the same city we returned to. Berlin was suddenly freed up of war – this feeling of peace was essential. With peace, instead of throwing hand grenades, you can dance to records.

“When the wall came down, all these derelict buildings on the border suddenly became locations for illegal parties. Before this, there was only Ufo club in Berlin. It was also the first time East Berliners could take drugs –- ecstasy emerged, and this feeling of unity was available for the first time.

"It didn’t matter where you were from, the colour of your skin, anything. The reunification of Germany happened on the dancefloor.”

______

These above articles give us an insight into why techno was and still is so popular in Berlin - it wasn't just that people liked the sound of the music, it was that this music accompanied a liberty which Berliners hadn't had in decades. All of a sudden, oppression was lifted and the East and West were allowed to mix. People suddenly had the freedom to go where they wanted, dress how they wanted, and dance with whoever they wanted to. This liberation was a catalyst for the rave culture which took over Berlin and saw people coming together to dance, take E and party for hours and hours. For the first time in a long time, it seems, people felt pure joy.

Music Genre

I have chosen German Techno for my music genre.
The 2 songs on the vinyl are:
Ellen Allien - Free Society
Dr. Motte & Westbam - One World One Love Parade
I chose these songs partly because of their names: I feel like the names are very representative of the ethos of the Berlin techno scene. I also chose one modern song and one from the start of the movement.

Definitions of techno from the internet:

Techno music uses synthesizers, keyboards, samplers, drum machines, and sequencers. It is generally repetitive instrumental music with a 4/4 beat. It features a bass drum on every beat, a backbeat played by snare or clap on the second and forth beats, and an open hi-hat on every sixteenth beat.

One of the main characteristics is looping of tracks and sounds. It also has a consistent pulse. Some of the instrumental sounds include drum machines, synthesizers, and digital audio workstations.

Techno & Germany
Born in the 80s - came over from Detroit, influenced by German band Kraftwerk.

“After the success of house music in a number of European countries, techno grew in popularity in the UK, Germany, Belgium and the Netherlands. In Europe regional variants quickly evolved and by the early 1990s techno subgenres such as acid, hardcore, ambient, and dub techno had developed.”

"thunderous industrial tones of Germany's famous techno music scene"



mind map on Berlin techno based on research

406 Briefing

independant brief: music
group brief: exhibition branding - 1 week
2 x sets of design boards

micro genres of music

final outcomes will be exhibited

deliverables:
physical portfolio - sketchbook, test prints
6 x design boards - music
7x design boards - branding
7" record sleeve
A1 Flag celebrating the genre

-buy some second hand 7" records - examine packaging
-decide which 2 songs are going on your record
-sleeve needs minimum of 2 colours (screen printing)

consider:
inside of the sleeve
additional packaging - inner sleeve, stickers, poster, zine, etc...
paper stock - needs to be strong
cut outs in sleeve?
label on record
plastic outer sleeve?
push the project as far as you want to - make jewellery, make a music video, use AR
how to break the rules
how methods you use relate to the genre

Research:

Record Design:
Jason Vaz
Diagonal Records
Malcolm Garret
history of record sleeve design
Vaughn Oliver
Goaty Tapes
Bandcamp
Posh Isolation
BAADM Records
record shops
Boomkat
Trilogy Tapes
DR. Me
David Rudnick - scratch off record
PAN records
Vienna Press

Flag Design:
Metahaven
Damien Poulain

explore text and image, both combined and separatley

collage
digital illustration
hand drawn illustration
photography
-make something and photograph it

In what way does the micro genre help us understand some wider issues about society that created them
music is a response to issues
what emotions does this music evoke
how do people dance to it
what venues is the music played in

study task 1: draw the music
study task 2: 7" type setting
study task 3: coat of arms

primary research: stuff you collect yourself, collecting things, interviewing people, taking photos
secondary research: finding already existing information

Module Evaluation

Strengths and weaknesses of the brief

A strength of the brief was having limited book choices - had we been asked to redesign a cover for any book we wanted to, I think I would have probably stayed within my comfort zone. By being forced to choose a book I didn't really have much interest in, I was forced to think more creatively to come up with a solution. It's also good practice for working post uni - in reality, as a graphic designer I will probably be given countless briefs I'm not super passionate about, however that is no excuse for not putting in 100% and producing the best work I can.

What Strategies and ideas used in creating imagery can you use in the future? What do you think are important considerations when creating imagery?

Although it was unsuccessful for this brief, my idea of appropriating imagery from school textbooks could work well in the future - not necessarily textbooks, but by showing a viewer something which is recognisable to them in a different context, this is a good was to pique interest.

Another technique is 'a smile in the mind'. I don't think I was able to achieve this in any of the work I created for this brief, however in the future it is something I will always consider when creating work.

What have you done differently? Have you taken enough risks in this project?

What stage in the design process do you find the easiest/hardest? Why?

I think I find the easiest stage to be researching other designers and analysing their work - I like figuring out what the designer was thinking when they made a piece, how they did it, and how I can apply similar process to my work.

I think the most difficult part of the process for this particular brief was coming up with a concept for the book cover - although I had loads of ideas at the start, none of them were particularly original and it took me a while to come up with a concept I was happy with.

Do you feel you have achieved your potential in this module? How can you improve? What has prevented you from doing your best? How can I address this in future modules?

It is always difficult for me to assess whether or not I have done my best as I am extremely harsh on myself. I am certainly proud of the work I have produced in this module, even though a lot of it is pretty ugly I was able to persevere despite feeling lost several times.

Have you used the facilities available to you?

Yes, although most of my work for this module was digital, I have used different paper stocks, scanners and many random objects found in our room such as string, plastic spoons etc.

Feedback

This module was difficult as it challenged my creative thinking more than my physical skills. It is fairly easy to create a piece of work which is trendy and aesthetically pleasing, but having a fully realised concept takes a lot of time, research and brain-storming. However, I enjoy being pushed to work harder and I think this module succeeded in doing this.

Workload

The workload was manageable for me, I just needed to accept that a lot of the process was going to be time consuming and plan accordingly. I think because I have already completed 2 modules this year, I now know what format they follow and know what to expect. 

Final Cover & Designer Inspiration

I have combined one of my previous ideas with my current type focused idea. By adding in the black hole diagram, it is clear to the viewer that this book has content on space/ science as a whole. I am opting for the neon green on black as it is reminiscent of late 90s/ early 2000s science aesthetic - as the book was originally published in 2003 and scientific advancement has since disproven some of it's content, I think it appropriate to give it a slightly dated yet still contemporary look, to indicate to the viewer this is not a brand new book.

Penguin said they would like to bring this book to a new audience - by opting for such an extreme eye catching cover, I have captured the interests of younger generations for whom this early 2000s CGI aesthetic is all the rage - it can be found in album artwork, all over Instagram, on t-shirts etc...

the work of Raf Rennie often incorporates shapes which look taken straight from retro scientific diagrams.



David Rudnick uses experimental type to create contemporary work with a space age feel to it.



Hassan Rahim uses processing techniques on images such as inverting them and adding texture. This contrasts against the usually black backgrounds of his work.

All of the designer's above produce work which borrow heavily from retro aesthetics but are still clearly contemporary and innovative. By using similar visual language to them,  I have achieved the same effect.