It’s now been 29 years since the founding of Tresor Club in Berlin, a ground-breaking moment in international techno history, and we can’t thank our fans and our family of artists enough for the continued enrichment of the house/techno scene! In March 1991, like-minded electronic music talents from Berlin and around the world jammed in an abandoned department store treasury, helping to carve out a new form of musical art: techno. Inspired by the Detroit masters, many of them shuttled between the Motor City and Berlin, creating masterpieces that were set on vinyl on the ensuing Tresor Records. Tonight for Pt. 1 of our birthday celebration we welcome back Ectomorph. Founded in 1994 as a reaction to DBX, Basic Channel, Rob Hood, Sähkö and Drexciya, Ectomorph released their first singles in 1995 as an attempt to make Detroit music for Detroit itself, not exclusively for export. The mystique of their early singles led to mythic status and a strong underground cult following, which they have continued to develop through releases on their own Interdimensional Transmissions label as well as remixes on many high profile labels. Now the Ectomorph show is all analog, no computers or samplers or even drum machines, all the sounds come from the modulars and the mountains of Moogs. The 2016 reconvened Ectomorph (now officially comprised of BMG & Erika) released an album on Interdimensional Transmissions, presented in its natural and organic format, live and improvisational. Tonight we also welcome back maverick Sherard Ingram aka DJ Stingray who has been an active member in Detroit’s electronic music community for nearly 25 years now, stretching back all the way to his first release as NASA on cult Detroit imprint Express Records alongside Scan 7’s Trackmaster Lou. Never shy of a collaboration, Ingram spent much of the ’90s teaming up with Carl Craig, Anthony ‘Shake’ Shakir and Kenny Dixon Jr. to create a rich downtempo sound as Urban Tribe on James Lavelle’s Mo Wax label, with culminated in the release of 1998’s much-lauded The Collapse of Modern Culture album. He was then recruited to be the tour DJ for Drexciya in their final days, taking to the decks as DJ Stingray and masking his face from the audience, something he continues to do for all of his DJ appearances. If there’s an artist to successfully traverse the treacherous divide between drum and bass, breakbeat and techno it’s Christopher Jarman’s prevailing alias, Kamikaze Space Programme. With roots indebted to the music he released on labels like Renegade Hardware and Hospital Records back in the day, his abstract, field recorded, industrial and broken admission into the annals of techno has seen his music backed, supported and released by the heaviest of renowned labels. Following its debut on Deca Rhythm, Kamikaze Space Programme has joined the dots through a constellation of labels inhibiting a grey zone between UK club music and steely warehouse techno. Capturing internal resonances and electromagnetic radiation of objects, re-amplified or organic, classic hardware dub mixing completes the Kamikaze Space Programme aesthetic. Encompassing the most brutal of industrial sound design alongside intrinsic field recordings and the sleeker, low tempos and frenetic energy of jungle, breakbeats and drum and bass, Jarman’s ability to maneuver between genre and style sees the music of Kamikaze Space Programme defy classification while spiralling from one nether-spectrum of sound to the next. Hip hop perked the interest of Detroit’s Craig Gonzalez to vinyl at a young age, and underground parties in the 1990s soon catalyzed a lifelong fascination with DJing. His collection reflects the evolution of music that came up in Detroit across decades, including techno, house, minimal, dub techno, and plenty of hip hop and funk. He was a part of the Detroit Bachelor DJs collective with Derek Plaslaiko, and has played with top artists in his home town. Craig Gonzalez’s collaborative skills were heightened at Solar in Ann Arbor, where he shared a residency with Stacey Pullen, and played a four turntable tag set with Carlos Souffront in support of Craig Craig and Kenny Larkin. Influenced by the Mike Huckaby’s depth and the hypnotic craft of Donato Dozzy, Gonzalez has honed his own style from a global network of like-minded artists. In Globus: Dopplereffekt debuted in 1995 with a mini-LP for Detroit’s Dataphysix label, then released two EPs for the label during 1997: Infophysix and Sterilization. The countless German references reflect the group’s fascination with the classic Kraftwerk sound. After “Sterilization” was included on several mix albums, DJ Hell contacted Dopplereffekt and released the Gesamtkunstwerk compilation through his international Deejay Gigolo label in 1999. The alias Japanese Telecom emerged in late 1999 to release the Rising Sun mini-LP through the once Ann Arbor-based Intuit-Solar Records. We also welcome back Niels Luinenburg aka Delta Funktionen, whose tracks on Field 02 and 04 are delicious techno works of intricate, moody forces. Also a resident at Amsterdam’s LET – les enfants terribles – Delta Funktionen is content to go about his business quietly, and the Dutchman now spins a genre-defiant blend of Detroit techno, Chicago-licked house, crafty old school electro and sparkling Italo disco at clubs around the globe. Carlota is a composer, music producer, live performer and DJ based in Berlin, and debuted in our club on a New Faces night last July. As her exploration progressed through compositional, music production and live performance direction, Carlota devoted her work flow to generative processes on the modular synthesizer. With this anachronistic yet futuristic instrument at her disposal, she feels her role to be a selfless conductor of the analog orchestra, losing any illusion of control — yet intuitively expressing and guiding a musical conversation. Her first release was on трип, contributing with two tracks to the label’s newest compilation “Happy New Year! We Wish You Happiness!”.