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You used to run the label Freundinnen during the naughts. I was then a regular at Panorama Bar when it opened and moved to Berlin two weeks before the new Panorama Bar was opened. When Thilo Schneider from Groove Magazine discovered a weirdly named Gay Pride party with Daniel Wang and myself in Mannheim, Daniel’s first gig in Germany ever, he was curious and got in touch with me and soon after I was booked for Dance With The Aliens at the Ostgut in Berlin. Unfortunately, the whole company went bankrupt and the next record I wanted to release, Isolée’s It’s About, became the first release on Freudinnen. I jobbed at Humpty Records and also at the record company UCMG where I had the chance to start a label. About one-and-a-half years later I was somehow fed up with Frankfurt and moved to Heidelberg/Mannheim. I left Delirium in 1997 and started selling records at Freebase Records. Heiko and Ata offered me a residency at their weekly Wild Pitch Club nights in 1996, a bit later a residency at the D800 in Mannheim followed, turning the focus from house into more experimental dance music, electro, etc. So, yes, you can say that working there was a real education for “Techno in the 90ies” which essence I fully discovered later at the HD800 parties in Mannheim, once again through Dirk Dman, Move D, Bouillabass, and Alex Cortex. At the store, I worked with Heiko MSO, Roman Flügel and Jörn Elling-Wuttke (of Alter Ego/Acid Jesus) who had just founded their Playhouse, Klang Elektronik and Ongaku labels with Ata. Yes, TECHNOclub! I was an EBM/indie/gothic kid that crossed over through Acid House and now liked Warp & Rephlex, Pop and Indie music and countless American House labels. Before, I was a regular at Talla 2XLC’s Technoclub that was running since 1984. Techno ended for me at a time when “James Brown Is Dead” came out – and the Techno referring to Mills, Hood, Plastikman etc. And how long then before you got into other parts of the industry (DJing/working at and running labels)?įunnily, I was totally not into techno at this point. That must have been a real education working there.
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He asked me if I wanted to work in the record store and I said “Ehm, yes!?!” And Ata happened to have the best club-wear store with a record store attached in the basement. I was jobbing for a German club-wear label called “Sabotage” near Heidelberg, who were deeply involved in Germany’s techno and house scene at the time - and Dirk was their resident DJ. This party was melting together very different scenes and soon became the place to be on a Sunday afternoon. Ata (formerly of Playhouse Records and now Live At Robert Johnson) discovered my sets at my friend Dirk’s weekly Sunday tea-dance party at the Intimbar in Frankfurts red light district. Was your start at the Delirium store your first post in your musical career?īefore I started working for Delirium at the end of 1994, I already had DJed for about three years officially in public. Blancmange, “Blind Vision” (Dub Version) ġ3. Daywalker and CF, “Side Supersonic Transport” ġ2. Dave Aju & The Invisible Art Trio, “Good Gawd” ġ0.
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Leon Vynehall, “It’s Just (House Of Dupree)” Ġ9. Wesley Matsell, “Dowlais Wheelie Crew” Ġ7. Carter Bros., “Jamaica Burning” (Version 2) Ġ4. You also need to have JavaScript enabled in your browser.Ġ1. He also mixed our 197th exclusive podcast which shows off his incredible talents as a DJ an hour of house and techno mixed with a few early influences too.ĭownload LWE Podcast 197: nd_baumecker (62:22)Īudio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. We got in touch with Andy to find out when we can expect to hear more from the pair, if he plans on releasing any of his own tunes and who else he is working with in the studio. Though output from the duo has been only occasional to date, its high quality has kept fans of their work anticipating new releases. Though he has had a couple of credits to his own name, it is with Sam Barker that he is best known their Barker & Baumecker project has so far generated a handful of releases including the very impressive Transsektoral album in 2012. From DJing and producing to working in a record store and even running a couple of labels, Baumecker’s exposure to the music he loves to make has been intensive and varied. On paper Andy Baumecker has only been putting out records for a few years, but his limited discography belies a wealth of experience that stretches back more than twenty years in the music industry.