08.09.2018: Blasted w/ Vali NME Click @ Lauschangriff

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Samstag, 8.September 2018

Hello drum'n'bass headz.
After almost a year, Vali NME Click will join us again to play some of the finest dnb music from the past and the future. ___________________________________________________________________
♪ ♫ ♬ DNB music off all colors, ages and moods ♪ ♫ ♬
♪ ♫ ♬ REFRESHING welcome-drink for 30 first guests at the door ♪ ♫ ♬
♪ ♫ ♬ FREE kicker ♪ ♫ ♬
♪ ♫ ♬ SICK absinth bar ♪ ♫ ♬
♪ ♫ ♬ SOFAS for those who need to get some rest between the filthy tunes ♪ ♫ ♬
➡ Vali NME Click (Parallax / Echoes From The Future)
- https://www.mixcloud.com/valinmeclick/
➡ Molecular Structures (Med School, Basswerk, Absys)
- https://soundcloud.com/molecularstructures
➡ Motul
- https://soundcloud.com/motul
➡ DJ Agem
- https://soundcloud.com/djagem

➥ RA Event:. https://www.residentadvisor.net/events/1154789
➥ FB Event: facebook.com/events/1902510476720855/
➥ SC: https://soundcloud.com/blasted_dnb
Music starts at 22:00
Entry: Donation


DJ Agem - Set from Klubovna, Prague 30th April 18 : https://soundcloud.com/djagem/cary-v-k-30th-april-2018-klubovna-prague

Bild von agem

After almost a year, Vali NME Click is joining us again at our favourite bedroom-cellar Lauschangriff! The Parallax Recording honcho might be playing some fresh jungle-techno, hardcore and darkcore music, giving our party a bit of a futuristic retro-feeling!
Apart from Vali, get ready for our crew in full numbers. We will be playing late 90's / 00's techstep, some liquid classics and also some super fresh tracks, since 2018 has been a nice nice year!!!

Read our interview with Vali from 2016 below!

DJ Agem - Set from Klubovna, Prague 30th April 18 : https://soundcloud.com/djagem/cary-v-k-30th-april-2018-klubovna-prague

Bild von agem

Interview with Vali NME Click from 2016. (Text by Agem.)

One of the DJs on Saturday night will be noone else than Vali NME Click. One of the very first junglists in Germany, part of the legendary NME Click crew hailing from Ulm, after more than two decades still active as DJ and promoter. Apart from that working as graphic designer for some of the most respected drum’n’bass labels around. Since 2015 releasing rare and (before) unreleased hardcore music on his Parallax label. I’ve asked him a few questions...

You have been around since the mid 90’s, … could you somehow describe your musical journey since then? Has your passion for hardcore and this early 90’s sound survived all the time or have you come back to it later on? And how has it all started?
If you play more or less one kind of genre for more than two decades it’s hard to always keep the enthusiasm for the music. Normally you would take a step back, but if you have bookings on a regular base that’s an impossible task. My luck is that, as part of NME Click, I have two mates that I DJ with. There were always times when one pushed the thing more than the other, so it’s a give and take really. This also enabled me to dig into other musical genres, too, and led to doing the Mash-Up thing under the ‚Studioline‘ alias (and the ‚Neon Direkt‘ events) and also the ‚Parallax‘ project that focusses on Hardcore and early Jungle and Drum&Bass. I also love playing Rare and Organic Grooves, Soul, Jazz, Funk, 80ies and 90ies HipHop and the likes as ‚Rowdy‘. To come back to your question: We started DJing with Hardcore and Jungle as ‚NME Mürda Click’ in 1994 and went with the times. By the end of the 90ies I realized I missed the old tunes and started to collect those missing from my collection (remember this was pre-internet and a hard task). I connected with other Hardcore collectors and established to play Hardcore on the second floor on our now defunked ‚Echoes From The Future‘ series. Towards the end of the 00’s I lost the fire for DnB and Hardcore a bit and focussed more on mashing up various styles, that’s when I started the Studioline thing. It grew big very fast, but we soon realized it got out of control. We had 600-1000 people attending the events with just us playing everything we liked. But the people’s expectation grew more and more for a certain style, that trashy 80ies/ 90ies thing. While that was a small part of what we did, it wasn’t the whole picture and nothing we wanted to represent. When the fun was gone I realized it was maybe the break I needed from the D&B world. I started collecting Hardcore again around 2012 and am happy that Parallax - while still being a baby - gets a lot of love and support here in Berlin.

You have come through different periods of the drum’n’bass music movement... what were the most important milestones for you?
I always liked all periods of D&B, some I fell in love with instantly and some grew on me. Nowadays it’s hard to even call it one genre, it’s more of a spectrum of styles at around 170 bpm. I miss the days were DJs played a bit of everything in their sets, but it’s getting a bit better lately again as there is a bit more variation in the styles again.
Musically the most important milestones were the birth of Hardcore as an own style, the dark year 93 that resonated from the more happy but also good 92. 93 was very important with its many variations, I also love 94 for Jungle and the mix of all styles. I loved the first breed of Jump Up and played that a lot, at the same time the TechStep scene arose. I still dig ‚intelligent’ D&B although everyone including me hate that term. When it all got bit too dark and techy by the end of the 90ies Liquid Funk was a breath of fresh air and also the hardcore revival. The birth of Neurofunk then grabbed everyone. Since then not much new happened that I liked. It’s more like D&B is sampling itself nowadays, which isn’t necessarily a bad thing and also normal for other scenes too.
My personal milestones were a certain rave at Halloween1997 where we did one floor with D&B and got attention from a broader public. I just returned from record-shopping in London, back then there was no internet and it was hard to get the hot tunes. You could also say that was the night the local D&B scene in Ulm was born.

What happened then?
I think in March 98 we started our radioshow, I wrote for several magazines, we got booked and finally started our own events in 99. Touchdown was broadcasted live via radio, every event was at a different location, we flew in DJs from other countries and made merch like shirts, hoodies etc. Heiko bought himself a sampler and synths and started making tunes, that got us attention on a wider scale. Önder followed producing and through our events (Echoes From The Future ended after 10 years monthly events with edition 100) we connected with many like-minded DJs and producers. When that ended we started new parties with the Noir series and the Feel! Festival. In 2009 I moved to Hamburg to start working as a graphics designer. I soon moved to Berlin where I reside since 2010 and still do graphics, since last year as a freelancer, for labels such as CIA, Deepkut, Metalheadz, Dispatch, Demand and others. It’s still a struggle, but I love to be flexible, not being forced to make a living from DJing and really love going out and play good tunes again (when I was employed it felt a bit much sometimes).

As for the drum’n’bass genre, we can hear you playing oldskool dnb sets, jungle techno, hardcore - as well as new stuff. Is it still one thing for you or does it feel like being two musical identities?
I normally tend to differentiate between old and new. When I get booked for current D&B of course I might sneak in some classics here and there, but most of the time I keep it upfront and play fresh stuff mixed with stuff from the last 5 years I like. As I think the promoter as well as the crowds expect that from you. I’d love to say it’s all one, but the music is so polished now it’s even hard to play a tune that’s older than 5 years, based on how the stuff is mixed down etc. That said I played Dillinja’s Friday last week in a set of new stuff and it sounded as fresh as anything else icon_wink.gif Jungle/ Hardcore is a whole different world again: Jungle is about 10 bpm slower and Hardcore even slower than that. I love playing long sets where I can take people on a journey: Start with atmospheric tunes, go over to early DnB and Jungle, play some Hardcore and even DNB. But you seldomly get booked for long sets longer than 3 hour. When I play other musical styles I tend to play everything I like in one set.

How do you feel about combining old and new – and generally about eclectic way of thinking, playing every possible style of music in one set – which has become quite popular in the last years. Is it a way or do you stick with finding new ways in the defined genres?
It depends. Within D&B I have a clear vision what I like: It has to be rollin, dark, driving and not too cheesy. I like subs rather than midrange and it has to have that sound system, dubby feel to it. I like if DJs have a certain sound. That doesn’t exclude that you can vary in style, but I think you got to have a signature. I love what is happening right now, the beats and basslines are coming back, the overall Jungle feel. And there’s nothing better than if a DJ blends styles and still manages to tell a story with it. On good days I end up playing mixed styles, but it’s a progression to get there. If the crowd supports you and is on it it can happen, but it’s nothing I plan from the beginning.

How do you build your sets? Is there a specific approach or are you keeping it as live as possible? Which mediums do you prefere?
Tbh I feel distracted from playing different mediums: When you play vinyl you restricted by what is in your box. I also don’t like the idea of bringing my Macbook to a club and do all the plugging for Traktor, but love the medium when everything is fixed. USB on CDJs is so easy to do but then again I feel restricted by what I have on the stick and sometimes it’s so easy that it’s a bit boring. So if I play USB I tend to plan more in advance to have it on the stick with me. With vinyl I just grab what I like and go from there, experimenting and flirting with the crowd, I love that. With Traktor more the same. Usually I plan the first few tunes, try to have something appealing from the start but nothing that restricts me too much, so I can travel where I want to. And then I usually have a few mixes that work well that I can get back to if I’m having a bad day icon_wink.gif

What about playing with an MC (and without)
I love MCs, when they´re good. I really think they add to the vibe of a night out and add that little extra to your set. But I also unplugged/ turned down Mics over the years when somebody just shouted over everything and has no feeling for the music or simply no skills. It really depends. But nothing can replace a good MC on a set IMO. And it belongs to our culture. Lately I saw the discussion a lot, I think people who newly come in the scene should respect it’s roots, this is not just a club music, it’s a culture nearly 30 years old. I just happened to play a set without MC and I thought a very important something was missing.

As a collector myself, I have to ask you about your vinyl property. I suppose you have collected immense amounts of records during all that time. What is all there?
I don’t know, I think it’s not about the amount of records but about the quality what’s in there. I have a healthy amount of styles in my collection, from Jazz, Funk, Soul to Hip Hop, a lot of 80ies stuff, and a lot of Hardcore, Jungle and Drum&Bass from 1989 till now, from the beginnings of electronic music really. I wish I had more Techno and House though, I really have to educate myself in that direction. But I’m saying this since years. I just started to look into Reggae and Rocksteady stuff icon_smile.gif That said, about half of my collection still resides at my parents basement and I’m not sure if I will ever be able to get it over to Berlin, it would be just too much for a flat that you want to live a normal life with your partner in.

Some people say vinyl as medium for DJing is really dying out for the new drumnbass – sale numbers has been dropping, you can see some labels not spending money on proper vinyl mastering and pressing from digital mastering instead, putting ridiculous numbers of tracks on side etc… as long as I know, in techno vinyl is still quiet powerful. What is the reason that the dnb DJs are saying “no” to vinyl? Are we just that few or are there other reasons?
One reason is of course the ‚Dubplate‘ culture. It’s so important in D&B that you play new stuff. If you tried to play current DNB just with vinyl you will not be able to get your hands on 70% of what’s there. And it will crash your wallet. But from my impression labels tend to slowly get back into releasing the most special bits on vinyl and there is a small but healthy scene of collectors. Of course it’s a way higher risk for the label and endless waiting times because the pressing plants are overbooked, that doesn’t make it more fun either. As a designer I always loved having a haptic product in your hands. I wouldn’t put vinyl over other mediums, but I feel if it is a physical product you more likely will get back to it again and again while I usually forget after 6 weeks which MP3s are on my hard drive.
I don’t mind having 2 tracks per side, it was quite common until about 1994. You can have it without quality loss and I prefer having two tracks each side rather than having something missing that I wanted from an EP. From my observation it’s quite funny that people seem to be so fiddly about the sound quality of everything. If you want crystal clear sound go for wav or CD. I love my crackle and warm bounce that comes from vinyl and I have love and respect for everyone taking the risk and effort to still release vinyl.

With your NME Click crew you have released music on labels such as DJ Trace’s DSCI4, Basswerk or the multigenre platform Shadybrain, writing music also with various other producers together. Do you still play your tunes? Are there any plans for the future?
I never been much involved in the writing process of the tunes tbh. As we are a crew I was always the designer, doing PR, organizing the events and bookings etc. That said I would love to be able to write music, but I never really found the time to learn the process, it’s so time consuming. I still play Lovers Rock sometimes and other bits here and there. There are a few new bits Heiko wrote that haven’t come out yet and a lot unfinished stuff that never came out, so never say never. NME Click is not planning to stop and it will be interesting to plan new things and I hope there will be more music coming. But it’s a creative process, time is limited and everyone has to make a living. We never forced things and we like to keep it that way. But I would be the last to not encourage the boys to get some music done icon_wink.gif

In 2015 you have released one 12” on your own label Parallax Music – unreleased and rare tunes from On 1 Crew – and you have announced more rare stuff from “the heyday of hardcore” to come. Can we expect something nice in the near future? Can you reveal some of the plans?
I never had a masterplan to start a label to be honest. But as things fell into place with the guys from On 1 Crew and Will Irvine from Sublogic/ Keeping Vinyl Alive it felt the right thing and I was very excited to try it out. I love having a creative output, it’s what keeps me going. But it’s just a fun thing and again, I won’t force things. Right now I’m on the lookout for a follow up, but it’s not easy: Many master tapes are lost in time, sometimes you can’t find the people who made it, the rights to the music are unclear or the artists are simply not interested due to different reasons. If I stumble across something I think is worth to be released on vinyl I will terrorize the internet and let you know. There are some things I don’t talk about yet as they might take some more time or are not certain yet at all. Next thing I plan are a limited range of T-Shirts that are hopefully available with the next Parallax event icon_smile.gif

Who are the people coming to your Parallax parties? Who are the DJs?
It’s people from all over the country attending, without them it wouldn’t work. And the events are really small, as you might know from experience. It’s a really small and dedicated scene, without the internet it wouldn’t work, people connect on specialized groups and forums. They are not coming for big names on the line-up but for the music. The DJs are basically Scheckkartenpunk aka SKP and me as residents, and I always try to get locals on board also, such as Pearsall, Soulsurfer, Roly etc. It looks a bit that there are a bit more events focussing on that lately, but once something starts and is good more will follow. As long as it enriches the ‚scene‘ I’m happy to join some events as a punter also. At the same time it’s sort of a ‚Oldie’ thing and it’s always important that people live in the current. I just think the music was better back then haha. I have a soft spot for the charm of the primitive productions, the warm mix downs, the sound of the old hardware that’s being used and the overall DIY attitude, really wild and sometimes just wrong and 8-bit sounding. And I would love to see the Parallax ‚brand‘ grow a bit more, so I can do more with it, but it’s like a flower, you have to be patient and constantly be dedicated. If I’m lucky it might happen icon_smile.gif

What about other projects you are involved in? Where can we hear you playing in the near future?
I still run NME Click with my three friends - now in the 23rd year. We still do events in Ulm, such as ‚Noir - Pitch Black Drum&Bass‘, ‚NME & Friends‘ and hopefully the ‚FEEEL!‘ Open Air Festival again this year and also our weekly radioshow (together with Subt0ne and Deepshot crews) that runs since 1998 every Saturday between 19-22 h on www.freefm.de. In Berlin I´m involved with ‚Ahoj Sause‘ (next date 16.04. at Loftus Hall) and the loose ‚CTRL‘ outfit with Soulsurfer and Addi Attention. The next Parallax will be on Sat., 21. May at a secret location (more news soon, those who were on the first two parties know which one) and then there´s a party at Brunnen 70 called ‚Grob Fahrlässig‘ on 08. April with Soulsurfer, Rumba, Mernywernz and me playing all styles D&B and Jungle and a second floor with Techno.

We can see nowadays many producers trying to get back to the rough sound of late 90’s, giving their tunes kind of oldskoolish feeling. How do you find these crossroads of new technology and oldskool way of sound?
I really think these times are exciting again. The producers come out of their comfort zones and start experimenting with the old breaks again. If you are in the scene for so long it can get a bit boring, but lately there’s a definite fresh vibe.

Apart from that it seems neurofunk has been experiencing it’s “heyday” in the last few years. The sound of it has changed massively though.
To be honest I’m a bit out of the loop with the typical neuro sound that is made nowadays. As said I like tunes that are a bit rough around the edges, while Neuro is the most progressive music production wise. I really have a bit of a problem with that glitchy, new style that’s produced, not just in D&B but in all kinds of electronic music. It just feels to clinical to me. Give me a rough break, a warm sub and a healthy dose of vibes and I’m all happy icon_smile.gif

Have you already decided what will you play in Fischladen this Friday? What can we expect?!
I have no idea, I will start looking into my collection right after I finish this writing. I thought about some Jungle Techno a la Basement, early Formation and Creative Wax from 93. Or maybe some early atmospheric Jungle from the likes of Intense, Crystl and early Good Looking. As the bar has a more alternative audience I thought I can play a bit more dirty, but in the end it’s a bar and I will have a softer option with me too, just in case icon_wink.gif

DJ Agem - Set from Klubovna, Prague 30th April 18 : https://soundcloud.com/djagem/cary-v-k-30th-april-2018-klubovna-prague