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Hotel Americano Presets Recovery

2pm till Sunset, Sunday, June 8, 2014
Music by Izi | dj Tossh | Leo
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SECRÉTIVITÉ Fashion Week New York, S/S '14 Party

11pm-4am, Saturday, September 7, 2013
Music with dj Tossh & Special Guest Surprise
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House Music Antiquity

"By 1981 they declared that Disco was dead and there
were no more up-tempo dance records. That’s when I
realised I had to start changing things to keep feeding
my dance floor".


Although some house a ficionados will refuse to admit it, the development of house music has much of its success accredited to the rise and fall of disco. As a result, to appreciate the history of house music, we need to look further back than the 1980s and the development of the TR909 and TR808 drum machines; we also need to examine the growth of disco during the 1970s. This is because disco still forms a fundamental part of some of today’s house music and in many instances older disco records have been scrupulously sampled to produce the latest house tracks.

Pinning down an exact point in time where disco first appeared is difficult since a majority of the elements that make disco appeared in earlier records. Nonetheless, arguably it is said to have first originated in the early 1970s and was derived from the funk music that was popular with black audiences at that time. Some big name producers such as Nile Rodgers, Quincy Jones, Tom Moulton, Giorgio Moroder and Vincent Montana began to move away from recording the self-composed music and started to hire session musicians and produce hits for artists whose only purpose was to supply vocals and become a marketable commodity.

Donna Summer became one of the first isco-manufactured success stories with the release of Love to Love You Baby in 1975 and is believed by many to be the first disco record to hit and be accepted by the mainstream public. This ‘ new’ form of music was still in its infancy, however, and it took the release of the motion picture Saturday Night Fever in 1977 before it eventually became a widespread phenomenon. Indeed, by the late 1970s, over 200 000 people were attending discotheques in the UK alone and disco records contributed to over 60% of the UK charts.

As with most genres of music that become popular, many artists and record labels jumped on the wave of this new happening vibe and it was soon del- uged with countless disco versions of original songs and other pointless and poorly produced disco records as the genre became commercially bastardized. As a result, disco fell victim to its own success in the late 1970s and early 1980s with the campaign of ‘disco sucks’ growing ever more popular. In fact, in one extreme incident Steve Vahl, a rock DJ who had been against disco from the start, encouraged people to bring their disco collections to a baseball game on the 12th July 1979 for a ritual burning. After the game, a huge bon fire was lit and the fans were asked to throw all their disco vinyl onto the fire.

By 1981, disco was dead but not without first changing the entire face of club culture, changing the balance of power between smaller and major labels and preparing the way for a new wave of music. Out of these ashes rose the phoenix that is house, but it had been a large underground movement before this and contrary to the misconceptions that are spread around, it had actually been in very early stages of evolution before disco hit the mainstream.

Although to many Frankie Knuckles is seen as the ‘godfather’ of house, it’s true foundations lie well before and can be traced back to as early as 1970. At this time, Francis Grosso, a resident DJ at a converted church known as the Sanctuary was the first ever DJ to mix two early disco records together to pro- duce a continual groove to keep the party goers on the dance floor. What’s more, he is also believed to be the first DJ to mix one record over the top of another, a technique that was to form the very basis of dance music culture.

Drawing inspiration from this new form of mixing, DJ Nicky Siano set up a New York club known as The Gallery and hired Frankie Knuckles and Larry Levan to prepare the club for the night by spiking the drinks with lysergic acid diethylamide (LSD/acid/trips). In return he taught both all about the basics of this new form of mixing records and soon after they moved on to become resi- dent DJs in other clubs. Levan began residency at The Continental Baths while Knuckles began at Better Days, to soon rejoin Levan at The Continental Baths 6 months down the line. The two worked together until 1977 when Levan left the club to start his own and was asked to DJ at a new club named the Warehouse in Chicago. Since Levan was now running his own club, he refused but recom- mended Knuckles who accepted the offer and promptly moved to Chicago. ince this new club had no music policy, Knuckles was free to experiment and show off the techniques he had been taught by Nicky Siano. Word quickly spread about this new form of disco and The Warehouse quickly became the place to be for the predominantly gay crowd. Since no ‘house’ records actually existed at this time, the term house did not refer to any particular music but simply referred to the Warehouse and the style of continual mixing it had adopted. In fact, at this time the word house was used to speak about music, attitude and clothing. If a track was house, it was from a cool club and some- thing that you would never hear on a commercial radio station, whereas if you were house it meant you attended all the cool clubs, wore the ‘right’ clothing and listened to ‘cool’ music.

By late 1982 and early 1983, the popularity of the Warehouse began to fall rapidly as the owners began to double the admission price; as it became more commercial, Knuckles decided to leave and start his own club known as the Powerhouse. His devoted followers went with him, but in retaliation the Warehouse was renamed the Music Box and the owners hired a new DJ named Ron Hardy. Although Hardy wasn’t a doctor, he dabbled in numerous pharma- ceuticals and in turn was addicted to most of them but was nevertheless a very talented DJ. While Knuckles kept a fairly clean sound, Hardy pounded out an eclectic mix of beats and grooves mixing euro disco, funk and soul to produce an endless onslaught to keep the crowd up on the floor. Even to this day, Ron Hardy is viewed by many as the greatest ever DJ.

Simultaneously, WBMX, a local radio station also broadcast late-night mixes made by the Hot Mix Five. The team consisted of Ralphi Rossario, Kenny ‘Jammin’ Jason, Steve ‘Silk’ Hurley, Mickey ‘Mixin’ Oliver and Farley ‘Jackmaster’ Funk. These DJs played a non-stop mixture of British new romantic music ranging from Depeche Mode to Yazoo and Gary Numan, along with the latest music from Kraftwerk, Yello and George Clinton. In fact, so popular was the UK new romantic’s scene that a third of the American charts consisted of UK music. However, it wasn’t just the music that the people tuned in for it was the mixing styles of the five DJs. Using techniques that have never been heard of before, they would simultaneously play two of the same records to produce phasing effects, perform scratches and back spins and generally produce a perfect mix from a number of different records. Due to the show’s popularity it was soon moved to a daytime slot and kids would skip school just to listen to the latest mixes. In fact, it was so popular that Chicago’s only dance music store, Imports Etc, began to put a notice board up on the window, documenting all the records that had been played the previous day to prevent them from beingoverwhelmed with enquiries.

Meanwhile, Frankie Knuckles was suffering from a lack of new material. The ‘ disco sucks’ campaign had destroyed the industry and all the labels were no longer producing disco. As a result, he had to turn to playing imports from Italy (the only country left that was still producing disco) alongside more dub-in fluenced music. More importantly, for the history of house, though, he also turned to long-time friend Erasmo Rivieria, who was currently study- ing sound engineering, to help him create reworks of the earlier disco records in an attempt to keep his set alive. Using reel-to-reel tape recorders, the duo would record and cut up records, extending the intros and breakbeats and lay- ering new sounds on top of them to create more complex mixes. This was soon pushed further as he began to experiment by placing entirely new rhythms and bass lines underneath familiar tracks. While this undeniably began to form the.basis of house music, no one had yet released a true house record, and in the end it was Jesse Saunders’ release of On and On in 1984 that landmarked the first true house music record.

Although some a ficionados may argue that artist Byron Walton (aka Jamie Principle) produced the first house record with just a portastudio and a keyboard, the track entitled ‘Your Love’ was only handed to Knuckles for him to play as part of his set. Jesse Saunders, however, released the track commercially under his self- financed label ‘Jes Say’ and distributed the track through Chicago’s Imports Etc. The records were pressed, courtesy Musical Products, Chicago’s only pressing plant owned and run by Larry Sherman. Taking an interest in this scene, he investigated its in fluence over the crowds and soon decided to start the first- ever house record label ‘Trax’ Simultaneously, however, another label ‘DJ International’ was started by Rocky Jones and the following years involved a battle between the two to release the best house music. Many of these consisted of what are regarded as the most in fluential house records of all time including Music is the Key, Move Your Body, Time to Jack, Get Funky, Jack Your Body, Runaway Girl, Promised Land Washing Machine, House Nation and Acid Trax By 1987 house was in full swing, while still borrowing heavily from 1970s disco, the introduction of the Roland TB303 bass synthesizer along with the TR909, TR808 and the Juno 106 had given house a harder edge as it became disco made by ‘amateur’ producers. The basses and rhythms were no longer live but recreated and sequenced on machines resulting in a host of 303-driven tracks starting to appear.

One of these budding early producers was Larry Heard, who after producing a track entitled Washing Machine released what was to become one of the most poignant records in the history of house. Under the moniker of Mr Fingers he released Can U Feel It, the first-ever house record that didn’t borrow its style from earlier disco. Instead, it was in fluenced by soul, jazz and the techno that was simultaneously evolving from Chicago. This introduced a whole idea to the house music scene as artists began to look elsewhere for in fluences. One of these was Todd Terry, a New Yorker and hip-hop DJ, who began to apply the sampling principles of rap into house music. Using samples of previ- ous records, he introduced a much more powerful percussive style to the genre and released 3 Massive Dance Floor House Anthems, which pushed house music in a whole new direction. His subsequent house releases brought him insur- mountable respect from the UK underground scene and has duly been given the title of Todd ‘The God’ Terry.

Over the years, house music mutated, multiplied and diversi fied into a whole number of different subgenres, each with its own name its and production eth- ics. In fact, to date there are over 14 different subgenres of house consisting of progressive house, hard house, deep house, dark house, acid house, Chicago house, UK house, US house, euro house, French house, tech house, vocal house, micro house and disco house…and I’ve probably missed some too.

Written By Rick Snoman, Dance Music Manual

Anton Unai Interview

“Silver Surfer, Ghost Rider Go!!!” | MADE VOV

Anton Unai is a funny character. In a good way. Not only is this Spanish born man one of Berlin’s most acclaimed young artists, but he also blasts out 100% sympathy. Anton is a self-taught artist who mainly uses materials from the streets that reflect the urban landscape and has exhibited many of his work at acclaimed art shows such as Volta6 Art Fair Basel and Urban Affairs.

Team MADE sat down with him to get an insight into his way of working, his life, the deepness of his work and how it feels to be in Berlin as a foreign artist.

DEVIANT LITTLE GENIUS 2008: four colour silkscreen with handmade elements, edition of 100, signed and numbered (without frame) 70 x 50 cm

Anton Unai (1974) ist die Personifizierung einer kreativen Philosophie, die im Erbe eines Joseph Beuys verwurzelt sein könnte: ein tiefer Glaube an die Heiligkeit der Spontaneität, die Poetik des Chaos und die Ablehnung des traditionellen akademischen Ansatzes. In Anton Unais autodidaktischer Kunst sind die Installationen oft Ergebnis wochenlanger „Aktionen”, improvisiert und vor Ort kreiert. Dabei benutzt er zumeist Fundstücke oder „goldenen Müll”, aufgesammelt in den Straßen von Berlin.

Anton Unai wurde in Spanien geboren und lebte in zahlreichen europäischen Ländern, bevor er nach Berlin kam. Seine Arbeiten werden international ausgestellt.

Anton Unai personifies the creative philosophy represented by Joseph Beuys’ legacy: a profound belief in the sanctity of spontaneity, the poetry of chaos, and the rejection of traditional academia. A self-taught artist, Unai’s installations are often the result of weeklong “actions,” improvised and created on-site using mostly found objects, or “golden garbage,” salvaged from the streets of Berlin.

Using materials that reflect the urban landscape, ordinary detritus like rusty sheet metal or yesterday’s newspaper, Unai’s work resurrects and reinvents the discarded relics of the modern masses. His art is at once rough and delicate, exposing sentimental and vulnerable humanity through violent gestures, provocative irony and messy compositions that defy traditional aesthetic boundaries. Meta-narratives, pop and subculture artifacts, religious iconography and a wide breadth of literary references are all present in his multifaceted installations, as well as allusions to art historical antecedents ranging from Basquiat’s urban poetry to Sir Howard Hodgkin’s abstract paintings as sculptural objects to Jonathan Meese’s theatrical symbolism.

Anton Unai was born in 1974 in Spain and lived in several European countries before moving to Berlin. His work has been exhibited internationally.


Leonardo da Vinci: Portrait of Isabella d'Este

Florence, 1452 - Château de Cloux, near Amboise, 1519
1499-1500, Red and black chalks and stumping ocher chalk,
white highlights; H. 61 cm; W. 46.5 cm

Isabella d’Este’s Studiolo

Paris, Musée du Louvre, dép. des Arts graphiques, MI 753
© RMN / Michèle Bellot

The fashion of studioli, or private studies, small rooms reserved for intellectual activities, spread in the 15th century in the Italian courts, bathed in Humanist culture.

Isabella d’Este, who married Francesco II in 1490, rapidly decided to create a studiolo in a tower of the old Castello di San Giorgio. The work on this project lasted more than twenty years.

She entrusted Mantegna with the first two canvases of the cycle, Parnassus (1497) and Minerva (1502), but considering his work out-of-date, she turned to the most famous painters of the new generation. In vain she solicited Giovanni Bellini, Leonardo da Vinci and Francesco Francia but, in 1505, she obtained only the disappointing painting by Perugino. Lorenzo Costa, appointed court painter at Mantegna’s death (1506), completed the decoration with two canvases delivered between 1506 and 1511.

The Parnassus and Minerva were painted by Mantegna to be placed opposite each other, as demonstrated by the fact that the light comes from the left in the first painting and from the right in the second.

A year after her husband’s death (1519), Isabella transferred her studiolo to the ground floor of the Corte Vecchia. In her new apartment, she added two Allegories executed circa 1530 by Correggio to the old series of paintings.

The layout of the exhibition, while inverting the direction of the itinerary, reproduces the exact layout of Isabella’s second studiolo.

Mantegna and the themes of the Studiolo

The five canvases of the first Studiolo, in the Castello di San Giorgio, all treat the theme of the Victory of Virtues over Vices, but we ignore whether they were part of a general iconographical program fixed from the beginning.

The first picture, commissioned by the Marchesa and completed in 1497, already contains in embryonic form the themes to be developed in the other paintings, namely the triumph of spiritual over earthly love and the celebration of the Arts at the Court of Mantua. The evocation of the amorous relationship of Mars and Venus could be interpreted as an allusion to the couple formed by Francesco II and Isabella, patron and protector of the Muses.

The fact that the second painting, Minerva Expelling the Vices from the Garden of Virtue, completed in 1502, contains ideas and motifs that had obsessed the artist from his beginnings, nonetheless leads one to consider that the artist played a determining role in its conception: the theme of Ignorance as enemy of Virtue, numerous inscriptions in different alphabets, clouds and a tree in human form, or the grotesque personifications of the Vices, chased by the dynamic and majestic warrior goddess.

Trentemøller: Silver Surfer, Ghost Rider Go!

“Silver Surfer, Ghost Rider Go!!!” is the third single taken from Trentemøller’s acclaimed new album “Into The Great Wide Yonder”. With its thrilling guitars and blazing guitars “Silver Surfer, Ghost Rider Go!!!" is the rockiest track of the album and comes with remixes by Trentemøller hiself, Andrew Weatherall and Lulu Rouge (DJ T.O.M. and Buda).

The fantastic live-video has been recorded at the main stage of the Roskilde festival in summer 2009. Trentemøller was invited to arrange a special show for the biggest Eur opean summer festival which led to an extraoerdinary and unique performance which remains unforgotten by “50.000 people floating 10 cm above the ground”. The show featured Trentemøller DJing as well as performing tracks from his debut album “The Last Resort” as well as the still to be released album “Into The Great Wide Yonder” in a full band setup. Directed by Katja Boom Philip the show included an outstanding light show and gorgeous dance performances in spectacular costumes by designer Henrik Vibskov.

The music video which has been included in the limited edition of the album is now available alongside the new video captures one of the most magic moments from the show.

Coco Chanel and Igor Stravinsky

Paris 1913. At the Theatre Des Champs—Elysées, Igor Stravinsky premieres his The Rite Of Spring. Coco Chanel attends the premiere and is mesmerized…But the revolutionary work is too modern, too radical: the enraged audience boos and jeers. A near riot ensues. Stravinsky is inconsolable. Seven years later, now rich, respected and successful, Coco Chanel meets Stravinsky again — a penniless refugee living in exile in Paris after the Russian Revolution. The attraction between them is immediate and electric. Coco offers Stravinsky the use of her villa in Garches so that he will be able to work, and he moves in straight away, with his children and consumptive wife. And so a passionate, intense love affair between two creative giants begins...

Director: Jan Kounen


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