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Wiki

It’s no exaggeration to say that this Panorama Bar mix took me years to complete, and the work and thinking I put into it changed over time. Naturally in the final stretch, things shifted once again.

With this mix I’ve tried to communicate that club music is not just about banging tracks with kick drums and open hi-hats. Sets need warmth: a sonic quality that allows you to space out, lose yourself and become completely immersed in the music. In other words I feel we need frequencies and sounds out there that express emotion. This is why I would say my Panorama Bar 07 mix ended up dreamy, melodic and psychedelic – with peak time material sprinkled in here and there. It’s a set I’d like to hear on a Sunday afternoon or Monday morning, when it’s light outside.

This doesn’t mean I prefer songs or song structure over dance music. But I am always on the lookout for musicality. I think DJs are scared of playing softer music often for fear of clearing the dancefloor or not maintaining an extremely high level of energy. Clearing the floor is a good thing!

I approach DJing not only as an art but also as a craft. So many mixes these days sound so perfect that you end up asking yourself whether the DJ used a computer for the entire process and how much time was spent in the studio editing it. This is why I think it’s extremely important for DJs to make mistakes. In an era of endless amounts of digital tools, you seldom hear someone fuck up a mix. You also rarely hear DJs these days matching keys by pitching things up or down. That’s an art in and of itself, especially with vinyl, something I’ve tried to do here as well. That’s part of the challenge.

I’m a vinyl DJ through-and-through. Ninety-five percent of what I play in Panorama Bar is still vinyl and this mix is vinyl-only, apart from a couple of not-yet-released-on-vinyl tracks. For that reason, making it was a challenge – and entailed five attempts before getting it right in the end.

Thinking about this mix over the years, I made numerous tracklists only to toss them out again. In the final stretch I ended up with around 144 tracks to choose from, combining and categorizing them in terms of key, groove, rhythm, drum sounds, machines used etc, but I totally failed at going through them all. I came to the conclusion that the mix is more than the sum of its parts. It’s more than just how the pieces fit together individually. This is why I started working with the records in front of me, ready to be combined intuitively. Which is how I do things in Panorama Bar.

During my sets in the club everything happens live and spontaneously. What I instinctively grab, I play. This mix reflects just that.

nd_baumecker, Berlin, November 2018 –

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