Klubnacht
Berghain | Panorama Bar | Säule, Berlin
This night happened — Sat 1 Nov 2025
Press play
Who was billed15 artists
In the order the promoter listed them.
- next: RSO.BERLIN, Thu 31 DecAMORAL
- next: Berghain, Sat 28 NovAöcram
- Barker
- next: Prince Charles, Fri 13 NovBLANKA
- DJ Nobu
- next: Berghain, Sat 28 NovKwartz
- next: BASEMENT in NYC, Sat 21 NovNastia Reigel
- next: Berghain, Sat 14 NovAlinka
- next: Berghain, Sat 28 NovBudino
- next: NYC, Fri 30 OctFadi Mohem
- next: Nowadays in NYC, Sat 7 NovGabrielle Kwarteng
- Honey Dijon
- Yes'in
- next: The Chocolate Factory in NYC, Sat 7 NovZombies In Miami
- next: Berghain, Sat 31 OctRoman Flügel
Set times were not published.
Most of these pairings were meeting for the first time that night.
the pairs that have met
78 of the 105 pairings on this bill were first meetings.
- Kwartz and Budino — 3 shared bills before that night, first on Sat 1 Nov 2025.
- Alinka and Budino — 2 shared bills before that night, first on Sat 1 Nov 2025.
- Alinka and Gabrielle Kwarteng — 2 shared bills before that night, first on Sat 1 Nov 2025.
- Fadi Mohem and Zombies In Miami — 2 shared bills before that night, first on Sat 23 Aug 2025.
- Budino and Fadi Mohem — 1 shared bill before that night, first on Sat 1 Nov 2025.
- AMORAL and Barker — 1 shared bill before that night, first on Sat 1 Nov 2025.
- AMORAL and Nastia Reigel — 1 shared bill before that night, first on Sat 1 Nov 2025.
- AMORAL and BLANKA — 1 shared bill before that night, first on Sat 1 Nov 2025.
- Aöcram and Budino — 1 shared bill before that night, first on Sat 1 Nov 2025.
- Aöcram and Kwartz — 1 shared bill before that night, first on Sat 1 Nov 2025.
- DJ Nobu and Nastia Reigel — 1 shared bill before that night, first on Sat 1 Nov 2025.
- Kwartz and Zombies In Miami — 1 shared bill before that night, first on Sat 1 Nov 2025.
- Barker and DJ Nobu — 1 shared bill before that night, first on Sat 1 Nov 2025.
- Barker and Nastia Reigel — 1 shared bill before that night, first on Sat 1 Nov 2025.
- Barker and BLANKA — 1 shared bill before that night, first on Sat 1 Nov 2025.
- Alinka and Fadi Mohem — 1 shared bill before that night, first on Sat 1 Nov 2025.
- Nastia Reigel and Zombies In Miami — 1 shared bill before that night, first on Sat 1 Nov 2025.
- Fadi Mohem and Gabrielle Kwarteng — 1 shared bill before that night, first on Sat 1 Nov 2025.
- Zombies In Miami and Roman Flügel — 1 shared bill before that night, first on Sat 1 Nov 2025.
- Fadi Mohem and Roman Flügel — 1 shared bill before that night, first on Sat 1 Nov 2025.
- AMORAL and Budino — 1 shared bill before that night, first on Sat 1 Nov 2025.
- AMORAL and Kwartz — 1 shared bill before that night, first on Sat 1 Nov 2025.
- DJ Nobu and Gabrielle Kwarteng — 1 shared bill before that night, first on Sat 1 Nov 2025.
- Kwartz and Nastia Reigel — 1 shared bill before that night, first on Sat 20 Sep 2025.
- DJ Nobu and Zombies In Miami — 1 shared bill before that night, first on Sat 23 Aug 2025.
- DJ Nobu and Fadi Mohem — 1 shared bill before that night, first on Sat 23 Aug 2025.
- BLANKA and Honey Dijon — 1 shared bill before that night, first on Sat 2 Aug 2025.
Who they are
“Her sound is uptempo with driving melodic rhythms in combination with a rolling bassline.”
their own biography
the whole biography
Her sound is uptempo with driving melodic rhythms in combination with a rolling bassline. Her inspiration comes from the community, the dance floor, life experiences and the vibrations on a deeper level. She wants to deliver her audience a feeling of unity by providing a warm space for everyone, where feelings and emotions are held in a safe space. What gives every performance a unique character is her ability to inspire the audience to create their own personal journey.Last at Tresor / Globus in Aug · often with MARRØN, Disguised, ROBUS, none of them here that night
“Lifetime dedication to electronic music and its culture have built a legacy that speaks for itself; releases through cult record labels such as Mord, Axis, Cocoon, Semantica, Kompakt, 30D or Illegal Alien as well as via their own eponymous aöcram label.”
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Lifetime dedication to electronic music and its culture have built a legacy that speaks for itself; releases through cult record labels such as Mord, Axis, Cocoon, Semantica, Kompakt, 30D or Illegal Alien as well as via their own eponymous aöcram label. Performances in cities and institutions around the globe such as Berlin’s Berghain and Tresor, New York City, Beijing, Amsterdam, Buenos Aires, Paris, Barcelona, Lisbon, Seoul, Taipei, or Mexico City. Staying true to their own nature and away of any trends, aöcram’s opus continues in expansion.Their RA profile lists Cocoon Recordings, Semantica Records, Illegal Alien Records, Mord and 1 more.often with Ignez, Mari Sakurai, Fabian Garrido, none of them here that night
“Looking beyond the realm of 4/4 techno to explore left-field sound design and rhythmic complexity, the Berghain resident’s string of signature solo releases for the club’s Ostgut Ton imprint and Smalltown Supersound have explored the rhythmic functionality of pumping, twisting and constantly evolving modular electronics.”
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Looking beyond the realm of 4/4 techno to explore left-field sound design and rhythmic complexity, the Berghain resident’s string of signature solo releases for the club’s Ostgut Ton imprint and Smalltown Supersound have explored the rhythmic functionality of pumping, twisting and constantly evolving modular electronics. These popular releases and live performances have earned Barker widespread acclaim from the underground to the mainstream and everything in-between, both off and on the dancefloor. After an intense, fruitful period of experimentation and conceptual development, Barker released his solo debut EP Debiasing on Ostgut Ton in 2018, containing four hypnotic and kick-less dancefloor experiments based on research into behaviorism and cognitive bias. This was followed by his solo debut album Utility, a playful but intentional musical approach to translating a spectrum of transhumanist ideas, packed into a deeper exploration of the emotive potential of rhythmic ambient electronics and – once again – almost entirely without kick drums. Both releases were received by many as instant classics, helping to define a discrete category of ambient dance music. Utility made numerous Best of 2019 year’s end lists, including Pitchfork, The Quietus, DJ Mag, Resident Advisor and others. It also earned the title of Mixmag’s Album of The Year 2019. As Philip Sherburne wrote in his Pitchfork review: “For anyone who has ever fantasized about dissolving into the dancefloor, Utility is about as close as it gets.” These releases were followed by two limited-edition white label EPs for Ostgut, BARKER001 and BARKER002. In 2023, he released the Unfixed EP on Smalltown Supersound, followed by another limited-edition white label 12" on the label in 2025, Cosmic Microwave / Stochastic Dynamics In Non-Linear Systems. In April 2025, Barker released his second full-length Stochastic Drift. Inspired in part by Euclidean and probabilistic patterns as well as the chaos and uncertainty of the preceding years, it emerged from a place of vulnerability that announced itself in the music's emotional impact. Boomkat celebrated the album as unfolding "like a galaxy-brained afters playlist…Barker's relentless research and development makes his music as fluid and mutable as his palette." In their Best New Music review, Pitchfork's Harry Tafoya described it as "his most dazzling and definitive statement to date." Stochastic Drift was also named Mojo Magazine's #1 Electronic Album of 2025. Whether performing live solo or as part of a group, DJing on his own or B2B, Barker combines bass music, techno, electro, breakbeat, dub and ambient elements that coalesce into a distinctive, future-facing vision. He is one-half of Barker & Baumecker with longtime Panorama Bar resident nd_baumecker, with whom he has released multiple EPs, two albums and dozens of remixes. And his expansive approach to unorthodox musical exploration has led to ongoing live collaborations with the likes of Norwegian saxophonist Bendik Giske, alongside Speedy J, Rødhåd and Sebastian Mullaert in the shapeshifting live improv outfits Stoor, WSNWG and Circle of Live, installations developed with creative computer programmer Kay Sievers / Versio Duo, and remixes for the likes of Martin Gore, Tangerine Dream, JakoJako, and Planetary Assault Systems. It's a perspective also reflected in his curation of the Leisure System label and Berghain club night of the same name, which held the longest residency in Berghain's history. Launched in 2008, with the label following in 2009, Leisure System has since released seminal works by the likes of Dopplereffekt, Objekt, JakoJako, and Visionist, among many others. In addition to his recorded music, live sets, and DJing, Barker is an active instrument designer who combines coding skills with analogue, electric and acoustic instrument construction for his experimental archive and platform Voltek Labs. In the summer of 2020, he contributed a large-scale sound installation, Piano-1, to Berghain’s Studio Berlin art exhibition, featuring a self-playing piano performing generative serial compositions named Attune, which emphasize democratic harmonic relationships between tones. He has also delved deep into constructing his own MIDI-triggered acoustic instruments, including a prepared plate reverb and various percussion instruments, notably used to explore the resonant architecture of Detroit’s empty, abandoned factories with Underground Resistance’s Ray7. In August 2024, Barker collaborated with Kay Sievers / Versio Duo on the Discrete Ensemble installation, at the Neuenationalgalerie in Berlin, built around a set of eight MIDI-controlled mechanical string instruments called Viola-1. In September 2025, he performed alongside Norwegian saxophonist Bendik Giske for Atonal Festival in Berlin, with further live and studio collaborations for the pair on the horizon. Barker’s musical focus continues to be on the peak-time dancefloor potential of ambient music as he works on another album and label. Operating on the periphery of club music, he continues to shift its centre.Their RA profile lists Ostgut Ton, Smalltown Supersound, Leisure System, Air Texture and 2 more.Recently at Berghain, Dark Matter Berlin · often with Ryan Elliott, Steffi, The Lady Machine, none of them here that night
“BLANKA is a Berlin-based electronic music producer, DJ, and co-founder of Room Trax, a label and event series connecting Barcelona and Berlin through focused explorations of sound and community.”
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BLANKA is a Berlin-based electronic music producer, DJ, and co-founder of Room Trax, a label and event series connecting Barcelona and Berlin through focused explorations of sound and community. Rooted in an underground ethos, Room Trax platforms both established and emerging artists, creating spaces where art and music connect. Working through a consistent and uncompromising approach, BLANKA has emerged as a clear and dependable presence within contemporary electronic music, guided by discipline and long-term vision, and quickly established herself firmly within the European’s techno landscape. Her sonic language is precise and instinctive, built on minimal structures, raw edges, and controlled intensity. This clean, architectural, and deconstructed sensibility extends naturally from the studio to the dancefloor. Her performances span key institutions worldwide, including Berghain, FVTVR, FOLD, Basement, Bassiani, and WOMB Tokyo, and her releases include records on labels such as SK_eleven, Mutual Rytm, Soma Records, and AMTK+.Their RA profile lists Soma Records, SK_eleven, Mutual Rytm and Room Trax.Recently at Else, Berghain · often with Red Rooms, DVS1, Setaoc Mass, none of them here that night
“Nobu is something of a cult figure for those who know with decades of experience, all of which are distilled at his acclaimed party ‘Future Terror’, his label ‘Bitta’ and his few choice production outings.”
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Nobu is something of a cult figure for those who know with decades of experience, all of which are distilled at his acclaimed party ‘Future Terror’, his label ‘Bitta’ and his few choice production outings. All of this has slowly but surely turned Nobu from being one of Japan’s, to one of the world’s most in demand selectors who is famously flexible and ever evolving.Their RA profile lists Token, Grasswaxx Recordings, Non Series, Bitta and 4 more.Last at Berghain in Aug · often with Doltz, Ne/Re/A, Juana, none of them here that night
“Kwartz is the stage name of Mario Campos, born in Madrid in 1989 and now based in Berlin.”
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Kwartz is the stage name of Mario Campos, born in Madrid in 1989 and now based in Berlin. In late 2011 and after publishing several EP’s in different international labels, Kwartz's productions began to draw the attention of the leading names in the international scene, so in 2013 Exium released a split EP with him called Fenomen, which was his first release on vinyl. In late 2013 Kwartz joined PoleGroup and became part of the booking roster of the label commanded by Oscar Mulero, where he began to release his works regularly. In addition to PoleGroup, his tracks have appeared in several of the most important international labels, such as 47 (Tommy Four Seven’s label), Mord Records, Semantica, Horo or Warm Up Recordings. 2016 brings the launch of his own label: Order&Devotion, where he will release those of his works which move between dark atmospheres and deep and visceral sounds, all surrounded by rhythms designed for the dance floor. His sets could be described with three words: raw, mental and groovy, in which he pushes the dancefloor to a constantly state of tension.Their RA profile lists Semantica Records, Nheoma, PoleGroup Recordings, Warm Up and 6 more.Last at Else in Sep · often with Abajour, André Galluzzi, Fabian Garrido, none of them here that night
“Respected by techno heavyweights, she’s known for her captivating DJ sets and vinyl releases on esteemed labels.”
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Respected by techno heavyweights, she’s known for her captivating DJ sets and vinyl releases on esteemed labels. Following a constant output of EPs on heavy-hitting techno labels like fabric, Rødhåd’s WSNWG and album on Function's Infrastructure New York, Nastia Reigel honed and sharpened her sound into something sleek and uninhibited. She channels the classic roots of techno, yet hits a deeper emotional resonance, embedding her personal feelings and experiences within the sound. Her every set is an undeniable display of technical mastery – a mesmerizing blend of driving rhythms, heavy kicks, and deep atmospheres that stealthily take you away, leaving no stone unturned.Their RA profile lists fabric Records, Token, Enemy Records, Infrastructure New York and 2 more.Last at Else in Sep · often with Grace Dahl, NEUX, Ogazón, none of them here that night
“Alinka is the kind of DJ other DJ’s will tell you about.”
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Alinka is the kind of DJ other DJ’s will tell you about. She has a unique power on the decks that comes from lifelong passion and time served, with a focused devotion to her first love – house music. Raised on Chicago’s vibrant house sound with toes dipped into Detroit techno, Europe’s more robust approaches to bass music and the myriad of genre’s coming from cities like Berlin, London and Paris. Born in Kyiv, Ukraine, her early childhood included reluctantly learning the piano, her mother is a pianist, while trying to convince her parents to let her play guitar. Her exposure to Western music was limited, living in a communist country where censorship was common practice. Her family eventually immigrated to Chicago as Jewish refugees in the late ‘80s as the USSR crumbled. This was her first experience of pop music and she fell head over heels for the chart sounds of Madonna and Janet Jackson. Then came house music from local radio shows where you could frequently hear tracks by Chicago legends like Cajmere and DJ Funk, and shows like Sonic Boom helped expose underground music to the masses. By the late ‘90s, music had taken over her life. Teenage Alinka immersed herself in the dance music scene spending her summer pulling double shifts at a local pool and moonlighting for rave promoters to build up enough cash to buy decks. After a year of skipping class to relentlessly practice her mixing skills, she began her full-time musical pursuit. Working for various club promoters, doing odd jobs passing out flyers and helping with party logistics - anything just to get into clubs underage to see her favourite DJs - all while spending hours digging for tracks at Chicago’s legendary record shop Gramaphone. In 2001 Justin Long recruited her to be the opening resident for his .Dotbleep party at Smartbar where she honed her skills for the best part of a decade. In 2012, an impromptu meeting with former Hercules and Love Affair vocalist, Shaun J. Wright, changed her life forever. Their evolving friendship resulted in what would be the first of many musical collaborations. The pair launched their Twirl parties and label, continually strived to inspire each other both musically and spiritually, the result has been an impressive catalogue of material for both of them collaboratively and individually on the likes of The Classic Music Company, Jackathon Jams, Crosstown Rebels, Leftroom, and of course Twirl, where as well as their own material the duo have welcomed renowned artists like Spencer Parker, Virginia, LA-4A, Kim Ann Foxman, and Jason Kendig onto the label. Recent years have seen Alinka really hit her stride as a producer with successful releases on world renown labels like !K7, Rekids, Correspondant, DGTL Records, Permanent Vacation, and Peggy Gou’s Gudu Records. She also turned out a standout collection of remixes for labels Me Me Me, Live At Robert Johnson, Get Physical, and Massimiliano Pagliara’s Funnuvojere Records. Now living in Berlin, Alinka has well and truly found her feet and inspiration. Alinka has used this base to throw down at parties across Europe from Berghain/Panorama Bar to Robert Johnson, with regular visits back to the US to play standout clubs like Smart Bar and Basement, and Ukraine's famous ∄ club in Kyiv, where she stands as club’s first international resident. Her evolution continues with the recent re-launch of her Twirl imprint, highlighted by the ‘Day Dreamer’, ‘Sorry For Not Trending’ and ‘Edgewater’ EP’s, and her latest single ‘Touch The Flame’ that finely balance Alinka’s future-focused ethos, with a unmistakable, proud passion for her Chicago heritage.Their RA profile lists Classic, Crosstown Rebels, Get Physical Music, !K7 and 6 more.Last at Else in Aug · often with Cinthie, Efdemin, Sara Miller, none of them here that night
“Budino is an Italian DJ and producer who has been based in Berlin since 2012.”
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Budino is an Italian DJ and producer who has been based in Berlin since 2012. Every free moment is devoted to digging for new music and exploring fresh ways to weave her discoveries together. Her sets unfold like psychedelic tapestries, blending industrial beats, tribal percussion, and rich sonic textures. Over the years, Budino has refined her craft through unique edits and reworks that bring new life and versatility to the rare gems she tirelessly unearths. After a decade playing Berlin’s most iconic queer dance floors, her deep connection with New York City led her to being part of the Gloria Danger parties. In addition to her work behind the decks and in the studio, Budino was invited to curate the fourth edition of Love International Festival’s compilation series, The Sound of Love International. Budino has performed at some of the world’s most legendary clubs and festivals, including Panorama Bar, Fabric, Club Raum, Basement, Horst Festival, Houghton, Dekmantel Selectors, Making Time, as well as delivering exciting back-to-back sets with Tiga and Ivan Smagghe. She is also co-authoring a book with Bill Brewster, exploring Italian dance music culture and the art of DJing from 1965 to 1995, coming out in 2027.Their RA profile lists Nocturnal Hazard, Proxima and Sonic Dream Recordings.Last at Berghain in Sep · often with Ben Klock, Massimiliano Pagliara, Gee Dee, none of them here that night
- Their RA profile lists Klockworks, WERK Records, Seilscheibenpfeiler, WSNWG and 2 more.
Last at Berghain in Oct · often with JakoJako, Ben Klock, Cinthie, none of them here that night
“Gabrielle Kwarteng’s journey continues to be one of passion, dedication and fate.”
their own biography
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Gabrielle Kwarteng’s journey continues to be one of passion, dedication and fate. Born and raised in New York, Kwarteng has withstood shifting sands in dance music to represent a curatorial presence with a deep knowledge of music history, driven by a dedication to regenerating its culture. In an era of everything at once, Kwarteng is a DJ who weaves stories for the dancefloor that often look to the past, while always focusing on possible futures. In an era of sonic singularities, Kwarteng’s flexibility and curiosity is a virtue; her long-awaited debut at Dekmantel Festival in 2023 resulted in no less than three sets across the weekend, each possessing contrasting energies. Elsewhere London’s iconic Fabric have championed Kwarteng on multiple occasions, programming her into their prestigious 25th birthday celebrations alongside the likes of Ben UFO and Ricardo Villalobos. At Berghain, she has appeared with even greater frequency as part of some of the fabled club’s most crucial parties, including CSD, Silvester, as well as smoothly piloting seven-hour closing sets in Panorama Bar. Such reverberations have reached far beyond the club; FKA twigs extended a personal invite to soundtrack her 2024 Met Gala afterparty. Taking place at The Standard, Kwarteng played just a few blocks uptown from the Soho Grand ballroom, where she had once furtively begun her first DJ residency, less than a decade earlier. The roots of this keen musicality run deep. Born in Brooklyn to Ghanaian parents but raised in the Bronx, Kwarteng’s childhood was soundtracked by a mix of first-wave Highlife, Afrobeat and disco. Outside her own front door, in a thriving neighborhood of diverse American experiences, entire sounds and scenes expanded and exploded as pop-culture began to mutate in new ways, both online and off. Crossing to Manhattan for school, the tempo changed entirely as rock, hip hop and experimental music filled Kwarteng’s ears, accompanying her intense study. Juggling academia with the beat became part of life, and she was later presented with the Mixcloud Online Radio Award for Best Eclectic Show, broadcasting on then burgeoning online radio station, The Lot. An early and completely unexpected acknowledgement of an instinct for music that traversed genre expectations, it laid down the foundations for her later move and return to Europe, and a commitment to trusting her creative instincts. Here, Kwarteng has not only become a fixture in established, open-minded musical spaces everywhere from Berlin, London, Amsterdam and Paris, but is equally called upon to establish the energy of new ventures, such as Horst Club in Belgium. Her resplendent selections have made connections further still, on tour in Australia, South America and soon to include Asia. Listening and dancing to Kwarteng, whether in a cavernous rave hall, a sweat-soaked underground club or amid the temporary pleasures of a festival, is an experience that feels at once familiar but always energizing. Fluidly slipping through a mix of heady 80s and 90s US house, disco interpretations that traverse diaspora and eras, and the futurist pulse of physical, emotive techno, Kwarteng expertly matches the requisite energy of contemporary queer rave culture. This understanding led to an invitation to make a storied Glastonbury festival debut at the legendary Block 9, the deepest pleasure center within the nocturnal NYC Downlow, before returning in 2024 for a back-to-back set with Shanti Celeste, this time on the wider scale of the Silver Hayes stage. Wherever she performs, Kwarteng’s expertise serves to not only continue the championing of Black American genres such as house, techno and disco, but equally, to explore the continuum of global dance music as a whole. Having laid the foundations for a unique musical journey, it’s a level of respect that’s tangible on any dancefloor. In these increasingly sacred spaces, Gabrielle Kwarteng’s personal passion translates into collective ecstasy. The dig continues.Last at Berghain in Aug · often with Massimiliano Pagliara, Boris, BASHKKA, none of them here that night
“The Best of Both Worlds (Album) - Classic Music Company Houze feat.”
their own biography
the whole biography
The Best of Both Worlds (Album) - Classic Music Company Houze feat. Seven Davis Jr. Original Mix Honey Dijon, Seven Davis Jr. - Classic Music Company Thunda feat. John Mendelsohn Original Mix Honey Dijon, Tim K, John Mendelsohn - Classic Music Company Burn feat. Jason Walker Original Mix Honey Dijon, Jason Walker, Tim K - Classic Music Company Classic Though The Eyes of: Honey Dijon Bonus Mix Original Mix Honey Dijon - Classic Music CompanyTheir RA profile lists Classic, Music For Freaks and Conform.Last at Berghain in Aug · often with Luke Solomon, DAY, Anastazja, none of them here that night
Last at Club der Visionaere in Aug · often with MEHMOOD, DJ Not Sure, Mad'ouk, none of them here that night
“ZOMBIES IN MIAMI is a project created by Cani & Jenouise.”
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ZOMBIES IN MIAMI is a project created by Cani & Jenouise. The couple became one of the most prominent members of Mexico‘s vital electronic scene over the last decade. After highly acclaimed EPs and tracks for such diverse labels as Running Back, Correspondant, Love on the Rocks, Fabric, Permanent Vacation or Live at Robert Johnson they started their own label called Creatures of the Night releasing their own music and talented people from Latinoamérica and all the world. Playing regularly in top clubs in the world like Berghain / Panorama Bar, Robert Johnson, Fabric, Blitz, Nitsa, Lux Fragil, Basement, Rex and also festivals as Sonar, Fusion, Goptun Festival, Nachtdigital, Paradise City, Garbicz, Mutek and many more. https://www.sweatlodgeagency.com/artist/zombies-in-miami/Their RA profile lists fabric Records, Permanent Vacation, Running Back, Live At Robert Johnson and 6 more.Last at Berghain in Aug · often with DJ MARIA., Ogazón, Kim Ann Foxman, none of them here that night
“It all started with one of these Chicago Trax compilations on DM/STREETSOUNDS.”
their own biography
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It all started with one of these Chicago Trax compilations on DM/STREETSOUNDS. As a reaction to his thirsting for more of these crazed beats from overseas and with a view to his tight budget, the greatest hits of these expensive imported 12” singles were soon released in the form of a compendium. This opened Pandora’s box, for very young Roman Flügel, too. Innocently given to him by his elder brother as a present (“He probably had no idea what he was about to unleash and just wanted to give me some new music”), the dazzle of the unrefined and feverish dance music, furnished with just a few drum machines and inexpensive synthesizers, turned the whole world upside down for the cultivated music pupil from Darmstadt. After several evenings at Sven Väth’s renowned Omen club, few kilometres further up north, and his mind was made up. Memories of the atmosphere at the legendary Warp or Underground Resistance label nights has put a smile on Flügel’s delicate face ever since – a man who would also make a fine figure as a literature lecturer, poet or thinker. “LFO’s bass, once they had set up their massive range of equipment, was unbelievable,” he says laughing. It didn’t take long before the well-trained ear tried out more than just classical melodies. Little by little, he collected a vast array of equipment, bringing forth his first sound experiments and enough courage to give a demo tape to indie fan (that’s what music magazines like Zillo used to call people like that back then) Jörn Elling Wuttke. The latter was a well-known face in Darmstadt’s music scene and often enthused about new electronic music. In him he had found the right partner and Wuttke could hardly believe his spellbound ears. DJs und Delirium record sellers Ata and Heiko MSO from Frankfurt felt the same. At first they thought someone was making fun of them. It sounded too authentic and unique. The music Flügel and Wuttke had presented to their label Ongaku and Klang Elektronik as Acid Jesus or, rather, Alter Ego, couldn’t possibly come from the little neighbouring town Darmstadt. In Frankfurt, that kind of sound made people think of Detroit. The rest is history and forged an almost holy alliance. Speaking of holy: a humid summer’s day, a crate of beer and a studio in a garage sufficed to found a new label by the name of Playhouse for Holy Garage and to create that certain “surprise” which still excites house clubs today. Comrades-in-arms such as Isolée, Don Disco alias Losoul and Ricardo Villalobos made the label the number one address. So they went on, history was written and the nineties flew by in a jiffy. His degree course in music was in the way: “It seemed obsolete somehow, just to be analyzing church sonatas all day when there were so many interesting things going on around me. When, on top of that, the only semester on modern music was cancelled that year, I decided to leave the university.” Luckily for us all, actually. The electronic intellectual’s productivity is virtually unparalleled and Roman Flügel, the producer, DJ and label co-owner of Ongaku/Klang/Playhouse has meanwhile become a gentle giant in the German electro scene. With his own personal style and the privilege of being independent from the usual constraints of the music industry. A free spirit instead of a sheep. His solo project as Soylent Green (see the latest “La Forca Del Destino” compendium) is just as much of a must as his Alter Ego project with Wuttke, rigorously affirming techno down to the very last detail. He and Wuttke also count as techno Teuton Sven Väth’s favourite producers, who booked the team to produce a series of his own music. Roman’s work as Eight Miles High and Ro 70 show his quieter side, while the remixes (e.g. for Daft Punk, The Human League, Primal Scream, Pet Shop Boys, Kylie Minogue) and tracks under his own name (just think of the Arcade rave of “Geht’s Noch”) are light dancefloor affirmations. Roman also champions the cause of this in his job as an entertainer. Tried and tested by the stadium and pop hit “Rocker”, Flügel and Wuttke can be proud of being able to set any auditorium in the world on fire with their live set. DJ Roman Flügel can say the same of himself. Be it his sets at Offenbach’s Robert-Johnson, Amnesia on Ibiza or Berlin’s Tollhaus Berghain/Panorama Bar: instead of disappearing in trivial and meaningless elevator clicks, he prefers to make his way through 20 years of “rave”. Contemporary music that includes bleeping house or quirky techno meets futuristic Italo-disco and electronica devoid of all provenance. There was a time when you’d call that kind of sound acid house, released cheaper by the dozen on compilations. It all turns full circle again. Gerd Janson 2009Their RA profile lists Skint, Cocoon Recordings, Playhouse, Klang Elektronik and 6 more.Last at Else in Sep · often with Gerd Janson, André Galluzzi, JDH & Dave P, none of them here that night
names these artists often play with — not that night
- Cinthie4 with Fadi Mohem, 3 with Alinka and 3 with Gabrielle Kwarteng
- Massimiliano Pagliara3 with Budino, 3 with Gabrielle Kwarteng and 2 with Alinka
- André Galluzzi2 with Kwartz, 2 with Roman Flügel and 2 with Zombies In Miami
- BASHKKA4 with Fadi Mohem and 4 with Gabrielle Kwarteng
- Ben Klock4 with Fadi Mohem and 3 with Budino
- Gerd Janson3 with Fadi Mohem and 3 with Roman Flügel
- Lakuti3 with Fadi Mohem and 2 with Barker
- DVS12 with Barker and 2 with BLANKA
307 said they were going — about like a usual Saturday at Berghain.
how this compares
- Median final count, Saturdays at Berghain307
- Middle half finished between259 and 387
- Past Saturdays at this venue counted54
The room
Berghain | Panorama Bar | Säule — 210 events and 1,019 distinct artists since Aug 2025.
Who put it on
OstGut GmbH — 202 events and 979 artists since Aug 2025.