Katernacht with Sara Miller, Sascha Cawa, Electrosexual, Los Cabra + more

Who they are

• Los Cabra

  5 bookings since Oct 2025

  Last at Kater in Feb · often with miAs, Frau Rue, B4to *live, none of them here that night

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  Mona Moore

  Berlin · 16 bookings since Aug 2025

  “The Berlin-based Mona Moore is already since the year 2000 passionate lover of electronic music, so it had to come sooner or, as in your case, a little later that she also ventures behind the mixer.”

  their own biography

  the whole biography

  The Berlin-based Mona Moore is already since the year 2000 passionate lover of electronic music, so it had to come sooner or, as in your case, a little later that she also ventures behind the mixer. Her debut was in "her living room", as she calls the Kater Club in Berlin. Also outside of Berlin Mona Moore is on the road to present her kind of deep groovy and melodic techno to the audience. Meanwhile she is also one of the resident DJ´s of the famous Berlin Club "Kater Blau", curator of her own mix series for Proton (Out of Space and Time) and organizer of the event series "Enorm in Form" . During Pandemic she started producing music and the first track was released in June 2021 together with Stan Starry. This was followed by releases on the labels "Rebellion der Träumer" and "Grey Bar Hotel". Her philosophy when DJing: "Sharing the love for music and forgetting space and time for a few hours through it". Die in Berlin lebende Mona Moore ist schon seit dem Jahr 2000 passionierte Liebhaberin der Elektronischen Musik, so musste es früher oder wie in Ihrem Fall etwas später dazu kommen das sie sich auch mal hinter den Mixer wagt. Ihr Debut hatte in “ihrem Wohnzimmer”, wie Sie den Kater nennt. Auch außerhalb von Berlin ist Mona Moore unterwegs um Ihre Art des deepen groovigen und melodisch Techno dem Publikum zu präsentieren. Mittlerweile gehört sie auch zu den Resident DJ´s des Kater, ist Kuratorin ihrer eigenen Mix Serie für Proton (Out of Space and Time) und Veranstalterin der Event-Reihe "Enorm in Form" . In der Pandemie-Zeit hat sie begonnen Musik zu produzieren und das erste Release wurde im Juni 2021 zusammen mit Stan Starry veröffentlicht. Es folgten Veröffentlichungen bei den Labels "Rebellion der Träumer" und "Grey Bar Hotel". Ihre Philosophie beim Auflegen: „Die Liebe zur Musik teilen und dadurch ein paar Stunden Raum und Zeit vergessen“
  SoundCloud ↗
  Their RA profile lists Rebellion and Grey Bar Hotel.

  Recently at Kater, Ritter Butzke, Renate · often with Stan Starry, justUS, Sven Dohse, none of them here that night

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  Sascha Cawa

  Berlin · 9 bookings since Aug 2025

  “Sascha Cawa is a resident DJ at Kater Blau and an essential member of the Kater/Holzmarkt community in Berlin.”

  their own biography

  the whole biography

  Sascha Cawa is a resident DJ at Kater Blau and an essential member of the Kater/Holzmarkt community in Berlin. He is highly respected as a DJ, producer, and an active member of the underground electronic music scene. Dedicated to his craft and passionate about music, Sascha stays true to the underground ethos that has shaped his career. Sascha's love for house and techno music started in the 1990s when he began DJing. His performances have taken him to almost every renowned club in Berlin, as well as countless other locations around the world and to prominent underground festivals and events such as Garbicz, Fusion Festival, ADE, or Mayan Warrior. In 2011, Sascha co-founded Katermukke with his close friend Dirty Doering, which quickly became one of the most influential imprints in the German electronic music scene. Although he left the label in 2015 to focus on his personal creative projects and interests, Sascha remains an active artist on the Katermukke roster, where he continues to push the boundaries of electronic music with his unique sound and vision. Sascha has created a loyal following with his deep, emotive sound and released acclaimed EPs and singles on Katermukke and other respected labels such as Kiosk I.D., URSL, Upon.You, and Klaus:elle, showcasing his signature blend of techno, house, and electronica. His tracks are jam-packed with deep melodies, thrilling rhythms, and richly textured soundscapes, taking listeners on an emotional journey through the full spectrum of electronic music. Beyond DJing, Sascha is proficient in producing, mixing, mastering, and coaching. He would describe himself as a nerd with a fascination for modular synthesizers, Drum Machines and a fetish for reverb plugins. In addition to supporting his friends and colleagues like renowned artists such as Britta Arnold, Dirty Doering, Nicone and many more, Sascha also helps customers from all over the world to bring their productions to a higher level.
  SoundCloud ↗Discography ↗
  Their RA profile lists Einmusika, Schallbox Records, Electronical Reeds, Ladies And Gentlemen and 6 more.

  Recently at Kater, Marmorbar · often with Chris Schwarzwälder, EXTRA, Steve Challier, none of them here that night

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  Electrosexual

  Toulouse, France · 11 bookings since Oct 2025

  “Activism, feminism, queerness and electronic music!”

  their own biography

  the whole biography

  Activism, feminism, queerness and electronic music! This is the combination of ELECTROSEXUAL, brainchild of Romain Frequency, the Berlin-based music producer and DJ — as well as a vehicle for them to explore gender, art, technology, and alternative sexualities through auditory signals. With past collaborations alongside Peaches, David Carretta, Hard Ton, Hanin Elias (of Atari Teenage Riot) & Kiko, ELECTROSEXUAL stands as one of the key figures of the French Electroclash sound, alongside Miss Kittin & The Hacker and Vitalic as recently highlighted by The Guardian ELECTROSEXUAL’s sonic universe boldly explores themes of gender identity, art, alternative sexualities, and our intimate relationships with technology. These themes pulse through standout tracks like "Automatic People feat. Hanin Elias", "I’m your Machine feat. Hard Ton" and "Fetish [ASFR]" a deep dive into the world of Alternative Sex-Fetish Robots. Their latest release, “We Dance Together, We Fight Together”, is both a dancefloor anthem and a rallying cry celebrating unity, resilience, and the ongoing fight against all forms of discrimination. In his Berlin-based bunker, armed with his analogue synth's - "sometimes reaching fetishism", says Ann Shenton of Large Number and Add N to (X) and with a DIY approach, Electrosexual creates the sound of the astonishing meeting between Joy Division and Giorgio Moroder. ELECTROSEXUAL CHEMISTRY : The method and the formula behind the sonic experiments of Romain Frequency, ******** interview by Paul Davies for Four Culture Music Mag. Art Support Machine, an album which bubbles over with a mechanical yet unorthodox froth of forgotten sounds. More Global Hypercolour than High Definition, the thirteen songs recall a time when there was still much to discover within electronic music with now-established genres still in their infancy. With refreshingly imperfect rhythms and arpeggios Art Support Machine successfully challenges the over-produced sonic landscape our ears are accustomed to yet still retains a familiarity. With such an emphasis on nostalgia, it seems natural that the album should have been recorded in a bunker in Berlin, a city rich in musical and cultural history, and a key influence on a lot of the important electronic albums of the 70s and 80s. The topic of the studio is where we begin to get more of an insight into the world of Romain Frequency, the man behind Electrosexual... First of all, thank you for spending the time to talk to us in what has already been a busy year. Please talk us through your studio set up. My studio is focusing on the connection between the synthesizers, effects units and the final recorder. I mainly use audio as opposed to midi. When I produce music I need every machine to be plugged in ready to be used. Even though I always have a sound idea in mind, I never know what I’ll start with and I let the instrument dictate the direction. Then starts the cooking! The studio is a wonderful place. It is a blank canvas and I am always excited translating emotions into music. I have been moving a lot over the past months, and my studio is following me. It is a mobile studio. The album Art Support Machine lists a large and enviable number of synths and hardware. Have they travelled with you? Do you own them all? Yes I own most of the equipment used on the album, although a couple of synths, like the Oberheim Matrix 6 and Elka Rhapsody belong to my friend and label partner François Abberline who co-produced the song “Out of Place”. I could not live without my synths, so they travel with me. This requires a lot of discipline and organisation. I am not mentioning that the family is growing all the time! It is funny that you mention family. Like a parent with several children you probably cannot pick a favourite, but you must have a favourite synth surely? My favourite synth is the Korg MS20 mainly because it is a sound factory that has a lot of energy and can be very experimental. For me, it is not a synthesizer, more like a magic box for emotion. Many of its sounds are really evocative and inspiring. It is very organic. The variety of sounds seems infinite. You can create drum sounds, soundscapes, noises, pads, or simply try to imitate sounds of traditional instruments like flute, oboe or guitar. Like Roland’s TB303 was supposed to replace a bass, the MS20 was supposed to recreate any existing instrument sounds! And is there a particular synth, past or present, you wish you owned? For a long time I wanted to own a MOOG Liberation especially for my gigs. It is a wonderful and powerful Keytar synthesizer (made famous by Herbie Hancock) but when I got the chance to try one, I actually realized it was far too heavy for stage use, despite the fantastic sound quality. You have released several songs and remixes before this year. Why did you wait before focusing on an album? What is a typical process when you are creating songs? New music always sets the tone of where my head is at. With a single song, the time between the creation and the release is usually quite fast which means it can easily follow the stream of my mood, feeding the track with a specific idea close to what I am experiencing at the present moment in my life. Working on a full length album is a different process. It is longer and more organised in the sense of a complete concept. You have to visualise the whole concept at once. A lot of the creative part and spontaneous work is being done beforehand, and then when the main demos are crafted it’s more a question of production, arrangement and then mixing and so on. You have guest vocalists on several songs on the album. How much do they contribute to the songs? I like the idea of collaboration on a song, because of its dynamic. Generally, I start with the idea of the song, providing the music, title and theme direction, then the collaboration starts, turning the original project into a far more developed one or turning into a totally new idea. Everyone will interpret the themes of your album in their own way but what were you trying to achieve? I am fascinated about the mythology surrounding music and machines. I needed to explore this theme to be able to go further in the future. It was important for me to consider the machine as a persona independently from the human, with its own fear, emotion and sensitivity. Did anything in particular inspire you to be fascinated by the theme of machines? A novel, film or other music perhaps? There is a lot to mention: from the robots of Kraftwerk; the replicants of the movie Blade Runner; the synthetic artificial music performers from Norman Spinrad’s 1987 novel Rock Machine (aka Little Heroes) which I named my Record Label after. Do you think you will continue to explore this theme of music and machines....like a follow-up or sequel? Or have you already got other plans for your next releases? I still have a lot of ideas around Machines that I want to express in the next single releases out of Art Support Machine. The concept will develop on future videos from the album. The new single “Automatic People” featuring vocals from Hanin Elias deals with the automatic life of the everyday routine and how and why you should get over it. Future projects will focus on different themes obviously. While the music is very important, tell us how important visuals are for Electrosexual either as promotional video or in a live setting. Ever since the beginning, visuals have been part of the project: I developed a specific visual for each song or release. For the live show, the visuals are used of course for their aestheticism and complement the music, but also to deepen the meaning of instrumental tracks (for example some visuals show definitions of specific terms as A.S.F.R. (alternative sex robot fetishes) on the song Fetish, or even political statements.) With Art Support Machine, the concept is different - I teamed with two visual artists living in Berlin that inspire me a lot. They are Lukas Julius Keijser, who is working on this project exclusively with the silk-screening process and Philip Marshall who is the resident designer of the ZTT re-editions. I use the different formats of the release as a canvas. Every format for the album (Vinyl Picture Disc, Digital and CD) shows a variation of the main visual. Every single from the album will also have a dedicated artwork as they are a part of this concept. At the end of the project, the ensemble will show all the prints created. Like in an art gallery. What else can the audience expect at one of your live shows? Each show is a performance. I use screens to project videos. As I am alone on stage, most of the tracks are adapted and remixed for the show so that I can perform live as much music and vocals as possible. Depending on where I am playing, I have a couple of synths or more on stage, as well as a drum/sample pad and effect controller and of course a microphone. In the end I want the audience to experience the performance as if there was a full band playing in front of them. Who are your main influences? Who inspired you to try electronic music? I always have been inspired by electronic musicians. As far as I can remember, Jean Michel Jarre was my first introduction to the genre. As a kid, I really got into synth pop and New Wave with bands like Depeche Mode, Soft Cell or Talk Talk as well as early 80‘s electronic funk, the exciting pop of Trevor Horn & ZTT and the production of William Orbit. When Techno and Acid house came to my ears I started to imagine creating music myself, but it wasn’t until I moved to Montreal in 2002 that I actually did! I bought my first synth from Xavier Paradis of the band Automelodi (Echo Kitty at the time) and used my exile as stimulation. I realised I could do anything with the sound and it became an exciting story. I could describe your music as techno or disco. You have just mentioned acid house and synth pop influences. Do genres mean anything in electronic music anymore? Are they important? Would you say that 'electrosexual' itself is a movement that you have created? I like blending genres together and I couldn’t stick to one single direction. It is again about the emotion diktat, not about the style. Unfortunately, you have to put a name on your music. That’s why I like sometimes to invent new terms. I created Electrosexual in reference to surrealistic non "(human) sexuality". It started as a statement, considering machines and synthesizers as genitors, having their own kind of sexuality. This concept follows a movement inspired by artists including David Cronenberg, H.R. Giger, Psychic TV, Add N to (X) and Chris&Cosey/Throbbing Gristle. In the world of electronic music, the pioneers often end up falling behind. Do you hope to keep your music sounding fresh and if so how? A song, when finished, is like a tattoo...it stays forever. My music is always very personal and singular, so in this way will always remain unique. I like to play with references and be inspired by my music background. I don’t use any up to date piece of equipment so I don’t have the feeling to write fresh music. I always try to keep the creative process as exciting as possible. I am not worried about the freshness of my sound, I am more worried of not having enough time to release all the music I have in my mind for the world to hear...and this is a wonderful motivation!
  SoundCloud ↗Bandcamp ↗Discography ↗
  Their RA profile lists Eskimo Recordings, Mobilee, Space Factory, Black Montanas and 6 more.

  Recently at Paloma, Ritter Butzke, Void Hall · often with Mashyno, Dj handbag, Posture, none of them here that night

• House Of Grace

  Berlin · 11 bookings since Aug 2025

  “House of Grace aka Grace Kelly, a strong-willed Baiana woman navigating between São Paulo and Berlin for many years.”

  their own biography

  the whole biography

  House of Grace aka Grace Kelly, a strong-willed Baiana woman navigating between São Paulo and Berlin for many years. She moves both bodies and hearts through her music, enriched by her experiences as a queer, Black, traveler, and sapatão. With a strong influence from house music, she creates sets that are true journeys for the ears, blending Acid, Chicago, Tech, Latin, and Garage House with hints of Brazilian Bass. With a viscerally contagious presence, she will celebrate 25 years of her career as a DJ in 2025, having played at major parties, clubs, and festivals such as Dando (SP), Tesãozinho Inicial (SP), Mientras Dura (BH), Pinky Promisse (Berlin), Pornceptual (Berlin), Schwuz (Berlin), Wilde Renate (Berlin), Watergate (Berlin), About Blank (Berlin), Aeden (Berlin), Whole Festival (Berlin), Fusion (Berlin), Rock The Mountain (RJ), Mawazine Festival (Morocco), Central Park SummerStage (NYC), and many more.
  SoundCloud ↗

  Recently at Raumerweiterungshalle, Klunkerkranich, Renate · often with Dark Techno Live PA, Chicago House, Latin House, none of them here that night

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  Sara Miller

  Dublin, Ireland · 18 bookings since Aug 2025

  “Sara Miller is an Irish-born, Berlin-based DJ, producer and sound engineer.”

  their own biography

  the whole biography

  Sara Miller is an Irish-born, Berlin-based DJ, producer and sound engineer. Drawing from the timeless pulse of 90s progressive and deep house, alongside the Balearic, Italo and acid sounds that helped shape it, her sets are high energy, groove-driven and euphoric. Astral melodies, rubbery basslines and soaring breaks form her palette, shaping fluid journeys that blur the line between reflection and abandon. Over more than a decade, she has become a trusted presence on Europe's most respected dance floors, from Panorama Bar, Robert Johnson and Tresor to Phonox, Badaboum, Macadam and Nitsa. Her natural ease behind the decks mirrors her skill in the studio, where she translates club energy into finely detailed, melodic productions. Her relationship with Munich label Permanent Vacation began with Orange Sea (2021) and has grown through her acclaimed Lunar Theory EP (2023), vinyl debut Cervo on Cracki Records (2024), and remixes for Permanent Vacation and Live at Robert Johnson. Oceanic Dream (2025), her second EP for Permanent Vacation, moves between dreamlike introspection and open-hearted euphoria. DJ Mag described her as "one of the rare alchemists who can push a tune to its emotional breaking point while also keeping it on the right side of cheesy." Resident Advisor called Lunar Theory "filled with melodies as complex as honeycomb" noting its low-end heft and idiosyncratic touch and "a reminder that just because you're going big doesn't mean you can't stay weird." In 2024, she was selected for the Detroit-Berlin Residency, spending two months at Submerge, headquarters of Underground Resistance. Collaborating with Detroit artist Shawescape Renegade on a hardware live show, she was immersed in a city built on resilience, innovation, and community, an experience that continues to shape how she thinks about music as a shared, sustaining force.
  SoundCloud ↗Bandcamp ↗Discography ↗
  Their RA profile lists Permanent Vacation, Live At Robert Johnson and Cracki Records.

  Recently at Berghain, Crack Bellmer, Renate · often with Alinka, Nat Wendell, Berghain, none of them here that night

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  Sparkling Water Dreams

  Berlin · 14 bookings since Aug 2025

  SoundCloud ↗

  Recently at Sonnenraum, Renate, Tresor / Globus · often with TRESOR, DJ NORTHERN, Kedi Bounce, none of them here that night

• HOPPER

  106 bookings since Aug 2025

  Last at Kater in Jun · often with EXTRA, EXTRAEXTRA, EXTRAEXTRAEXTRA, none of them here that night

• ACID BOGEN

  106 bookings since Aug 2025

  Last at Kater in Jun · often with EXTRA, EXTRAEXTRA, EXTRAEXTRAEXTRA, none of them here that night