上海POTENT CLUB 发布时间：2023-11-24

12.2 @POTENT - 柏林史诗 Berghain’s Golden Son: Ben Klock

Berlin、Berghain、Ben Klock，这三个名词就仿佛圣经中所描述的 “三位一体”，勾勒着一个时代的声音。对于全世界的电子乐迷而言，Ben Klock 的名字无疑是近代 techno 的化身。有 “Berghain’s Golden Son” 之称的 Ben Klock 从 2005 年开始一直身居柏林俱乐部文化的前沿，这位柏林 icon 史诗般的作品集在过去二十年席卷地下舞曲场景的 techno 浪潮中刻下了永恒的印记，而他的 DJ 现场则以长达 10 至 15 小时的马拉松式 long set 而闻名。Ben Klock 的音乐哲学绝不仅仅是向人群提供纯正的 techno 声响，而是将音乐分解成流动的纹理以呈现长篇的情感叙事。

Having become a Berghain resident in 2005, Ben Klock has since established himself at the forefront of Berlin’s modern Techno movement, an ever-present symbol of the city’s vast musical landscape.

His long-standing relationship with the notorious Techno institution has formed the backdrop to his success, providing an invaluable platform that has allowed him to become one of the most in-demand DJ-producers of the current generation.Those who have witnessed him perform will note not only the diversity in his track selection, but also his ability to create a room rather than just play to it. Though intense and powerful, his DJ output reflects a certain kind of fervour, capturing an artistry and emotion that can often appear absent from the Techno genre. He also possesses a wonderful understanding of how to adapt his music to the circumstances, a competence that means he can be found at both large-scale festivals and small intimate club settings around the world. Much of his early career was marked by marathon sets – a signature that played a considerable role in nurturing his skills and reputation – but even the more compressed sets he shares today evidence an intricate narrative and sense of flow that defines him as a DJ. It was these inherent abilities that led him to compile the fabric 66 compilation in 2012, before winning the BBC Radio 1’s Essential Mix of the Year award in 2015.

Over recent years his focus has been on touring – but his early works, most of which were released via Ostgut Ton, have become landmarks in the imprint’s history. 2009’s “Dawning”, the first of his collaborations with Marcel Dettmann, kickstarted the label itself and remains a stand-out track in its discography. Other releases of particular note include “Subzero”, taken from his Before One EP, and the Compression Session EP (2010). For many, however, it is his album One (2009) that best captures Klock’s talents as a producer. Still today, this seminal record forms a reference point for all Techno long-players. His skills as a remixer have also seen him rework tracks by a wide variety of artists, including Kerri Chandler, Depeche Mode, Robert Hood and Kenny Larkin.

Additionally, Klock also runs Klockworks, a label he founded in 2006 as a home for his more raw and minimal productions. The focus, however, has shifted over recent years, with the label becoming a medium for him to present his more diverse personal tastes and support developing talents. Trevino, DVS1 and Etapp Kyle have all released on the imprint during the earlier stages of their careers. The growth of the label has been aided by a series of showcases at various international locations, including London’s Village Underground, New York, Barcelona, Detroit and Berlin, with more on the horizon.

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1999 年 OstGut（Berghain 前身）首次开业，Ben Klock 很快就爱上了这个场地所带来声音以及开放性。90年代 techno 首次从底特律传入欧洲，但到了2000年初期，这股潮似乎正在逐渐消失，但城市依旧喧嚣，人们期待着 techno 的新场地，Berghain 的诞生为这群锐舞流浪者提供了家园。“当我第一次去放歌，我就知道我终于找到了归属。Techno 的概念必须以这样的方式呈现与体验，这就是我一直想象的画面。” Ben Klock 在 Trax Magazine 的采访中说道。

Ostgut Ton（Berghain 的 in-house 厂牌）被 Resident Advisor 描述为 “舞曲领域的主导力量”。而 Ben Klock 作为元老级制作人，与 Marcel Dettmann 一同为其创作了第一张黑胶《Dawning / Dead Man Watches The Clock》，为 Ostgut Ton 迎来了第一缕曙光，被称之为“定义时代的声音”。Ben Klock 的自创厂牌 Klockworks 则同样闻名世界，最初仅仅是发行自己作品的黑色密室，但当 Ben Klock 听到 DSV1 未发行的作品时，他决定为新兴人才打造一片平台 —— Sterac, Etapp Kyle 和 Trevino 等如今早已闻名遐迩的艺术家之名都曾出现在该厂牌的作品集中。

2012年，Ben Klock 为 Fabric 制作的混音 Fabric66 不仅反映了他对经典 house 与 techno 的偏爱，同样向听众展现了其热衷于挖掘新曲的热情。Ben Klock 将来自 Staffan Linzatti、Sagat、K-Hand、DJ Bone、Josh Wink、Robert Hood、DVS1 等人的曲目混合在一起从而组成混音的核心 —— 经典作品与未来之声的结合。UK dubstep 传奇 Burial 的引入亦创造了更加有趣的对话。在 Ben 的重新编制中，听众得以沉浸在持续的宇宙氛围。“这个 Mix 没有任何 ‘热门曲目’，而是希望你能够在聆听时自然探索。”