Sven von Thülen

Okay. That's always a problem when your idea of something is just that bullshit stuff that's mass marketed.

Okay. That's always a problem when your idea of something is just that bullshit stuff that's mass marketed.

Okay. That's always a problem when your idea of something is just that bullshit stuff that's mass marketed.

I lived in a squat. And for me, it felt like techno is just like apolitical. It's just hedonism. It's very German. It's like all that I, you know, as like, you know, an angry 16, 17-year-old, I was like, I don't like any of that.

I lived in a squat. And for me, it felt like techno is just like apolitical. It's just hedonism. It's very German. It's like all that I, you know, as like, you know, an angry 16, 17-year-old, I was like, I don't like any of that.

I lived in a squat. And for me, it felt like techno is just like apolitical. It's just hedonism. It's very German. It's like all that I, you know, as like, you know, an angry 16, 17-year-old, I was like, I don't like any of that.

I grew up in a small town close to Hammerkopf Bremen. They didn't have spaces, so they had to go in all the, like, discotheques. And they looked like discotheques, so I could never relate to that.

I grew up in a small town close to Hammerkopf Bremen. They didn't have spaces, so they had to go in all the, like, discotheques. And they looked like discotheques, so I could never relate to that.

I grew up in a small town close to Hammerkopf Bremen. They didn't have spaces, so they had to go in all the, like, discotheques. And they looked like discotheques, so I could never relate to that.

In Berlin, obviously, you had all these spaces that were basically, like some of them were actually squatted, you know, like where you had like illegal clubs, illegal parties. And even if it wasn't maybe not illegal anymore, it was still like rough and ready kind of like real underground stuff. I would go to Tresor and it's like, oh yeah, I can totally relate to that. Now it makes sense to me.

In Berlin, obviously, you had all these spaces that were basically, like some of them were actually squatted, you know, like where you had like illegal clubs, illegal parties. And even if it wasn't maybe not illegal anymore, it was still like rough and ready kind of like real underground stuff. I would go to Tresor and it's like, oh yeah, I can totally relate to that. Now it makes sense to me.

In Berlin, obviously, you had all these spaces that were basically, like some of them were actually squatted, you know, like where you had like illegal clubs, illegal parties. And even if it wasn't maybe not illegal anymore, it was still like rough and ready kind of like real underground stuff. I would go to Tresor and it's like, oh yeah, I can totally relate to that. Now it makes sense to me.

Yeah, the DIY aspect of it. Because, you know, I was organizing concerts and we did all kinds of like labels and fanzines and like all this stuff. So everything was kind of DIY. And in Berlin, everything was DIY as well. And it was like, basically, we take over spaces and do something great. And it's, you know, for us and our friends.

Yeah, the DIY aspect of it. Because, you know, I was organizing concerts and we did all kinds of like labels and fanzines and like all this stuff. So everything was kind of DIY. And in Berlin, everything was DIY as well. And it was like, basically, we take over spaces and do something great. And it's, you know, for us and our friends.

Yeah, the DIY aspect of it. Because, you know, I was organizing concerts and we did all kinds of like labels and fanzines and like all this stuff. So everything was kind of DIY. And in Berlin, everything was DIY as well. And it was like, basically, we take over spaces and do something great. And it's, you know, for us and our friends.

Realizing, okay, here are all the misfits. All the misfits of society are here and feel, today we'd say, safe here, welcome and all that. That, I had to see and experience that to fully, I understand that. And now I understand the music better as well.

Realizing, okay, here are all the misfits. All the misfits of society are here and feel, today we'd say, safe here, welcome and all that. That, I had to see and experience that to fully, I understand that. And now I understand the music better as well.

Realizing, okay, here are all the misfits. All the misfits of society are here and feel, today we'd say, safe here, welcome and all that. That, I had to see and experience that to fully, I understand that. And now I understand the music better as well.

So, techno music. So in 1988, There was a seminal compilation that was released by a British label, Ten Records. That was the first compilation to basically showcase to the world the new dance sound of Detroit, which was techno.

So, techno music. So in 1988, There was a seminal compilation that was released by a British label, Ten Records. That was the first compilation to basically showcase to the world the new dance sound of Detroit, which was techno.