Sven von Thülen

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.

Well, there's this famous quote by Derek May who said, techno is like craftwork and parliament stuck in an elevator.

Well, there's this famous quote by Derek May who said, techno is like craftwork and parliament stuck in an elevator.

Well, there's this famous quote by Derek May who said, techno is like craftwork and parliament stuck in an elevator.

And he mixed it all up. He would play whatever the B-52s, Prince. He would play electronic music that came over from Europe. So you had Kraftwerk, obviously you had like the Belgium stuff like Telex, Italo Disco, and he would kind of create these narratives and he was kind of a mystical figure as well.

And he mixed it all up. He would play whatever the B-52s, Prince. He would play electronic music that came over from Europe. So you had Kraftwerk, obviously you had like the Belgium stuff like Telex, Italo Disco, and he would kind of create these narratives and he was kind of a mystical figure as well.

And he mixed it all up. He would play whatever the B-52s, Prince. He would play electronic music that came over from Europe. So you had Kraftwerk, obviously you had like the Belgium stuff like Telex, Italo Disco, and he would kind of create these narratives and he was kind of a mystical figure as well.

It's been said like many times that being in Detroit at the time, kind of in a post-industrial city, the idea of the conveyor belt and that industrialness, that it all kind of played its role into how you approach making music.

It's been said like many times that being in Detroit at the time, kind of in a post-industrial city, the idea of the conveyor belt and that industrialness, that it all kind of played its role into how you approach making music.

It's been said like many times that being in Detroit at the time, kind of in a post-industrial city, the idea of the conveyor belt and that industrialness, that it all kind of played its role into how you approach making music.

Berlin in the late 80s was still divided. It was still the GDR and West Berlin had a really small scene. Like it was really just like, I don't know, a hundred people or something. Small, small. Yeah, small. Like really everybody knew each other by name, small. And there were music enthusiasts and dancers and like all of that.

Berlin in the late 80s was still divided. It was still the GDR and West Berlin had a really small scene. Like it was really just like, I don't know, a hundred people or something. Small, small. Yeah, small. Like really everybody knew each other by name, small. And there were music enthusiasts and dancers and like all of that.

Berlin in the late 80s was still divided. It was still the GDR and West Berlin had a really small scene. Like it was really just like, I don't know, a hundred people or something. Small, small. Yeah, small. Like really everybody knew each other by name, small. And there were music enthusiasts and dancers and like all of that.

And the music would obviously, you know, being played in like the two and a half clubs that West Berlin had at the time. And then for Berlin, the catalyst for everything was that the wall just came down.

And the music would obviously, you know, being played in like the two and a half clubs that West Berlin had at the time. And then for Berlin, the catalyst for everything was that the wall just came down.

And the music would obviously, you know, being played in like the two and a half clubs that West Berlin had at the time. And then for Berlin, the catalyst for everything was that the wall just came down.

During the war, the building was destroyed, but the vault was still there. And then on top of the wall was just a kind of small bungalow, shack, whatever you want to call it. And it was situated right at the former death strip. This whole area, there was nothing. It was only like debris, sand. It was empty.

During the war, the building was destroyed, but the vault was still there. And then on top of the wall was just a kind of small bungalow, shack, whatever you want to call it. And it was situated right at the former death strip. This whole area, there was nothing. It was only like debris, sand. It was empty.

During the war, the building was destroyed, but the vault was still there. And then on top of the wall was just a kind of small bungalow, shack, whatever you want to call it. And it was situated right at the former death strip. This whole area, there was nothing. It was only like debris, sand. It was empty.

So when they found the place by chance, Johnny Stieler from the East and Achim Kohlberger and Dimitri Hegemann from West Berlin, they were driving around like, we want to open a club in East Berlin. And basically, by chance, saw this shack It's like, well, what's that? So they parked their car, went in, and the door was open. They kind of looked around and it didn't look so special.