During their trip to Berlin for Superbooth, a cohort of dBs Plymouth students explored the infamous world of Berlin’s nightlife at Tresor and Sisyphos. Find out what they thought of their time here.
Nowhere in the world has a nightlife and clubbing culture quite like Berlin. It’s etched into the fabric of the city and has been recognised by the Unesco cultural heritage list. Berliners take dancing, club etiquette and techno incredibly seriously and to understand the impact dance music can have on people, the German capital is unmissable.
Luckily for a cohort of dBs Institute Plymouth students, they have the inimitable Phin Head - founder of Stochastic Instruments - as one of their tutors who used his SI connections in the city to get them behind the scenes of one of the most iconic clubs in Berlin—and the world—Tresor, courtesy of its amazing Technical Director, Ron Schneider.
Alongside BA (Hons) Electronic Music Production course leader Matt Ward, who organises this amazing trip with Phin every year, our students got to experience the unique world of Berlin’s clubbing scene first-hand during their trip to the Superbooth exhibition. Find out what they thought about their experience, their thoughts on performances from An On Bast (at the equally renowned club Sysphos) and how clubbing in Berlin differs from the UK, here!
What did you think of An On Bast’s Performance at Sisyphos?
Connor Reed: I loved every minute of it. She smashes it every time. Having a 45-minute conversation about cats was fun too!
Sam Mortley: PLAY LOUD. REALLY LOUD. I thought the volume was louder at Sisyphos than at Tresor. This is probably because the Hammarhalle at Sisyphos was a bigger space, meaning the sound wasn't as contained.
Frederick Couzens: I was mesmerised by the venue and performance. I couldn’t believe the set was all done with modular synthesis. Sonically, it was perfect and the transition between songs was seamless. At first, I thought it was a DJ set. I was utterly blown away.
Omar Taverasdiaz: An On Bast’s performance at Sisyphos was a masterclass in modular synthesis, combining technical expertise with artistic expression. My mind was blown after seeing her ability to create complex and dynamic soundscapes on the stage. Her performance gave me valuable insights into the potential for improvisation and the art of sound design when using modular synths live.
What did you think of Ron Schneider's Lecture at Tresor?
SM: What I took from Ron’s lecture was that a city or town needs more than just a football club. It’s important to be an instigator of something the local community can enjoy and be inspirational. I liked that motivational speech at the end, stressing the importance of collaboration in music and the arts generally. Put a city on the map and maybe a scene can flourish just like Techno has exploded across Germany.
Seeing the speakers, their positioning and their construction was also really useful. Lambda Labs, an Austrian company, provide the speakers on the Globus floor and Aurora Bar. I had never heard of them before, so that was an eye-opener. Also, the Bristol-based company Void provided all the speakers in Tresor. I liked the truss bar that the monitors could move along on the Globus floor. They were created because some DJs complained that they could not hear the playback enough, so the truss offers the ability to move the monitors closer to the DJ if they are struggling to hear, which is a neat, ergonomic design.
FC: His genuine commitment and enthusiasm for providing the best sound quality in any environment really resonated with me. Coming from working behind bars myself, I admired the engineering he has implemented to limit the noise at the bar in the upstairs venue. I thought this was very clever and conscientious of the bar staff and customers.
OT: Ron’s lecture at Tresor provided a wealth of knowledge, from historical insights to practical tips on techno music, acoustics treatment and workflow optimisation.
The emphasis of his point on exploration, continual learning and community building was particularly resonant with me. He suggested that getting a large network is a crucial part of professional development and that building relationships within the industry can lead to collaborations, opportunities and a stronger support community. I thought this guidance was valuable for anyone looking to deepen their involvement in the electronic music scene, whether as a producer, performer, or enthusiast.
HJ: My main takeaway was that challenging acoustics can be used creatively. The main room in Tresor is reverberant, but acts as a resonator for low frequencies, making the bass seem even louder. I suspect this is why Tresor has a reputation for making music seem "heavier". The attention to detail is immaculate, in particular, the directionality of the PA in Globus.
How would you describe the difference between Tresor and Sisyphos?
SM: There was a very similar atmosphere in both venues; people were engrossed in the music. There was not much talking like you see and hear in British clubs. In terms of how they differed, I found Tresor to be pretty intense. The great thing about Sisyphos was the fact that I could go outside and get some air at any time. There were also 2 or 3 different halls with different music so it was plentiful in terms of choices. The fire pit and all the cosy places among the foilage where you could sit back with a beer was a serene experience. Tresor was a place where you have to be up for it, running at 100% energy for hours because you can't escape.
FC: I admire and sincerely respect the queuing etiquette that is expected in Berlin and could only wish this would one day arrive in the UK! The clubbing culture in Berlin seems to revolve around respect and discretion, which we certainly lack here in the UK with rowdy queuing, shouting, catcalling and generally anti-social behaviour.
Covering the phone's cameras is also a fantastic idea, the magic of a club shall always remain there and people on the dancefloor actually dance! It’s obvious to say, but seeing a floor full of people dancing and sincerely enjoying the music with no phone in sight was a very pleasant feeling.
Sisyphos was definitely a more laid-back experience with a variety of DJ sets and chill-out spots whereas Tresor was a much more intense experience. While saying that, I have never felt more comfortable amongst so many people in a club setting. I felt welcome, not judged and free to enjoy the music.
OT: Tresor and Sisyphos are both iconic Berlin clubs, but each offers distinctly different experiences. Tresor's main focus is primarily on techno, with an emphasis on the harder, more industrial side of the genre. The club has a raw, industrial aesthetic, with a dark and labyrinthine layout. As one of the oldest and most iconic techno clubs in Berlin, Tresor has a rich history and has played a significant role in shaping the techno music scene globally. This club is the go-to for hardcore techno enthusiasts, with its intense, industrial atmosphere and rich history in the techno scene.
Sisyphos, on the other hand, provides a more eclectic and playful environment, appealing to those who enjoy a broader range of music. This club covers a wide range of electronic music genres including techno, house, and experimental electronic music. With multiple dance floors, outdoor areas, chill-out spaces, and even a lake, the club provides different musical experiences in various areas and rooms of the venue. For example, there was deep house in one room and hard techno in another. Each area has its distinct vibe. There's a sense of freedom and creativity that permeates the venue. Sisyphos is one of the largest clubs in Berlin, capable of hosting thousands of people at once with a festival-like atmosphere.
HJ: The music in Tresor is slightly more industrial. The biggest difference I saw was the lighting. Sisyphos has lots of light fixtures that are used in creative ways. Tresor, however, relies on just a few light fixtures, which are used heavily. The dozen or so lights in Tresor's main room are constantly strobing, and the copious amount of haze makes them light the entire room, as opposed to a single beam.
What stylistic features did you notice about Berlin Techno that differentiate it from other forms of electronic music?
CR: The constant, “Bom, bom, bom, bom, bom!!” Modular is heavily used in German Techno and this adds to the whole aesthetic. You don’t hear many tracks with vocals or many unusual elements but the simplicity suits the style of music and the culture of the country.
SM: It’s incredibly repetitive without many layers to it. It relies on simple drop-ins and drop-outs. After the drop, it continues in the same gear sometimes. The music features more of a 'bloop' and 'bleep' sound rather than ambient pads like Trance. Berlin Techno seemed mostly minimalist, there aren’t many vocals contrary to a lot of the icons of UK electronic music like The Prodigy and Fatboy Slim.
OT: To me, Berlin Techno is distinct for its minimalism. It focuses on a powerful and prominent kick drum, industrial sounds, deep bass and a dark mood.
HJ: Generally, Berlin's techno seems to be very minimal, relying heavily on the kick drum. The kick is 90% of the music, with most other sounds being used for ambience, as an excuse to have a kick drum. Another notable characteristic is the lack of vocals. I don't think I heard a single vocal in any of the clubs. I feel this removes a human element from the music, which is probably intentional to put focus on the music itself.
What role would you say modular synthesis has in performance and would you say it’s becoming a more mainstream element of live electronic music?
CR: I think it depends on where you are in the world. Modular synthesis is very popular in some areas in comparison to others. It’s a fantastic and complex method of live performance and I often think that this scares people in the UK off. People from my generation are typically lazier and want to just mix on CDJs!
SM: As a guitar player, I’m not heavily involved in the world of electronic music, but I assume there must be some crossover to the mainstream as trends change. There was certainly a lot of modular equipment at Superbooth, so maybe that reflects the trend in dance music. If you look at my world, for example, Shoegaze managed to make a comeback in the 2010s and infiltrate its influence into some mainstream guitar bands like Wolf Alice and Tame Impala. So, when ideas dry up, people often look to alternatives to push their art forward. Anything is possible!
FC: After seeing An On Bast’s performance, I think we should be pushing the use of modular even more. Seeing a performer manipulate an instrument in real-time is a very special experience, as it’s different every time! It only makes me want to implement more live elements in my DJ performances.
OT: The landscape of electronic music performance is continually evolving, driven by advancements in technology, changes in audience preferences, and the creative experimentation of artists and traditional DJing. On the other hand, modular synthesis has gained significant visibility over the past decade, thanks to events like Superbooth, Machina Bristronica and YouTube channels and social media platforms where modular artists share their setups and performances. Today, I’d like to say that modular synthesis, which was previously a specialised field, is becoming more widely known as a result of increased market expansion, educational resources and online visibility.
What do you think about the diversity you experienced in Berlin? How could the UK move towards this direction?
CR: The UK could take a lot of notes from Germany in a lot of areas! They are much more open about Pride and those who have different sexual orientations. I really appreciated the advancements in culture and how forward-thinking they are.
SM: I thought the diversity between male and female performers was well-balanced. I think that the UK has made some great strides with many more prominent female DJs headlining shows, but there’s still some progress to be made.
FC: Over the whole trip, I’m confident to say I saw just as many genders perform and the diversity on-show seemed well-balanced.
OT: Although I haven’t visited many clubs yet, I want to suggest a few points. By implementing educational programs, inclusive booking practices, supportive communities, and tackling industry barriers, UK live music can move towards a more balanced and inclusive electronic music scene - like the one we experienced in Berlin.
HJ: It seemed to me that the majority of performers at Superbooth were women. The UK needs to support all its artists better, that way musicians of all genders will grow, as opposed to the few top artists who tend to be men.
Want to explore SuperBooth and Berlin’s clubbing scene while you study? Students at our Plymouth Campus go every year! Book a tour or join us on an open day to learn more.
