The techno splendour of Berlin in the nineties is unlikely to return. But, this does not prevent the German capital from oozing club culture. We’re guiris – you can see that from a mile away. We smile in the metro simply because we’re downing one of the umpteen exquisite beers you can easily buy in Berlin’s 24-hour stores, or in the metro itself, from the stands that have taken over the underground landings. We’re guiris and, as such, we soak up the city’s nightlife by living out all the dreams and half-truths handed down to us about the historic nineties in Berlin, of basement clubs and all-night parties. Our premise is straightforward – what remains of that club culture splendour in Berlin? We have just forty-eight hours to tune in to the techno beat of today.

It’s Friday, so the adventure begins. Like any decent racing car, the body requires breaking in. And no other European city has more – or better – excuses than Berlin to drink a beer drawn at the counter. Our first stop takes us to Hops & Barley, a tavern with as many types of frothy beverage as the likelihood of rain in that Teutonic country. Dim light, gridded floor and we’re hard put to find a bar stool. The ideal space for stretching exercises.

When one’s throat is sated with pilsen, it’s time to move on, and the metro is our best option. Berlin has a comprehensive network and trains run to 12.30 in the morning on weekdays and round the clock on weekends. Near the Ostkreuz metro station, in an area hemmed in by railway lines and studded with niches formed by twisted iron bars –– a surprise awaits us. In a fenced off work area a bonfire is burning, surrounded by a group of youngsters, a computer and loudspeakers playing techno full blast. Here, the “scouts” listen to catchy “bits”, an image far removed from that of youngsters in Spain, where they gather around a bonfire, guitar and songbook in hand. Open-air parties are a permanent fixture of Berlin – they know a thing or two about them in Rummelsburg.

With this good omen of the city’s techno DNA behind us, we head for a an illustrious nearby squatter’s venue, ://about blank, one of Berlin’s numerous self-managed centres. “Love techno, hate Germany”, it says on the door. The day’s programme is antifascist, for 12 euros. Inside, the dark, crowded cube that is ://about blank offers a heady experience – a tight space and many young Berliners with their eyes closed, swinging their heads about frantically to the music DJ’ed in vinyl. The inner patio is the place to chill out. They recommend we attend a festival called Homophätik, which we will likely check out on subsequent trips.

Berlin does not sit well with the idea of “on a human scale”, as it stretches across a vast territory. This means you have to make the right choices. As for the right days – Chalet is the ideal club for Wednesdays, while Renate is best for Thursdays. But, today is Friday and it’s past four in the morning. We decide to leave the great techno marathon for tomorrow.

Saturday dawns splendidly for a day in May – the sun sends powerful shafts of light into the inner courts created by the residential blocks strewn across Berlin’s terrain. In one of them, some girls are rehearsing a choreography. Next door, a boom box blasts out strains of ambient music.

For lunch – it’s amazing how quick noon sets in when you’ve been up in the wee hours – we are taken by a Sudanese restaurant on Reichenberger street. This is a small eatery with a one-dish menu of the day – for meat-eaters and vegans – at competitive prices. Before plunging into the night again, we spend the afternoon browsing intently through another of any music lover’s crown jewels in Berlin – the record shops.

While finding the stores is something of an achievement, The Record Loft poses a veritable quest. But, using up the few megabytes of your ISP’s European rates brings a reward. On the fourth floor above another of the aforementioned inner patios lies Hard Wax, accessed via a staircase with steps plastered with labels and magazines from all continents. Hard Wax is a small label specialised in electronic music. They also have a vinyl store. The afternoon is also a good time to dip into the bookshops in the Hackescher Markt.  Some have large techno sections, notably Do you read me?, which also boasts a selection of local fanzines. In fact, their bibliography of Berlin’s cultural construction is extensive, ranging from such titles as Future Days, from “early times”, to Krautrock and the Construction of Modern Germany, to works focusing on the nineties like Der Klang, der familie. There are also exclusive titles from Berlin itself, witness Berlin Sampler. From Cabaret to Techno. 1904-2012.

Once your hands are sore from leafing through boxes of vinyls and keying in the titles of upcoming releases, it’s time to head for one of the pre-party clubs. But, more about that in the next chapter.

Text by Yeray S. Iborra | Our thanks to Ángel Molina, Ana Riaza, Carlota Surós and Martí Renau for the first-hand information on the itinerary for this article.

Images by Los Viajes de ISABELYLUIS, Michael Mayer

The island of Gran Canaria offers all the rural leisure amenities you can imagine and more, including adventure sports and trekking.

From Sea to Sky

One breathtaking route stretches from the Gran Canaria coast to the top of the island’s highest peak, a secluded spot which is the closest you’ll ever get to a lunar landscape. In the municipality of Tejeda, some 44 km from Las Palmas de Gran Canaria, you can easily find yourself trapped by a sea of clouds. Tejeda can be reached mainly by the Centro GC 15 main road, a somewhat winding route flanked by stunningly beautiful scenery which takes you through the towns of Santa Brígida and Vega de San Mateo. The most exciting part of the journey starts here, as you begin to climb so steeply that the clouds recede below you. The 44-km drive takes about an hour. It can also be reached by public transport from the Guaguas station in Las Palmas de Gran Canaria.

El Roque Bentayga and the Archaeology Park

Tejeda is a must-see if you come to Gran Canaria and more so if you’re interested in archaeology. Here you can find vestiges of burial caves, rock carvings, paintings and dwellings. The Roque Bentayga provides an excellent sampling of all this. This unique, natural rock precinct was sacred to the original inhabitants, as it was here that they prayed to their gods. The Parque Arqueológico del Bentayga is an ecomuseum built next to the Roque. It also serves as a venue for performances, both for the archaeological rock complex (Bentayga, Andén de Tabacalete, Cuevas del Rey and the Roquete) and its surroundings. It also affords wonderful views of the southern and western reaches of the island.

Culture and Mysticism

The symbol of Gran Canaria is also to be found at Tejeda. This is the Roque Nublo, a huge basalt rock in the form of a monolith stretching 70 metres into the air. On its north-eastern side stands another monolithic rock known as El Fraile (the Friar), as it physically resembles a monk. While you’re here, take the chance to roam through the Inagua and Ojeda pine forests and, further north, that of los Pechos, for here you are bound to fall in love with the views.

Art and culture also make their presence felt in Tejeda. Here you can visit the Abraham Cárdenes Sculpture Museum, dedicated to this Canary Island sculptor, who hailed from here, and also the Ethnographic Museum, where you go on a journey of the town’s and the island’s history. Here, too, the Degollada de Becerra is another spot well worth visiting. It is situated on the main road between La Cruz de Tejeda and los Llanos de la Pez, and features a viewpoint affording spectacular scenery and, more importantly, a centre where you can learn about local ethnography. Lastly, the town boasts a Centro de Plantas Medicinales, where you are invited to discover the varieties of plants, herbs and flowers indigenous to Tejeda and the island and their varied use in medicine, religion and cosmetics.

Gastronomy

Establishments in Tejeda centre offer all types of craftwork and you can also find the typical sweets made here. You are also advised to stop at one of the bar terraces and restaurants located on the side of the Parador Nacional, a magnificent vantage point providing spectacular views of the whole island. 

Almonds play a major role in the cuisine of Tejeda, a town which has become one of the landmarks of Canary Island confectionery, noteworthy among which are the bienmesabes and marzipans. Both sweets are made using ground almond, the former also being one of the traditional accompaniments of local iced desserts. In Tejeda you can also sample any of the Canary Islands’ traditional dishes, the mainstay of which are beef and goat’s meat. Make sure to try such dishes as the caldos de papas (potato soup) and the potajes de berros y jaramagos (watercress and hedge mustard stews). If you’d like to sample good local cooking, a restaurant you should not miss is the Cueva de la Tea, where you can order a potaje de berros and their speciality, ropa vieja– chick peas, potato, hog’s head, chicken, tomatoes, peppers and onion. The average price per head is 12 euros and the helpings are generous. It also has the advantage of affording spectacular views.

What’s holding you back? Check out our flights here.

Text by ISABELYLUIS Comunicación

Images byPatronato de Turismo de Gran Canaria

John Waters shot to fame by directing outlandish, low-budget movies such as Pink Flamingos (1972) which glorify violence, sexual perversion and bad taste. He uses provocation as a weapon targeting the good-mannered hypocrisy, iron-fisted morals and religious values of the American way of life. However, few realise that the American dandy with a pencil moustache has also designed large-format collages and photomontages. He has chosen 40 of these pieces – including storyboards from his movies – for the exhibition, How Much Can You Take?, which runs until 1 November at the acclaimed Kunsthaus Zürich, coinciding with the murals by Joan Miró on display there until the end of January.

Paradoxically, the multifaceted filmmaker has other traits in common with Zürich, such as class, a sense of order and extreme cleanliness. Deep down, Waters also has a tenderness and fetishism that suggests he would delight in the bric-a-brac on sale in downtown Teddy’s Souvenir Shop, offering the music boxes, Swiss army knives, cowbells and cuckoo clocks so typical of Switzerland’s bucolic image. That same cliché embodied by Heidi, the children’s character created by the writer, Johanna Spyri who, like the poet, Gottfried Keller, is buried in the leafy park of Sihlfeld Cemetery, the first in Europe to incorporate a crematory. Waters would surely relish a visit there, both for his fascination for the macabre and his professed love of literature, which of late he is more engaged in than cinema. Hence, we might also recommend he visit Fluntern Cemetery, site of the beautiful tomb of James Joyce, who in Zürich gave himself over to a licentious alcoholism while writing much of Ulysses, a diatribe against Church and State. Another writer who also passed away in this city was the German author of The Magic Mountain, immortalised in the Thomas Mann Archives, a small museum housed in the ETH Zürich. This State university has also been graced by no fewer than twenty Nobel prizewinners, notably the scientist Albert Einstein, as much a rebel against conventional mores as Waters. Located in the same university is the spectacular Law Faculty Library, designed by the architect, Santiago Calatrava. However, the maker of morbid films would probably prefer to read in the old abbey housing the Zentralbibliothek Zürich, the city’s main library.

The filmmaker’s more iconoclastic side would relish the recollection that Zürich was the cradle of Dadaism, the anarchic “anti-art” so critical of middle-class society in World War I. That was when the artistic couple, Emmy Hennings and Hugo Ball, founded the celebrated Cabaret Voltaire in Niederdorf’s Old Town. Together with Tristan Tzara, the locale broke with all established canons. The building gradually became derelict until it was occupied in 2001 by a group of artivists and used to stage neo-Dadaist-style performances before vast crowds of Zurichers. After their eviction, the City Council overturned its original plan to demolish the building, which was then refurbished as an alternative cultural centre. Also located in the Old Town is the unusual Musée Visionnaire, where visitors choose what they want to see – and are encouraged to critique it – from a catalogue of Art Brut, a movement also known as Outsider Art – the work of amateurs, the mentally disabled and any creator alien to institutions and the boundaries set by official culture. In short, characters who would not be out of place among the Dreamlanders, counter-culture misfits and such regular collaborators of Waters as Mink Stole or Divine.

The young Waters who was so enthralled by gruesome accidents and bloodthirsty tales would also take a fancy to the Moulangenmuseum, a museum featuring wax representations of body parts twisted by disfiguring diseases, including exhibits in the University Hospital’s medical teaching collection dating from 1917. And, lured by the repulsive, he might also look up the dark oeuvre, biomechanical aesthetic and highly charged erotic sense of another illustrious native of Zürich who designed the visual effects for the movie, Alien – the recently deceased H.R. Giger. Although fans of the illustrator and sculptor have to choose between a visit to his comprehensive museum in the walled town of Gruyères (nearly two hours south of Zürich), and the stunning Giger Bar in his native Chur (about an hour’s drive from Zürich), situated, strangely enough, in the same land that inspired the pastoral Heidi.

To wind up this walk on the dark side, nothing better than supper at Blindekuh Zurich, the world’s first restaurant where diners eat in the pitch black. Fortunately, Waters is not the chef, so you needn’t worry about being served what Divine ate in Pink Flamingos. I assume you get my drift but, just to make sure, before you take the plunge you should go to a quality chocolaterie like Sprüngli.

In any event, remember that the Waters exhibition only lasts for a few more weeks, so get your tickets here!

Text by Carlos G. Vela para ISABELYLUIS Comunicación

Images by David Shankbone, Roland zh, Juerg Peter Hug, Absinthe, Edsel Little

Berlin clearly lived through one of its most bizarre periods during the Cold War. Bizarre, in that erecting a wall dividing a city into two parts, separating families and neighbours and setting them in opposing universes, is an Orwellian experience to say the least.

Each part of the city obviously developed in a very different way. On the one hand, East Berlin stagnated within a system based on obsessive control by the regime, a pattern shared by the rest of the communist bloc. West Berlin, for its part, evolved in similar fashion to the rest of the capitalist world.

West Berlin – From the Mecca of the Underground to Hedonistic House

From the seventies on, in line with the new trends in England and the United States, a new musical scene began to gain currency in Berlin, based on creative freedom and the aesthetic of a clean break with the past. Berlin became one of the leading centres of punk and all its subsequent ramifications. Their outsider and underground art culture sediment attracted performers of the calibre of David Bowie, Brian Eno, Keith Haring and Lou Reed throughout the seventies. By then, a good number of bands were feeding such exciting circuits as those of London and Sheffield.

At the end of the seventies, the music of Joy Division and dabblers in electronic and industrial music were adopted as icons of the flourishing alternative scene of an open Berlin. Unlike the British or American varieties, German post-punk was characterised by a tension between politics and culture and aesthetically owes much to krautrock, as many of its themes are endless repetitions at a heady pace, notably Geld/Money by the arty band, Malaria, or the early recordings of DAF.

As of 1980, the exciting Berlin scene was always on the move, spawning an inexhaustible string of bands like Einstürzende Neubauten– headed by the controversial Blixa Bargeld – Die Unbekannten, Nina Hagen, Die Krupps, Mekanik Destrüktiw Komandoh, Die Tödliche Doris, Geile Tiere and Die Arztewith their punk funk distinguished by sarcastic lyrics.True to say, the scene was not made up of musicians alone, but by film stars and directors, writers, philosophers, artists and photographers, too. By the mid-eighties a process of disintegration had set in. Music became ever more commercial and groups began to sign up with multinationals. However, it was not long before a new sound revolution arose which had a marked impact on the city – the advent of acid house and techno. Recall that Berlin’s Love Parade was the first mass parade of electronic music in the world. The first Love Parade was in 1989. The event started out as a clamour for peace and mutual understanding through music. Just a few months later, the Wall came down and West Berlin was consigned to history.

The legendary SO36 was still going strong at that time. The club, located on the Oranienstrasse near Heinrichplatz in the Kreuzberg district, took its name from the area’s famed postal code – SO36. The district of Kreuzberg is historically the home of Berlin punk, and of other alternative German subcultures. SO36 was initially dedicated mainly to punk music. As of 1979 it attempted a crossover between punk, new wave and visual art. In those days the club rivalled New York’s CBGB as one of the world’s leading new wave spots. Others on the Berlin circuit included Metropol, the disco, Kino, the club 54 Kantstrasse and the Sputnik alternative cinema, where the cult film Christiane F. premiered.

Period Document on the Big Screen

The 13th Beefeater In-Edit Festival will be held in Barcelona from 29 October to 8 November. Prominent among the many films to be shown is B-Movie: Lust & Sound in West-Berlin 1979-1989, a documentary directed by Jörg A. Hoppe, Heiko Lange and Klaus Maeck on music, art and chaos in the Wild West of Berlin in the decade of the 1980s, the walled city that became a creative crucible for a special type of pop subculture which attracted brilliant dilettantes and world-famous celebrities of all kinds. However, prior to the fall of the Iron Curtain, artists, squatters, poets, music creators and hedonists came together to enjoy a highly unconventional lifestyle in Berlin. They all knew it would be short-lived but, who’s worried about tomorrow? It was a case of living for the here and now.

Featuring mostly unreleased television material and original footage, photos and interviews, B-Movie chronicles life in a divided city, a cultural interzone where anything seemed possible – a place different from anywhere else in Europe. It is a fast-moving collage of stories about a frenzied but creative decade starting with punk and ending with the Love Parade, in a city where days are short and nights are interminable.

Berlin is currently experiencing a youthful resurgence in terms of cultural activity – and music, too! Why wait to discover it all? Check out our tickets here.

Text by ISABELYLUIS Comunicación

Images by B-Moviem, SO36