We embarked once more on a trip with the Mondo Sonoro crew of journalists. This time we decided to investigate Bristol’s music scene, highly active as of the late 1970s, during the heyday of punk. However, it was in the early 90s that music in this port city of southern England riveted world attention, as it was there that one of the defining genres of the late 20th century was born, evolved and, they say, died – Trip Hop. But things did not stop at that. Shortly afterwards, Bristol challenged London as the cradle of drum’n’bass, while today it is dubstep that has earned it a top spot among avant-garde electronic music. As well, it continues to be a haven for all kinds of live music. So, we headed for Bristol with a fistful of question marks; perhaps too many to be answered in a space of just 48 hours. Here’s what the experience yielded.

Bristol lies just 48 minutes from Cardiff by train, a short ride which you can use to go over the lineups of the countless clubs and concert halls that liven up the night of a city with little over 400,000 inhabitants.

Bristol was England’s busiest port for several decades. The city once flourished as a trading post, garnering its wealth from the distribution of wine, tobacco and, in the 17th century, slaves, too. Not for nothing was the home of pirate Long John Silver, of Treasure Island fame, located here. In World War II, the importance of its docks and aeronautical industry made it a target for terrible aerial bombardments. The harbour area has come into its own again recently as a result of an ambitious urban renewal plan, completed in 2008, which paved the way for one of the most popular promenades – Harbourside. The area, which has been totally remodelled, features leisure and hospitality areas, as well as an open-air flea market crammed with second-hand books and records, in addition to craftwork, confectionery and even craft beer.

Also sited there is the Bristol Tourist Information Centre, an inexhaustible source of information, where we learned that here too are the headquarters of Aardman Animations, the studio where the Oscar-winning Plasticine figures of Wallace & Gromit were created. This is also the birthplace of Cary Grant, a star of Hollywood’s early period who continues to be celebrated in the form of a festival bearing the name of this perennial Hitchcock actor. Another titbit – the writer, JK Rowling, Harry Potter’s mater, lived in the city’s environs until her adolescence. However, our most prized acquisition in the Tourist Office was a street plan for locating a host of works scattered about the city by someone who is probably the most popular local celebrity, even though his identity remains a mystery. I am talking about Banksy, Bristol’s favourite son, although not all the city councils would refer to him in such terms.

However, before setting out on a photo safari around the city walls, it might be an idea to first explore it from the river that traverses and connects it to the sea. Several companies organise boat tours, including Bristol Ferry Boats, The Bristol Packet and The Matthew. The latter offers rides lasting up to four hours, during which you can enjoy the classic Fish & Chips or a Cream Tea – milk tea with scones and jam and cream.

Still in the neighbourhood, we were tempted to visit At-Bristol, which combines an interactive science centre with a planetarium, but there are many cultural enclaves worth exploring. First we headed for the nearby area of theatres and dropped in on the Bristol Hippodrome, which focuses on great musicals, notably one dedicated to the “Million Dollar Quartet” (Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley), where the legendary producer, Sam Phillips, is played no less than by the ex-pop star Jason Donovan! Around there we came across a number of tapas bars, attesting to a marked increase in Spanish emigration, including El Puerto and La Tomatina, the latter located next to the first Banksy we were able to enjoy, the hilarious “Well Hung Lover” on Park Street, a steep commercial thoroughfare which is a must for picking up bargains. Our hotel was near there, in the historical Old City, so we still had time to wander through St Nicholas Market, a charming covered market, like a bazaar with glass ceilings. We also made for St Peter’s Church, an evocative ruined church at the top of Castle Park, on a stretch of the river bordering the Broadme addistrict, the city’s commercial centre. Further north lies Bearpit, an unusual square sunk between a junction of trunk roads that swerve around pedestrian tunnels plastered with posters announcing musical performances and street art exhibitions. We were taken aback by a number of graffiti paying tribute to the tragedy of the 43 missing Mexican “normalistas”. There were also skate ramps, a space for performances of all kinds and even a typical double-decker London bus converted into a food truck serving Mexican dishes.

On this note we wind up the first part of our intense and interesting visit to Bristol. In the second part we delve into the area where most of the clubs are concentrated. We also talked to Euan Dickson, sound engineer of Massive Attack, one of the seminal bands in the city’s music scene. Get going and discover the sounds of Bristol – check out our flights here.

Text by Mondo Sonoro and Los Viajes de ISABELYLUIS

Images by Los Viajes de ISABELYLUIS

When it comes to Germany’s underground, everyone thinks of grand Berlin with its hipsters strolling through Kreuzberg, especially when it was alternative and arty – now Neukölln has taken over – its endless art galleries, flohmarkts and variegated events staged on any derelict or decadent-looking site.

However, it might occur to a few of you that Hypezig – from “hype” and “Leipzig” – has become Berlin’s major rival in the last ten years. The city is ideal for soaking up street art or homing in on radically alternative galleries, far removed from the bustle of the capital and beyond the tourist trail. A city where throngs of students, artists and musicians have been mingling for a long time.

Mom, I Want to be an Artist in Hypezig!

Spinnerei

This former cotton mill – once the largest in Europe – is a paradise for any art lover. Nearly a hundred artists and many galleries coexist in this emblematic spot. And, if you happen to stop by, you should not miss the ASPN Galerie, headed by Arne Linde, as this was a beacon of Leipzig’s art scene when it first got off the ground. Also a must is the Galerie Kleindienst, the city’s “New Leipzig School” of artists involved with all kinds of media and materials. At the Spinnerei you will also come across small establishments offering creative products, as well as a cinema and a bistro to act as your watering hole.

Weißcube Galerie

This gallery, housed in a white cube in the middle of a Bauhaus villa garden, is a must-see landmark. Apart from providing viewers with a fine example of outsider art, the dialogue set up between the building’s architectural pieces and its surroundings will leave no one indifferent.

Ortloff Galerie

On display in this gallery are exhibits ranging from graphic design to sculptures, to installations of all types. Many of the exhibiting artists are graduates of the Hochschule für Grafik und Buchkunst Leipzig (HGB), the city’s visual arts faculty.

But, perhaps the best way to soak up the art is to stroll through Leipzig’s streets. When you least expect it, you are likely to turn a corner and bump into such works as “Mural of the peaceful revolution”, by Michael Fischer, or Blek Le Rat’s “Madonna and child” graffito, which was restored and placed behind a protective glass screen.

Dancing in the Night

And, since man does not live by art alone, getting into the swing of the city’s nightlife is a good way of rounding off the day.

Elipamanoke

This is one of the first locales to be opened in the east of Leipzig, an area characterised by its industrial past and transformed into one of the city’s hot districts. The underground parties in Elipamanoke move to the rhythm of minimal techno and house, although you can also hear drum’n’bass or electroswing.

Institut fuer Zukunft

Their rule forbidding taking photos and their access policy make this an exclusive club which prides itself on being an alternative to the current club scene. The lineup at Institut fuer Zukunft features local and international DJs who gift experimental sessions of house and techno. During the day, they host conferences and debates on gender, club culture and electronic music.

Villa Hasenholz

The best parties are usually held at venues that were not originally clubs. Thus, this kulturhaus and biergarten called Villa Hasenholz, which is also a residence for artists, hosts rave-ups of all kinds. Making use of either the interior or their outside garden, the premises can operate as a disco, a concert hall or a multi-purpose festival venue, outside the established circuit and idyllically located in a forest.

Leipzig is the ideal destination for a weekend getaway where you can steep yourself in a bohemian ambience of art and music. It is also one of the iconic cities for its classical music or for lazing in its parks and gardens, like the Clara-Zetkin-Park, where jazz is played every Sunday. But the city offers, above all, a markedly alternative Germany, alien to any stodgy clichés. It also brings home the fact that smaller cities such as Weimar, Dresden or Bremen are also likely to raise the eyebrows of more than one cosmopolitan hipster.

I’m sure you’re eager to plunge into the city’s cultural effervescence. Make haste – check out our flights to Leipzig here.

Text by Carmen Gómez for ISABELYLUIS Comunicación

Photos by Elipamanoke, Institut fuer Zukunft, di.fe88, GlynLowe, Pfauenauge

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

From David Bowie or Iggy Pop, to U2 or R.E.M, Berlin has long been a source of inspiration for the most famed ambassadors of pop and rock (their impact on club culture deserves a separate article). With the iconic Hansa Tonstudio recording studios as the hub of experimentation and creation, the German capital stands out as the inextricable backdrop for beacons of musical genesis over the last few decades.

“Heroes” (David Bowie, 1977)

David Bowie took refuge in Berlin in search of inspiration in the late seventies. His German sojourn ended up spawning the Berlin Trilogy,a triptych of albums that began with Low (1977) and ended with Lodger (1978), although epitomised by the second album, Heroes.Recorded in the legendary Hansa Tonstudio (or Hansa Studio by the Wall), the title track recounts the story of two lovers who hide their idyll in the shadows of the Berlin Wall.

“Lust For Life” (Iggy Pop, 1977)

Following in the footsteps of his friend, David Bowie, Iggy Pop headed for Berlin to develop his career as a solo artist. The first chapter in that new venture was The Idiot (1977). A bigger hit still was Lust for Life, released that same year. With the Hansa Studio by the Wall again becoming his centre of operations, Iggy Pop took just eight days to breathe life into such essential titles in his repertory as Lust for Life, The Passenger and Tonight.

“Kollaps” (Einstürzende Neubauten, 1981)

Few albums has captured so well the essence of Berlin in the early eighties as Kollaps, Einstürzende Neubauten’s debut. A landmark industrial and experimental band, the calling card of this group led by Blixa Bargeld was a collection of pieces which even today, three decades on, still resound as searing, psychotic and oppressive – an exquisite torture on the ears.

“Night Time” (Killing Joke, 1985)

The quasi-metal, industrial band, Killing Joke, achieved one of their major hits with Night Time, a work suggestive of an interlude between their strident beginnings and the calmer stretches they would subsequently experiment with, albeit fruitlessly. And, while you’re at it – listen to Eighties, the last track on the album, and then do the same with Come as You Are, by Nirvana. Influence, coincidence or plagiarism?

“Black Celebration” (Depeche Mode, 1986)

Depeche Mode went to Berlin to record their fifth studio album, with Martin Gore then consolidating as the band’s creative engine. As the title suggests,Black Celebrationstresses the darkening sound passages that the Britons had been flirting with in their previous works, Construction Time Again (1983) and Some Great Reward (1984). Definitely one of the most influential records of the eighties.

“Your Funeral… My Trial” (Nick Cave And The Bad Seeds, 1986)

Nick Cave has stated on more than one occasion that Your Funeral… My Trial is the best album in their career. Indeed, his long fourth track harbours some of the most hair-raising cuts by the Australian, like its counterpart, Your Funeral, My Trial, Stranger Than Kindness or The Carny which Cave and The Bad Seeds would play a year later in the Wim Wenders film, Wings of Desire.

“Bossanova” (Pixies, 1990)

Engendered in Berlin, this third album of the Pixies is undoubtedly one of the great works of independent rock. The hideout of simply irresistible tracks like Velouria, Dig for Fire or Allison, their customary dedication to sure-fire tunes entangled with distorted guitar rasps,Bossanovareveals borrowings from surf and space rock. While not a conceptual work, many of the themes bear references to aliens, UFOs and the remaining extraterrestrial paraphernalia that so obsessed its leader, Black Francis.

“Achtung Baby” (U2, 1991)

Having scoured the roots of American music with Rattle and Hum (1988), U2’s next release marked a radical departure in sound. Having moved to Berlin to allow the winds of change blowing across the city to rub off on them, the Irishmen caught the world unawares with a work grounded in the essences of the burgeoning genres, including independent rock and electronic music. Achtung Baby is one of those definitive records in the history of rock.

“Collapse Into Now” (R.E.M., 2011)

R.E.M. was one of the most popular bands in the last few decades, with the added advantage that they managed to keep their integrity and artistic credibility intact. They split up in September 2011, a few months before the release of their last album, Collapse Into Now. Recorded in the Hansa Tonstudio, this is a standout farewell bordering on the sublime, as in Discover, Mine Smell Like Honey and Überlin.

Berlin Musictours offers an extensive, more than interesting gamut of tours to the hotspots of Berlin’s ever effervescent musical activity. Among the various itineraries to choose from, notable routes include the Bowie Berlin Tour, U2 Berlin Tour, Depeche Mode Berlin Tour and Hansa Studio Tour. Why wait to discover an à la carte musical Berlin? Check our flights here.

Text by Oriol Rodríguez for ISABELYLUIS Comunicación