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

In effect, Dublin is an integral part of U2’s makeup. Just a few months back they released Songs of Innocence, which Bono describes as the most personal album they have ever recorded. This, the thirteenth studio production of the Irish band, is a journey to their beginnings, to their infancy and youth. It is a period of dreams waiting to come true, with The Ramones or The Clash as the soundtrack, and Dublin as the eternal, vital backdrop. Now is undoubtedly the best time ever to visit the Irish capital – even more so if we are grooved by the beat of these innocent songs – and stroll along the streets that have witnessed the evolution of one of the foremost bands in the history of rock.

Mount Temple Comprehensive School
This was where it all started. Larry Mullen Jr. put up a sign on the school noticeboard looking for musicians to form a rock group. The call was heeded by Bono, The Edge and his brother, Dick Evans (who would be replaced soon after by Adam Clayton). Thus was Feedback born, later becoming The Hype and, finally, U2. Malahide Road.

Bonavox
Paul David Hewson did not become Bono until his childhood friend, Derek “Guggi” Rowan, happened to give him that nickname. It comes from Bonavox (or “good voice”), the name of a business dealing in… hearing aids! Whether you are music lovers or merely wish to check your aural capacity, the fact is the shop is still open at 9 North Earl Street.

The Projects Arts Centre
In their early years, U2 used to perform in one of the auditoriums here. And, it was at one of these concerts that they met Paul McGuinness, the group’s manager until 2013 and a crucial figure in the quartet’s career. The Project Arts Centre now operates as an art exhibition gallery, and also hosts some of the city’s major festivals, including the Dublin Writers’ Festival, Dublin Theatre Festival, Dublin Fringe Festival and Dublin Dance Festival. 39 East Essex Street.

Windmill Lane Studios        
Understandably also known as the “U2 Studios”, as it was here they recorded their first EP,Three(1979) and the subsequent albums, Boy (1980), October (1981), War (1983), The Unforgettable Fire (1984) and The Joshua Tree (1987). The studios are located at 4 Windmill Lane, a street full of graffiti originally linked to the group; so much so that it is known as the U2 Graffiti Wall. It now features all kinds of street art. 4 Windmill Lane, Dublin 2.

Grand Canal Docks  
Dublin’s dockside is one of the city’s enclaves most closely related to U2 iconography. The setting, highly representative of the spirit of Dublin, has been used by the quartet throughout their career as a backdrop for their record covers (October), videos (Gloria) and photographic sessions (like one they had in 2000 with the Dutch photographer, Anton Corbijn. Hanover Quay.

The Clarence Hotel
In 1992, Bono and The Edge purchased The Clarence. Built in 1852, the originally 2-star hotel was revamped under their supervision, becoming one of the city’s most luxurious hotels. And, as the Irish singer asserts, “For The Edge to have somewhere to stay until later”, they turned the basement into The Kitchen, a disco which the leading lights of electronic music have made their port of call. 6-8 Wellington Quay.

Fitzwilliam Place
Bono once forgot Ali’s birthday. His wife was so upset she was on the verge of throwing him out. The singer made his apologies in the form of a song – The Sweetest Thing. Originally released as a B-side on the single, Where the Streets Have No Name, it later became the first single on the compilation album, The Best of 1980-1990. Recorded on 20 September 1998, the video moves along this central street of Dublin. The videos Sometimes You Can’t Make It On Your Own and Pride (In the Name of Love) are also set in Dublin. Fitzwilliam Place.

Hanover Quay
After leaving Windmill Lane Studios, U2 set up their studios in Hanover Quay. Located in the harbour area, the complex comprises two buildings – one acts as a rehearsal space; the other, a recording studio and editing room. It was there that U2 developed their discs, Pop (1997), All That You Can’t Leave Behind (2000), How to Dismantle An Atomic Bomb (2004) and No Line On The Horizon (2009). Interestingly enough, the Kilsaran Concrete cement factory located opposite the studios had a bench installed in their foyer for followers of the group to wait in comfort for their idols to appear. 18 Hanover Quay, Dublin 2.

Finnegan’s of Dalkey
Celebrated for its culinary offerings, Finnegan’s of Dalkey is Bono’s favourite pub. He is so fond of it that, whenever he gets a visit from a celebrity friend (Michelle Obama, Penélope Cruz, Javier Bardem, Salman Rushdie…), he takes them to this typical Irish pub for a pint of Guinness. It was opened by Dan Finnegan, one of whose seven sons, Peter Finnegan, emigrated to Valencia where, in the central Plaza de la Reina, he opened a twin Finnegan’s Of Dublin pub. 2 Sorrento Road.

St. Stephen’s Green
In 2000, Bono and The Edge were awarded the title, “Freeman of the City of Dublin”. Among the privileges that go with this honour, they were authorised to graze sheep on St. Stephen’s Green – no mean feat! The day after receiving the award, the singer and guitarist made an appearance in this popular park in the city centre flanked by two sheep, which they christened “My Little Lamb” and “Michael Jackson”. St. Stephen’s Green.

Wall Of Fame
The Wall Of Fame, a tribute to the leading names in Irish music, stands at 20 Temple Lane Street, one of the liveliest and most crowded streets in Dublin. The wall displays photos of Van Morrison, Sinéad O’Connor, Thin Lizzy, Rory Gallagher, The Undertones, Bob Geldof, Boyzone… However, one shot which stands out above all of them and effectively steals the limelight shows the very young U2 band members on the beach at Sandymount Strand, another of their favourite spots. And, while you’re there, make sure you drop in at the historic Temple Bar with their live music every night and some delicious oysters. 20 Temple Lane South.

The Little Museum Of Dublin
Opposite St. Stephen’s Green and hard by Grafton Street stands The Little Museum Of Dublin, an art gallery which showcases Dublin’s modern history. Prominent among their permanent exhibitions is “U2 Made In Dublin”. Ranging from original posters from their earliest concerts, to a Trabant from the Zoo TV Tour era, this is one of the largest and best collections of objects related to the band, all of them gifted by the quartet’s fans. 15 St Stephen’s Green.

The company, Dublin Differently, offers guided tours of the most celebrated settings in the city, retracing U2’s career, from their studios to The Clarence Hotel. So, make haste! Come and discover a bit more about one of the best rock bands of all time. Check out our flights to Dublin here.

Text by Oriol Rodríguez for ISABELYLUIS Comunicación

Images by Matt McGee, Phil Romans, William Murphy, dronepicr

On the far side of Bearpit lies Stokes Croft, the bohemian area seething with music bars, clubs and cafés with multi-purpose basements like the one in Cafe Kino or The Art House, where what caught our attention on their menu were the paninis christened with the names of the most popular local electronic bands. For a rather quick, nutritional eat – even in vegan variety – we can also recommend the nearby restaurant in the local Biblos chain where we tasted the wraps and shared food trays. The same street features one of Banksy’s first murals, “Mild Mild West”, a teddy bear brandishing a Molotov cocktail as a group of bobbies approaches, painted after clashes between riot police and ravers in 1999. The graffiti is at the entrance to Hamilton House, a building housing cooperatively managed artists and start-ups with a spacious, crowded bar called The Canteen. There we had arranged to meet Euan Dickson, the young sound engineer of Massive Attack, celebrated Bristol citizens and the most prolific survivors of so-called Trip Hop. Dickson has overseen the gestation of their music since early 2000, including the albums “100th Window”, “Heligoland” and the recent EP “Ritual Spirit”. He also operates as a keyboardist in their world tours, although he admits having reached music by a different route: “When the band released ‘Mezzanine’ in 1997, I was only 10 years old! Oasis prompted me to take up the guitar, but it was PJ Harvey and Radiohead that opened up a new world for me. I was lucky enough to have my Dad recommend me as a porter in the Massive Attack studio, where I also learned to use Pro Tools and, thanks to my enthusiasm, ended up helping them with their music”, Euan Dickson revealed to us in the company of two friendly mates of his and a few pints we shared in good cheer.

We chatted about the racial diversity in the city, the result of immigration in the fifties, which has also seen some conflict. Nowadays “it’s just taken as normal because you grow up with people from everywhere. Bear in mind that 70% of Bristol voted to stay in the EU in the Brexit referendum”, Dickson explains. In fact, the origins of the group he plays in is deeply rooted in the vibrant scene born of that cultural mix. Since the 70s, the Jamaican diaspora has left its musical mark on the St Pauls suburb, an area where riots broke out in 1980 in response to a police raid. It would also have been the haunts of the young DJ Andrew “Mushroom” Vowles, Grantley “DaddyG” Marshall and the then graffiti artist, Robert “3D” Del Naja, later recognised as the original core members of Massive Attack. In the eighties, they jointly founded one of the first “sound systems” in the United Kingdom, the legendary Wild Bunch, which also included such illustrious Bristolians as Tricky, a future collaborator of the group and, subsequently, a star in his own right, and Nellee Hooper, a star producer of Soul II Soul, Björk, Madonna and Gwen Stefani. Between steamy reggae and punk activism, the first New-York-style spray and lettering, sweaty MCs and incisive scratches, dark nights and cold rain, the original foundations of Trip Hop were laid. The controversial label was applied to the scene sparked by Massive Attack, together with other local groups that achieved global recognition, like Smith & Mighty, Kosheen and the acclaimed Portishead, the latter named after the nearby town and birthplace of their lead, Geoff Barrow, who met Beth Gibbons when he was earning a living as a singer in Bristol’s night spots.

As if Massive Attack’s ties to the local underground were not enough, there is even a theory which identifies Del Naja as the face behind Banksy. Although we had been warned that the group were fed up with the subject, we couldn’t help slipping the question. “If 3D were Banksy, I would have found out long ago”, Dickson asserted. He added that the headlines came out the day before the band were due to hold a big concert in their hometown and that, “when 3D turned up at the rehearsal, Daddy G began to shout, ‘Look everybody , Banksy’s arrived!’, and we fell about laughing”.

We said goodbye to Dickson and started reviewing the development of local electronic music. At the same time Trip Hop was flourishing, another native of Bristol was coming to the fore – Roni Size who, together with the collective, Reprazent, would define drum and bass, spawning a host of sub-genres that continue to feed the city with breakbeats. For instance, while London is regarded as the nerve centre of grime, Bristol is the birthplace of renowned DJ and producer Joker, said to have a spectacular home studio here. Another local figure is DJ Blazey, from the Bodynod collective. He has managed countless clubs dedicated to urban sounds combining rap, electronic and reggae. Unfortunately, we didn’t coincide with any of them, but we were able to attend a whole night of dub, dubstep and grime sound featuring two beacons of UK Urban Music, The Bug and Flowdan. They performed for a radically young, totally devoted crowd in the gigantic, multi-space Lakota, in the Stokes Croft area. Other clubs where fans queue up at the weekend are the neighbouring Blue Mountain and SWX, in Broadmead. Sure enough, electronic seems to well up by spontaneous generation in a city which is also home to the boisterous Fuck Buttons and The Third Eye Foundation, the alter ego of Matt Elliot, also a singer of dark folk.

Well, music is just everywhere in Bristol – in the transhumant buskers who entertain tourists with their guitar playing, in the numerous shops selling instruments and in the new record stores – like Idle Hands, a must-visit for electronic devotees – that have emerged in place of the plethora of forerunners that closed down during the previous decade. However, the sound is experienced above all in the endless array of music bars and concert halls like The Lanes, where that weekend various members of Fun Lovin Criminals DJ’ed. On Saturdays they host Mod nights, currently featuring DJ Andy Crofts of Paul Weller Band fame at the helm. Others include the famous venue Louisiana – “The Louie”, among friends – or the large syndicated auditorium O2 Academy, used for big occasions. Pubs, too, notably the seedy The Surrey Vaults or The Crofters Rights where, apart from tasting a huge number of craft beers, we spent an evening organised by the London label Trashmouth Records and caught sight of Big Jeff, an endearing local figure whose presence at a concert acts as an endorsement of your choice of venue from among the endless offerings in the city.

All music is welcome and, if one day it is electronic that blares out, this doesn’t mean the next day  guitars shouldn’t prevail. No wonder, then, that Bristol is also the city of Wayne Hussey, the former Sisters of Mercy guitarist, and singer of The Mission, both beacons of gothic rock. Also hailing from Bristol are rockers like The Alligators and Rob Ellis, the drummer, producer and arranger known for his close collaboration with PJ Harvey for over two decades. The band Airbus is from nearby Portishead and is actually a spin-off from the group of the same name and with whom they recorded the B-side track “Sour Times”. But, if you’re looking for harder sounds, there are the small standout classics by Onslaught who were part of the thrash metal explosion in the eighties and split up shortly afterwards, only to reunite in 2004. Then there are Jaguar, part of the New Wave of British Heavy Metal, and the hardcore punk group Disorder. So, Bristol begets a penchant for sharp riffs, as evinced in the crowded 3-storey pub, Mother’s Ruin, or at the venue Stag and Hounds, where that weekend happened to feature a performance by Olanza whose bassist is the son of the Black Sabbath drummer.

And, of course, we can’t overlook the fact that some seminal post-punk groups like The Pop Group and Glaxo Babies were founded in Bristol in the late seventies, followed the next decade by such acolytes as The Agents, The Escape and Rip Rig + Panic, whose members include the selfsame Neneh Cherry who would subsequently let Massive Attack use the kitchen in her London flat as a studio during the group’s initial forays in the metropolis. Bristol also witnessed the birth of two members of the popular Bananarama. And, another yardstick of mainstream eighties, the sorely missed Tears for Fears, came together in nearby Bath, where the Propellerheads also emerged. This is clearly fertile ground for music.

The rain never let up throughout our time in the city and, while we never quite grasped the rationale behind some locals – obviously used to such downpours – calmly strolling about in shirtsleeves or jerseys, we did come to appreciate the early nightfall and stimulating cold of Bristol in winter. We admired the city while recalling the verse by Beth Gibbons: “All mine / you have to be / from that cloud / number nine”. And, although soaked through, we felt lucky to be treading its streets.

Did that catch your fancy? Inspiring, isn’t it? Well, don’t leave it at that – get a flight and experience it for yourself. Check out our dates and times here.

Text by Mondo Sonoro and Los Viajes de ISABELYLUIS

Images by Los Viajes de ISABELYLUIS