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| Tom Clark: Berlin underground |
| Reported on Wednesday, Oct 05, 2005 by rezok |
| taken from www.inthemix.com.au |
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| Thomas Haertel started to DJ in 1992 - a time when the German techno scene was far from what you would term flourishing. It was an era where the sound lacked its own identity and where there were only a handful of labels and producers represent in. Thus, his name change to Tom Clarke was a product of the economic impossibilities that surrounded German techno in the early 1990s. ´´It´s funny - most of the German DJs from my generation took on English names - Steve Bug, Ellen Alien or Sammy Dee.´´ Regardless though, he is convinced that the name is irrelevant and the importance of personality and the quality of one´s work, far more significant. |
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In time, Clark would find much of his taste in music came from the influence of his older stepbrother - a rock DJ - and one with a considerable collection of records. He recalls spending hours looking at the pictures on the covers and being attracted to vinyl. ´´I was spending all my spare cash on a wide range of music and playing my record collection to friends. I used two tape recorders and a single turntable and fused hip hop, rock and disco. Chicago and Detroit were defining influences in my life.´´ Later, he would take on the world with his skills behind the turntables and in the studio. He would also work as Schach Matt and X-Men - projects involving various friends on his old imprint, Gold Plate. And since its demise over issues with direction, he established Highgrade Records and Laufwerk Music. The former is ´´still alive and growing day by day. For this label, I look for artists with fresh sounds and faces - good honest dance music without being too commercial.´´ He is also known for his work as Klark Teknik and Magnetic Base. The latter is his most recent endeavor: ´´for this project I work with a friend who I have known for ever and he comes from the funk and hip hop scene, which means he has a totally different style of producing, adding a special touch to the productions and distinguishing them from my other stuff. The productions are more open for different styles.´´
In all, Tom likes to be recognised for putting his personal touch on production work and remixes. He has worked with all manner of greats including Alexander Kowalski - someone who hails from the same ´´village of Berlin as me and somebody that I have known for quite a long time.´´ And like his compatriot, his music refuses to be categorised. His productions and DJ sets encompass anything from electro, house to techno. ´´It basically just depends on my mood. Even after hearing some good material out in a club at the weekend that influences me sometimes too.´´ His artist album King Tide was hailed in music circles as a defining moment - ´´a dance album from a DJ for DJs´´ and he pledges ´´another album next year, although one with an emphasis on covering a larger spectrum of styles.´´
Today, alongside Tom Clarke, Berlin´s sound aesthetic is reinvigorated once again. DJ Rush and Richie Hawtin have re-established themselves there - the sorts of paradigm shifts which give Tom the energy required to stay motivated; to stay ahead. And with assurances that his Australian performances will be filled with ´´deep minimal-funky-ass-shakin´-goodness,´´ Tom Clarke might be a name that you haven´t heard before - but one you´ll likely remember. |
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