Truth: Berlin has about a handful of DJ’s with talent and integrity.
Reznik is one of them. Just forget the other douchebags and support this fella. (Alec Empire)
A considerable amount of Reznik’s record collection is built upon three chords or plain noise rather than four-four time. He does not believe in the utter worship of all that is synthetic and electronic to be a dope DJ for electronic music. In fact, many of his most thrilling moments in clubbing and DJ-ing have been of genre-broaden or –crossing nature.
The first time he dragged his record boxes into a night club was when calendars still displayed the last century – pretty much at the end of it, though. As soon as his sparse financial margins back then were permitting the acquisition of a second turntable, he extended his abilities into having these records play at the same speed. He was living in Leipzig at the time. Leipzig was and is a city with a vibrant and elaborate underground scene for electronic music. Big impact on this guys mindset!
It was in 2009, a couple years after relocating to Berlin, when he teamed up with Adam Port, &ME, Rampa, Monja Gentschow and former member David Mayer and the whole Keinemusik story unfolded. At some point, he took care of the KM labelmanagement for a couple of years.
In 2019 he started a collaborative project with old companion Good Guy Mikesh. He strives for DJ sets that draw on groove and on soul (not necessarily the musical genre, but the spiritual entity) and go wherever they need to go. Be it the Disco-tinged House route, the deep Detroit course or the rather rough Acid & Electro trail. Main thing here is that it moves you.
“Sainte Vie’s music is a prime summary of what it means to hear in a post-genre universe.”
After 3 years of sharing its music for free, Mexican imprint Akumandra gears up for its very first release on vinyl. What better way to celebrate than to feature the label’s head curator, Sainte Vie with his Estación Inmortal EP on January 29, 2018. Composed of three originals, ‘Huracán,’ ‘Albatross’ and ‘María,’ Sainte Vie’s music is a prime summary of what it means to hear in a post-genre universe. As trends are quickly rendered obsolete, the accumulation of culture debris is becoming more significant in relation to the producer – the ability to create a nostalgic blur through a composition of artifacts and interpretations. Paying homage to this, Sainte Vie’s music produces the afterglow associated with an auditory epiphany. The combination of mellow interludes, earthy chord progressions and acoustic-synthetic equilibrium have the capacity to conquer both communal space and solitude.
