VAULT SESSIONS BLOG SERIES
BASSIANI: A staple of Resistance in a War on Freedom
[The following is a paraphrased account of recent events in Tbilisi from statements made by BASSIANI.]
For over 160 days, protests have been ongoing in Tbilisi, fueled by widespread dissatisfaction with election fraud, authoritarianism, police violence, rising Russian influence, anti-LGBTQIA+ laws, and the government’s obstruction of Georgia’s aspirations to join the European Union.
One of the central issues driving these protests is the Foreign Agents Restriction Act, which closely mirrors a Russian law. This legislation designates any organisation receiving foreign funding as “enemies of the state,” severely limiting the ability of independent media and civil society groups to function freely. Alongside the Grants Law, it imposes stringent restrictions and heavy penalties on organisations that do not adhere to government control.
In addition, the government has significantly expanded police powers, transforming public spaces into heavily surveilled zones. The right to protest has become both physically and financially perilous, with fines reaching up to 1 million GEL—an unattainable amount for many citizens already living in poverty.
While several organisations are working to support those fined or injured, even they are facing frequent raids and harassment. A recent attack on the pregnant wife of Bassiani's co-founder—who is also a member of the Shame Movement—highlights the increasingly violent intimidation tactics employed by the authorities.
Even before these recent escalations, the government had already enforced harsh anti-LGBTQIA+ legislation, aimed at erasing gender from legal documents and stripping away fundamental rights for the LGBTQIA+ community. These measures, seen as attempts to silence LGBTQIA+ voices and halt social progress, laid the groundwork for the current climate of repression.
There is also a growing concern that Georgia's visa-free travel agreement with the European Union could be revoked, effectively stripping citizens of their freedom to engage with European values and severing their cultural ties to the continent.
In light of these recent events, we sat down with Naja Orashvili, BASSIANI co-founder and Giorgi Kikonishvili, co-founder of BASSIANI’s queer parties, Hydrash and Wings of Desire, to discuss their unwavering commitment to resistance, the fight for freedom of expression and the role of nightlife in driving political and social change in Georgia.
We also explored how Georgian and global solidarity has become a crucial pillar of support, uniting the international community in defense of human rights and underground culture.
All photos were taken by @tv_cave in Tbilisi, Georgia (2025)
Your resilience in the face of what is clearly a war on freedom of expression by the Georgian government is really inspiring. Knowing that your work could be suppressed at any moment, how do you continue to find the strength to keep going?
It comes as a natural reaction to injustice; when you see it happening, you either have to obey and accept it and become something you're not or fight back. Georgian society, which has always been a target of various imperialistic and oppressive powers for centuries, has a strong collective memory of wars, protest, struggle, and resistance - that's how we maintained our own unique culture and identity, which was constantly under attack by those powers. So people were raised with that memory, with that knowledge passed through generations, that in a world full of obsessive rulers who want to control, freedom is never granted. That's the way of life we know it.
Ten years ago, in 2014, when we began laying the foundations of Bassiani, the conceptual basis was to go back to the roots and build up a wave that would become a cultural catalyst for the future of an otherwise struggling society. In a country where the state, educational, political, religious, and social institutions failed to provide the essential needs for a dignified life for the people, we could create microcosmos with our own rules and ethics to imagine and implement a different, utopian way of life. We started fulfilling our dreams of a better world on the dancefloor.
Even Bassiani is the name of a historical battle that Georgia fought in the 12th century. So, since the very inception of the club, it's been part of its core ethos, its DNA, never to stop fighting for freedom, justice, equality, and for each other. And even the symbol of the club, an angry warrior with a helmet, is a manifestation of that ethos.
When asked how we find the strength to continue, we respond with a counter-question: what happens if we don't? What becomes of us if we abandon the fight? Here we are, decades after independence, standing at a crossroads where we risk losing everything — the freedoms we fought for, the culture we built, the progress we made together as a society. It's not just about holding onto what we have; it's about protecting what we stand for and have fought for. For us, the question isn't how we keep going. The question is, what happens if we don't?
The Raveolution protests in 2018 were a monumental moment for Georgia's club scene. How has the power of the Raveolution influenced the current movements within the scene, and what role does Bassiani play in keeping that spirit alive?
The Tbilisi club culture is still in an utterly complex, probably never-ending process of self-creation and transformation. To answer the question, we should look back at Georgia's historical, political, and cultural context: Music-based expression has always been a pivotal part of everyday life. The oldest artefacts depict how ancient Georgians danced and sang for each other and the gods during peace and war, whether for love, fertility, sadness, or celebrations.
Traditionally, Georgian dance and songs are performed in a ritualistic spirit within synchronized groups and polyphonic structures. Here, every single body and voice is equally meaningful in creating harmony out of chaos.
The 2018 "Rave Revolution" protests were one of those marvellous moments of the Georgian club culture and electronic music scene, and all of our lives generally, which one can never forget, and the big reason for it was that it was not just a fight for keeping the clubs alive, which the Georgian government raided with armed forces with the aim of closure, but with this fight, to defend everything we've created together before. By protecting those clubs, people were defending their memories, some of the greatest moments of their lives, their dreams and hopes, struggles and sorrows, the anger or desperation, the moments of transformation which they've experienced in the lit or darker corners of the clubs for years, past and future.
The clubs of Tbilisi have been underground bases for all the new social and cultural movements, a shelter of the people who were outcasted from the dominant, oppressive culture, the meeting corner of all the creative, expressive, free and rebellious individuals who rejected to follow the rules of a strictly hierarchical, masculine, sexist, homophobic and socially unjust status quo of the existing political and religious establishment. So this protest was a "now or never" momentum—an existential urgency of resisting the system's declared will to annihilate you as a cultural entity entirely and to suppress all the youth movements and critical voices eternally.
As a result, it came as no surprise that tens of thousands protested in front of Parliament on Rustaveli Avenue, and people used the dance as a weapon of resistance and a symbol of a revolutionary act happening in front of everyone's eyes. But in 2018, the “Rave Revolution” had a different form. It happened with cultural means as a sign of personal transformation and herald that significant societal changes are ahead.
When the club is forced to close, dancing becomes revolutionary. When loving your preferred one is prohibited by law, social, religious, or any other norms, love becomes revolutionary. When your body or sexual desires are a target of mass control, pleasure becomes revolutionary.
What the 2018 protests showed us was that our fight is true, our communal and individual struggles are true, and our resistance is the only way out. That "We dance together, we fight together” is merely a poetic metaphor but a very direct description of a particular chapter of history. Honestly, those raids and protests also brought unforeseen separations and personal traumas that lasted for years, but what it definitely gave to the movement is a clear example that victory, even in the harshest environment, is possible, and it has already happened.
At the same time, it’s been an era of big depression. Notwithstanding the finest outcome that followed, the post “Rave Revolution” emotional trauma of being raided by the armed forces has been so intense that it took time for many of us to organise again and reinvent ourselves, to properly reflect on what happened, and with this, plan the future. It was followed by the demolition of many of the existing social movements and collectives, but instead, the new ones emerged.
Bassiani gained great international support, particularly during the 2018 raids. What does global solidarity mean to you?
The unprecedented global solidarity during the 2018 police raids played a massive role in lifting the spirit of the Georgian club culture and electronic music community. The feeling of not being alone, and instead being part of a very big family, was a fuel that encouraged thousands not to step back. It was such a valuable experience to witness hundreds of your beloved artists, people who've inspired you for years, clubs, festivals and collectives standing alongside you—a stark reminder that we have so much more in common, and music is that lingua-franca which connects minds from around the world in just a fraction of time when the urgency arises.
Solidarity played an important role to reopen the club, and we’re eternally grateful to our friends from around the globe for this. Even during the last crisis and political upheaval, when in November-December 2024, Tbilisi clubs closed the door to bring the collective physical presence from clubs to the streets, it was the solidarity and fundraising campaign that helped us stay in protest and maintain the spaces simultaneously. The unity of our community was pivotal in forcing a change, and we owe much of our resilience and strength to that shared commitment.
Once again, We extend our deepest gratitude to the artists, agencies, collectives, festivals, clubs, and dancers—known and unknown—whose unwavering support and generous contributions have come from every corner of the world. Their names may be too many to list, but their dedication remains etched in our memory. It is through such steadfast acts of solidarity and collective care that we find the strength to confront injustice, for the struggle for freedom is a universal struggle, and its outcomes will affect everyone's future, no matter where it takes place.
Have there been any noticeable changes in how people experience or behave at Bassiani, especially considering the possibility of sudden police raids—and has there been any decline in the number of people attending nightlife events?
Tbilisi is a small city, and people's decision to go out often depends on their feelings and emotions at the moment. There has certainly been a shift in how people experience Bassiani, particularly with the looming possibility of sudden police raids. This tension has created a sense of unease, and some might approach the clubbing with a heightened awareness, uncertain of what the night might bring.
However, despite these pressures, the allure of Bassiani remains strong. The sense of community and the powerful energy of the underground continues to attract those who seek refuge in music and culture. That said, the fear of raids can lead to fluctuations in attendance, with some staying away out of caution or uncertainty.
The most noticeable change, particularly on the dancefloor, is the way people dance. Over the years, we've observed how the collective body of the dancefloor evolves. The body is unpredictable; a shift in narrative and vice-versa mirrors shifts in movement, and it's impossible to envision where the next transformation will lead. In the end, the body holds the power to change the narrative, to transform peace into rage and back again. And that’s the magic and beauty of the dancefloor — always fluid, constantly evolving.
Considering the anti-LGBTQIA+ legislation and the current political climate, how can you prioritise the safety and wellbeing of these marginalised community members?
We carry on with our parties, now infused with a deeper purpose - creating safe spaces. We reject the chains of anti-LGBTQIA+ law, not in defiance for the sake of it, but in the name of care and mutual empowerment. Yet, even as many queer souls are forced to flee from Georgia, we refuse to surrender our hope.
The Georgian queer community has endured far worse. May 17, the International Day Against Homophobia and Transphobia in Georgia, unfolded in a climate of seething tension. On one side, the masses, the patriarchate, the laity, neo-Nazi factions, and ultranationalist mobs — celebrated what they called Family Day. On the other hand, a handful of brave LGBTQIA+ activists were initially forced to cancel their planned event to comprehend May 17 but nevertheless managed to stage a clandestine "guerrilla" celebration.
Then, on July 5, 2021 — the brutal attack on Tbilisi Pride. A violent counter-demonstration orchestrated by far-right extremists who sought to crush the nascent desire for a pride parade. They believed this would mark the death knell of Georgia's queer movement, that the terror of these days would snuff out resistance. But no — it was after these very repressive moments that the queer movements found new vigour. Precisely when the system sought to silence queer voices through terror, the community re-emerged even louder.
As the Left Bank continues to develop and gentrify, how do you see the neighborhood’s evolution affecting the club scene and BASSIANI specifically?
Obviously, the city's urban fabric and architectural character dictate the sonic tone. Tbilisi is a chaotic mix of Medieval, Neoclassical, Beaux Arts, Soviet Modernism, and uncontrolled development, with its brutalist and constructivist monuments, mosaic facades, Art Nouveau and Neo-Gothic residential houses, and transparent glass Police stations. It is Jazz and Techno at the same time. In the 90s, British culture greatly influenced Tbilisi, particularly the Jungle, Drum & Bass, and Breakbeat movements. The city had been burned, collapsed, destroyed, and ruined, and the existing social context needed it the most. This was followed by the German-influenced Minimal Techno period, the enduring presence of Dubstep and Progressive House, and Techno's renewed resurgence in the past decade. Techno has emerged as the defining sound of Tbilisi, shaping its sonic landscape. Oppressed communities often use dance to express their identity, a mechanism of release to overcome hopelessness and despair. In Tbilisi, the core drive of Techno was its healing and liberating power.
In recent years, the ecosystem has grown — new niche clubs, record labels, vinyl shops, radio platforms, festivals, queer spaces and autonomous collectives emerged. Some of them remain resolute, but many have disappeared. Unfortunately, real estate developments have brutally flourished.
The neighbourhood around Bassiani, however, remains largely unchanged – it’s a messy, chaotic, scruffy Grand Bazaar, where hundreds, if not thousands of people work tirelessly, almost 24/7, to feed their families. A few days ago, part of that Bazaar was set on fire under questionable circumstances, leaving hundreds of workers completely devastated. Their entire belongings were destroyed in just 15 minutes. Days later, news emerged that there are plans to build an entirely new shopping mall on the same site—owned by a wholly different group of people. That image unfolds in front of your eyes as you leave the club, a stark reminder of the harsh social reality just after the euphoria of the night ends.
However, this tension between the fleeting, rebellious world of the night and the mundane grind of the day is what fuels the power of the club culture. Generally, there's always a danger that the club culture could be subsumed by commercial interests, losing the essence of its subversive power. But here’s the thing: the strength of the underground lies in the ability to evolve and resist. The more severe attempts to tame them, the more our spaces burn with intensity. Bassiani's challenge isn't just surviving the neighbourhood's changes; it's staying true to its radical ethos, remaining a place where music, politics, and identity collide in defiance.
We’ve seen that thousands of people from the electronic music and club scene came together for the solidarity march in December. What else are people within the Georgian scene doing to support one another?
Unity and solidarity - that's our power source. We're a family with its own history of struggles, challenges, and sometimes conflicts, too, but that’s a natural part of a movement as a living, breathing organism. What matters most is that we share the same values, and the Tbilisi club scene has always been outspoken in its visions. During the last crises, in the most brutal days, all clubs of Tbilisi closed their doors, and instead of the dancefloor, we joined forces in the street.
We cancelled the club night ahead of the crucial elections to support the full mobilization of the pro-democracy voters, and afterwards, we established a new platform created through the collective efforts of representatives of the electronic music scene and club culture.
In truth, the biggest fear of our age is loneliness, and the hegemonic order and discourse of individualism that prevails today is precisely about fears of loneliness. In this order, the way of survival stands on competition instead of cooperation and individual responsibility instead of mutual responsibility. The existing order emphasises competition as the primary driver of human interactions, which, in some way, is, of course, but the mindset solely focused on personal well-being frequently results in constant conflict, hostility, and a sense of isolation.
As mentioned, we shouldn't rule out the power of individual freedom and perspectives, for sure. We all bring our perceptions to the dancefloor to shape the whole. So, for peaceful and harmonious coexistence, members of society must equally care for one another, and the same principle holds true in the club scene. This is especially relevant given our crucial role in current social processes. The foundation of the Georgian club scene is now being established, and it's essential that we come to a consensus on how to shape this culture going forward. Collaborative efforts, rather than competitive ones, hold the cornerstone to favourable results.
Have you seen a rise in the number of collectives / movements developing as a result of the political uproar?
Yes, definitely. That's a classic cause-and-effect scenario in Georgia. Although the system always tries to destabilize and divide existing movements, even when it succeeds, a new one emerges. It's like a relay race, an estafeta — symbolizing the passing of knowledge, experience, and mission from one group or generation to the next, and history shows that even the most brutal force cannot stop this. Our society, consciously or perhaps even subconsciously, follows the path of the Phoenix — rising from the ashes — a testament to the culture's longevity and eternal craving for life.
A powerful example of this was the march of Khorumi, a national dance of war and victory — performed by thousands of dancers in the streets of Tbilisi in December 2024, following brutal police attacks that left over 500 people arrested, 300 of whom reported torture, and verbal and physical abuse in prisons. The idea behind the performance was to empower each other by demonstrating that no matter what happens, we are here, standing firm and continuing to fight.
This performance carried deep symbolic meaning: Khorumi is traditionally performed with a strict synchronicity under the repetitive percussive rhythms — every single body reflects the others, standing side-by-side — culminating in a dramatic moment where dancers form a ritualistic, circular wall by standing on each other’s shoulders, before breaking into a celebratory dance of victory after a hard-won battle. The story unfolded through Khorumi in the street, awoke an old-buried cultural code and everyone was reminded that the battle continues; people were dancing, smiling and crying at the same time. The street, which could have become a lasting symbol of bloodshed and trauma, transformed into a place of celebration instead. We realized that our culture can use dance as a mechanism for collective healing and empowerment. It's an almost unstoppable, undead movement: they kill one, but two more emerge.
The dance of Khorumi holds a profoundly symbolic meaning for Bassiani. Our very first video artwork featured Khorumi performing to the tribal rhythms of Shackleton. Moreover, the very first queer party series to take over Bassiani nine years ago was named Horoom Nights, and the subsequent upstairs room, Horoom too—the name and concept of which was directly inspired by this traditional dance.
The whole process follows the same line: new movements are rising straight from the depths of public upheaval, and there is hope that they will have the power to bring about real political change in the near future.
Alongside donating, how can we, the international rave scene, contribute to building more meaningful, long-term support for the Georgian underground?
In times like these, organising, sharing knowledge, spreading the word, raising awareness, and staying together is vital. This is the essence of cultural exchange, the raw force that drives social movements. In a world that constantly tries to fracture us, staying united is the ultimate act of resistance. Through this solidarity, we build momentum and keep the fire burning. Hope is not passive; it's a collective action, a shared belief in each other's strength. In the face of all that tries to tear us apart, we must rise, and rise together. That's the true power of our culture.
freddy K
freddy K
VAULT SESSIONS BLOG SERIES
Behind the Decks ALL NIGHT: A CONVERSATION WITH FREDDY K
As we count down the days to Freddy K’s highly anticipated all-nighter, we couldn’t help but wonder—what drives these marathon sessions? Known for his relentless energy and deep-rooted passion for the underground, Freddy has become a staple in the global techno scene, shaping dancefloors with his hypnotic selections and unwavering commitment to the craft.
From his connection with Amsterdam’s vibrant crowd to his preferred bathroom break track—Freddy touches on it all in this interview. He reflects on the evolution of the scene, the power of long DJ sets, and what keeps him coming back to Vault Sessions after all these years.
Get ready to step inside the mind of a true selector—and prepare yourself for March 1st.
(Cle FW Photography)
Vault Sessions crew is family to me. I believed in them since day one and vice versa.
They made choices, they made progress, they didn’t look back… always ahead.
In my opinion, they became the reference for techno. They created a techno community—so solid and so true. I almost can’t think about playing techno without thinking of them.
You’ve played for Vault Sessions many times—what keeps bringing you back?
As a passionate enthusiast of the underground, how does it feel to perform at Warehouse Elementenstraat again after 5 years?
(Julia de Keijzer Photography)
That Warehouse is a historic place. It is the essence of a certain and true Amsterdam “underground” scene. Thinking about coming back there for the whole night… goosebumps.
Do you find that the space—whether it’s an expansive warehouse, an open-air festival, or a smaller club—affects your track selection or the energy you bring to your set? How do you adapt to each environment?
For sure, the space affects the set… but only in terms of the way I reach the same goal/vibe I want to create.
You’ve played all over the world, but each city has its own techno culture. What stands out to you about the Amsterdam techno crowd?
I don’t know, but the Amsterdam crowd is a pretty dirty one. And that’s what I love about it.
(Alex Verhalle Photography)
Amsterdam has built a reputation as a techno capital. Do you feel a certain freedom when playing here compared to other cities?
Absolutely, it is a techno capital—especially in terms of how techno is consumed at certain levels and quality. I feel like in Amsterdam, it is always party time, but with a spirit of having fun first of al
If this would be your final all-nighter, what message do you want to leave behind?
If this were my final all-nighter—and perhaps it could be (at least in Amsterdam)—the message I want to leave behind is very simple: the journey you want to share is more important than the hours you play.
Is there a specific moment in a long set—perhaps a turning point in the night—where you feel most connected with the dancefloor?
There are several, but for sure, one of them is in the first hours when everyone starts to dance slowly… and definitely the last minutes when you feel so connected because you’ve spent so many hours together (and you know that we made it).
Do you have any pre-set rituals or habits before performing to get yourself in the right headspace?
Next to checking the records one last time, usually before long sets (closing, all night long), I like to hug the promoter and my close people around me… like a “goodbye, see you later, hopefully.”
(Julia de Keijzer Photography)
What’s a record you play if you need an emergency bathroom break?
A long Villalobos track, hahahahaha.
(Julia de Keijzer Photography)
Five years ago, you said, "There are clubs for sure, but there is no real movement anymore, in my opinion." Do you feel that movement has returned since then? If so, what sparked it? And if not, what do you think is still missing to bring that sense of community and momentum back?
At the moment, there is a real movement again, absolutely different from the old ones. It is fresh musically, and definitely, the approach is not so connected anymore to some of the roots where techno came from. Today, people arrive at techno in a different way and for different reasons… that is the evolution of what the original roots left.
There are really good newcomers in the scene. They are a bit like outsiders from the usual old dynamics of clubs, festivals, and booking agencies… a new crossover of techno with a fresh touch.
Production-wise, look at Alarico, Funk Assault, Rene Wise, the whole Hayes crew, Rebecca Delle Piane, and so many others. Actually, there are some in Vault Sessions’ agency ;)
When it comes to DJing, the list is even longer…
Who’s causing the most disruption or innovation in the scene right now?
Do you think younger DJs today are missing something by not having the opportunity to play extended sets more often?
After COVID, all the parameters in our network changed. From the people who go out to dance to the DJs who are already playing after one year in places that, in the past, were not for everyone but were actually the goal of a lifetime career.
Also, the meaning of long sets, of spontaneous long sets, is almost dead. Icons like Berghain now have a closing time limit. Instead, new places like RSO or Bassiani are more free and flexible. So, the concept of the long set as a goal is not so established anymore.
What’s your go-to post-set meal after a long night behind the decks?
A nice pizza and bananas. (Not with bananas… but and bananas) hahahah.
You’re stranded on a deserted island with only one track looping forever—which one is it?
Polynomial-C, Aphex Twin.
(Julia de Keijzer Photography)
(Julia de Keijzer Photography)
SOCIALS
(Julia de Keijzer Photography)
Rødhåd
Rødhåd
VAULT SESSIONS BLOG SERIES
Behind the Decks ALL NIGHT: Rødhåd’S Secrets to THRIVING AND SURVIVING During Marathon Sets
(Cle FW Photography)
As we gear up for our all nighter with Rødhåd on Friday 22nd November, we were keen to uncover how he approaches these skilfull yet demanding sessions. We had a chat with Rødhåd about his strategies and rituals before, during and after such extended performances.
(Cle FW Photography)
What’s more intense - 7 hours of DJing or 7 hours of live performing and why?
I think performing live improvised music is a bit more challenging for me as you have to come up with new musical ideas all the time. With the long jams I attended there was always room to take a break in between, sit down for a few minutes and chill a bit. For the DJ sets it’s a bit easier for me. At some point when I get in to the flow I don’t really have to think and just have to select the music and mix it together. That works automatically at some point.
(Cle FW Photography)
I think my longest was 12 hours at Berghain some years ago before the pandemic when the closing was more or less an open end set. Usually I try to get a little nap before the set if that's possible. I prepare my music for the different phases with playlist. There is a list for the beginning with more ambient stuff, a list with slow groovers to start with moving on to the peak time stuff and a folder with deeper, mellow tracks for the ending. Usually I put more effort in the beginning and ending with the pre-selection and just go with the flow in the middle part.
The longest set we know you played was 11.5 hours at Bassiani, how did you prepare for that? Do you have to readjust your sleep schedule in advance? If so, how?
(Cle FW Photography)
Do you get hungry during long sets? What is your ultimate mid-set snack? Several options is possible ;)
I try to eat well before a long set but if i get hungry i have some bananas on the rider. They are easy to eat and have lot’s of magnesium inside. I also had some pizza during long sets. I love to have a cappuccino every now and then.
I usually wear some sports shoes but to be honest i feel very comfortable playing without shoes during long sets. So if the booth is not to messed up - no shoes needed.
What’s the best shoe to wear during extended sets to be extra comfortable?
(Cle FW Photography)
How do you avoid the ‘bathroom emergency’ when you’re locked in for hours behind the decks?
Well if you have to go you got to go. At Berghain the toilet is close to the booth but if need more time I would go with Ø [Phase] - Boundary Interactions that would give me more than 17 minutes to do the business.
(Cle FW Photography)
Do your family and friends normally attend your gigs? If you only had 1 guest list spot, who would it go to?
My girlfriend is attending whenever it's possible. She would have that one guestlist. I also have friends coming over whenever they can but most of them have kids already, have to work during the week and enjoy the family life. So it's getting more rare. I also took my mother on several tours already. We have been to Australia, Asia, North and South America. She has seen me at Berghain on various occasions and is still joining when she has the time to do so.
(Cle FW Photography)
Are you more of the “Gotta hit the afters” type or “Get me straight to sleep” type? Has this changed over the years? ;)
Get me straight to the bed please. I never really was the afterhours guy to be honest. When I was a young raver we had some funny afternoons after the club but I always enjoyed to get into my cosy bed after a long night out.
With the touring schedule I usually have it’s also not really possible. Sometimes I have to go to the airport straight from the club. I really need my sleep and have perfected the short sleep schedule over the years.
SOCIALS
AMSTERDAM FRIENDS: THE COLLECTIVES
AMSTERDAM FRIENDS: THE COLLECTIVES
Antidote
Disturbia
Eerste Communie
Kraft und Licht
Orphic
Pax Romana
TGIB
Vulged
Antidote Disturbia Eerste Communie Kraft und Licht Orphic Pax Romana TGIB Vulged
In the past years Amsterdam has grown into one of the most vibrant and diverse scene’s that nightlife has to offer…
Through collaboration, shared vision, and unwavering support among different collectives, we have witnessed the flourishing of a scene that truly embraces the philosophy of techno. When Vault Sessions began, only had a handful of collectives and clubs truly representing the philosophy of Techno existed.
It’s clear that Amsterdam has come a long way since then and we wanted to highlight some of the current taste-makers in our scene. Our upcoming ADE event, Vault Sessions & Friends Outdoor, aims to unite these collectives by curating a lineup that features representative members from each.
We spoke to each of these collectives to discuss their forming and philosophy.
VAULT SESSIONS BLOG SERIES
A CLOSER LOOK AT THE COLLECTIVES SHAPING THE AMSTERDAM SCENE
ANTIDOTE
“Born out of the vibrant creative surge of the COVID-19 pandemic, ANTIDOTE was founded to promote young, local and rising talent. As digital communities thrived, we recognised the need to provide a platform where these voices could shine. We started with our SoundCloud mix series in the summer of 2020, approaching our 100th mix milestone later this year! Since November 2021, we've been spreading more music and vibes by hosting events, ranging from underground raves and club nights in Amsterdam and Berlin to festival stage collaborations and intimate community gatherings.”
When did your collective start?
Can you tell me the vision of your collective and what makes you unique?
“As our slogan says, our aim is to counteract unpleasant feelings or situations: on and off the dance floor, within and outside our scene. We believe that nurturing local and upcoming talent is essential to fostering a healthy music scene that thrives on creativity. That’s why our lineups are curated with a strong focus on emerging local artists. With the launch of our record label in June 2023, our mission has been to exclusively release music from talents of Dutch soil, aiming to lead by example in how we support local artists. We openly communicate our 60/40 split in favor of the artist, ensuring they receive fair compensation—something we hope will inspire other labels to adopt this common-sense approach.
We’re also deeply committed to creating a safer and more inclusive environment in the music industry. That’s why we partnered with a professional psychologist to offer awareness training tailored to the nightlife scene in Amsterdam. This initiative not only helped build our own awareness team but was open to anyone, as we believe this knowledge should be shared to foster a more informed and united community.
In the end we believe that by making a positive impact on the scene we will collectively enrich our dance floor experiences, maximising the fun we have together.”
DISTURBIA
“Disturbia started a bit before Corona with the ambition to create something new in Amsterdam, combining scenography and a more hypnotic/spacey techno. When Corona came, we felt the urge to give people the right to dance, we bought a sound system and started doing raves very frequently. Oh, I miss those times! It was very exciting.
I think that what makes us different from the rest…it’s our sound and all the effort we put in to decorating, making every event unique.”
EERSTE COMMUNIE
“Eerste Communie began as an intimate dance gathering in 2018 and was born out of a need for more consistency in terms of lineups. We felt as though Techno had somewhat died: only very commercial clubs and festivals were playing Techno. We wanted to promote this rolling and rhythmic Techno and felt as though we needed to take a different approach to regular programming which often entails women opening or only headliners playing at prime time.
Eerste Communie, which translates to “First Communion”, is a Sunday ritual in which like-minded people come together to dance. Eerste Communie is consistent in delivering rhythmic Techno all day and night and we aim to build a trust in which our audience does not need to worry about lineups and timetables. Therefore, we never announce line-ups because we aim to deliver a quality story from start to finish. By only using door-sale and having clear house rules, we can attract a music-oriented community who all follow the same credo; If the music is good, you dance!”
Kraft und Licht
“We have been specialising in the organisation, curation, and production of our own events since 2018. We feature outstanding audio-visual shows accompanied by state-of-the-art DJsand producers. Our aim is to create experiences that go beyond the norm. We execute this with our attention to detail and community-focussed approach.
Whether it be independent work or collaborations with like-minded organisations, we offer unique light and sound concepts to various locations and venues. Kraft und Licht has a solid foundation in external production projects, handling stage design, lighting, sound and all the essential elements needed for a successful event. by offering equipment rentals to event organisers and private clients, we have established strong connections within the Dutch event industry. whether working with large organisations or emerging collectives, our goal is to provide high-quality equipment and support to all. Also, our outdoor event venue, 'Hintergarten,' provides a large, versatile space for art, music, and community events.
ORPHIC
“We began our journey in April 2019 as a simple rave, a gathering of like-minded individuals eager to create an unforgettable experience and celebrate life through music and connection. What started as a spontaneous event has blossomed into something much greater.
At ORPHIC we try to be more than just an organization hosting techno events. We are a movement fueled by the power of community. At the core of our events is a deep sense of connection.
We believe in radical inclusion and acceptance, while making space for marginalized communities. Each gathering is an opportunity for people to come together and become part of something greater than just an event, allowing everyone to be fully and authentically themselves, beyond the limits of societal expectations.
We are also deeply committed to uplifting our local talent. By creating a platform for emerging artists and creatives, we shine a light on the diversity of our community and the incredible talent brewing in the Netherlands. Rather than just supporting local culture, we’re actively nurturing it’s growth and paving the way for the next generation of artists.”
PAX ROMANA
“The importance of the dancefloor and the connection between like-minded individuals has become especially clear due to the COVID-19 situation. As part of the queer community, we have felt how vital the dance floor is for expressing ourselves, our creativity, and our connection with one another. With our love and passion for electronic music and the energy to bring people together, we wanted to create something beautiful. That’s why we founded PAX-ROMANA officially in 2021. Before that, we were mostly organizing small capacity illegal raves in Amsterdam and our hometown Leiden.
PAX-ROMANA establishes a sanctuary for diverse individuals, creating a playground free from judgement, with focus towards the LGTBQIA+ community. The dancefloor serves as a powerful way to protest, unite, celebrate and expressing our identities.
Our events consist of multiple layers. We connect an event theme, aligned with the values of our concept, to the production, programming, and exhibition. This creates a playful interaction while highlighting the core values of our concept. At the dancefloor, everyday conventions are broken, and possibilities are explored, creating space for creativity and expression. The nightlife is often a trailblazer, offering lessons that the ‘day’ can still learn from. As an organisation, we find it important to serve as a stimulating environment for (young) talents, and we aim to grow together with artists, creatives, and other partners.”
THE GANG IS BEAUTIFUL
“TGIB began during COVID. Whenever I (founder, Foday a.k.a Prance) was surrounded by my beautiful friends, we would always say “The gang is beautiful”. However, these dark times meant that we couldn’t club or gather together, so I was eager to develop a concept to highlight, empower and bring these people together. At a time when we were only told “You can’t do this”, I felt like it was crucial to take an alternative approach and say: “Let’s look for this.”
TGIB aims to bridge the gap between clubs and sub-cultures both in and outside of the scene. Inspired by nightlife and club culture, TGIB is the connection between music, fashion and art which all trace back to self-expression. Each of these elements allow stories to be told through your body. These are also forms of resistance in which you may identify with an artistic movement and you march.”
VULGED
“Vulged is an event organisation that was born from hosting illegal raves during the pandemic. In recent years we’ve expanded this with organising clubnights, balancing both legal and illegal events. At Vulged, we strongly believe in artistic value. Our concept is built around a specific sound that we are most passionate about, originating from the underground, old-school, and minimal techno.
What makes us unique is that we’re a group of five friends from high school who discovered techno together. We’ve gone from just enjoying clubnights to learning how to DJ and produce. Now we’re active in the scene as both Vulged and individual artists. Our friendship and love for techno is what drives us as a collective.”
FOLLOW THE COLLECTIVES
The global pandemic gave me the time and space to fully dedicate myself to something I had long envisioned: creating a record label like Mutual Rytm. I took my time with this process, carefully planning the concept and strategy to ensure they aligned with my vision. My inspiration came from a deep passion for music, particularly the music I love and play. I wanted the label to be a true reflection of my personal tastes in music and the arts.
Beyond that, I wanted to create a space where artists could release their music and develop their craft with true creative freedom. After nearly a decade in the music industry, I felt it was important to support young and emerging producers who often need it most. At the same time, I aimed to provide a platform to industry veterans and icons who share our musical vision. My goal is to work closely with every artist on each release, making sure their music gets the attention it deserves. Above all, I want them to know I genuinely care about their work - not just for one release, but for their journey ahead, involving them in future plans and projects as well.
At the heart of this vision is building a community of like-minded individuals from different generations, all united by a 'mutual rhythm' and a shared focus on the music.
What is your musical vision for Mutual Rytm?
My vision for Mutual Rytm is to release timeless electronic dance music, primarily focusing on techno, from producers across all generations, reflecting my deepest musical inspirations. I am not interested in chasing trends or hype. My priority is authenticity - music with a strong character, a distinctive sound, and a high standard of production quality and aesthetics. I want our discography to always sound fresh and inspiring, even decades from now, with each record telling a cohesive story and showcasing the diverse spectrum of the genre.
Marco Bläsi (mutual rytm): the interview
Marco Bläsi (mutual rytm): the interview
VAULT SESSIONS BLOG SERIES
MUTUAL RYTM
As we prepare for our September Weekender, we're thrilled to be hosting Mutual Rytm on September 29 at BRET. Mutual Rytm is one of the most exciting techno labels shaping the scene today. Ahead of the event, we sat down with Marco Bläsi, A.K.A. SHDW, founder of Mutual Rytm, to dive into the story behind the label's creation and what it takes to keep it running at full speed.
You founded Mutual Rytm in 2022, what inspired the creation of the label?
You seem to put out records at a faster pace than many labels; is there a reason why you do this?
Yes, we do release records more frequently than many other labels, and that’s because of the incredible music I get from talented producers. I’d never put out a new 12" just to stick to a schedule if it doesn’t meet my standards or resonate with me. I work closely with the artists on each release, which takes a lot of time and effort, so I plan our releases well in advance to keep things running smoothly.
I believe that great music with real character will always be recognized and appreciated, no matter how often we release. By putting out high-quality music regularly, we boost the chances that our new releases will catch people’s attention and continue to sell and be streamed over time. Most importantly, this approach has also helped the artists build awareness for their music and support their personal growth, which is the true success for me.
How are you looking for new releases?
Most of the time, I reach out to artists whose music I’ve recently discovered or whose work I’ve admired for a while. I ask them if they have any unreleased tracks and if they’d be interested in working together. This method works best for me because I spend a lot of time digging for new music for my gigs. I’m not actively looking for new talents, as I mentioned earlier, I trust that good music will naturally come to light.
I also aim to build long-term relationships with the artists I work with, joining them on their musical journey and collaborating on new projects. I value keeping a respectful and supportive atmosphere as we create and release music together.
Your records have beautiful graphics...can you tell us about the artwork used?
When working on the logo with my graphic designer, Daniel, I wanted to capture the spirit of the early 2000s. My goal was to create a logo that reflects our timeless music style, while also being versatile and having a strong visual identity. The main logo features "MR", with the "R"designed to look like a tonearm on a record, highlighting my focus on music and love for vinyl. Just like with the music I sign, I have high standards for our visuals and designs because I believe they are an important part of the overall expression of the music.
LATEST MUTUAL RYTM RELEASE: ‘DELTA HYVE’ by regent
UPCOMING EVENTS…
SOCIALS
vault sessions blog series
An interview with CHAMI and OPH:
THE f2F PRoject
Together with Undisclosed, we invited CHAMI and OPH for an interview about their face-to-face project. They will be performing at our collaboration on 22 June 2024 in HAL25 in Alkmaar.
How does being face-to-face with the crowd affect the vibe of your show, and what sets it apart from other gigs in terms of connecting with the audience?
The setup creates a feeling resembling more to a concert or live show. It is very interesting for the crowd to witness our interaction during the show and our non-verbal communication. We developed a particular sign language over the years to communicate and understand each other’s intentions and needs.
The setup also perfectly transcribes our synergy and our special connection, which makes it more captivating. When we face each other, we are more focused on the flow and each other. Of course, we do throw regular quick looks to the side to observe the effect of our set on the audience.
From our experience we also see that the crowd is captivated by the face to face format, and is often trying to understand what we are doing and how we manage to play with such a setup.
Lastly, as we are both constantly active on stage, instead of taking turns between mixing and waiting moments, we are always in the mix.
What sparked the idea for you both to team up for a F2F performance, and how does this format offer a unique experience compared to solo gigs?
As very long time friends (over 12 years) we started digging music and practicing playing vinyl together. Shortly after moving to Berlin 10 years ago, we started to become more serious about our respective solo careers. As newcomers with similar style and crowd, it was easier for promoters that knew us to book us back to back because they did not have two slots to offer us separately. Our b2b journey started there.
After playing many back to backs together, we often realized after our shows that there were many moments where two layered tracks were perfectly matching and creating the ideal blend. We felt frustrated by the fact that as we play strictly vinyl we had to remove one of the tracks to give the booth back to the other DJ which was killing the moment.
First we thought of adding a third turntable when the Xone96 came out, because it allows us to have two different cues for two different headphones. While trying, we noticed it was inconvenient for us to be using the same mixer. We then got inspired by the old versus from Underground Resistance, the digital double setup and the side by side vinyl only setup from Sunil Sharpe and Hector Oaks.
During covid we had time to think about our setup. The idea of facing each other made sense for us to have a constant look on the other mixer. This forced us to communicate non verbally to avoid talking to each other in the booth and rely more on our feelings and eye contact.
We got asked to do a five hour live stream from our living room, which was the perfect opportunity to try this new format. We then recorded another set, that lead to our first booking for a festival in France.
What makes this format really unique is that it offers the opportunity to layer grooves and textures and merge our sound together even though playing strictly vinyl.
The dynamic of the sets and the intensity is never lost, even if we want to play certain tracks that would sound low energy in solo sets. We create a certain continuity in the storytelling hard to achieve with only two hands and one brain.
How do you prepare for a F2F set compared to going solo or doing a more 'traditional' B2B?
When going solo it is usually just about preparing your record bag to know where all the records are and having an intention of what you want to do artistically speaking.
As we are constantly layering tracks on top of each other to keep the dynamic, we have to align on the progression of the set so that the next tracks are matching in terms of intensity or artistic direction. We don’t want to break the moment by going too hard or too different in terms of style.
During the selection, we like to play loopy tracks, with mostly bleeps or drums, that allow us to create interesting blends. They bring a solid foundation to the set. From that, we then can bring more interesting textures and explore different atmospheres to elevate the set and make the show more diverse sonically speaking.
The preparation is much more intense than a regular B2B. This show requires more precision and consistency.
The most important aspect of a successful F2F is a coherent and well prepared selection that fits and creates the expected result. The record selection is the key before the show starts.
During the show it is very important to avoid any ego feeling as we are constantly shifting the leadership. Some moments Chami has the lead and OPH follows and other moments it's the other way around. When one of us has the lead and decides the direction to give, the other can adapt and enrich the sound with additional layers. This performance is based on trust so to ensure that the synergy and the flow is maintained during the whole performance. We need to constantly trust each other no matter what is happening in the moment. Our long time friendship combined with our special relationship makes it easy for us to do so. We know each other perfectly so we are able to react in the best way possible to any of our actions.
Something that is important to understand is that the main point of this show is not about showcasing our skills. We are not constantly layering 4 tracks at the same time as it is important to let some tracks breathe during some moments and not overwhelm the audience with too much sound information. We then alternate between intense and more minimalistic moments. The goal is to make people dance and dream at the same time.
What do you think makes a successful F2F set, and how do you ensure that synergy and flow are maintained throughout the performance?
When playing F2F the first time live, we both did a fader cut on each of our mixers at the same time, which first of all made us laugh but also showed we were really connected during this live experience.
Of course we have to mention the first time we played with this project in Berghain, which is a place where we both evolved a lot musically and as persons.
A more recent moment is our 11 hours closing at Bassiani, that pushed this project a next level. This challenge taught us a lot.
Any standout moments from past F2F gigs that really stick with you?
CHAMI F2F OPH: THE INTERVIEW
CHAMI F2F OPH: THE INTERVIEW
vault sessions blog series
Back to the Warehouse
Back in 2018, Vault Sessions started their anniversary warehouse series in Elementenstraat (called Warehouse Elementenstraat back then), with the event Vault III. A concept focused on bringing cutting edge techno to the Warehouse.
Warehouse events usually were left to the big players in the game, while club events were for the smaller, more underground, promoters. So seeing a club event taking over a warehouse was not that common.
For most people, the boundary between club nights and warehouse events also exists. While club nights often are perceived as personal and intimate, where nights can be experienced as a journey, warehouse events are more focused on the production and show, and on the so-called headliner artists playing, giving you peak time energy in a shorter timespan.
Vault Sessions, being a club event by heart, is seeking to blur the boundaries between the club nights and warehouse events, bringing club-like line-ups and intimacy to a space that allows more audiovisual creativity. At Vault V, the last event at E25, feverish visuals matched the raw music played back then. Although our sound differed from what you know of us today, the aim has always been to promote forward thinking techno and help push music originating from artistic vision.
As time has passed and we have matured, we feel ready to bring Vault Sessions to the warehouse again. A space allowing us more creative freedom, while staying true to our club values. We are ready.
BACK TO THE WAREHOUSE
BACK TO THE WAREHOUSE
ABOUT VINYL
In the dynamic realm of music, where melodies weave emotions and rhythms pulse with energy, a momentous shift occurred hand in hand with the rise of vinyl records and Thomas Edison's groundbreaking phonography magic.
Journeying back to the late 1800s, when Edison orchestrated the creation of the first-ever playable sound recording on a groovy disc; this was a turning point that didn't just remix the sound scene but left a massive mark on the entertainment history playlist. It set the stage for the mesmerizing vinyl symphonies that'd become our ear candy in the years to come. Those carefully carved grooves turned the invisible into touchable, making these records the ultimate groove foundation.
And the groove train didn't stop there. In 1943, DJ Jimmy Savile threw the planet's very first live DJ dance bash. Picture this: jazz records spinning, and Savile playing musical matchmaker just like our modern-day DJs. He even rocked the twin turntables, a trick that became a DJ superstar move.
Meanwhile, across the world in the Kingston neighborhoods of Jamaica in the 1950s, things were getting wild. DJs cranked up street parties with monster sound systems, becoming the party VIPs. They owned the show, battling to drop the freshest jams on the loudest systems. And get this – they'd rhythmically chant over the music, a little technique they called "toasting." Little did they know, they were planting the seeds for an impeccable musical transformation in history.
As these sonic seeds of change began to take root, a couple of bustling metropolises – Detroit and Berlin – were gearing up for an extraordinary collaborative journey. Just as the rhythm of the past set the foundation, a new tempo was about to take over. Picture this: techno music took center stage, harmonizing seamlessly with the surge of vinyl records, resulting in an exhilarating fusion. Brace yourself, for these vibrant urban hubs were on the cusp of reshaping the musical landscape, introducing fresh beats to groove to and an entirely novel auditory encounter. It was a symphony of change that would make waves in the world of sound.
Picture Detroit as this futuristic playground back in the 80s, where techno masterminds like Juan Atkins, and Kevin Saunderson were cooking up a musical storm. With the rise of a new technological age, they had this wild and spontaneous idea to blend machines and music, and alas, Techno was born. It's almost like the robots decided to throw a dance party, and those relentless grooves they came up with? So catchy, that people couldn't stop tapping their feet and moving their heads to the beat.
Hold up, though! Berlin wasn't about to miss out on the fun. The image that we have today about Berlin would have not been the same without the force of techno. Over in the German capital, techno spread like wildfire in underground clubs and secret warehouse spots. DJs and producers were like sonic explorers, spinning vinyl records like magical compasses that guided us on mind-blowing trips through soundscapes that felt like a ride through a cosmic roller coaster.
And guess what? Vinyl records were the superstar sidekicks in this adventure. They weren't just ordinary discs; they were like passports to a sonic wonderland. DJs stacked them on turntables, whipping up seamless transitions that had everyone on the dancefloor going absolutely ballistic.
So why all the fuss about vinyl? Well, think of it as the ultimate dancefloor delivery system. Vinyl records were like the trusty messengers, carrying those thumping techno beats straight to our eager ears. You could touch them, feel their weight, and when that needle hit the groove, bam! A symphony of beats and melodies exploded into the air.
Fast forward a bit, and yeah, we got all this digital goodness now too. But guess what? Techno and vinyl didn't vanish into thin air. Vinyl records became these treasured relics that serious music fans and DJs hunted down like treasures, keeping that analog spirit alive.
There's something special about that scratchy sound and that whole ritual of setting the needle just right. It's like a secret handshake between you and the music, making every spin a bit of an adventure. Vinyl's not just a blast from the past – it's still a big deal in the underground scene. Most labels and artists are all about those vinyl releases, keeping that old-school vibe alive and kicking, for good reason.
And today? The party's still going strong. Techno is still pumping, and vinyl records are still spinning, bringing generations together on dancefloors around the globe. So whether you're a tech-savvy robot or a human with a serious beat addiction, the techno-vinyl saga is a true timeless experience.
So there you have it, the scoop on how techno music and vinyl records joined forces to shake up the electronic music world. It's a story of beats, vinyl grooves, and a whole lot of good parties that'll keep you moving and grooving for years to come.
To appreciate this pivotal point in electronic music’s history, the All Vinyl Weekender is our way of paying an ode to the records that still keep our beloved dancefloor moving. We’ll keep dancing for as long as the vinyl spins.
ABOUT VINYL
ABOUT VINYL
vault sessions blog series
BLASHA & ALLATT
The anticipation leading up to the Meat Free Weekender can be both thrilling and a test of patience. As we count down the days between each Vault Sessions we've decided to pull back the curtain and share some 'behind the scenes' stories. Launching our inaugural blog series for Vault Sessions, we're diving into the lives and stories of Blasha & Allatt. This UK-based duo exemplifies the narrative of collaboration, shared experiences, and a mutual love for music.
"Oi oi! So many memories," Steffi (Allatt) reminisces when asked about their favourite time playing together, "but one that stands out was playing at the DBA for the MF x Vault Sessions party in March - I promise we haven’t been bribed to say this - just pure f***ing vibes!" Tasha (Blasha) mirrors this sentiment, "a memory that comes to mind is when we played at FOLD... the funniest part of the night was when we went b2b2 with Tasha & Anabel, we were all a bit cooked, ended up playing at 155bpm and couldn't figure out how we'd started playing so fast!"
When they discuss their shared quirks, it's clear that their strong bond stems from friendship and a shared love of music. Steffi playfully pokes fun at Tasha's focus on her mixing, "Tash watches me the entire time while I’m mixing! After 11 years of playing together, she’s still making sure I can beat match, I guess!" Tasha counters, "Steffi sometimes plays curveballs that throw me off track! I call it Eurodance and it really annoys her!"
Regarding their shared love for discovering music? "That's what keeps things fun for us," they agree. "We're both actively discovering music we love playing. We've always influenced and inspired each other’s musical direction, which keeps us on this shared musical journey." The most special part? They love to wind each other up, teasing, “Ahhh yeah, I’ve had this one for a few months now,” if one is playing a new record, even if they don’t own it.
But what challenges do they face as a female DJ duo? Steffi shares, "Finding a decent sports bra that offers support and comfort while you’re playing," while Tasha suggests, "We focus on our craft, and if you’re good enough you’ll stand out, regardless of your gender." They both concur that their role as promoters offers the chance to platform other talented women in the scene.
As for advice to other duos, "Remember, the common goal is to create a cohesive body of music that compliments each other. Channel your individual creativity in the way you mix, and pick the right time to drop your tracks."
When asked to assign corporate titles to each other, they jokingly propose that Tasha would serve as the Logistics Manager, given her impeccable time management, while Steffi would be a slightly less predictable assistant, thanks to her rather relaxed attitude towards flight times and itineraries. But let's face it - isn't that unpredictability part of the fun? Their yin-yang dynamic might just be the secret sauce to their electrifying sets.
We’re thrilled to hear from Blasha & Allatt about how passionate they are about their connection with Vault Sessions. "Vault Sessions feels like home. Every time we play is amazing, and you can’t help but smile when you’re behind the decks!"
So there you have it - Blasha & Allatt. Humour, dedication, unity, and talent, all coming together to form a dynamic force. This is their story. Their sound. Their success. This is Blasha & Allatt, as genuine and forthright as they come. So thank you both for your time and for all the lovely vibes you bring to Vault Sessions!
written by Seif Farag