Sound of Berlin: Backstage meeting with GURLZ
- 16/08/2023
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Intro
In the vast world of electronic music, an encounter with two women as passionate and determined as Virna and Itzel is a rarity to be savored. Their contribution to the Sound of Berlin label is far from negligible. Virna, as product manager, and Itzel, one half of the duo dedicated to A&R have infused their passion into their work, bringing a new dimension to Berlin’s sound and propelling it onto the international scene. Their singular vision? To showcase Berlin’s electronic scene, give a voice to new talent and celebrate established artists. Plunge into the heart of their universe and let yourself be carried away by the bewitching pulsations of the German capital.
Section 1 – Introduction and background :
Can you tell us a little about yourself and your background prior to the creation of Sound of Berlin?
Itzel: The idea for the Sound of Berlin label came about following the release of a documentary of the same name in 2018, commissioned by Embassy One (formerly Ministry of Sound – Germany) in partnership with Apple Music. We called on Marc Houle to produce the soundtrack and also invited internationally recognized artists, pioneers of the electronic scene such as: Dimitri Hegemann (Trésor,) Dr. Motte (Love Parade,) Motte (Love Parade,) Juan Atkins (DJ,) Pan-Pot (DJs,) Monolink (Producer), among others to tell the story of the Berlin scene. We then decided to create a sub-label of the same name to highlight Berlin’s electronic scene.
How did you first discover techno music, and what were your early influences and favorite techno artists?
For me (Itzel – A&R), I discovered electronic music through film soundtracks and composers like Clint Mansell. Let’s just say I’m listening to a lot of different techno artists at the moment, and it’s a bit hard for me to settle on one thing because my tastes are evolving. But I have to say that one of my favorite duos will always be Artefakt, with whom we were lucky enough to collaborate on our fifth release.
Virna: As far as I’m concerned, it’s a bit of a family affair… I remember my father’s best friend’s daughter, Clémentine, used to organize free parties when I was between 6 and 8 years old. Those were the days when CDs were still offered as consumer goods. For her birthday, Clémentine gave my father the very first album by Amon Tobin (under his alias Cujo) – Adventure in Foam. It was my first step into ambient, trip-hop and IDM. To this day, I still listen to Amon Tobin and love trip-hop, ambient and IDM, as well as more club-oriented music.
What is Sound of Berlin’s mission or vision?
I: With Sound of Berlin, we aim to promote Berlin’s electronic scene, representing not only established artists, but also offering greater visibility and a platform to emerging artists.
Section 2 – Techno stage and Sound of Berlin :
How do you see Sound of Berlin’s role in the evolution of Berlin’s techno scene?
V: If we push the idea as far as we can: I’d like Sound of Berlin to eventually be a snapshot of Berlin music, more precisely, for the label to become a platform for young up-and-comers to express themselves and innovate, but also for more established artists to share their vision of the “Berlin sound”. I like the idea of well-known and emerging producers coming together, and maybe one day collaborating.
Section 3 – Label management and success :
How do you select the artists who join your label? What do you look for in an emerging artist?
I: There are three of us who select the artists. We take our time and listen to the tracks several times over a period of several weeks. We analyze the production quality and the sound signature to see if it matches ours and the label’s universe. Everyone then chooses their favourite tracks and we vote on them. What’s interesting about this process is that the three of us have quite different backgrounds in the music industry, which allows us to bring our own unique perspectives to the table. On the other hand, we always have to be unanimous in our decision.
What are the specific challenges of running a techno music label?
V: For me, the main issues are, on the one hand, finding artists who will reflect the label’s artistic line, and on the other hand, delivering our music to the right target.
Today, a label is a kind of musical validation for the artist.
With platforms like TuneCore or Distrokid, artists can release their music completely independently. I’d say that being signed to a label only makes sense if their music is truly aligned with the label’s DNA.
Techno is more of a club music. Getting people to listen to it on streaming platforms (Spotify, Youtube, soundcloud etc.) is a tough job. This market is super-competitive: 100,000 new tracks are released every day.
You really have to have something to differentiate yourself from the crowd.
Can you tell us about a project or artist you’re particularly proud of?
V: Alinka’s ‘Sunday Morning’ EP release was one of the label’s first successes since its launch in 2020. What I love about it is that she has captured the sonic essence of her Berlin experience to share with us again. If you watch this video , you’ll understand the story behind it.
At the same time, I was very happy to have artists like Anton Kubikov, Katie Drover and Peter Schumann join our roster. All three have very different approaches and styles. That’s what Sound of Berlin is all about: minimal, downtempo and house!
Section 4 – Team structure and artist integration :
Tell us about your team. Howdid you go about training and selectingthem?
V: Our team is made up of a core group, Itzel and Pawas, both in charge of A&R, and myself. But it’s also crucial to point out that we work with a formidable team: Eloïse, Paula and Eero, press attachés, our Flea manager, Nadine who looks after the metadatas and who is a key person, Bruno our graphic designer, Nicola, Till and Tao responsible for the digital marketing part, and of course the person, without whom all this would not have been possible, the boss and founder of the Embassy of Music, Music Embassy One and Sound of Berlin labels, Konrad. What unites these thirteen people around this beautiful project, beyond their complementary skills, is their love of electronic music.
What’s the most rewarding thing about working with your team and artists at Sound of Berlin?
V: For me, one way of assessing whether we’re good at what we do is to see whether the artists who were part of the adventure want to come back. For example, the 10 artists on the Berlin Undercover were already signed on previous releases and have once again placed their trust in us. I find that gratifying!
Section 5 – Turning point and development :
Can you tell us about a turning point for Sound of Berlin?
I: It’s definitely the Sound of Berlin documentary. Thanks to its success, we took the decision to push the project further by creating the eponymous label. Our vision is not only to represent a wide variety of established and emerging artists, but also to create a real community around them. Berlin is a city with a lot of diversity and inclusivity, and we want our label to reflect this.
Section 6 – Tips and outlook :
Do you have any advice for emerging techno artists looking to break into the music industry?
V: I’d say that what’s important is, of course, the quality of the music and what differentiates one artist from another.
But beyond that, it’s important to bear in mind that the music industry has undergone many changes since music became more digitalized.
Taking care of promotion on your own is relatively difficult for an artist. Don’t hesitate to ask for help, because there are so many platforms (streaming shows, sessions, podcasts, radio shows, playlists, magazines, blogs, streaming platforms, online shops, digital shops etc.). You have to be able to recognize the artist’s potential and spot the important parts of their story in order to position them properly.
Section 7 – Future of Sound of Berlin :
What are the future plans for Sound of Berlin? How do you see your label evolving over the next few years?
V : We’d like to develop the event side of things, because at its heart, the Berlin sound is a sound that gets your head moving and your feet tapping. I think it would be interesting to be able to embody our vision through a set we could offer to a club or festival. This would allow artists to meet and share their music under the label’s umbrella. I hope this is something we’ll be able to develop next year.
How do you plan to develop Sound of Berlin’s international presence in the future?
V: One of my thoughts at the moment is how to break down the barriers between electronic music? European countries, North America and Australia all have superb scenes with very different aesthetics. However, I think it’s important not only to share electronic music more widely beyond these borders, but also to integrate new sub-genres that embody a form of diversity (baile funk, amapiano, afro house etc.). I think the days when you could only release techno or house (stricto sensu) are a bit over. Production methods are changing and becoming more accessible, so sounds and structures are evolving.
Are there any future collaborations or partnerships you’d like to explore?
V: I’d love to see an EP (or even better, an LP) from Jan Jelinek on our roster one day (for the ambient side), Metaraph for the hard techno side and maybe artist Traumprinz for the house side. It’s worth mentioning that all these artists have a Berlin connection.
Do you think we’ll be treated to a party organized by your label in the future?
V: Help us convince the big boss. 😉
Finally, is there a techno track or live album that our readers absolutely must hear?
I can share with you my electronic crushes of the moment: Hatari’s DJ sets, Francesco Devincenti’s live performances and Soft Blade’s Softic album.
Section 8 – Conclusion :
Virna and Itzel, the strong voices behind Sound of Berlin, gave us a unique insight into the exciting world of Berlin’s techno scene. Thanks to their boundless passion and dedication to promoting talented artists, they are helping to forge the sonic identity of this iconic city. With exciting projects in the pipeline, and a constant drive for innovation and diversity, there’s no doubt that the label’s future is in good hands. So, whether you’re a budding producer looking for advice or a music lover keen to explore new sounds, keep an eye (and an ear) on Sound of Berlin.
