No Bullshit Talk with Schmeckefuchs

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Interview by Mia Lunis

“Schmeckefuchs’ career started in Damascus old City with an ancient sound system obtained from Souq al-Haramein – the Thieves Market. He played on Damascene rooftops in hidden orchard’s and the Palestinian desert
. Making his way to Berlin eventually, he is one of the driving forces behind events such as Rebellion der Träumer* and Bucht der Träumer* Festival. Schmeckefuchs has performed on almost every floor Berlin has to offer, including Kater Blau’s Heinz Hopper and Sisyphos’ mighty Hammahalle. Festival appearances at ФУЗИОН, Garbicz and Feel Festival are but a few among many others.”

1 – You started your career playing at Damascene rooftops and the palestinian desert, can you describe how it was this start?

Those were exciting times. I was studying arabic in damascus at the time – I had this old kenwood sound system and we somehow got into the habit of bringing it to different rooftops for parties. My friend Moe and I were very passionately connected in our love of World Music and still are. Later I was helping to build a cultural center in Jenin in the West Bank. Roger Waters had donated a big sound system for the cinema and just before installing it we took it out to an abandoned roman site in the desert for a tiny rave. I remember that the area was so hard to navigate, that we had to transport the soundsystem on a donkey’s back for the last part.

2 – What´s your best reference in non electronic music?

Phew, that is an impossible question. I loooove non-electronic music and wish it would find more space in the clubs. My favourite find of last-year is Hugo Kant’s new album – Far from Home. If you like to find out some more, feel free to check out my vinyl project Miracle Mobsters:

3 – You are an artist, event producer, booker among other activities in the music scene, you have years of experience in each area so what kind of approach do you think is necessary to create diversity in each one of these areas?

I think at least for DJ*s in Berlin a lot has happened over the last decade. The work of advocacy groups like Female Pressure or crews like Hoe_Mies or Non-Plus-Ultras cannot be underestimated. As a white male booker I have always paid a lot of attention and dedicated extra time researching music of flint* and poc artists. I think there is a lot of amazing music to be discovered and diversity is proving a bliss to our culture.

While the situation has improved much for female artists in Berlin’s DJ Booths in recent years there is still a lot of ground to be gained, especially in the field of music production or in the decision rooms of the music industry.

4 – What are your next future projects in the music scene?

I have spent a lot of the lockdown learning about music production – something I could never find enough time for in between so many gigs and organizer work. It feels great to be able to really follow my own vision in creating a track.

5 – What can you say to the new generation of artists emerging from this tough moment we’re living in?

I can only say that I am super curious. I know that a lot of people are very busy, when I was at Just Music before the lockdown the place was dangerously packed. So I really assume that a lot of people are doing their homework and we’ll see a few fresh styles once it is safe to rave again.

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