If you’re not familiar, Pan-Pot is a brilliant multi-dimensional Berlin duo currently twisting house and techno fans into rapturous fits. In just a few short years, Pan-Pot - comprised of Tassilo Ippenberger and Thomas Benedix - have developed a dominate presence amongst the top tier of electronic dance music, with an ascension paralleling the rise of their native label, Mobilee records. Most recently, they demonstrated the height of their achievements with their “Confronted” EP on Mobilee, which was swiftly followed by an impressive package of remixes by Adam Beyer & Jesper Dahlbäck, Slam, Martin Landsky and Dapayk.
After booking Anja Schneider for an infamously ill-fated party in 2005, the duo established a connection with Schneider’s then recently formed imprint and within weeks had released the Popy and Caste EP on Mobilee - their first release and the label’s second. Graduates of Berlin’s SAE, their initial musical efforts placed a primacy on integrating electronic experimentation with minimal styling while simultaneously establishing the ominous, murky sounds that have since become synonymous with their name. The next few years saw the release of a steady stream of original tracks and remixes on both Mobilee and Einmaleins, each demonstrating the duo’s commitment to precise, undulating and kinetic grooves accompanied by a steady expansion of their sonic palate. The defining moment of their career, however, was the release of their debut artist album, Pan-O-Rama. The first artist album to be released on Mobilee, the aptly named Pan-O-Rama provided a stunning 360-degree tour of techno at its most twisted, balancing somber atmospherics with an impeccable lightness of touch. Serving as a playground for their experimental leanings, the album was a definitive statement of Pan-Pot’s past, present, and future: an affirmation of the possibility of a wider sonic spectrum that suggested a move towards stripped-down techno while simultaneously hinting towards a newly developed sense of melody.
When not in the studio writing original material or putting their unique spin on tracks by a myriad of artists, the bad-boys of impassioned, pitch-black techno can be found on the road touring at a near ceaseless level. Their dance floor oriented DJ sets see them playing back to back and are unconstrained by boundaries as they effortlessly transition between techno, house and everything in between, demonstrating an immaculate understanding of the audience’s wants and needs. Their willingness to expand the components of their productions while staying firmly rooted in what they do best - colossal, haunting techno tracks overflowing with noise and static, throbbing bass lines, and epic builds that manage to be both tasteful and restrained - is only part of what differentiates Pan-Pot from the hordes of other techno producers currently flooding the airwaves. They may name themselves after a piece of gear, but Pan-Pot’s music is ultimately about moving bodies, not knobs, all the while giving way to an unprecedented degree of dynamism on dance floors around the world.
As native Berliner, Sebo K has long been a key figure in the city’s music community, starting his DJ career in the early 90s at Alec Empire’s Bass Terror nights, Berlin’s first UK-style breakbeat parties. By the mid 90s he had discovered his love for Chicago house and Detroit techno - a passion evident to anyone who has heard the vintage depths many of his tracks nod to - and at the turn of the decade began playing regularly at legendary clubs throughout Berlin. Now, thanks to his releases on the Mobilee label, he’s becoming an unstoppable force in the electronic music scene. One of his first tracks for Mobilee, Rancho Relaxo in collaboration with Anja Schneider - was an instant classic, establishing Sebo (as well as the label itself) as an up-and-coming act worthy of extreme attention. To declare that Sebo has lived up to expectations would be an understatement to say the least. Despite a relatively sparse discography of original productions, quality over quantity is the name of the game for Sebo K, with each of his productions - from his debut on Mobilee to his more recent track, Diva - receiving universal acclaim from both DJs and critics alike and cementing his position as first-rate producer. His mix CD Back Up Vol. 01 introduced audiences far and wide to his mixing abilities, effortlessly bridging the worlds of minimal techno and classic deep house with one critic proclaiming it "house that sounds perfectly at home wandering through new provinces." Alongside his now timeless original productions, Sebo has done remixes for some of the most respected labels and artists on the planet including Poker Flat, Mule Electronic, Radioslave, and Efdemin. Meanwhile, his tracks have appeared on a nearly uncountable number of compilations and mixes by DJs such as M.A.N.D.Y., Richie Hawtin, Steve Bug, Dennis Ferrer, Loco Dice, and Dixon.
His love for soulful, deep vibes combined with his ability to transition seamlessly between minimal techno and straight house—and an uncanny ability to blur the lines between the two—has reinforced the importance of house in an age seemingly inundated by techno lovers. His residency at Berlin’s Watergate in tandem with constant gigs at high-profile venues around the world has demonstrated that Sebo’s DJ abilities are on par with his exceptional production skills, and that his seemingly endless string of successes isn’t likely to end any time soon.
Warming up this heater of a party will be San Francisco’s CLINT STEWART of AURALISM Records, and closing duties go to residents DELINQUENT FREQUENCY, members of Javier’s Mustache Mafia known as MUSICSAVAGES.
Line-ups as special as these seldom present themselves at venues as intimate as King King, so come be a part of the buzz that you’ll be hearing about on the message boards for days to come. This event is anticipated to SELL OUT, so presale tickets are strongly (STRONGLY!) suggested. Discount admission before 11pm with RSVP to RsvpDG@beharmonic.com. 10pm – 4am.
Limited amount of $15 Presale Tickets at:
http://wantickets.com/damagedgoods
Presale tickets must be claimed before 1:00am for guaranteed admission.
