Monika Kruse’s Anthems From Munich’s ’90s Techno Temple
anthems-from-ultraschall
June 15, 2017
ready
14
# Monika Kruse’s Anthems From Munich’s ’90s Techno Temple
Munich's [Ultraschall][1]{: target="_blank" rel="noopener noreferrer"}
was one of the most important techno clubs in Germany during the years
it was active. Its first incarnation---which was located in the kitchen
of a cafeteria at the disused Munich-Riem airport---was founded in 1994
by Dorothea [Zenker][2]{: target="_blank" rel="noopener noreferrer"},
Peter Wacha (aka DJ Upstart) and David Süss. Despite this peculiar and
remote location, the club became a great success. Nevertheless, it had
to close in 1996 because the airport had to be demolished to make room
for the city's Messestadt Riem project. So the team installed a second
Ultraschall later that year in a similarly exotic but bigger location: a
former factory area of a potato product manufacturer. Although that
version was also successful, it too had to close---this time due to
unresolved negotiations over a renewed lease in 2003. The team behind
Ultraschall then split up to run their own clubs, which dominated the
next phase of Munich club culture: [Harry Klein and Rote Sonne][3]{:
target="_blank" rel="noopener noreferrer"}.
For nine turbulent years, the club served as the nucleus and playground
for what was dubbed "the new sound of Munich," and it was instrumental
in catapulting resident DJs like Richard Bartz, DJ Hell and Monika Kruse
to international underground stardom. We asked one of those regulars,
Monika Kruse, to tell the story of the clubbing institution in ten
tracks.
{: .p1}
## Air Liquide, "Liquid Air" (Blue 1992)
"Air Liquide were booked often in the first Ultraschall to play live.
They were almost part of the family. The track 'Liquid Air' was not a
big hit by all means---not that tracks needed to be hits in order to get
played at Ultraschall. It very adequately reflects both their sound,
which combined techno and acid psychedelia with ambient, and the sound
and feel of the club in the early years. It was all pretty trippy, to
say the least."
[Air Liquide - Liquid Air (Acidtrance 1992)][4]{: target="_blank"
rel="noopener noreferrer"}
## Robert Armani, "Circus Bells (Hardfloor Remix)" (Djax-Up-Beats 1993)
"Acid played an important role at Ultraschall, but even more important
was the sound of Chicago and Detroit. Enter Djax-Up-Beats, which was one
of the key labels back then. Miss Djax's label successfully managed to
bridge European techno with the tracky roughness from the original
sources in Chicago and Detroit. I absolutely loved the Hardfloor remix
of 'Circus Bells'. It represented both the American and European sound
perfectly."
[https://www.youtube.com/watch?v=KEvzS0SN9Xc][5]
## Sluts'n'Strings & 909, "Summerbreeze" (Loriz Sounds 1993)
"There was a vital exchange between Viennese artists---mostly from the
Cheap label posse---and the Munich label Disko B, which was operated by
one of the Ultraschall owners, DJ Upstart. He booked artists from Cheap
like Patrick Pulsinger, and we headed over for Disko B label nights in
Austria. When the Austrians played at Ultraschall, there were always
elements of surprise between morbid music, serious techno or the
occasional house track. This 'anything goes' attitude within the
Austrian sound was very close to the spirit of Ultraschall."
[Sluts\'n\'Strings & 909 - Summerbreeze][6]{: target="_blank"
rel="noopener noreferrer"}
## K-Hand, "Global Warning" (Warp 1994)
"This one is intense. I always got goosebumps when I played it. Many
artists from Detroit were booked then. [Jeff Mills][7]{: target="_blank"
rel="noopener noreferrer"} played the opening night, for example. Among
regular guests were also [Underground Resistance][8]{: target="_blank"
rel="noopener noreferrer"}, [Juan Atkins][9]{: target="_blank"
rel="noopener noreferrer"}, Blake Baxter and K-Hand. For me, 'Global
Warning' is a very emotional track. It has this dark intensity mixed
with the funkiness of most techno tracks that came out of Detroit back
then."
[https://www.youtube.com/watch?v=Q7eRAuD7qZs][10]
## DBX, "Losing Control" (Accelerate 1994)
"This track illustrates the overall feeling we had at Ultraschall: '*I
am losing control*.' DJs played in the toilet facilities; Robert Görl of
[DAF][11]{: target="_blank" rel="noopener noreferrer"} once performed a
ten-hour live set at the entrance door; [Matthew Hebert][12]{:
target="_blank" rel="noopener noreferrer"} sampled crisp packets for his
live set; there was huge bed in the middle of the dance floor on an
ambient-themed weekend. There was something happening every weekend, and
DJs and guests shared the feeling of being completely detached from
reality, losing control of everyday life. And thus the track fit
extremely well, of course!"
[YouTube Video (6RZotWBdvmM)][13]{: target="_blank" rel="noopener
noreferrer"}
## Dopplereffekt, "Pornoactress" (Dataphysix Engineering 1996)
"'Pornoactress' was just a really great track that a lot of us played
often. Electro always had its place at both Ultraschall
incarnations---but at Ultraschall 2 it became in some sense poppier. You
could also say that of the development of the club's sound in general.
Dopplereffekt was a perfect example of that, as was [DJ Hell][14]{:
target="_blank" rel="noopener noreferrer"}'s International Deejay Gigolo
label, which he started around the same time Ultraschall 2 opened. Back
then there was a lot of electro or electro boogie on the playlist, as
well as the occasional drum & bass track."
[dopplereffekt pornoactress][15]{: target="_blank" rel="noopener
noreferrer"}
## I-F, "Space Invaders Are Smoking Grass" (Viewlexx 1997)
"Ultraschall was always very open for all kinds of musical styles. We
resident DJs like Captain Reality, Lester Jones, DJ Hell, Barbara
Preisinger and I all had our own individual sounds. The guest DJs
defined the sound of the club even more. Viewlexx and I-F in particular
became a strong presence at Ultraschall 2. The club's co-owner, Upstart,
even released the first two I-F albums on Disko B, which label was
basically an extension of the club. In that sense Ultraschall opened a
lot of doors for a lot of DJs, producers and labels, who in turn were
pretty instrumental in creating the overall experience."
[I-F Space Invaders - Are smoking Grass][16]{: target="_blank"
rel="noopener noreferrer"}
## Grungerman, "Fackeln Im Sturm" (Profan 1997)
"Ultraschall loved Cologne humor and its DJ and producer scene, but I
would not claim that of the Munich techno scene in general. The first
Ultraschall always was an island. The club was like its location in the
airport outside of Munich: off the beaten track. The club, its sound and
its regulars were somehow not like Munich; a bit more to the left
politically; alternative; punkish; crazy. Cologne artists like Mike Ink,
[Michael Mayer][17]{: target="_blank" rel="noopener noreferrer"}, Burger
and Reinhardt Voigt were very welcomed guests, and their tracks were
often played."
[Grungerman (Mike Ink) - Fackeln Im Sturm][18]{: target="_blank"
rel="noopener noreferrer"}
## Richard Bartz, "Ghettoblaster" (Kurbel 1997)
"I think Richard Bartz had already snuck into the club when he was 17,
and he was definitely inspired by the Ultraschall experience and the
ferocity and leeway it offered. As he later released on Disko B and
became producer for DJ Hell, he also surely became a very influential
figure in shaping the Ultraschall sound. It was not easy to choose only
one of his tracks. I went with 'Ghettoblaster' since it has a catchy
undercurrent rooted in house that you don't really find in many of his
tracks---especially not in his early stuff as Acid Scout.
'Ghettoblaster' was a big favorite with us residents, and it was pretty
much on heavy rotation."
[Richard Bartz - Ghettoblaster (The Spiralistic Mix) 1996][19]{:
target="_blank" rel="noopener noreferrer"}
## Johannes Heil, "Paranoid Dancer (DJ Hell Remix)" (Kanzleramt 2002)
"I chose this track because it perfectly summarized the former sound of
DJ Hell and Johannes Heil and because it illustrates the techno feeling
of the last Ultraschall years very well. It was a bit sinister, as we
were all a bit paranoid in Munich then because the second Ultraschall
had opened right in the center of the city. Whereas before Ultraschall 1
was a bit outside on the periphery of the city, where we pretty much ran
wild, unattended. It was different after the club moved. There were lots
of other (non-techno) clubs on the same premise, which was called
Kunstpark Ost, and it was monitored more heavily by the police, who
didn't handle us ravers with kid gloves. And you also suddenly had to
deal with all these 'normal' people on the way to the club, which I
found stressful at times and which was another reason why 'Paranoid
Dancer' fitted so well."
*Monika Kruse and Pig&Dan's 'Get Me On' is out now on Terminal M.
You can buy it [here][20]{: target="_blank" rel="noopener noreferrer"}.*
[YouTube Video (-T1\_H163QKs)][21]{: target="_blank" rel="noopener
noreferrer"}
[1]: http://www.electronicbeats.net/25-german-clubs-in-history/
[2]: http://www.electronicbeats.net/artist/zenker-brothers/
[3]: http://www.electronicbeats.net/essika-mma/
[4]: https://www.youtube.com/watch?v=eDTnKLqFuYU
[5]: https://www.youtube.com/watch?v=KEvzS0SN9Xc
[6]: https://www.youtube.com/watch?v=PnSRvH3TL4E
[7]: http://www.electronicbeats.net/techno-deity-jeff-mills-meets-art-star-olafur-eliasson/
[8]: http://www.electronicbeats.net/artist/underground-resistance/
[9]: http://www.electronicbeats.net/tv/juan-atkins-slices-dvd-feature/
[10]: https://www.youtube.com/watch?v=Q7eRAuD7qZs
[11]: http://www.electronicbeats.net/daf-icon-gabi-delgado-wants-to-drive-you-off-the-dance-floor/
[12]: http://www.electronicbeats.net/tv/matthew-herbert-big-band-live-in-bonn/
[13]: https://www.youtube.com/watch?v=6RZotWBdvmM
[14]: http://www.electronicbeats.net/artist/dj-hell/
[15]: https://www.youtube.com/watch?v=mDCd6-aZvlw
[16]: https://www.youtube.com/watch?v=tIAZTV_sYtk
[17]: http://www.electronicbeats.net/michael-mayer-tracks-roundup/
[18]: https://www.youtube.com/watch?v=y9HcS6AxTpg
[19]: https://www.youtube.com/watch?v=CJ4hkMFcMHU
[20]: https://www.beatport.com/release/get-me-on/2012610
[21]: https://www.youtube.com/watch?v=-T1_H163QKs
---
id: b6d6e495-2407-4442-8ffd-1cbebbc7467d
blueprint: article
title: 'Monika Kruse’s Anthems From Munich’s ’90s Techno Temple'
date: 2017-06-15T09:32:37+02:00
wp_id: '135283'
slug: anthems-from-ultraschall
teaser_image: legacy/anthems-from-ultraschall/Monika-Kruse-by-Marie-Staggat.jpg
contents:
-
type: text
text: '<p>Munich’s <a href="http://www.electronicbeats.net/25-german-clubs-in-history/" target="_blank" rel="noopener noreferrer">Ultraschall</a> was one of the most important techno clubs in Germany during the years it was active. Its first incarnation—which was located in the kitchen of a cafeteria at the disused Munich-Riem airport—was founded in 1994 by Dorothea <a href="http://www.electronicbeats.net/artist/zenker-brothers/" target="_blank" rel="noopener noreferrer">Zenker</a>, Peter Wacha (aka DJ Upstart) and David Süss. Despite this peculiar and remote location, the club became a great success. Nevertheless, it had to close in 1996 because the airport had to be demolished to make room for the city’s Messestadt Riem project. So the team installed a second Ultraschall later that year in a similarly exotic but bigger location: a former factory area of a potato product manufacturer. Although that version was also successful, it too had to close—this time due to unresolved negotiations over a renewed lease in 2003. The team behind Ultraschall then split up to run their own clubs, which dominated the next phase of Munich club culture: <a href="http://www.electronicbeats.net/essika-mma/" target="_blank" rel="noopener noreferrer">Harry Klein and Rote Sonne</a>.</p><p class="p1">For nine turbulent years, the club served as the nucleus and playground for what was dubbed “the new sound of Munich,” and it was instrumental in catapulting resident DJs like Richard Bartz, DJ Hell and Monika Kruse to international underground stardom. We asked one of those regulars, Monika Kruse, to tell the story of the clubbing institution in ten tracks.</p><h2>Air Liquide, “Liquid Air” (Blue 1992)</h2><p>“Air Liquide were booked often in the first Ultraschall to play live. They were almost part of the family. The track ‘Liquid Air’ was not a big hit by all means—not that tracks needed to be hits in order to get played at Ultraschall. It very adequately reflects both their sound, which combined techno and acid psychedelia with ambient, and the sound and feel of the club in the early years. It was all pretty trippy, to say the least.”</p><p><a href="https://www.youtube.com/watch?v=eDTnKLqFuYU" target="_blank" rel="noopener noreferrer">Air Liquide - Liquid Air (Acidtrance 1992)</a></p><h2>Robert Armani, “Circus Bells (Hardfloor Remix)” (Djax-Up-Beats 1993)</h2><p>“Acid played an important role at Ultraschall, but even more important was the sound of Chicago and Detroit. Enter Djax-Up-Beats, which was one of the key labels back then. Miss Djax’s label successfully managed to bridge European techno with the tracky roughness from the original sources in Chicago and Detroit. I absolutely loved the Hardfloor remix of ‘Circus Bells’. It represented both the American and European sound perfectly.”</p><p><a href="https://www.youtube.com/watch?v=KEvzS0SN9Xc">https://www.youtube.com/watch?v=KEvzS0SN9Xc</a></p><h2>Sluts’n’Strings & 909, “Summerbreeze” (Loriz Sounds 1993)</h2><p>“There was a vital exchange between Viennese artists—mostly from the Cheap label posse—and the Munich label Disko B, which was operated by one of the Ultraschall owners, DJ Upstart. He booked artists from Cheap like Patrick Pulsinger, and we headed over for Disko B label nights in Austria. When the Austrians played at Ultraschall, there were always elements of surprise between morbid music, serious techno or the occasional house track. This ‘anything goes’ attitude within the Austrian sound was very close to the spirit of Ultraschall.”</p><p><a href="https://www.youtube.com/watch?v=PnSRvH3TL4E" target="_blank" rel="noopener noreferrer">Sluts''n''Strings & 909 - Summerbreeze</a></p><h2>K-Hand, “Global Warning” (Warp 1994)</h2><p>“This one is intense. I always got goosebumps when I played it. Many artists from Detroit were booked then. <a href="http://www.electronicbeats.net/techno-deity-jeff-mills-meets-art-star-olafur-eliasson/" target="_blank" rel="noopener noreferrer">Jeff Mills</a> played the opening night, for example. Among regular guests were also <a href="http://www.electronicbeats.net/artist/underground-resistance/" target="_blank" rel="noopener noreferrer">Underground Resistance</a>, <a href="http://www.electronicbeats.net/tv/juan-atkins-slices-dvd-feature/" target="_blank" rel="noopener noreferrer">Juan Atkins</a>, Blake Baxter and K-Hand. For me, ‘Global Warning’ is a very emotional track. It has this dark intensity mixed with the funkiness of most techno tracks that came out of Detroit back then.”</p><p><a href="https://www.youtube.com/watch?v=Q7eRAuD7qZs">https://www.youtube.com/watch?v=Q7eRAuD7qZs</a></p><h2>DBX, “Losing Control” (Accelerate 1994)</h2><p>“This track illustrates the overall feeling we had at Ultraschall: ‘<em>I am losing control</em>.’ DJs played in the toilet facilities; Robert Görl of <a href="http://www.electronicbeats.net/daf-icon-gabi-delgado-wants-to-drive-you-off-the-dance-floor/" target="_blank" rel="noopener noreferrer">DAF</a> once performed a ten-hour live set at the entrance door; <a href="http://www.electronicbeats.net/tv/matthew-herbert-big-band-live-in-bonn/" target="_blank" rel="noopener noreferrer">Matthew Hebert</a> sampled crisp packets for his live set; there was huge bed in the middle of the dance floor on an ambient-themed weekend. There was something happening every weekend, and DJs and guests shared the feeling of being completely detached from reality, losing control of everyday life. And thus the track fit extremely well, of course!”</p><p><a href="https://www.youtube.com/watch?v=6RZotWBdvmM" target="_blank" rel="noopener noreferrer">YouTube Video (6RZotWBdvmM)</a></p><h2>Dopplereffekt, “Pornoactress” (Dataphysix Engineering 1996)</h2><p>“‘Pornoactress’ was just a really great track that a lot of us played often. Electro always had its place at both Ultraschall incarnations—but at Ultraschall 2 it became in some sense poppier. You could also say that of the development of the club’s sound in general. Dopplereffekt was a perfect example of that, as was <a href="http://www.electronicbeats.net/artist/dj-hell/" target="_blank" rel="noopener noreferrer">DJ Hell</a>’s International Deejay Gigolo label, which he started around the same time Ultraschall 2 opened. Back then there was a lot of electro or electro boogie on the playlist, as well as the occasional drum & bass track.”</p><p><a href="https://www.youtube.com/watch?v=mDCd6-aZvlw" target="_blank" rel="noopener noreferrer">dopplereffekt pornoactress</a></p><h2>I-F, “Space Invaders Are Smoking Grass” (Viewlexx 1997)</h2><p>“Ultraschall was always very open for all kinds of musical styles. We resident DJs like Captain Reality, Lester Jones, DJ Hell, Barbara Preisinger and I all had our own individual sounds. The guest DJs defined the sound of the club even more. Viewlexx and I-F in particular became a strong presence at Ultraschall 2. The club’s co-owner, Upstart, even released the first two I-F albums on Disko B, which label was basically an extension of the club. In that sense Ultraschall opened a lot of doors for a lot of DJs, producers and labels, who in turn were pretty instrumental in creating the overall experience.”</p><p><a href="https://www.youtube.com/watch?v=tIAZTV_sYtk" target="_blank" rel="noopener noreferrer">I-F Space Invaders - Are smoking Grass</a></p><h2>Grungerman, “Fackeln Im Sturm” (Profan 1997)</h2><p>“Ultraschall loved Cologne humor and its DJ and producer scene, but I would not claim that of the Munich techno scene in general. The first Ultraschall always was an island. The club was like its location in the airport outside of Munich: off the beaten track. The club, its sound and its regulars were somehow not like Munich; a bit more to the left politically; alternative; punkish; crazy. Cologne artists like Mike Ink, <a href="http://www.electronicbeats.net/michael-mayer-tracks-roundup/" target="_blank" rel="noopener noreferrer">Michael Mayer</a>, Burger and Reinhardt Voigt were very welcomed guests, and their tracks were often played.”</p><p><a href="https://www.youtube.com/watch?v=y9HcS6AxTpg" target="_blank" rel="noopener noreferrer">Grungerman (Mike Ink) - Fackeln Im Sturm</a></p><h2>Richard Bartz, “Ghettoblaster” (Kurbel 1997)</h2><p>“I think Richard Bartz had already snuck into the club when he was 17, and he was definitely inspired by the Ultraschall experience and the ferocity and leeway it offered. As he later released on Disko B and became producer for DJ Hell, he also surely became a very influential figure in shaping the Ultraschall sound. It was not easy to choose only one of his tracks. I went with ‘Ghettoblaster’ since it has a catchy undercurrent rooted in house that you don’t really find in many of his tracks—especially not in his early stuff as Acid Scout. ‘Ghettoblaster’ was a big favorite with us residents, and it was pretty much on heavy rotation.”</p><p><a href="https://www.youtube.com/watch?v=CJ4hkMFcMHU" target="_blank" rel="noopener noreferrer">Richard Bartz - Ghettoblaster (The Spiralistic Mix) 1996</a></p><h2>Johannes Heil, “Paranoid Dancer (DJ Hell Remix)” (Kanzleramt 2002)</h2><p>“I chose this track because it perfectly summarized the former sound of DJ Hell and Johannes Heil and because it illustrates the techno feeling of the last Ultraschall years very well. It was a bit sinister, as we were all a bit paranoid in Munich then because the second Ultraschall had opened right in the center of the city. Whereas before Ultraschall 1 was a bit outside on the periphery of the city, where we pretty much ran wild, unattended. It was different after the club moved. There were lots of other (non-techno) clubs on the same premise, which was called Kunstpark Ost, and it was monitored more heavily by the police, who didn’t handle us ravers with kid gloves. And you also suddenly had to deal with all these ‘normal’ people on the way to the club, which I found stressful at times and which was another reason why ‘Paranoid Dancer’ fitted so well.”</p><p><em>Monika Kruse and Pig&Dan’s ‘Get Me On’ is out now on Terminal M. You can buy it <a href="https://www.beatport.com/release/get-me-on/2012610" target="_blank" rel="noopener noreferrer">here</a>.</em></p><p><a href="https://www.youtube.com/watch?v=-T1_H163QKs" target="_blank" rel="noopener noreferrer">YouTube Video (-T1_H163QKs)</a></p>'
---
Chunk #1 (Position: 0)
# Monika Kruse’s Anthems From Munich’s ’90s Techno Temple Munich's [Ultraschall][1]{: target="_blank" rel="noopener noreferrer"} was one of the most important techno clubs in Germany during the years it was active. Its first incarnation---which was located in the kitchen of a cafeteria at the di...
Chunk #2 (Position: 1)
Although that version was also successful, it too had to close---this time due to unresolved negotiations over a renewed lease in 2003. The team behind Ultraschall then split up to run their own clubs, which dominated the next phase of Munich club culture: [Harry Klein and Rote Sonne][3]{: target...
Chunk #3 (Position: 2)
We asked one of those regulars, Monika Kruse, to tell the story of the clubbing institution in ten tracks. {: .p1} . ## Air Liquide, "Liquid Air" (Blue 1992) "Air Liquide were booked often in the first Ultraschall to play live. They were almost part of the family. The track 'Liquid Air' was not...
Chunk #4 (Position: 3)
It very adequately reflects both their sound, which combined techno and acid psychedelia with ambient, and the sound and feel of the club in the early years. It was all pretty trippy, to say the least." [Air Liquide - Liquid Air (Acidtrance 1992)][4]{: target="_blank" rel="noopener noreferrer"} ...
Chunk #5 (Position: 4)
I absolutely loved the Hardfloor remix of 'Circus Bells'. It represented both the American and European sound perfectly." [https://www.youtube.com/watch?v=KEvzS0SN9Xc][5] . ## Sluts'n'Strings & 909, "Summerbreeze" (Loriz Sounds 1993) "There was a vital exchange between Viennese artists---m...
Chunk #6 (Position: 5)
When the Austrians played at Ultraschall, there were always elements of surprise between morbid music, serious techno or the occasional house track. This 'anything goes' attitude within the Austrian sound was very close to the spirit of Ultraschall." [Sluts\'n\'Strings & 909 - Summerbreeze][...
Chunk #7 (Position: 6)
For me, 'Global Warning' is a very emotional track. It has this dark intensity mixed with the funkiness of most techno tracks that came out of Detroit back then." [https://www.youtube.com/watch?v=Q7eRAuD7qZs][10] . ## DBX, "Losing Control" (Accelerate 1994) "This track illustrates the overall ...
Chunk #8 (Position: 7)
There was something happening every weekend, and DJs and guests shared the feeling of being completely detached from reality, losing control of everyday life. And thus the track fit extremely well, of course!" [YouTube Video (6RZotWBdvmM)][13]{: target="_blank" rel="noopener noreferrer"} . ## D...
Chunk #9 (Position: 8)
Dopplereffekt was a perfect example of that, as was [DJ Hell][14]{: target="_blank" rel="noopener noreferrer"}'s International Deejay Gigolo label, which he started around the same time Ultraschall 2 opened. Back then there was a lot of electro or electro boogie on the playlist, as well as the oc...
Chunk #10 (Position: 9)
The club's co-owner, Upstart, even released the first two I-F albums on Disko B, which label was basically an extension of the club. In that sense Ultraschall opened a lot of doors for a lot of DJs, producers and labels, who in turn were pretty instrumental in creating the overall experience." [...
Showing 10 of 14 chunks