On paper, itโs quite a spread: industrial, EBM, electro, acid, heavier techno, breaks and more experimental stuff. But the longer we look at this lineup, the more obvious it becomes that these worlds have way more in common than it might seem. Letโs be honest, thereโs serious potential for total overload. โค ๐๐ข๐ฑ: PRESALE (fast line for ticket holders) โ 50/60/70 PLN DOOR โ 80 PLN โค ๐๐ซ๐จ๐ค๐๐ง ๐๐ง๐ ๐ฅ๐ข๐ฌ๐ก ๐๐ฅ๐ฎ๐ live - When Oliver Ho brought Broken English Club to life, he closed the chapter on his tribal techno years and built an entirely different world: bleak, dystopian, steeped in post-punk, alienation and urban decay. The music feels less like another take on techno and more like a way of digging through obsessions, dreams and the darker corners of the human psyche. That world didnโt come out of nowhere. Among his key reference points are Napalm Death, Godflesh, Coil, Psychic TV and Swans. Thatโs where the dirt, tension, vocals and unmistakable weight of Broken English Club come from. And since the word โindustrialโ has been thoroughly beaten into meaninglessness by years of cheap bullshit, 31/10 is a good chance to hear what it sounds like when thereโs actually something behind it. โค ๐๐ ๐๐๐ฅ๐ฅ ๐ - DJ Mell G didnโt start out chasing a DJ career. She started by helping run DIY parties, and only ended up behind the decks by accident when the warm-up DJ didnโt show. Her first directions were trap, footwork and ghettotech, but she consciously distanced herself from the latter once the scene started filling up with cheap edits increasingly detached from the musicโs roots. Through DJ Stingray and The Exaltics, she found electro, and finally a language she genuinely identified with. Today Stingray and Helena Hauff, not long ago major reference points for DJ Mell G, are now her peers behind the decks. That probably says a lot about her place in the new wave of electro: she knows the foundations, but instead of reconstructing them, she pushes them forward. โค ๐๐ก๐จ๐ฆ๐๐ฌ ๐. ๐๐๐๐ค๐ฆ๐๐ง๐ง - Thomas comes out of the early โ90s Frankfurt orbit, where one of the heavier strains of German techno was beginning to take shape. He took his first steps with Force Inc., already pushing acid towards rawer, more mechanical forms. When he stopped fitting neatly into what was already mapped out around him, he founded Trope Recordings and started Drax as a space for experimentation. Thatโs where โAmphetamineโ came from: a classic among classics today, but back then a strange beast full of freaky sounds and an absurdly effective hook, moving freely between techno, acid and trance. A similar thing happened later with EBM. Today industrial, EBM and heavier techno naturally sit next to each other, but in the โ90s they had their own clubs, aesthetics and audiences. Heckmann was one of the producers who started joining those worlds from the techno side. And that probably sums up his work best: instead of guarding one genre box, he kept finding the places where two separate worlds suddenly started working together. โค As always, weโre also preparing visuals and some VJ wizardry by ๐๐๐.