marco haas/t.raumschmiere  [shitkatapult]

www.shitkatapult.com  marco@shitkatapult.com  

 

- first please tell us something about yourself, like a biography or something...

biography is attached ;-)

t.raumschmiere_bio_engl.doc:

bio.
current base: berlin / germany
style: musick
labels: shitkatapult, novamute

past: various vinylreleases in the punkrock underground.
1997: founding the recordlabel 'shitkatapult' with marcus stotz.
starting his solo project `t.raumschmiere`. the word was taken from a short story by william s. borroughs. (english title: the dream cops)
also starting the side project shrubbn!! with ulli bomans.
1998: moving to berlin. working on dirty noises and eternal reverbs.
1999: starting the side project 'pop poisoned poetry' feat. miss tigra. a mixture of reading, perfomance and soundscapes with english and danish poems&lyrics.
2000: first solo release 'stromschleifen' on shitkatapult ("rockin' shuffletechno from the new king of gnarz") 'bolzplatz' on kompakt ("gnarz-shockers from hell")
and 'himmel ueber berlin' ("with the smash-hit h-babe") on sender records.
also starting the eventseries 'erloesung durch strom' at the nbi (berlin).
t.raumschmiere and guests bring salvation in the form of crispy ambient scapes.
marco haas is on the drums again with mos eisley rock and releases
the 7" 'high on the heels of love' on the bands own label bender entertainmanet.
2001: 'zartbitter ep' on shitkatapult ("fucking brilliant! goosebump warning!")
'musick' on kompakt ("a piece of rock history")
vaorious compilation tracks for bpitch control, nbi, salo, wmfrec, hefty records.
playing more then 150 live- and dj gigs all over the world.
remixes for slicker (hefty records), rechenzentrum (data error)
and jacob fairley (dumb-unit), komeit (monika enterprise), sythis (third ear)
2002: recording new tracks with 'mos eisley rock'.
more remixes for: 2raumwohnung (goldrush/bmg), marc marcovich (fein raus)
'the great rock'n'roll swindle' ep/cd on shitkatapult.
("...sid vicious would have been proud")
'anti' 2x12"/cd on hefty records/chicago
("if the new rock has no guitars, then this is its elvis presley")
2003: remixes for goldfrapp (mute), das bierbeben (shitkatapult)
'monstertruckdriver' 12" (novamute) out now.

future: stay anti!


- when and how did u start making music

i started 1991 with playing the drums in a punkrock band.

- tell us something about the history of your label shitkatapult. why and when did u started, what was the intentions…


also attached ;-)

label_info_e.doc:

label info label info label info label info label info label info label info label info label info label info label info label info label info label info label info label info label info label info label info

shitkatapult publishes special music for special people since 1997.
the label was founded in by marco haas a.k.a. t.raumschmiere.
in 2000 sascha ring a.k.a. apparat joined the katapult and became the second head.
all graphic manipulations are done by carsten aermes a.k.a. phon.o and alexander solman a.k.a. cia-industries.

the concept of shitkatapult is to have no concept at all. everything is allowed, every release is different and with every record the label gets a new definition and tries to give people a special experience through electrical current and another point of view.
from digital highspeed attacks to groovy-lownoise-loops, from rocking shuffle-techno to funky micro-house tunes shitkatapult has everything your electronically polluted heart is looking for.

shitkatapult is the recordlabel outside the norm that convinces through its healthy mixture of functionality, experimentation and humour.
that's why shitkatapult is interesting for everyone searching for special music.

shitkatapult. special music for special people.

contact:

shitkatapult
kastanienallee 40
10119 berlin
germany
p. +49.30.29491437
f. +49.30.44328603
e. mail@shitkatapult.com

- what's the idea behind its name. what does it means

it means that we dont give a shit about hypes or anything like that and we only release(katapult) shit we love.

- is there any concept (ideological) behind shitkatapult

the concept is to have no concept. shitkatapult gets defined by its artists. we release high quality music for those who are interested. thats about it.

- what are influences in your music. music and non muic, direct and indirect, those that can be recognized in your music and those that can not be seen

everything has influecial aspects to it. good things and bad things, private- and bizznezz issues, music and non music. you just have to pick out the things you wanna work with and create and form your style.

- sound of shitkatapult is eclectic. what are principles that u follow in choosing projects that you are releasing.

we (sascha & me) really have to love it 200% before releasing it. which is sometimes hard since we have different tastes of music. but that's why only the best shit comes on the katapult in the end ;-)

- your music is maybe into one direction but it vary from release to release. can u define the music you are producing or put it in some particular genre or style

no. i hate talking bout my musick.

- electronic music is basic music today or we can say mainstream. what will happen if music is developing in this direction. what will happen with music in future. what's your position on this questions

i dont see the mainstream as the evil to fight against. everything is mainstream. it's just an institution with the wrong managment. as electronic music seems to get quite popular today i think that the new people/artists/labels should take their chances and their options and just try to rearrange that managment.. and put new (especially economical) ways of thinking to old traditions instead of blaming it. in the end everybody wants to make a living. and whats so bad about having succes and earn cash? in any other job you're part of the machine, too. it's all up to yourself and the way how you deal with it. and what will happen with music in the future? i dont wanna know.

- what do u think about todays revival of styles that is happening in more styles (like dub, acid or electro revival). is that manifestation of crisis in music, so styles are recycling itself or there is other reason of that process according to you

nowadays its almost impossible to create/invent a completely new style without taking elements of what's already there. and i dont know if this should be the intention anyway. for me music is not about new styles, new software or new whatever, for me music is about the transportation of emotions. if i'm in love why not make a dub track? and if i'm sick as fuck why not make an electropunkbassbastard track? music gets its individual touch through the person(s) behind it. and if they use retro elements to xpress their feelings thats ok for me. all this retro/recycling pro&contra discussion gets on my nerves anyway.

- what are obligations of labels. what is their responsibility in direction of artists and in relation of music

a label is obliged to support and represent an artist in the way he wants to be represented and is responsible for record sales.

- what do you understand under perfect dancefloor music today

if your ass is shaking you could say it's perfect. cauze thats what dancefloor music is made for. but there is more then dancefloor music.

- can u describe us your live act… what equipement do you use…

my live shows are loud & intense. i use laptop, sampler, synth & fx.

- which are your favorite labels that could possibly influent your work…

they all influence me wether they do hits or shits ;-)

- my attitude is that nowadays berlin is centre of contemporary music. many good labels that are concentrated in contemporary music, music that is aimed to be listened today, are working there, there is huge festival about such music, many artists are placed there and many artists from other european scenes are moving to berlin… can u explane reasons of that processes and can u agree with that position. what's your opinion about that process and about berlin scene at all

the berlin scene is unique. no doubt. the fact that everybody is moving here is good for the competition and makes the quality of the individual projects better. also festivals like transmediale would't work in any other german city i think. there is enough space in the city and everybody can do own parties or labels or exhibitions or whatever. and there will always be people who are interested. thats good and keeps the shit moviing....