Tag Archives: Jacques Gaspard Biberkopf


This year, FACT Magazine offered me the opportunity to compile a “25 Best Club Tracks Of 2015” list and after weeks of agonizing over the selections, it went live last week to many readers’ consternation. Unfortunately, a good deal of tracks that I would have liked to include didn’t fit in to the feature’s scope, which was more of less limited to club-focused material and original works (a self-imposed limitation). The following 25 tracks either aren’t aimed at the dancefloor, fit the club-theme or just didn’t quite fit the rubric for the column. Like the FACT list, we’ve kept this one in alphabetic order and considering that these songs come from across a ridiculously wide spectrum we felt there was no need to order them otherwise. Hit the links below to listen to each respective track and enjoy. Big thanks to anyone and everyone who has stuck with us, enjoyed our releases and/or followed the FACT column.

Acre – Always Crashing

Acre x Justine Skye – Never Physically Leave (Prince Will Edit)

Angel-Ho – Yah Cunt

DJ Haram & Mhysa – No Ordinary Love

DJ NJ Drone – Banger (Fools)

Elysia Crampton – Lake

Faro – Hold U (Hi Tom Edit)

Fis – Kal

GAIKA – Sodium

Haleek Maul – Medicine (ft. Kit) [prod. Haleek Maul & Shy Guy]

Iglew – Urban Myth

Jacques Gaspard Biberkopf – Spirit

Joey Labeija – Euphoria

Kadahn – Arc Eye Matter

Kuedo – Cellular Perimeter

Lotic – Heterocetera

Mechatok – Mass Appeal

Mr. Mitch – Dru (Peace Edit)

Rabit & Myth – Lonely Backseat Love

Pan Daijing – DISEASE 疾

Pitcheno – K1. 不明白” (feat. Organ Tapes)

Smurphy – Missing2MyBB

Strict Face – Into Stone

Teeflii x Mr. Mitch – 24 Hourz x Feel (Rabit Blend)

Tim Hecker – Stab Variation (SHALT Edit)


It’s only been a few days since we dropped Heterotopia Remixes Vol. 2, but it’s hard not to look on to the next and final volume in the series. That being said, it almost seems like we’re getting a rhythm down with these releases and it’s a pleasure to see a good deal of our readers coming back for each of our first three releases. You can check out the full release down below, as well as the tracks that hadn’t been premiered previously after the jump, or just head straight to our Bandcamp for the free download. Thanks to everyone involved, including our own team of Sam and Will. Can’t wait to announce Vol. 3!

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With less than 24 hours until release, we’ve got a roundup of a few more tracks from Heterotopia Remixes Vol. 2. The first is Air Max ’97’s bootleg version of Jacque Gaspard Biberkopf’s “Public Love”, premiered by the good folks at Liminal Sounds this morning. Because of a hard drive crash, the Melbourne-based producer was forced to go off of the MP3 version of Biberkopf’s original, but that just made his kinetic flip even more inventive. Second is Gobstopper signee Iglew’s take on Celestial Trax’s “Illuminate”, the most grime-leaning attempt from Vol. 2 and a peak time banger if I’ve ever heard one. Vol. 2 can be found here tomorrow (Tuesday) morning. Enjoy.

With an Astral Plane mix in the books and a standout track on Heterotopia still fresh in our memory, Berlin’s Jacques Gaspard Biberkopf is one of our very favorite artists, drawing lines from Lorenzo Senni to Jersey club and NBA Jam. The critical theory minded producer fascination with the voice and, in particular, sports highlight clips, has shown up throughout his mix and production work and his latest effort, long form production mix Video, a combination of the sort of crystalline trance-scapes favored by the aforementioned Senni, oft-indecipherable vocal snippets and bone crunching percussive workouts based in Jersey club, kuduro and grime. Video can be read as shrewd commentary on audial representation and the human voice or the sensationalist, machismo-focused quality of sports highlights, but both critiques take on a different quality when enmeshed in 41:56 of industrial spatial dynamics and in-your-face club music. Unlike much of Biberkopf’s previous material though, Video never really breaks through into the world of club music, remaining firmly on the periphery. It’s a thrilling listen nonetheless, an at times shocking composition (entirely Biberkopf originals) that is delightfully incoherent and aesthetically cohesive at the same time, seeming to skip across the temporal plane with reckless abandon. Biberkopf is certainly an artist of our time and along with the likes of TCF, M.E.S.H. and Why Be, appears to be reworking a critical view of the club. Find a full track list for Video after the jump.

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Release day is always a bit bittersweet, because, despite all the dithering and busy work that goes into releasing music, it means that the process is almost over. That being said, Heterotopia has been a passion project of ours for quite some time now and it’s with great, treacly pleasure that we finally get to unleash it on all of you. Heterotopia is inspired by Michel Foucault’s essay of the same, but not to the extent that the compilation is imprisoned within the French philosopher’s admittedly problematic framework. The tape is positioned to guide the listener into an alternate reality, not in the science fiction sense, but in the liminal, distinctly body-oriented manner of the club-verse. It was our intention to gather a group of transcendent, progressive musicians and the artists who participated in the project took the conceptual framework to heart and drafted 12 polyglot heat rocks that have continued to defy our expectations on nearly every listen. This sort of language is hyperbolic, but for those of us who take pleasure in the expectation, aftermath and release of the club context, this topic truly is important. Heterotopia is a free release, but if you do happen to have a few spare dollars to spend on otherworldly club constructions in your monthly budget, it would always be appreciated. And while this is release day, Heterotopia will continue as a project of ours in the coming weeks and months. Expect more soon on that front and enjoy.


There are also, probably in every culture, in every civilization, real places–places that do exist and that are formed in the very founding of society–which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted.

– Michel Foucault

You’ve already heard two songs from Heterotopia and with the tape set to hit the web tomorrow, it’s time to give a little love to the full experience. Watch this space and this space tomorrow and enjoy. Huge shout to Arkitect, Kid Antoine, Jacques Gaspard Biberkopf, Air Max ’97, Victoria Kim, Imaabs, Rushmore, Divoli S’vere, Mike G, Celestial Trax, Riley Lake and Iglooghost for turning in exceptionally creative tracks. And Jesse Treece for fashioning the poignant visual side of Heterotopia. Made this process far easier than it should have been.

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With only five (!) days remaining until the release of Heterotopia, our comrades over at Truants were kind enough to debut the second track from the compilation, Jacques Gaspard Biberkopf‘s dysphoric “Public Love”. Equal parts Jersey club heat rock and crumbling approximation of the dancefloor edifice, Biberkopf’s contribution to Heterotopia might be the most spatially aware take on the topic. In the words of Truants’ excellent Tobias Shine:

JGB seems to take the theme literally, establishing a widescreen architecture that hones in in the absurdity of Jersey club through dehydrated textures and his trademark use of voice. In a far away room, someone tinkers on a piano. As the arms of power continue to strangle public space, whether through surveillance or the monetization of Soundcloud, the Astral Plane remind us of the powerful political agency ‘real’ club space offers.

The Berlin-based producer approaches music with an understated gleam, but his club constructions are a world within themselves, a funhouse mirror shone brilliantly on the simulacrum of the contemporary “world” city. Heterotopia will be released through our web channels on Tuesday, October 21, but be on the look out for another premiere or two in the meantime!


The dancefloor is rarely considered in terms of media consumption and more often than not is reduced to a linear relationship between physical location, deejay and patron. More often, critics call on religion, philosophy and sociology to try and explain the weekly mass exodus to clubs, warehouses and homes wherein people from all over the world sedulously drop everything in order to flail their extremities. One facet of the dance though, for better or worse, is that it is form of media consumption and represents many of the characteristics of contemporary mass media. Televised sports, print media and advertising are not the preferable modal counterparts to dance music, but the fact that it is, by-and-large, a commercial entity, mass produced and consumed by the  totality forces its consideration among the aforementioned mediums. That being said, contemporary club music, especially from the Atlantic seaboard, Chicago and Lisbon, deliberately challenges dance music’s position in the mass media sphere. From their minority position, Divoli S’vere, DJ Nigga Fox, Lotic and Total Freedom challenge the notion that club music is a top –> down form of capitalist media. From Newark to Berlin, producers and DJs have shown a willingness in recent years, in direct opposition to the consumerization of dance music in America, to subvert accepted societal structures of how music should be made, played and danced to.

Alongside the aforementioned artists, Berlin’s Jacques Gaspard Biberkopf has instilled an avant-garde approach to his club material, refusing to genuflect to the house and techno constitution the city he calls home insists upon. Instead, the Lithuania-born Biberkopf proposes a deconstructed club-verse built on sensuous human vocal manipulation and crashing industrial noise. In interviews, Biberkopf likes to reference autonomous sensory meridian response (ASMR), the visceral physical pleasure some encounter when exposed to certain noises, somatic and hypothetical space, and the affectations of the human voice. Biberkopf’s most recent mixes, for aqnb and Truants’ Functions of the Now series, are largely removed from the club space, instead floating in a deeply resonant realm denuded of treacle and extraneous elements.

When we asked Jacques to contribute to our mix series, the expectation was similar: something in the vein of Lotic’s “pissing people off” club mutations or his own odd ball Jersey-influenced productions. Instead, Biberkopf turned in a mix that directly challenges the manner that dance music is consumed and how analogous it is to sports highlight shows, another sensationalist form of mass media. NBA Top 10 highlights resound in the spaces between grime, Jersey club, kuduro and ballroom with disarming effect, both challenging and reinforcing club music’s inherent commercial value. With ASMR and the human voice in mind, the highlight snippets work on the pleasure nodes in our mind in a similar manner to dance music. It’s a deceptively provocative stance that challenges the conviction that the dancefloor is a sort of “outsider” space. Whether Biberkopf intended these political intonations or not, they are readily apparent in the mix and come to a fever pitch towards the end of the selection, a disarray of ballroom, highlight vocals and fragments of “Kiss Me Thru The Phone”. It’s the realization that mass media and mediated sub-culture are not entirely different worlds and actually intersect and flow back and forth more than is apparent on the surface. Discerning listeners are few and far between in 2014 and if the economic, political and social ramifications of our collective consumption habits aren’t shown in a proper light, then dance music will go the way of Sportscenter. No track list available so speculate as you will.


Truants Functions of the Now mix series has been one of the most pertinent touchstones for anyone curious in contemporary grime and its variegated mutations. Past editions — from Inkke, Murlo, Strict Face and Sudanim & Miss Modular — feature some of strongest young producers, many of whom reside outside of London, dipping their toes into the protean grime pool, adding their own personal skill to the sounds of London. Jacques Gaspard Biberkopf lives in Berlin and makes metallurgic tracks that function on the periphery of club music. Truants also spoke with Biberkopf about the construction of the club environment, Berlin and the human voice in a wonderfully illuminating environment. If you’re at all interested in how we relate to the body, then Biberkopf’s Functions of the Now contribution is a must have.