Datashader in full live form, recorded at Berlin Atonal, August 23, 2024.

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Instagram: instagram.com/datashader/ 
Resident Advisor: ra.co/dj/datashader 

Photo credit: Marie Staggat: marie-staggat.com/
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About Tresor Berlin
At midnight, on March 13th 1991, a basement door opened at Leipziger Strasse 126, Berlin. Through this door, many passed, on their way to defining new terrains in electronic music. There they found a dance floor in the vaults of a closed-down department store, with a unique sound bound to dense fog, building night after night a history that was also a vision of the future.

This history has seen in Jeff Mills’ first sets on three turntables, Underground Resistance's first live appearances in Europe, grandiose Tresor Park parties, to various chapters of the Loveparade with Sven Väth in the 90s and since then countless generation-spanning parties. These moments represent the highlights of infinite personal clubbing experiences. It is the manifestation of the Berlin spirit, emerging from its considerable strife. This history is not without its complications - from temporary closure by the authorities and several raids in the early years to closure and demolition of the old location in 2005. What followed was years of wandering in exile and, finally, resurrection in the new home in Kraftwerk Berlin.

These stories, conversations and shared experiences within our walls forge a resilience that drives towards a shared ideal, the Tresor sound: community, resistance, and the world to come. This was observed in the newly re-unified German youth, who danced and celebrated together from the club’s inception, and into the present day through ongoing community work in Detroit.

To those that have danced before, and to those that will dance in the future: the light at the end of the long Tresor tunnel is a signal. A flicker amidst the fog. This is our future. This is our place.

Datashader | Live at Tresor - 23.08.24

https://soundcloud.com/user-46759374?p=a&c=1&si=00a389bb57e24312957c35e2f6a9cb33&utm_source=other&utm_medium=text&utm_campaign=social_sharingListen to Pathwey - Infinite Faces of God (Mix) by Pathwey on #SoundCloud
https://on.soundcloud.com/spGrVTvKkwAVFFeR8https://on.soundcloud.com/spGrVTvKkwAVFFeR8

💖🦇✨🌚🪼🫧💚🕸️🪐✨🍁🩷

AMOR = compuesto por : Adrenalina (DCI) + Dopamina (C6H3(OH)2-CH2-CH2-NH2) + Serotonina (5-HT) 

"Die Erde hat Musik für diejenigen, die zuhören"  Shakespeare
"The earth has music for those who listen" Shakespeare


"Ohne Musik wäre das Leben ein Irrtum"  Friedrich Nietzsche
"Without music, life would be a mistake" Friedrich Nietzsche 

"Und diejenigen, die tanzen sahen, wurden von denen, die die Musik nicht hören konnten, für verrückt gehalten."   Friedrich Nietzsche

"And those who were seen dancing were thought to be insane by those who couldn't hear the music."  Friedrich Nietzsche

Vinicius Salles - Front-end Developer 
-------------------------------------------------------------------
SOUNDCLOUD.RIO (UNDER-CONSTRUCTION) INTERVENÇÃO JÁ!!!!!!!! BOOOOOOOOOOOOM!!!!!!!!!!!!!

Hello to everyone, I'm just a music listener since I was born "1974"!!! Without music the world is wishy-washy.
I've done voice in a punk band called "Breakdown Brain" here on my land, but since invented Techno,
I follow the style with nails and teeths, thanks to Speedy J, Oscar Mulero, Chris Liebing, Plastikman, Ken Ishii, Emmanuel Top, Anthony Child, Fumiya Tanaka, Richard D. James, Autechre, OrbitalJeff Mills, Chris Knowles and all the Liberators, Guy McAffer, CJ Bolland, Green Velvet, UR, Laurent Hô, Miss Djax, N-Son-X, Daz Saund, A.Paul, DJPepo, D.A.V.E. The Drummer, FSOL, Hardfloor, Acid Junkies, Mário Roque, Jesus del Campo...
and many more...! You know what I'm talkin about!
I don't know why I never got into production and DJing, maybe one day (it's a project) ...
Thank you all for your work and good luck to everyone! Good job SoundCloud!
"LET THE MUSIC TAKE CONTROL!!!"
Thank you guys for the TECHNO I've been hearing here at SoundCloud and around the world with you ALL!!!

At midnight, on March 13th 1991, a basement door opened at Leipziger Strasse 126, Berlin. Through this door, many passed, on their way to defining new terrains in electronic music. There they found a dance floor in the vaults of a closed-down department store, with a unique sound bound to dense fog, building night after night a history that was also a vision of the future. 

This history has seen in Jeff Mills’ first sets on three turntables, Underground Resistance's first live appearances in Europe, grandiose Tresor Park parties, to various chapters of the Loveparade with Sven Väth in the 90s and since then countless generation-spanning parties. These moments represent the highlights of infinite personal clubbing experiences. It is the manifestation of the Berlin spirit, emerging from its considerable strife. This history is not without its complications - from temporary closure by the authorities and several raids in the early years to closure and demolition of the old location in 2005. What followed was years of wandering in exile and, finally, resurrection in the new home in Kraftwerk Berlin.

These stories, conversations and shared experiences within our walls forge a resilience that drives towards a shared ideal, the Tresor sound: community, resistance, and the world to come. This was observed in the newly re-unified German youth, who danced and celebrated together from the club’s inception, and into the present day through ongoing community work in Detroit. 

Tresor Records was founded in the same year and began to serve as a platform for exporting the new sounds associated with Tresor all around the world. Emergent musicians from Michigan, such as Juan Atkins, Underground Resistance and Drexciya, were pivotal in shaping these early years. Their visits to Berlin would kick-start dialogue between the youth movement in Europe and these musicians. This story is one of friendship and community-building, inextricably linked with cities like Detroit, Birmingham or Edinburgh, where like-minded friends built something truly special, where revelatory rhythms soundtrack decaying industry in corrupted metropoles. 

Tresor Records has been the fertile soil for dozens upon dozens of creative minds, from the very luminaries of the scene who developed electronic music over the last three decades through to contemporary protagonists who are currently defining the sound of the future -  A more than 300 strong catalogue displays an unmistakable identity - the Tresor spirit.

To those that have danced before, and to those that will dance in the future: the light at the end of the long Tresor tunnel is a signal. A flicker amidst the fog. This is our future. This is our place.

Caro Arroba is an Ecuadorian musician, producer and
performer, based in Chicago IL.
In activity since 2002, performs her music in several formats.
Her close bond with minimalism led her to develop a Live
P.A. exclusively played on hardware, project which is within
what is known as ethno contemporary, and Modular Techno;
which uses melodies recognizably Ecuadorian flutes and
guitar, exploring the relationship between the body nature
and machines. Also are these synthetic pads, since a
measure loudness female sensitivity, generates atmosphere of
sweetness in the media ranges. The sound foundations of the
project are the result of experimentation in machine hardware
synthesis and textures, micro percussion and powerful rings of
drum and bass. In permanent activity within the electronic
music scene overseas. USA (Bogota
Colombia) (Quito Ecuador) Europe and more.




Carolina Arroba (born August 13, 1981 in Quito, Ecuador) 
Compositora, live performer y productora musical. De estilo rupturista, Andes fusion; explora la relación entre el cuerpo, la naturaleza y las máquinas, buscando así armonizar y concretar la relación que existe entre la música étnica, la música electrónica y la simbolización postmoderna y estética de la sabiduría milenaria ancestral junto a todo el logro tecnológico musical en una fusión de sonidos envueltos tras la temática de la amazonía ecuatoriana como ícono de esta nueva era en un lenguaje transcultural que englobe la necesidad de todo ser humano de aprehender y de paso contar y cantar los clamores de la pachamama; produciéndose la unicidad en donde el hombre y la naturaleza son uno solo. Vista ésta desde la empatía de una mujer que es tierra, que es vientre y que a la vez es la generadora a la final en conclusión de la eterna metamorfosis vital y lúdica; como vocera en el misterio de lo que sería toda esta conjunción en el milenio de la mujer y el redescubrimiento de nuestra dependencia a la pachamama con una voz que va mostrando los espacios de consciencia y de expresión femeninos como interlocutora y parte de toda la maravillosa magnificencia cósmica que se adhiere naturalmente en una simbiosis perfecta y permanente con la identidad antigua de los pueblos indígenas de nuestro continente que constituye un referente fundamental en el lenguaje de las nuevas tendencias musicales, así también la música electrónica concebida desde las mismas bases de la revolución industrial se conforman como una nueva propuesta musical que surge del imaginario y la iconografía en las nuevas coordenadas de la cultura contemporánea. El presente que se construye con el pasado y se proyecta al futuro a través de los sonidos de la naturaleza se fusiona con los sonidos creados en la cultura urbana. 
El presente proyecto se realizará en un contexto histórico en el cual los valores de la identidad de los pueblos indígenas prevalece desde su realidad cultural y se hacen trascendentes a través de un lenguaje claramente orientado a las nuevas modalidades de la música electrónica. 
La metodología a usarse permite recursos formales dentro de los procesos de edición, mezcla, masterización e incorporación de timbres sonoros sampleados e interpretados en tiempo real. En la investigación de los recursos tímbricos se crearán bases de líneas electrónicas con una gran diversidad de espectros sonoros, texturas y elementos percurtivos que surgen como resultado de procesos experimentales vinculados a los valores del entorno cultural, la comunicación inmediata con el conglomerado social, los intercambios culturales y la tradición oral, haciendo relevante la identidad a partir de materiales histórico culturales en el ámbito musical y sonoro desde los instrumentos étnicos vigentes y los que constituyen el orígen de la cultura local.

https://www.instagram.com/caroarroba?igsh=MTEybTI5a3p2ZXg3MA%3D%3D&utm_source=qr