Big Klock

On his inaugural visit way back in 2007, Klock admits that he was “not so well known,” playing to smaller crowds. Next he toured in 2011 with pal Marcel Dettmann, touching down in Melbourne, Sydney and Perth. Interest had grown. “The scene is not as big as in Europe for this kind of music, of course, but we really enjoyed it.” In fact, one of Klock's best gigs of that year was at Sydney's Chinese Laundry. The DJ was “surprised” since he'd heard that Sydney was “commercial” or “cheesy”.

Klock, who studied the piano in childhood, was DJing in the '90s. The onetime acid house fan would spin jungle – and trip hop – before committing to the more Teutonic house and techno. An original resident at Berghain, he's aired music on the club's Ostgut Ton label – including 2009's debut album, One – as well as Ellen Allien's BPitch Control. In 2006 he launched his own imprint, Klockworks. Today Klock, who possesses the chiselled facial features and buff physique of a European model, is celebrated for his dark post-minimalism.

While October's Fabric 66, which succeeds his Berghain 04 mix, was praised by critics, Klock is unsure if it's generated opportunities. “I wouldn't say it opened new doors, because my career was steadily going and going and going. This was just like another step.” The DJ is in high demand. “I have a crazy travel schedule like never before this year. Sometimes I play more days in a month than I don't play – so I have, like, 15 or 16 shows.” Either way, he was gratified by the response to his Fabric. Klock is “kind of a resident,” at the UK venue. “I play three or four times a year there.” Still, ask Klock to compare Fabric to Berghain and he demurs. “They're very different. For me, Fabric is very London and Berghain is very Berlin or very unique in its own way. You can't really compare them. It's just a different vibe and energy in there. Obviously, one main difference is that Berghain goes on forever. The Saturday starts at midnight and ends Monday morning, so the sets are long... At Berghain people really leave their coat at the door and their everyday life and go into a different zone.” That Berlin continues to sustain decadent subcultures without any crackdowns from authorities Klock attributes partly to its openly gay – and progressive – Mayor, Klaus Wowereit. “He even went to Berghain once to party there!,” Klock laughs.

Fabric 66 underscores Klock's affinity with underground techno, but it's unusually varied, encompassing tunes from the likes of Detroit 'godmother' K Hand, Luke Slater's Planetary Assault Systems, and Mathew Jonson. It also takes in Burial's Raver, a vestige of the DJ's old jungle influences. But, though he's remixed Dutch maven Martyn, Klock isn't necessarily digging the new post-dubstep techno of Brits Blawan, Pariah and Untold. “I follow that a little bit, but I can feel that it comes from a different angle. It's good because it brings some fresh energy or fresh ideas to the techno scene, but it's a bit of a different background. I grew up with the '90s techno sound and all this history... My drum 'n' bass background is really only at the very beginning. When I started playing in '94 or '95, I played a little bit of drum 'n' bass for maybe a year and then I changed to techno. Since then, I don't follow drum 'n' bass or anything in that direction any more. I think it's good that there comes this wave, but it's still a different path.” 

Such is his DJ calendar that Klock has had little time for the studio of late. He's limited himself to remixes (his biggest yet being Depeche Mode's Peace in 2009). “I hope to do a 12 inch soon but, to be honest, I really don't know when I should schedule this.” But, Klock reasons, focussing on DJing for now is as worthy – it's an artform, after all. As for future 'artist' albums, he is torn. “The question is, Do people really appreciate albums at all so much any more? That's not an excuse – like, if you want to make an album, you should make an album. I think the album is still a great platform and, if I find the time, maybe next year or so, then I would love to do it. It doesn't matter if the industry doesn't appreciate albums so much any more.”

Klock hasn't abandoned his label, Klockworks. This year he's branding it with international tour dates. He began the year with a showcase at Paris' Rex Club, joined by his Midwest ally DVS1. Klock is playing back-to-back with Dettmann at Movement: Detroit's Electronic Music Festival next month and will preside over a Klockworks afterparty downtown. And there are new Klockworks issues in the pipeline. “The next one will be from a young Russian guy who hasn't released anything yet anywhere – so this is gonna be interesting.” 

Coincidentally, Klock will co-headline with the Motor City's charismatic techno innovator Derrick May on select Australian dates. Detroit techno has long been tipped for a comeback. “I don't think that it was ever gone,” Klock proclaims. “Maybe for the masses, yes... There is this term 'Berghain techno', which is always related to this relentless machine or steel [or] cold beats or something – which is not really what reflects Berghain. At Berghain, we also always play a lot of Detroit and very melodic stuff and pads and emotional stuff. So for us it was never gone.” Klock has noticed younger DJs embracing the music, one French “dude” Gesaffelstein. “In his set he played one old hit after hit after hit – like lots of Detroit stuff,” he chuckles. “I thought, Okay, so these guys discover Detroit now again... For the young kids this is something completely new and they really like it because it's just timeless, good music.”

At upcoming gigs Klock promises to give punters experiences to remember. “I always try to make it a magic night. Every night is important for me. It's not like, 'Ah, I'm so exhausted now, tonight I'll just do my job.' I think a DJ should always try his best to create some hypnotic, ecstatic moments or something.”

Ben Klock will be playing the following dates:

Wednesday 24 April - Capitol, Perth WA
Thursday 25 April - Brown Alley, Melbourne VIC
Friday 26 April - Fowlers Live, Adelaide SA
Saturday 27 April - Chinese Laundry, Sydney NSW