If I think of Germany in the night, I am jolted from my sleep – Heinrich Heine

 

Say the word “techno” to a random person on the street, and (unless that street happens to be in Detroit) most likely “Germany” will be their first thought, so synonymous is it with that most robotic form of electronic music. In Denk ich…, director Romuald Karmakar interviews 5 notable names of the German techno scene; Sonja Moonear, Roman Flugel, Move-D, Ata, and Ricardo Villalobos.

“Minimal” is the key word here; both in relation to some of the featured music, but also filming style. In between the talking heads, significant portions of the runtime are given to silent shots of nightclub exteriors (including perennial techno temple Berghain). Perhaps the most innovative element comes from the film’s sound design; at multiple times throughout, full audio recordings from clubs drops out and is replaced by the sound emanating from the DJ’s headphones, showing the mixes as they’re being created. It’s a nice little touch.

Denk ich… mainly focuses on the music, but sheds no light on the pervading criticisms of the scene (illegal venues, drugs, etc.). More frustrating is that at various times throughout teasing glances of interesting points of discussion are given, and then unfortunately are never followed up. The most disappointing of these comes early on, during a stint in Villalobos’ studio; a (quite long) shot of a vinyl sleeve for a President Allemende recording. The disposal of Allemende, the world’s first democratically elected Marxist president, was a catalyst for the Villalobos family to move to Germany. A discussion on the political influences/motivations within techno (see, for example, Villalobos’ US-critiquing Two Kids Set Off) would have been a welcome addition.

After the screening in the IFI, a panel organized by Science Gallery Dublin discussed the parallels with our own Irish scene, and what can be done to emphasise its position as a legitimate art in the eyes of the Irish government. Denk ich… arguably isn’t the tool for that job; the austere style and lack of context given limits its appeal to those who are already members of the techno parish. But for pre-existing converts, it gives a rewarding insight into the creative minds behind some of the most progressive dance music in recent memory.

 

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