08-11-2012 | 14.42
It wasn't planned that Barnt would play in Cologne on the 24th of June. Even though, he was closing the night in a small bar called Sixpack. Tim Sweeney, Job Jobse, the Pachanga Boys and the brilliant Zombies in Miami had already played that night. Barnt mixed Age of Love and we were screaming Zieke Baaaaaaaaaaaaaarnt (free translated: Barnt – the illest). He deserves this nickname, because of a couple of reasons. I'll tell something about them here.
In October 2010, we developed this habit to refer to a mammut when a DJ played a track with slow, dark, pagan drums. That's all we wanted music to sound like around that time: a ritual voyage. Towards the end at the Border Community night at Amsterdam Dance Event the DJ played once piece that exceeded all the others. This track happened to be Collection – someone discovered next morning. This ritual highlight had just been released on Magazine, a sub label of Kompakt, leaded by Barnt and Jens-Uwe Beyer. No one had ever heard of Barnt, but his introduction could not have been better. Collection is and was all that I wanted to hear; and the title track of the EP – What Is a Number, that a Man May Know It? – also.
In the following months it seemed that we were not the only guys who were really into this tracks: Steffen Bennemann played Barnt almost always, Superpitcher did so and Dan Snaith started his RA Podcast with one of Barnt's tracks. And in the latter part of the summer, a big DJ started to get involved: Dixon played a beatless version of Collection in his contribution to the Live at the Robert Johnson series and he caused some serious vibrations in Trouw when he played Hark, a new track by Barnt. These vibrations were very serious: because of a certain frequency in the record, all the windows of Trouw started to resonate, with a frightening noise as result.
But above all, Dixon played Geffen. A fairy wave track from Cologne, that moved every audience up. A record that sounds like a weird joke about a German and a drunk Colombian.
By heart I know that Barnt debuted in Trouw on the 4th of May in 2012. I know this because the flyer (a brilliant collage of pictures of A$AP, New Order and Depeche Mode; as a tribute to the always beautiful Magazine artwork) is still on my door. Also I remember this night pretty well: after Mano le Tough, Barnt closed the night, and I had never seen Trouw so empty on a regular night. Barnt played a heavy rave set, but he did not play Geffen, though the few people left were screaming for it all the time. By the time Job, Barnt (no, not his real name) and I walked out of the club a few people were still waiting outside. The minute they saw Barnt they jumped up and started to play Geffen through the speakers of a mobile phone. He never experienced something like it – They have Geffen on their phone, I can't believe it! – and neither did we. We started to dance to Geffen, a perfect closing of the night.
A month later I was in Cologne with some good friends, to surprise Job, who was playing there. I had just played in Pakhuis in Rotterdam with the excellent Mattheis, and by car we went from the Rotterdam party to Cologne. In the bar there, we heard the Pachanga Boys play a marvellous set and the Zombies in Miami were even better. We saw Italy defeat England and we danced to Barnts closing set. It was that time, that Barnt finally got his nickname.
So, when you're in Trouw this Sunday and you hear someone screaming real loud, then it's probably Zieke Baaaaaaaaaaaaaaaaaaaarnt. Feel free to participate.
Text: Luc Mastenbroek