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T.Raumschmiere's moniker is lifted from the William S. Burrough's short story 'The Dreamcops' ('Die Traumschmiere' in his native German) and is the alter-ego of the 'electro-punk' himself, Marco Haas. Having established his own label back in 1997, the superbly titled Shitkatapult, he has gradually gained a global reputation for punk injected techno/electro and been subsequently crowned the king of 'gnarz'. From his Berlin based bunker, T. Raumschmiere has continued to stick two fingers up to... Read more
T.Raumschmiere's moniker is lifted from the William S. Burrough's short story 'The Dreamcops' ('Die Traumschmiere' in his native German) and is the alter-ego of the 'electro-punk' himself, Marco Haas. Having established his own label back in 1997, the superbly titled Shitkatapult, he has gradually gained a global reputation for punk injected techno/electro and been subsequently crowned the king of 'gnarz'. From his Berlin based bunker, T. Raumschmiere has continued to stick two fingers up to the tried and tested, ploughing his own 'stay-anti' stance with the heroic zeal of an electronic Johnny Rotten. From Cologne's Kompakt to Chicago's Hefty label, Marco Haas is now a full long player member of London based novamute and the 'Monstertruck Driver' shows no sign of breaking for hitchers.
Released last autumn (novamute, 2003) 'Radio Blackout' has achieved wide-spread critical acclaim, spearheaded by the onslaught of Marco's tech-riffing 'Monstertruck Driver' EP. Featuring a hard metallic riff bolted on to a nail-grinding undertow the track 'katapulted' T. Raumschmiere into the media spotlight and Marco Haas unveiled his punk-electro tour de force to the world. Better still the B-side was backed with Miss Kittin screaming into the microphone with her most punked up vocals yet on 'The Game Is Not Over'. Indeed, for many, it was just the beginning of a whole new crash course into the electronic machine. Preferably head first.
'Radio Blackout' remains conceptually and stylistically stubborn in it's refusal to be pigeon-holed and reveals a sparkling diversity: punk, electro, hip-hop, rock and electronic atmospherics are all summarily despatched with such gusto, you begin to wonder what this enfant terrible will turn his machete to next. Follow up single 'Rabaukendisco' (translation 'Robotdisco') prevailed in yet more carnage from the mosh pit whilst the recently released 'A Million Brothers (Blah Blah Blah)' is a slice of politicised vocal glitch-hop, which tackles the current state of the globe with its pull-no-punches lyrics, courtesy of MC Soom T. Musically, it is one of the more downtempo moments from his album, but still maintains a precisely programmed analogue crunch.
Without doubt, the T.Raumschmiere experience is best sampled live: for him the live arena is as crucial as the studio, his full- on 'stay-anti' motto confirming his punk based refusenik stance as he rips, punches and throws himself around the stage, keyboards and effects with demented abandon. As if electrified by 1,000 volts of pure adrenalin Marco Haas's lithe and tattooed torso is an unmistakable (and unforgettable) site. Marco has captured widespread attention with his live shows – caning the European circuit and providing one of the noted highlights of 2003's Sonar festival. UK-wise, he crammed in two sets of tour dates in the UK, proving himself as capable of generating moshpits at venues as diverse as the rock-orientated Barfly in Camden and London's flagship nightclub, Fabric. Not forgetting an explosive John Peel session at Maida Vale and a clothes-shredding support slot with The Rapture at The Astoria.
As T.Raumschmiere's noise-laden juggernaut continues to wreck havoc on festivals, rock venues and clubland throughout the rest of 2004 one can be rest assured that Marco Haas's game is most definitely not over yet Show less
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