Ben Klock is Berghain's DJ's DJ and Marcel Dettmann is the club's purist, but Norman Nodge is the teacher. Without the lawyer, family man and DJ's influence, it is arguable whether the Berlin club where both reside would enjoy the same kind of global profile. Nodge's DJing played a central role in shaping the club's musical aesthetic. Mixing classic house and techno styles with contemporary variants, his selection veers from the wild abstractions of Birds Two Cage and Oni Ayhun to the explosive white noise intensity of Planet Assault Systems' take on The Nightripper's "Tone Exploitation" and the stomping industrial techno of Charlton's "Black Slong". While Nodge is clearly an expert in building a set, he doesn't simply ramp up the tempo and cruise to a predictable climax. Nodge follows the PAS/Charlton segue with the gnarly rhythms and chain mail percussion of Ctrls and Chance 'Chancellor' McDermott, but then drops into the trippy acid and infectious vocals of Tim Taylor & DJ Slip's "New York Minds". He follows this shift in sound with Radioactive Man's melodic electro bass and Legowelt's warm synth version of Xosar's "Rainy Day Juno Jam", bringing to a close Berghain's most impressive mix yet.
While we here at Juno would never advocate drug use, it sounds like Noro has accurately captured the effetcs of the narcotics he has named these tracks after. Unsuprisingly, "Cocaine" is a grandiose affair, its epic chords enveloping the listener but also sounding somewhat removed and disconnected. "Amphetamine" meanwhile is a pummelling techno groove, hurtling along at breakneck speed, only pausing from its headlong rush into oblivion for a brief, filtered breakdown. Best of all though is "MDMA". Based on a stepping rhythm, it mimics the out there weirdness of its namesake, but avoids veering into druggy self-indulgence thanks to its insistent techno stabs.