HAITO GÖPFRICH Haito – the man of innumerable faces and the
Doctor Mabuse of German dance-floors.

He got hooked by the eclectic early DJ-work of Hans Nieswandt and
Eric D. Clark, well-trained on Berlin’s Loveparade vehicles, pressed
into vinyl by most different labels such as Kickboxer, Malatoid,
Spagat, Low Spirit or Acker Records…Well, this is our hero, up to
every trick, well-versed producer and Vinyl-DJ. And that’s why Haito keeps
his lines open all the time, gathers input like other people stamps
and nonchalantly combines seemingly incoherent sounds. Yet as a
gifted acoustic juggler, he always manages to land on all fours like
a cat. This guy is definitely not afraid of heights because he’s got
the best protection pad ever: skills.

Which he obviously used to produce “Fiat Lux!” – the multiplex
among the debut albums. In a colourful, thrilling and pictorial way,
Haito tells us his stories from the club and turns out to be a real
master of dramaturgy. “Es werde Licht (Let there be light)”
represents not only the light that projects celluloid onto the
screen, but also the start for a more than diversified round dance of
styles, genres, ideas, sounds and beats. All at full-length and in a
highly entertaining format.

From the exhilarated groove of a gritty high-school comedy (“I ro
love”), over the sticky heat of a foreign marketplace demolished by
a wild chase with James Bond (“Pusher”), to the fizzling noise of
a motor in a SF manga road movie – Haito seems to know how to set
everything to music he’s got in mind, and that’s quite a lot.
The hardcore continuum is cultivated by documentary means and
elegantly rushed drum patterns (“Drug People”). Alfred
Hitchcock’s shower curtain knifer is shot into the universe via
electro funk (“Freedub”) and an harmonized depth of field meets an
elegantly roughened, saw-tooth discourse (“Disconnect”). Even the
Yakuza smasher with Renaissance costumes filmed in Andalusia finds
its true destiny in the spinet rave of “Non Plus Ultra”.

Sounds confusing to you? Don’t worry, it’s only the written
description. When you listen to it, it all makes sense: The music is
the teacher. And above all, intelligent sample editing, four-
dimensional, fluffy synths and springy percussion sounds can’t be
wrong.

The best yummy is the 2009 version of “E-Love”. It’s the revised
version of the 2008 hit released on Kickboxer: a couple of tricky
samba piano sounds are smuggled into the pockets of a subtly bouncing
clapper while drawing a comet tail on its forehead for distraction.
Last but not least, after the Wallstreet psycho thriller “Mummy”,
and “Komm mal klar”, the new title song of “Good Times, Bad
Times” (in a hopefully better world), you will even get a hymn for
the closing credits: “The need to believe” with vocals by Eric D..
Clark pulls out all emotional stops to keep the audience under spell
even beyond the end of the last film roll. This summer’s blockbuster
has a new name: “Fiat Lux”.

- Check: www.myspace.com/djhaito
- Check: www.haito.info
- Check: www.boxer-recordings.com
sandra@stars-and-heroes.com
info@spagatmusic.net