Henri Bergmann’s ‘Mind Control' - A testament to creativity and resilience
As summer reaches its peak and festival season flourishes, the Berlin clubland titans, Watergate Records, have treated us to an absolutely astounding, dance floor ready release in the form of Henri Bergmann’s ‘Mind Control’.
Not many up-and-coming DJs and producers can boast of the immense impact that Bergmann has had on the electronic scene in such a short time. The Londoner has already seen her tracks ‘Nexus’ and ‘Protection’ featured on the cover of Spotify’s Electronic Rising playlist and her 2022 release, ‘Higher Dimension’ - a collaborative track with Fat Cosmoe and husband Wennink - gained much acclamation from critics and fellow producers alike.
It is no surprise, therefore, that Bergmann’s debut EP on Watergate Records is a flawless production that seamlessly combines the creator’s raw emotion with the robotic nature of electronic music. Her talents are further complimented by a strong ensemble of collaborators and remixers, which together form an absolute powerhouse of a record.
Already, ‘Mind Control’ stands out from the rest of her productions as she utilises her own voice for the first time, very much injecting a part of herself into the lifeblood of this EP. The titular track is a dreamy collaboration between Bergmann and fellow Watergate favourite, Biesmans, who brings with him his retro, cosmic disco trademark sound that perfectly pairs with Henri’s vox. The eery synths that open the track for a brief couple of seconds immediately throws the listener into a place of uncertain anticipation that is only furthered when Henri’s vocals and an energetic rhythm come crashing in. We’re greeted with the haunting words “I’ve got a game I want to play, boundaries change from day to day”, making us feel as though we have been drawn into a sinister game - whether or not Henri is the game master, however, is a different question entirely. She may be in control of the music, but her fervour implies that she feels herself too to be a victim of the mind control, just as much as we are. The repeated lyrics “Mind Control” against the backdrop of the urgent rhythm creates a hypnotic intensity, as Bergmann lures us deeper into the track. Her ethereal vocals melt into the robotic soundscape, producing an otherworldly atmosphere as the persisting rhythm encourages the listener to get up and dance, to lose their minds as they’re lost amongst it all.
Upon learning that Bergmann wrote the EP during lockdown, the message behind the production makes a lot more sense. The persistent rhythm suddenly becomes one of resilience as we are reminded of the hardships that we faced when we were trapped inside. The frustration and feelings of helplessness as clubs were closed and DJs’ livelihoods were continuously threatened are echoed within Henri’s passionate lyrics and unsettling melodies.
This brings us onto the second track of the EP, ‘Our Time Has Come’. We are once again greeted by an urgent rhythm, punctuated by a repeated chime and a punchy percussion. The sustained melody languidly stretches itself across the rapidness of the accompaniment as the juxtaposition of pace exacerbates the intensity of the track. This is a production destined for the dance floor, propelled by Bergmann’s vocals and a side-stepping beat. Her somber lyrics conjure up the feelings of desolation and despair that were so universally felt during the pandemic. Around the 3:14 minute mark, there is a brief reprieve as the listener is momentarily suspended before the psychedelic synth line comes back in to hold us in a moment of meditation. This doesn’t last for long however, as we are rapidly brought back to earth with the thudding baseline that reminds us to keep going, to keep moving. Bergmann’s voice cuts through the fog with the titular lyrics “our time has come” like a call to war as the synth line sees us out for the remainder of the track in a heady throb.
For Bergmann’s third track, ‘We Just Keep On Going’, her husband Wennink takes to the vocoder with lyrics notably more positive than the previous productions. The signature synths are back, laying out a mystical melody, and are accompanied by a high-energy beat that keeps the track moving forward. The vocals enter after the 2 minute mark, giving the track plenty of time to build and generate anticipation for what is yet to come. A particularly striking aspect of this track is how Wennink’s vocals manage to sound soulfully robotic, existing on the precipice of both humanity and machine as two contrasting elements come together in unity to forge a uniquely upbeat production. The chugging electro beat combined with the psychedelic synths and robotic vocals creates a nostalgically retro sound, almost like 80’s music on acid. After the sober messaging of the previous two tracks, ‘We Just Keep On Going’ reminds us to keep our chin up and do the best we can even in the face of world-wide catastrophe. In this moment, I’m reminded of the incredible creativity that thrived during lockdowns, the energy that persevered and the undying hope that things will be okay. Bergmann’s EP is a shining example of all these things and revels in the resilience of humanity.
The EP is then brought to a close with two phenomenal remixes of the titular track, the first coming from Afterlife's Stephan Jolk and the second from Innverisions’ Echonomist - two titans of the melodic house and techno scene. Whilst both producers bring their own distinct sound and qualities to the track, the essence of the original production is not lost, emphasising how the two artists have worked harmoniously with Bergmann’s vision as opposed to against it. Stephan Jolk’s production is notably more stripped back than the original, especially the vocals, consequently giving Henri’s words a much more enigmatically breathy sound. The track is dominated by a simple yet powerful synth melody that generates an atmosphere of mystery as Jolk shows off his talents with subtly-evolving layers and emotionally charged harmonies.
The contrast between Jolk’s production and Echonomist’s is apparent from the beginning. Whilst Jolk starts his remix with a deep, pulsating baseline, Echonomist opens his with a frantic flurry of notes playing quietly over the top of a firm drum beat. Henri’s vocals reverberate around the soundscape before Echonomist constructs the track layer by layer, with intricate textures weaving in and out of each other, continually driven forward by the tough bass. It’s no surprise that this edit has already become a dance floor favourite, having been played by the likes of Dixon and Solomun - it’s as beautiful as it is haunting. Both Jolk and Echonomist have brought elements of themselves into their productions and it is fascinating to witness how two different artists can create two such distinct tracks out of the same foundation without losing sight of the original message.
‘Mind Control’ is truly a testament to how Henri Bergmann has successfully pushed herself to new limits. The EP is a flawless amalgamation of a multitude of genres from melodic house and techno to new wave and electro. Her haunting vocals have elevated the production to something beyond anything that she has created before and the captivating remixes are simply the cherry on top. ‘Mind Control’ is an intoxicating collection of powerful tracks, produced by artists at the top of their game, primed for the heady realm of the dance floor.