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Candie Hank used to give the impression that he was being outpaced by his own ingenuity. That he didn’t even try to go through his
ideas and put them in their place. That he had instead handed his tracks over to the regiment, leaving them to maraud at will through
the clubs, radios and living rooms. Candie’s play instinct and an agitated measure of insanity were elements that shaped the style of
his electronic mischief from the beginning.
Candie Hank is a project of Patric Catani, a Kreuzberg-based man of 1000 faces. With his new album Demons Hank shows that
he now knows how to channel his flow of ideas in the right direction. Right from the opening track The Fox he presents a new type
of desert rock or pimped surf music, of course with proper beats and bass. He has filtered out and distilled the mania, the subliminal
madness appropriated by the surf and psychobilly genre. And with cold calculation, Candie has cast this insanity into tracks, admin-
istered throughout the entire album in just the right amount. There is now a method to his madness.
On Demons Candie Hank combines things that actually can’t be combined. Arabesque melodic lines, ethereal female choruses,
high-speed drumming and Jamaican spoken word, for example. He switches elegantly and effortlessly from a typical Candie-like,
slightly wooden Monty Python soundtrack with a tea dance sample to an acid bass line. He does this with a smile, a finger exercise.
The wonderfully lunatic Babyshka Demona features – you’ve already guessed it – balalaika samples. Dervishes from the Carpath-
ians playing stringed instruments of unknown origin to convulsive beats in Transylvanian Voodoo. And the sly electronic polka
madness, Candie Hank’s trademark, can be admired on Elevator Life in its purest form. Giving the direction and at the same time
standing in as the title track of the album, Peace (with my Demons) is a true club anthem, every bit as breathless as it is laid back.
It is clear here that Candie Hank is the master of the irresistible four-note melody. Hovering over it all is the spirit of Groucho Marx,
who also lent his name to the 2006 album Groucho Running.
Over the years, Candie Hank has undergone a consistent development: from producer of unbridled sound clashes to maestro of
oblivious elegance. From hyperactive density to hypnotic transparency. Practically every one of his tracks once had a feisty life of
its own. The master took them off the leash as scurrying, pint-sized monsters only to find them later running wild all over the place.
Compared to his early work, Demons seems ambitious and salient. Hank has allowed his cunning to flow into short, concise tracks.
And the breaks and chaotic combinations are what take each track in a new and unexpected direction at precisely the right moment.
Candie Hank is the master of his own unpredictability, which he controls and puts to his own use. And every second you can hear
what a diabolical kick he gets out of it.
How Candie gets you to hear his Candieness, among the broad range of styles from the first to the last moment, remains his secret.
For the most part, this secret will not be revealed throughout the entire duration of his new album. Because whatever he does, Can-
die will always be uniquely Hank. It doesn’t matter what kind of mood he conjures up, or what style he draws on. He sounds unmis-
takably like himself.
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Candie Hank Biography
Patric Catani lives and works in Berlin.
He got involved with electronic music after discovering the computer game music of the Commodore64 games, Bomb the Bass (Beat Dis), Public Enemy and other Electronic, Dance + Rap music of the mid- late 80s. After a passionate time of ripping his favourite music out of games, he moved on with using the old homecomputers for programming and sequencing his own sounds. Always being fascinated by unusual sounds, melodies and scratching, his way went straight to the early Techno, Breakbeat and Acid Hardcore Music which got played on certain Rave Parties like e.g. Cosmic Orgasm at that time.
In the age of 16 he released his first record produced on the Amiga 500 computer under the name E de Cologne. Still living the annoying life of a frustrated teenager he woke up by the attention he got for his live sets. He came to the decision to travel the world and use his music skills to escape the unpleasant, boring concrete no-vision which Cologne had to offer him. Releasing a few records on the Cologne based label Monotone, Titanium Steel and Fischkopf from Hamburg, he quickly got reputation all over the place and moved on from Rave to Rave with his two Amigas in a sports bag.
Coming to Berlin the first time in 1993 he immediately fell in love with the city but it took a while and a few further stations until he finally moved there in 1995. The AK-78 DAT for DHR in the pocket he went to play the Bass Terror night in the Eimer Squad Berlin and despite the really annoying sound engineer, the Night was the ignition of a new music movement that rapidly spread all over the globe. The DHR crew slowly started to grow together and with his old Music friends Dj Moonraker and Joel Amaretto he lived in the outer suburb called Spandau doing track by track by track .. Right after his move he found with Gina V. D´Orio (Cobra Killer) the band EC8OR and lived the 90s Haze in full effect.
A few months later the EC8OR LP was already finished and a time of heavy touring and excess started. EC8OR did 3 LPs and several Eps and side releases, one Album and two singles were licensed by the Beastie Boys for Grand Royal Records and they toured the States, Japan, opened up for The Prodigy in Tokyo EC8OR left their mark wherever it was possible. Besides that Patric still did Hardcore and more experimental Records for different Underground labels and even started the Label Spite with M.Z. In 1996.
In 1997 he produced “The Horrible Plans of Flex Busterman” and did many Solo Releases. He got involved with Mille Plateaux / Force Inc around that time and they released a few of his songs on some of the Electric Ladyland Compilations.
While the situation on DHR got more and more unpleasant for everybody involved, Catani produced with the Rapper Paul PM the massive, monumental doom Soundtrack Comic Rap project called Steve Hive. A few tracks got released on Wordsound / Black Hoodz from New York. The Puppetmastaz started to do their first shows, Collaborations with other Musicians and Rappers like Chilly “Entertainist” Gonzales, Max Turner, Angie Reed and many more followed. Candie Hank was introduced to the World, Patrics new side project that let him shake off the shadows of the often so narrow minded Hardcore Scene.
With Candie Hank he could create his own musical isle and even started to play shows secretly in the beginning not telling people that it´s him. Playing the first Concert in Berlin with Daelek and Angie Reed at their regularily self promoted Audio Chocolate nights, people were wondering where Patric went.. This way he could manage to get a new open minded circle of listeners and it turned out to be the ace up his sleeve.
By now Patric Catani is involved in the production of about 80 releases and he never stopped exploring new fields of music and sound art.
Patric Catani did also many remixes for artists like Kap Bambino, Ladytron, Jean Jacques Perrey and other side projects on various labels and compilations. His range of styles could possibly be described as an intense mixture of Electro, Swing, Rap, Soundtrack, Chiptune, Cumbia, Acid, Surf, Bass…. But actually no one really knows..
Read MoreHe got involved with electronic music after discovering the computer game music of the Commodore64 games, Bomb the Bass (Beat Dis), Public Enemy and other Electronic, Dance + Rap music of the mid- late 80s. After a passionate time of ripping his favourite music out of games, he moved on with using the old homecomputers for programming and sequencing his own sounds. Always being fascinated by unusual sounds, melodies and scratching, his way went straight to the early Techno, Breakbeat and Acid Hardcore Music which got played on certain Rave Parties like e.g. Cosmic Orgasm at that time.
In the age of 16 he released his first record produced on the Amiga 500 computer under the name E de Cologne. Still living the annoying life of a frustrated teenager he woke up by the attention he got for his live sets. He came to the decision to travel the world and use his music skills to escape the unpleasant, boring concrete no-vision which Cologne had to offer him. Releasing a few records on the Cologne based label Monotone, Titanium Steel and Fischkopf from Hamburg, he quickly got reputation all over the place and moved on from Rave to Rave with his two Amigas in a sports bag.
Coming to Berlin the first time in 1993 he immediately fell in love with the city but it took a while and a few further stations until he finally moved there in 1995. The AK-78 DAT for DHR in the pocket he went to play the Bass Terror night in the Eimer Squad Berlin and despite the really annoying sound engineer, the Night was the ignition of a new music movement that rapidly spread all over the globe. The DHR crew slowly started to grow together and with his old Music friends Dj Moonraker and Joel Amaretto he lived in the outer suburb called Spandau doing track by track by track .. Right after his move he found with Gina V. D´Orio (Cobra Killer) the band EC8OR and lived the 90s Haze in full effect.
A few months later the EC8OR LP was already finished and a time of heavy touring and excess started. EC8OR did 3 LPs and several Eps and side releases, one Album and two singles were licensed by the Beastie Boys for Grand Royal Records and they toured the States, Japan, opened up for The Prodigy in Tokyo EC8OR left their mark wherever it was possible. Besides that Patric still did Hardcore and more experimental Records for different Underground labels and even started the Label Spite with M.Z. In 1996.
In 1997 he produced “The Horrible Plans of Flex Busterman” and did many Solo Releases. He got involved with Mille Plateaux / Force Inc around that time and they released a few of his songs on some of the Electric Ladyland Compilations.
While the situation on DHR got more and more unpleasant for everybody involved, Catani produced with the Rapper Paul PM the massive, monumental doom Soundtrack Comic Rap project called Steve Hive. A few tracks got released on Wordsound / Black Hoodz from New York. The Puppetmastaz started to do their first shows, Collaborations with other Musicians and Rappers like Chilly “Entertainist” Gonzales, Max Turner, Angie Reed and many more followed. Candie Hank was introduced to the World, Patrics new side project that let him shake off the shadows of the often so narrow minded Hardcore Scene.
With Candie Hank he could create his own musical isle and even started to play shows secretly in the beginning not telling people that it´s him. Playing the first Concert in Berlin with Daelek and Angie Reed at their regularily self promoted Audio Chocolate nights, people were wondering where Patric went.. This way he could manage to get a new open minded circle of listeners and it turned out to be the ace up his sleeve.
By now Patric Catani is involved in the production of about 80 releases and he never stopped exploring new fields of music and sound art.
Patric Catani did also many remixes for artists like Kap Bambino, Ladytron, Jean Jacques Perrey and other side projects on various labels and compilations. His range of styles could possibly be described as an intense mixture of Electro, Swing, Rap, Soundtrack, Chiptune, Cumbia, Acid, Surf, Bass…. But actually no one really knows..
Synthesizer-exotica
Video Game Music
Electronic
Indie . Alternative . Electrónica
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