DJ Mag Asia N°3

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Project Leader UCG BAN Director Hernán Pandelo Jace Jinsun Yu


Editor Team Jackisback Tiffany Kim Ariel Jo Kevin Kang Tetsuya M Mengdie Hu Jae Jung Web Team Sean Hwang N.K Oh Photo & Video Team Matthew Martin Marco Tessiore

안녕하세요! 你好。 こんにちは。 Hello! As part of this wonderful work team, I feel honoured to see the magazine’s growth in the region. The strong support we get from the people involved in the electronic music scene is what drives us to come up with new goals to further consolidate Asia as a true EDM power. We have hit our one-year mark and we remain firm in our convictions. After visiting some of the region’s main cities over the past year trying to understand what motivates one of the fastest-growing EDM scenes in the world, I can say that Asia is the future and that the major players in the industry are slowly becoming aware of this. Brands such as Ultra and EDC have expanded their organization to include the region, clubs such as Octagon in Seoul and Zouk in Singapore rank among the top 10 clubs in the world, and DJs and producers such as Raiden, Peggy Gou and DJ Nobu, among many others, grace the decks across all continents. For these reasons, no EDM landscape would be complete without this region.


Alejandro Ramos Jay Kim Sergio Aguirre


Jason Roh Sungah Han Gloria Lin Leo Jurjevich Jeehak Koh


Sang Park Bros Ma Hankyoo Moon Muti Siddiqi


Managing Director Dudley Chou Accounting Manager Elizabeth Choi


DJ Mag Japan Team, Sae Chang Seth Kim, Simon Moon, Camillia Lu, Mizuki Asakura



What does the future hold? We don’t know yet but rest assured: it will be us who will tell you about it..








Therapy in Music





Insights about Korea’s scene…


Techno icon Juan Atkins is revisiting his Cybotron alias.


India gets physical with the enigmatic producer.


Top 100 DJs, Grandmaster Flash wins Polar Music Prize, Tokyo City, Female Techno DJs, New York, Kraftwerk in Ibiza, Ultra Europe, Hottest tracks in best Asian clubs, Get To Know Whipped Cream, Joon Kwak & Farrago, Kevin Saunderson in the Hot Seat, Paul Van Dyk takes Ten, 1605, Darude Sandstorm.


The rise and fall of the Swedish DJ.


Meet various signature drinks around the world for an epic night out!


Armin Van Buuren talks about his beloved Japan.



Meet the energetic progressive house duo from London.


Sandbox Festival, Miami Music Week, Ultra Korea & Songkran.

94 MUSIC REVIEWS Skrillex, Diplo, Farrago, Aly & Fila, Eats Everything, Ellen Allien, Avicii, Jonas Kopp, Flying Lotus, Modeselektor, Hot Since 82 & more…

The Dutch DJ had an absolute blast in Asia.


Josh Wink reveal us the tracks that affected him the most.


102 TECH Denon DJ, Quivver, Riton, Sigma & producer tips…


110 EVENT CALENDAR Check out what’s going on in Asia from July to September.

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ver 1 million votes were cast from 180 countries last year, when Martin Garrix scooped the crown for DJ Mag’s Top 100 DJs poll for the third year in a row, marking the 25th anniversary of the most important poll in the electronic music world. The Top 100 DJs is the definitive annual guide to the world’s most popular DJs and is a living symbol of the strength of the global electronic music scene. This year, for the third edition in a row, the poll will be in aid of UNICEF, the international organization that provides humanitarian and development support to children and mothers in developing countries.


TOP 100 DJS 2018 - THE TOP TEN 1.






Across its 25 previous winners, the poll has included big names, from Carl Cox to Paul Van Dyk, David Guetta and Martin Garrix, proving that the poll is representative of the growth or decline of dance music scenes, and also reflecting the ebb and flow of genres as new sounds and scenes take hold and spread.









This year, from 10 July to 18 September, everybody can vote for their favourite DJs to support their careers and allow them to make the prestigious list. The results will be announced on 19 October during the Amsterdam Dance Event. Have you cast your vote for your favourite DJs?








GRANDMASTER FLASH WINS POLAR MUSIC PRIZE The first DJ to have ever won the ‘Nobel Prize of music’.


randmaster Flash has become the first DJ to win the Polar Music Prize, often dubbed the ‘Nobel Prize of Music.’ The prize was founded by Stig Anderson, ABBA’s lyricist and manager, in 1989. Previous winners include Led Zeppelin, BB King, Metallica, and Paul McCartney. Flash, real name Joseph Saddler, accepted the prize from the King of Sweden, saying the award was ‘in honour of every DJ, every rapper, every graffiti artist, and every breakdancer.’ He is considered to be one of the pioneers of mixing and was one of the first DJs to achieve mainstream success. He’s also the first hip hop act to be inducted into the Rock and Roll Hall Of Fame, being honoured in 2007 with his group

Grandmaster Flash and the Furious Five. “This thing that I did had not existed before, and I am one of many where I come from. It ended up being called hip-hop, taking the drum break from pop, rock, jazz, blues, funk, disco, R+B, and using duplicate copies of records. I would take one section and repeat it over and over again”. He recalls about the technique that made him who he is today, leading a whole new generation of DJs and paving the way of playing that we know today. It is truly an honour for the electronic music community!

TOKYO’S CITY GOVERNMENT GIVING AWAY GRANTS FOR NIGHTLIFE EVENTS Japan’s capital attempts to boost the city’s night-time tourism with millions of yens’ worth of grants. The Tokyo Metropolitan Government has announced that, together with the Tokyo Tourism Foundation, it will support the city’s nightlife industry by giving away grants and subsidies. The initiative, which translates as ‘Nightlife Tourism Promotion Grant,’ is a bid to boost 24-hour tourism in Tokyo, with a desired outcome that tourists be able to enjoy the city at any time of the day. Applicable projects are divided into two categories: one category involves events that take place after sunset in a particular location and that attract tourists.Successful applicants in this category will have two-thirds of the total project cost paid for by the grant, up to 1 billion yens per grant. The second category is somewhat broader in concept and focuses on promotional materials, including press agents, promotional magazines, new venues, one-off events and anything which

might encourage night-time tourism activity, again covering two-thirds of the cost up to a maximum of 5 million yen. This initiative follows similar projects in New York and Berlin, among other cities, to support promoters in a bid to make nightlife a profitable industry.






he IMS Business Report 2019 presented an interesting study by the Festicket website that showed that Russian artist Nina Kraviz dominated the festival circuit in 2018, playing more than any other DJ in the world. According to the data published by the music festival experience firm, Nina played 35 different festivals. Rising techno star Amelie Lens ranked 2nd with 27 festivals played – a huge rise from just 4 in 2017. Charlotte de Witte ranked 4th with 24 festivals played in 2018. These data point to a welcome trend. Although there is no shortage of female talents in the DJ world, with names such as Ellen Allien, Miss Kittin, Anja Schneider and Monika Kruse pushing the limits and transcending gender disparity, these numbers are a novelty and they are not just a welcome trend – they also reflect the ever-growing diversity of the industry. Even though these are exceptions with outstanding levels of success, a change has come and it is no longer a tacit thing. Female collectives are gaining notoriety throughout the world and there are specific initiatives, such as the Keychange movement, which aims to achieve a full 50/50 gender balance in festivals by 2022. It has been an absolute success, and more than 100 music festivals have joined the pledge. Successful women are the main driver for new generations to understand that opportunities exist and to let go of old misconceptions that have no bearing on the creation of electronic music as a community. Here’s to more steps forward like this!



he New York Office Of Media And Entertainment (MOME) is offering $500,000 in grants to femaleidentified music industry professionals.

MOME commissioner Anne del Castillo announced the creation of the new fund this week, which will be administered via the New York Foundation For The Arts. The grants are not only for musicians but for women involved in every step of the recording process, from sound engineers to producers. The call for applications opened on July 10th and will close on October 1st. ‘We didn’t want it just to be about female musical acts,’ says MOME’s senior executive director Shira Gans. ’We wanted

to make sure we were really promoting projects that had a female credit for writers, engineers and producers.’ All genres will be considered, though the applications will be separated into two categories, one for ’classical, experimental, new music and jazz,’ and one for all other genres. The grants from MOME are for music projects specifically. The mayor’s office explains that ’the fund will provide up to $20,000 to support the production of a new EP, album or music videos for yet-to-be-released work where the principal place of recording or production is New York City.’




ow in its 20th year, Cocoon is still one of the most renowned parties on the island, with party chief Sven Väth in full force and with an impeccable standard of high-quality, pioneering music. Now, Ushuaïa Ibiza has unveiled that Sven Väth COCOON20 is set to take over the venue for a massive occasion on September 13: German giants Kraftwerk. The German band formed in the 1970’s by Ralf Hütter and Florian Schneider has remained a beacon of electronic music and the constant interaction of music and technology. The band has had influence on a whole spectrum of musical genres and their live shows were a turning point when it comes to designing electronic music live performances. With all these credentials, it is surprising that the band from Düsseldorf has never performed on the white island in almost 50 years of history. Especially taking into account how important Kraftwerk, as well as Ibiza, have been for electronic music since its inception – or even before. The electronic pioneers will present their globetrotting 3D live show. With Sven Väth playing the supporting role, this incredible act will raise energy levels to the heavens. It’s a natural step and we can’t believe it hasn’t happened before. We’ll have to wait to see what happens but we love the combination!



he seventh edition of Ultra Europe marked another milestone year for the Split, Croatia iteration of the iconic US festival. With a new location announced only weeks before the event, the EDM community ended raving on the Park Mladeži, a venue with expanded size that will remain as the official place for another 4 years. In addition to notable sets by such acts as NGHTMRE, SLANDER, Armin van Buuren and The Chainsmokers, Swedish House Mafia delivered perhaps the most highly anticipated performance of the weekend to close out the festival. The world-renowned trio submitted an unparalleled show, with an exciting audiovisual journey combined with an inspiring soundtrack of their signature old and new tracks. People from all over the world gathered in Croatia to experience this one, with a record-breaking total attendance of more than 120,000 fans over the three days of event. It was a fresh restart for Ultra Europe, one of the main subsidiaries of the Ultra experience. Right after the end, Ultra Europe already started promoting next year’s festival with limited tickets for Ultra Europe 2020 available for purchase now at



HOTTEST TRACKS IN BEST ASIAN TECHNO CLUBS The best techno clubs in Asia reveal their hottest tracks at this moment.




Yangon, Myanmar

Seoul, Korea

Bali, Indonesia




Jay Lumen – Consciousness

Marcus L - Telstar

Matthew Larkin Cassell - Heaven (Bosq & Kon

Octopus Recordings





Hidden Empire - Stop & Go Octopus Recordings 3.


Enrico Sangiuliano - Astral Projection Drumcode 4.

Monsoon - Polarfront Ameniia 4.

Amelie Lens - Follow Second State 5.

LSD - Progress1 Ostgut Ton 5.

Dubfire & Oliver Huntemann - Fuego (Julian Jeweil Remix) Senso Sounds 6.

Jokulsalon - DAMIE Ameniia 6. Introversion - Challenger

Dark Walls - Nice7 ft. Lazarusman Noir Music 7.

ARTS 7. Argoman - Chimicalissimo

ARTBAT & Dino Lenny - Sand In Your Shoes Diynamic 8.

Permanent Vacation 8. Major Boys - Sous le Soleil ft. Aurelia

Matador – Kenekt Minus 9.

Bahia Records 9. Human Resource - Dominator ‘98 (DJ Misjah

Traumer - Perciasif

Extended Hard Dub)

A-Traction Records

Armada Music Bundles



Scalameriya - will-o-wisp


Christian Hornbostel - Geo Vibes (Metodi Hristov Remix)

A Wandering – Suman

Voltaire Music


Soul Clap Records 2. HateLate - Feelin’ Groove Ondule Recordings 3. Nightfunk - Fire Funkerz 4. Trus’me - No Harm Groovement 5. Subb-An, Isis Salam - Self Control One Records 6. N-Gynn -1988 7. Tim Green - Kitch In (Original Mix) Dirtybird 8. Dimensional Holofonic Sound - Mind Control Underground Assault 9. Seumas Norv - Plastic Bottle (Original Mix) Nurvous Records 10. Chida - Aoyama Tunnel Correspondant




Shanghai, China

Shanghai, China


1. Lutzenkirchen - Gulag (Original Mix) BluFin

2. Juheun - Nothing Is Real (Original Mix) Octopus Black Label 3. The Saunderson Brothers - Into The Dark (Extended Mix) KMS Records 4. Superstrobe & Dominik Vaillant - Sparkle (Original Mix) Phobiq 5. Patrick Kunkel - Creed (Original Mix) Sincopat 6. Neila - Keys (Altinbas Remix) Newrhythmic Records 7. Ken Ishii - Diode (Original Mix) Combine Audio 8. Jaden Raxel - Area 51 (Original Mix) Somatic Records 9. Elio Riso & NiLO.R - Break Me (Original Mix) KD RAW 10. Bertzi - Asgard (Original Mix) IAMT

J-Zbel - Diablo Verde II BFDM 2. Brown - Wave 100 (Mr Ho Remix) Slam City Jams 3. The S.O.U.L. S.Y.S.T.E.M. - It’s Gonna Be a Lovely Day (feat Michelle Visage) (Dub House Mix III) Arista 4. Fierce Ruling Diva - You Gotta Believe (Original ‘91 Rise Up and Work NYC Mix) Lower East Side Records 5. Psychedelic Research Lab - Keep on Climbin’ Zirehouse 6. Forest Drive West – Phosphenes Midgar 7. Jelly3000 - Wave a Wand RFR Records 8. Jovonn - Can’t Hold It Back Deeply Rooted House 9. Finn - Friends and Lovers Local Action 10. Cobblestone Jazz - Dump Truck

CLUB TAG Chengdu, China 1. Wata Igarashi – “Mood of the Machines Part I” The Bunker New York 2. Six Foe – Seasons Databass 3. MadderModes - Box It Ken DRED Records 4. Kettenkarussell - Maybe Giegling 5. Overmono - The Mabe Poly Kicks 6. Hector Oaks - Just A Chengdu Dog Earwiggle 7. Setaoc Mass - Kunfus SK Eleven 8. Primal Code - The North Path The Gods Planet 9. Roza Terenzi & DJ Zozi - Strobe Fountain Planet Euphorique 10. Skee Mask – Routine Ilian Tape

Wagon Repair



WHIPPED CREAM FROM: VANCOUVER, CANADA FOR FANS OF: ACTIVE CHILD, SEVDALIZA, ASAP ROCKY, SKRILLEX, ANDRE 3000 NEXT GIG: ELECTRIC ZOO FESTIVAL, SEPTEMBER 1ST Vancouver native, Caroline Cecil -WHIPPED CREAM- has struck a chord with dance music fans everywhere – finding a dark bass sound that resonates with pulsating beats and a style unlike any other. After having her place in figure skating and expressing herself through music – her life was drastically changed after a fall that ruined her skating career and was not able to do so again. Hospital time proved valuable, as that was the catalyst for starting to produce music and make beats. Her family’s background was helpful in her skillsets – with her dad working with computers, WHIPPED CREAM was always around them and was able to learn quicker than most. Her mother worked in makeup, and together, her parents raised her in a creative, musical environment. Although classic instruments were not the focus of her musical start, trial and error was valuable in getting her to the place she is now. Among other artists, James Brown, Led Zeppelin, and cultural music that her 14

mother played influenced Caroline and gave her an understanding of tempo and rhythm. The fall and accident proved valuable as it gave Caroline time to learn and showed her the path of her true calling, which is music. She says, “I’m grateful for that fall and it taught me a lot… the sport is technical and I’m not. I like making music because it’s all feeling and I’m so grateful because without the fall, I would not have even know what really living a life is”. WHIPPED CREAM’s refined sound has brought attention to her along with a dedicated fan base – due to the fantastic production and elements that are intriguing and sound that powered right to many different ears. This year has been an important one in her career, earning milestone bookings at keystone festivals like Ultra Music Festival in Miami and plenty of others on the circuit as well. Although her sound cannot be defined in one word, WHIPPED CREAM has been able to carve out her own unique place in electronic music. Building a dedicated fan base is no easy task – but her music is certainly a centerpiece and the main reason why others pay attention. The eclectic mix of dark bass sounds with multiple elements resonates with fans everywhere, and true passion is visible even within these sonic elements. WHIPPED CREAM strives to make music that resonates with people on different levels, and wants it to be something meaningful. She wants to impact as many people as possible, while taking risks and figuring out how to best express

herself in a crowded dance music environment. This goes not only for the music but for live shows as well. The goal is to create an experience that is special and not your typical DJ set. Caroline says, “You just have to go and experience one. I think my live show is what keeps bringing me to the next level but the whole thing has to feel right. If the energy doesn’t feel right, I won’t do it because the live show means that much to me from all different perspectives”. The live show has had many eyes and large audiences, as she has a heavy 2019 schedule that includes festivals like Electric Forest, Tomorrowland, Lollapalooza, Electric Zoo, and Lost Lands to name a few. The WHIPPED CREAM Experience gets to travel to lots of different countries this year, including debut-headlining shows in several Australian markets and many other places as well. The journey is constantly moving forward and things are ever changing. Caroline’s strong sense of comfort comes from years of hard work and finding the path and music that is meaningful to her and important for her to share with others. “The persistence and going after one thing – I don’t know where I get it. It’s always been in me and I’m always going to give it my all. I love music and I’ve never loved anything more than I love music – I just follow it. It’s a feeling that I’ve never questioned”. With that, inspiring others to do what they want is important – and she wants her fans to just go out and do what they want to do no matter the calling or where it takes them. SAE CHANG



Netherlands. Starting from underground parties to big festivals, in Korea, he has performed in various festivals such as Ultra Korea, even won the Red Bull University DJ Competition and went on a national tour with Red Bull.


After his move to the Netherlands, he has played at Extrema Outdoor BE, Ultra Japan Resistance Stage, Labrynth Club, won the Complex Maastricht DJ Competition and was selected as the finalist at the Extrema Outdoor BE DJ Contest and the Extrema Outdoor NL Producer Contest.

“I was staying at a friend’s place in Michigan, USA and in his guest room, he had a DJ controller. Because I was interested in machines and had been playing the flute for 8 years, the DJ controller instantly had my attention. I started looking at the manual and a lot of tutorials online,” explained the young Korean DJ how he was introduced to DJing in 2012. Since 2014, Joon Kwak started mixing techno and house music in Korea, and is now expanding his passion for electronic dance music in the

He is a resident DJ/producer of the ‘212’ underground techno collective in Eindhoven. Through this collective, he organizes secret raves in the south of the Netherlands carrying on the free-party rave culture from the 90’s, and recently had a beautiful rave in the woods near Eindhoven. In Asia he is a regular at club Faust, a renown techno club in Seoul, Korea. On June 26, 2019, Joon Kwak released his first EP, K-Express through Ameniia, a record label

based in Seoul, delivering four precisely designed tracks for the dancefloor. “I didn’t have as many gigs as I had before in Seoul, so I had more time and energy to focus on producing music. Thankfully, Marcus L, the owner of club Faust, offered me a chance to release on his label, Ameniia Records, after hearing my demos” K-Express opens with arpeggiating leads that are in a high-speed chase after each other. These 3/4 arp leads on top of the 4/4 heavy kicks sets off the EP with a dense and progressive tone. From Paris, Illnurse sends his interpretation of K-Express with raw bass lines and violently thrusting subs. A dark atmosphere emerges, while Acid Bath materializes in thick waves of twisted rhythms caused by layers of 303 bass lines coupled with a dubby low-end. Also, Joon Kwak collaborated with Jorengthericecake on Drowner’s Highway to close the EP with textured, melancholic synths. Finally, from a dark and intense vortex, the EP ends with an uplifting and yet nostalgic story. SAE CHANG




I would have a bigger shot at that if I didn’t have to rely on my DJ income to get around, so I always made sure to have a steady part-time job”, he says. This smart move gave him the liberty to only play quality gigs without doing it for money and, from that on, some flashes of success began to hover.

An older kid on his block gave him a mixtape with a Dave Clarke set and that was it. “I played it so many times I remember having to fix the tape a few times to keep it going”, Farrago recalls. From there on, this young kid from Antwerp found his own way thanks to the internet, downloading mixed CDs that were very popular back then.

His career has already been filled with great moments but it was the feedback of his first EP the thing that boosted his confidence. “A lot of artists I looked up to wrote that they liked my work and would support it. I was amazed how my label was able to connect my music to all of these people”, he adds. A few days after that first release, a friend texted him when he was at Panorama bar and said that Laurent Garnier -one of his all-time favourites- played ‘Where Angels Go’, the title track of that EP. “I imagined being there, while they open the windows and the break just kicks in, I could cry.”

Farrago always planned to make a living out of dance music, one way or another. “I knew

Together with techno rising star Amelie Lens they developed the Exhale parties and Lenske



record label, two very important additions to the dance music scene. They did a lot of parties around the globe, from NY and Sonar to Beirut, and they are planning a new one during ADE, a 24hr rave in partnership with Awakenings. As you can see, Farrago is part of a new generation trying to find a way into the scene. “I was never in any rush, it took years for me to feel comfortable with my own sound but now I am ready to go forward. I am very happy with where I am right now and for this year I am looking forward to big things yet to come.” For the future, there are many things to consider for the Belgian DJ and producer. “I have so many ideas but so little time”, he tells us. “The most logical next step for me would be to release an album and work on a liveshow for it. It’s a long term goal! I would say it is about 40% done. But I am not sure, because last time I was at 80% I split the album in 2 EP’s instead...” Let’s see what happens now!


HOT SEAT We throw a few curveball questions the way of...

KEVIN SAUNDERSON Inner City is a name that evokes downtown Detroit. How has that inner city changed in the last 30 years? “I actually lived in the suburbs, mainly. I moved there from New York, then was in Bellville, then at college in Eastern, which is when the music really happened. I didn’t live in Detroit until 1988, the year that things were blowing up. “When I moved into Detroit it was a ghost town. I’d only been there once before, me and Derrick went down when Juan was playing a party. It was late at night so it seemed normal that there was less traffic. But when I moved there, I was amazed. People just came there to work, then left. There was nothing going on, just a lot of old buildings. Many of them were beautiful, but they were abandoned. “Living on Riopellet Street and Gratiot, I had a warehouse with no windows. You were in your own world of creativity. I’d wake up and it was midnight, when I was thinking it was daytime. But it was good because I got lost in time, and I think that’s needed when you make music. At that age I had nothing else to do, I’d dropped out of school and was just trying to make music and get my label going. “Obviously it’s changed. Detroit’s making a comeback. It’s vibrant, it’s got new buildings, trams, restaurants everywhere. More people have moved there, especially downtown. Somehow money has come in.” If we take away the first two singles, what’s your favourite Inner City track? “‘Till We Meet Again’. Byron Stingily and Paris Grey, my singer of the time, are both from Chicago. Detroit always had a connection with Chicago through the parallel movements of techno and house. I’ve always been in between. I got in contact with Byron to ask him and Paris to do a duet together. I don’t think I could have done a better production. It’s really a ballad in terms of the spirit, but I turned it into a dance record. It’s one my favourites because I combined live musicians with electronics. I did things I never dreamed of doing.” You son Dantiez is now part of the group. How is he changing your Inner City? “It evolved because I heard him in the studio three or so years ago, and I kept saying, ‘Man, you sound like me!’ That sounds like an Inner City track. He likes to work with vocals, which many young people don’t. Inner City was then at a standpoint: Paris had decided that she didn’t really want to be on the road or touring. “Because Dantiez wanted to make more vocal tracks, I thought, why not take my legacy and join together. He’ll bring a different spirit and life and longevity. He’s younger than me and we’ll work with different singers, some he might be inspired by. Then he gets my expertise on some production skills. So I’m not as hands-on now. I got down, give him ideas and let him work it out, then I say what I like.” •Inner City play Church, Leeds (19th April), Oval Space, London (21st) and Castlefield Bowl, Manchester (13th July).

It’s been 30 years since Inner City burst into the world with the one, two of debut singles ‘Big Fun’ and ‘Good Life’, making Kevin Saunderson a household name. 2019 sees him heading back out onto the road to celebrate three decades of the moniker. With original singer Paris Grey no longer touring, Inner City has evolved into a duo with son Dantiez. Reworking old hits and touring across Europe, Saunderson promises new music using a variety of vocalists, including Steffanie Christi’an.

With his KMS label setting its sights back on Detroit, including forthcoming releases from Nico Marks, Blake Baxter, Scan 7 and Ataxia, and an impressive recent reworking of his classic ‘Heavenly’ album as E-Dancer, he’s working hard to maintain what has become a family legacy. Does that means he’s living the good life? “Yeah!” he replies when we talk. “I’m healthy, I’ve got a lovely family, I’ve got a studio in my house and I don’t have a complaint in the world.”



PAUL VAN DYK The German trance legend runs down 10 records that have inspired him most... 01. THE SMITHS ‘Hand In Glove’ (Rough Trade)

“This is the reason I started making music. It was the first track I heard that sounded different. That ignited the love within me. Before ‘Hand In Glove’, I was listening to the radio, doing my homework, and there was just this constant musical blur going on. And then this came on, and it jumped right out. That was the point I realised there was so much more to music than I first thought. I bumped into Morrissey in a hotel lobby in LA once, and told him this. He was brilliantly moody about it. I wouldn’t have had it any other way.”

02. DEPECHE MODE ‘A Question Of Time’ (Mute)

“I was a big fan of Depeche Mode for two or three years before ‘A Question Of Time’ was released. It was the one that really resonated with me. At the beginning of the ’90s, Mute Records founder Daniel Miller phoned me up, looking to sign me to the label. I was totally over the moon. He said, ‘Why don’t you come to London? There’s a concert of Depeche Mode and we can talk about the artist contract?’ I went, and of course it was phenomenal. To top it all off though, they started the show with ‘A Question Of Time’. That meant so much to me. When I was in East Germany, I could never buy any records. I could never go to any concerts, and there I was, two years after the wall came down, at Wembley, watching them perform ‘A Question Of Time’. It felt like it had the fullest possible meaning a track could have.”

seems to be forgotten. This was before the big trance wave. Eye Q was a label from Frankfurt, which was more associated with techno. It was never called ‘a trance record’ as such, but to me it was. I think, even now, you can hear trance starting to be born through releases like this. There’s a swell of sounds that happen, along with a brilliantly truncated, halting riff, that has a very driving relationship with the bass/ bass drum. It makes it really intense. A real energy wave record.”

06. UNDERWORLD ‘Rez’ (Junior Boys Own)

“‘Rez’ has this weird sort of sound tumbler continuously going on as a sample. That lays the ground atmosphere for what’s musically to come, and it has that extraordinary push and drive underneath it. It never stands still. It never feels like it’s satisfied that it’s done enough. It just keeps exploring. A true one-of-a-kind record.”

07. DAVE CLARKE ‘Red 2’ (Bush)

“This to me is what the sound of techno still is — simple, straightforward energy. I love the incessancy of it. When I first heard it, musically it took me out of my comfort zone. Learning to love it is a process for a lot of people, I think. You still hear tracks influenced by ‘Red 2’ to this day.”

08. DR. ATOMIC ‘Schudelfloss’ (Guerilla Records)

“Guerilla was one of those labels from

the UK that constantly released amazing 03. RON ALLEN ‘The Transcendental EP’ (Strobe Records) stuff. Dick O’Dell and William Orbit who


rowing up in East Berlin before the fall of The Wall, Paul van Dyk began consuming music by listening to forbidden Western radio stations and smuggled mixtapes. After German reunification he was perfectly placed to start DJing at the city’s clubs and raves, pioneering the trance sound which emerged from techno as the ‘90s progressed. His crucial place in trance has been well documented — from huge anthems like ‘For An Angel’ and his Gatecrasher residency, to winning the Top 100 DJs poll in 2005 and 2006, he’s always pushed forwards. Until, that was, his terrible accident a couple of years ago when he fell through a stage during a show and feared he may never walk again. Now thankfully back making music and playing shows again, his new album ‘Music Rescues Me’ pays tribute to the restorative powers of music...


“I could never find out much about this release, but somehow that’s only added to its appeal. I think it came out about ’90 or ’91. It’s very trippy, but very well done. We would probably call it techno these days, but back then it was more like chilled or deep house. He used the percussion element throughout the whole track almost like a melody. It captured some early psychedelic trance sounds in it too.”

were A&Ring it were simply gods at finding amazing pieces of music. Carl Cox and myself did a remix of a track, and I insisted on going into the same studio and with the same engineer who engineered ‘Schudelfloss’. That’s how amazing this record sounded.”

09. THE THRILLSEEKERS ‘Synasesthesia’ (VANDIT Records)

“Someone gave me a white label of this at the airport, after I had checked in to fly to Ibiza for Amnesia. He said: ‘You’re “It’s more the accessibility of the production going to see this track go off tonight’. I flew from London with this record — no side that really inspired me with this sleeve even, just the plastic in my hand track. The whole thing seems to be put to Ibiza. I skipped through it when together with samples. There are little bits of Kraftwerk, KC Flightt and Nightmares On I arrived, thought it sounded decent Wax in there. That big ravey piano stab from enough, and played it that night. The Landlord’s ‘I Like It’. With its vocal sample, it club completely lost it. We went to sign has a bit of humour too. It stops and says, it to VANDIT the next day.” “where is this record going!?” and then carries on. It’s very creative in the way it’s 10. NU-NRG put together, and turned into a piece of ‘Dreamland’ (VANDIT Records) warm, beautiful and lush music.” “‘Dreamland’ has an element to it that still defines Giuseppe Ottaviani to this day. Giuseppe has continued on with his 05. VERNON career solo, and every time he releases a ‘The Wonderer’ (Eye Q) “When people look into what are proper trance track, he brings something important to classics, this is one of the ones that always our musical world.”

04. CYCLONE ‘A Place Called Bliss’ (Network Records)




How and when did 1605 come about? “I started this label back in 2008. I’ve closed all previous labels that I was running with my friends, before I’ve started 1605. This is my own label and the most personal one to the date, which is reflected in its name – namely, 16th of May is the date of my birth. I’ve started it to have a polygon for my musical experiments and collaborations. It was developed as part of a wider platform that allowed me to connect with various artists and it also included festivals, exhibitions, charity events and so on. In 2017, we’ve put the label on hold as most of my team was heavily involved in launching and developing the Viberate project, and I’ve used this break to refresh my sound. Now that I’m back on top chart positions with some heavy techno bangers and our team has a bit more time, we’re back on track, but for now we’ll only be releasing my own productions until we strengthen the 1605 to its former glory.”


is a music label spreading various colours, shapes and sizes of techno. It’s a part of a wider platform that Umek opened back in 2008 to have a polygon for his musical experiments and collaborations with likeminded artists. Since then, it has grown into festivals, exhibitions, charity events and so on. “The whole project reflects what I do and what I stand for as a producer and as a DJ. The sound we’re promoting is something that you can also hear in my DJ-sets”, Umek explains. It’s a very personal project -1605 stands for 16th of May, which is Umek’s birthday- and its currently only releasing music that he produces. With more than 250 releases, 1605 was revived after two years of hibernation and it’s already on the Beatport Techno charts. We spoke with Umek about his label.

What were you doing back then? “Something similar to what I’ve been doing for the last two years. At that time, around 2008, I changed my sound quite a bit, I’ve developed something new as I’ve just shifted to all digital studio and DJ setup. With all the experience and knowledge I have accumulated in the 25 years of my career I’d say I’m capable of running my own brand, vision and label but I still need some help with day-to-day business, so now that my team is not fully occupied with Viberate anymore, we’ve decided to reactivate 1605. Some labels I wanted do work with recently did not trust me when I got back in darker techno three years ago. They were not interested in releasing my music when I approached them, while three months later, after I’ve struck two number ones in a row on Beatport, those same labels contacted me asking if I would be interested to work with them. This only shows how major players in the industry operate: they don’t really select good music, which is what they should do - they are just trying to lure the hottest artists of the moment on board. The initial success of 1605 was built on the fact we’ve pushed music and artists we’ve believed in, regardless of their pedigree, good music was the only criterion we’ve paid attention to. But sadly, a lot of labels only calculate how high an artist can get them on charts and that’s why I’m focusing on my own label again.” Who’s involved? “I’m the owner, I produce music and decide what’s getting released. Ina is my label manager and we’re backed by our team in Viberate’s offices, which gives us power to push our sound through some really effective channels.” What does it sound like? “It sounds like Umek techno. It always did as I’ve been selecting music, I only worked with artists that I liked and I’ve pushed their sound in my sets and radio shows as well. Now that we’re only releasing my production that’s even more obvious. Hopefully people notice I’ve dug my little niche in contemporary techno, that they can hear a coherent story in my releases and that they notice my sound stands out a bit. It took me three years to build this sound and break through with it, and people seems to like it.”

Who releases music on it? “Right now, we are only releasing my music. In the past we’ve focused on regional talent and artists from behind the iron curtain but at some point, we’ve got so hot, artists from all over the world wanted to work with us and we’ve catered to them as well. We’ve worked with major artists through the years, but it always gave me the greatest satisfaction when I discovered an unknown artist and pushed them on to the scene. I have a feeling we won’t be releasing so much music from other artists in the future as we did in the past, but I’m sure that at some point we’ll again start releasing other artists again.” What does a track need to be released in there? “1605 was always about the quality of music. Music first! Now I produce couple of tracks and try to figure out which one of them is the best and we release the one I like the most, the one that I think sounds the right way. In most cases I bet on the right one but from time to time ‘B-side’ gets an even better response than the title track. Well, you can’t be 100 percent correct all the time.”

Who’s playing it? “People with a good taste for techno. Carl Cox, Adam Beyer, East Everything, Victor Ruiz... there’s so many of them. I’d dare to say half of DJs who like powerful melodic techno play my tracks.” Proudest 1605 moment? “People can say whatever they want but I’d lie if I said I didn’t feel satisfaction every time we hit #1 on Beatport techno chart. The first 1605 release that went to #1 was OMG WTF. That doesn’t happen always and sometimes you have to live with the feeling that the track didn’t show its full potential. If it performs well in the charts, this usually means that music has triggered emotions and people like it. I can be proud of both, tracks that do well in charts and those that are not that well accepted, especially when we try to push something fresh.” What’s next? “Although we’ve just released Vibrancy EP and we expect it to perform very well as it already broke into Top 10 on Beatport and it’s been played a lot, we’ve already set next three releases. I’m busy in the studio, I’ll try to channel most of my production through 1605, but I’ll probably release some music on other labels as well. I could also mention that my electro side project Zeta Reticula is also in full speed: I’ve already released one EP this year and there will be at least three more till end of 2019.”



Game Changer Seminal tracks that altered dance music forever Words: BEN MURPHY


‘SANDSTORM’ (16 INCH RECORDS\NEO, 1999) Acidic trance piledriver ’Sandstorm’ by Darude didn’t just make a big impact at the time, it’s taken on a life of its own in all sorts of places online ever since… Things get pretty weird out there in internet-land these days. Pop stars go from zero to hero and back again in a micro-second. Careers are made stratospheric and then snuffed out after idiotic comments on social media. And sometimes it’s just the right moment, some idea gets latched onto, and before you know it you’ve got a phenomenon on your hands. Just ask Finnish producer Darude, or Ville Virtanen. His titanic trance smash hit ‘Sandstorm’, a pile-driving anvil of acid power and hard house heft, was originally released in 1999, and proved a defining track of trance’s breakthrough era, reaching No.3 in the UK charts and selling two million copies worldwide. But ‘Sandstorm’ isn’t just a sizeable splodge on the dance music timeline. It won’t stay put. Like some hyperactive dust-devil spun out of control, it just keeps coming back to the fore, and the net is a large part of the reason behind it all. ‘Sandstorm’, you see, went platinum in the UK at the end of last year. It had already gone gold in the US, and is a track an authority no less than Deadmau5 attributes for dance music’s sequestering of the USA’s music scene. It’s become a regular feature of US extreme sports 22

soundtracks, helped along doubtless by its hairraising heaviosity. Diplo and Calvin Harris still cane the track, and most importantly, ‘Sandstorm’ has become a bizarre internet sensation, cropping up in a variety of memes produced by gaming nerds. The frenzy around the track reached a new nadir of silliness when a petition was launched to encourage Barack Obama to change the United States national anthem to ‘Sandstorm’. And whether or not it’s all done in jest, with a dose of irony, or out of genuine affection, the tune is getting a hell of a lot of attention, something not lost on Darude himself when we talk to him over the phone as he’s having a brief moment of downtime in his home near Turku, Finland. “I don’t know how things could be better in terms of a track being good for my career,” Ville says, sanguine. “It started my career, got my name… I mean, honestly? I got it because of that. Obviously I don’t think I’m just the ‘Sandstorm’ guy, I’ve done quite a lot of stuff since then. But

I can be honest and say it’s the track people are still talking about, if they’re talking about one track of mine. These last three years have been truly weird, crazy, and very cool, with all the E-Sports and meme-ification of the track. “A lot of people ask me if I’m pissed off, but I really don’t care,” he continues. “Whether people are truly liking the track, making jokes about it or whatever, it all works for me. It’s another mention, another chance of someone coming to me and checking out what I do these days as well. In that way it’s cool.”


When ‘Sandstorm’ first appeared, there was little else like it. Darude was living in the city of Turku and was enraptured by the blossoming of the trance scene when he made it. “I had started making music two, three years before ‘Sandstorm’ was released,” he remembers. “I was going out two or three nights a week, I loved

“A lot of people ask me if I’m pissed off, but I really don’t care,” he continues. “Whether people are truly liking the track, making jokes about it or whatever, it all works for me. It’s another mention, another chance of someone coming to me and checking out what I do these days as well. In that way it’s cool.” the music so much. On a week-night I would go out and hang out to 1am or 2am and listen to the local DJ that I knew, who played great music. I didn’t necessarily even go dancing every night, I just sat there listening to him. “After those nights, pretty much every time I ended up going home and turning on my computer and synths and working — based on the vibe that I just heard of a great track. I was hearing a lot of German and Dutch trance at that point, summer ’99.” But ‘Sandstorm’, with its snaking, acerbic acid lead line and euphoric pads, betrayed some of Darude’s other influences too. With its brutal energy and juggernaut power, it nodded to Ville’s love of hard house and roughneck US garage. “I was listening to this uplifting melodic trance of the time, but ‘Sandstorm’ is not exactly that,” Darude says. “It’s a mix of that and UK hard house. One of the things that I was hearing around that time, there was Yomanda ‘Synths and Strings’, Camisra ‘Feel The Beat’, and there was [Wildchild] ‘Renegade Master’. I loved several kinds of dance music as far back as I can remember, so it wasn’t any particular thing.” Whereas Ville had the bare bones of the track early, it took the studio nous and label knowledge of local Svengali and producer JS16 (Jaakko Sakari Salovaara), who believed in Darude enough to help him finish the track and put it out on his imprint 16 Inch Records. “I actually made the melody, ‘dududududurrr’, and the rhythm thing about a year, a year and a half before,” Ville says. “I wasn’t inspired to do more than that, I didn’t end up getting anywhere in terms of a track, but then in summer ’99 I went through my files and found that there. I started reworking it, and made the first club-playable

demo. I gave that to J16, who became my producer — the guy who found me and signed me. “I was very wet behind the ears at that point,” he continues. “I couldn’t have got my stuff released and got that far if it wasn’t for him. His influence, his sounds and gadgets, samplers and synths in the studio affected that sound as well.”


From the demo version to the completed mixdown, the track, says Darude, took about two weeks to complete. It was created on Ville’s fairly basic home set-up and embellished at Jaako’s more high-tech studio, making use of some of his advanced machines. “I had a PC and I was using Cubase [at home],” says Ville. “There was software, there was Propellerhead Rebirth, but it wasn’t a plug-in, it was a standalone thing with two 303s, an 808 and a 909 drum sampler. I only had one synth myself, which was a Korg TR-Rack, that I still have in my rack here. I used that over 16 channels of MIDI, and then I rendered whatever synths I wanted one at a time so I could mix it in Cubase. I did the same with Rebirth and other things I used as sound sources, and then I put the WAVs in. “In Jaako’s studio, he had two Ensoniq ASR-10 samplers, a Roland JP-8080 and a Nordlead 2. I think that was pretty much it. But the crazy thing was that his sequencer at that point was an Atari ST and Cubase 1.0, I guess, and his screen was black and white (laughs). “We mixed down on his Mackie 24-8 analogue board, and I don’t remember the exact numbers, but he had a couple of Behringer compressors, we used them in the busses for some stuff. He had an Ensoniq DP4, maybe he had two of those. One very cool technical thing about the mixdown was

COMIN’ UP that, I’m not sure if Jaako… not to diss him, he’s a technical genius, but I’m not sure if he didn’t know how to make MIDI go back and forth from the DAW, or if he didn’t want to do that. In the mixdown of ‘Sandstorm’, we mixed it down to DAT tape, and whenever you hear the JP or Nordlead filter open or close, that was actually done manually. The second take may have been the one that was 100%. The crazy thing is that these days you can automate everything and you can hold your ramps and curves. “Did that improve the sound because you had to get it right?” he continues. “Yeah, that’s a good way of putting it. Even more accurate, I don’t know if it’s the sound quality, but the vibe, you really have to be on your toes. And as great a machine as the JP-8080 is, if you go too quick with it, to zero, it starts clicking, you have to be very careful about how you pull the faders. That’s the cool side about the recording, or doing the final-mix process.”


The main lead sound in the record, of course, sounds like a mangled acid-line, burning through every speaker and brain in the vicinity. It’s the distortion, Ville insists, that gives the track its edge. “It’s an 8-bit sample, it sounds sort of like a dull mid-range 303 sample, filter half-closed. But when you put it through a distortion unit, this is what comes out of it. Because a lot of people have compared the sound with [Josh Wink’s] ‘Higher State Of Consciousness’, other tracks that were around at that time as well. But ‘Sandstorm’ doesn’t go squelching up and down, it actually stays the same. I filter it down a little bit, there’s a high cut at one point, but it doesn’t have any more resonance at any point. It’s really weird how it’s lasted so long, ’cos it’s a very static sound. One of the reasons why it cuts through and works really well is that it’s a bold 8-bit sound, a crappy sound, but when you put it through a certain kind of distortion unit, it creates harmonics which then, if it’s quite wide in the spectrum, there’s a good bit of higher mids. As a lead sound it’s big enough and heavy enough.” It’s the track that launched Darude’s career, and he’s since become one of the most popular artists in trance. Ville’s recorded many singles, four albums (the most recent of which, ‘Moments’, was released in summer 2015, and which he’s repackaging with remixes currently), toured the world frequently and experimented with the genre on key releases such as ‘Label This!’. He remains a huge artist, but ‘Sandstorm’ is still the shadow he can’t quite escape from. Does he find it hurtful when, for every appreciative fan, there’s a keyboard warrior taking the piss out of his music? “Sometimes it does get a little… bothersome when that is the only thing people ask about. Sometimes, when I try to say something smart and important on my Facebook, for instance, and then half of the responses are ‘what song? Track ID? Darude ‘Sandstorm’?’, variations of that, it gets a little old, but whatever, it works.” Communicating with a huge network of fans online, especially through his DJing and production tutorials on gamer portal Twitch at, it seems that Darude’s got more lovers than haters, and even the latter group are ensuring ‘Sandstorm’s notoriety burns eternal. Ville’s the one having the last laugh.


THERAPY IN MUSIC Known as Hot Since 82, Daley Padley has kept his career fresh without neglecting integrity. Resident of RESISTANCE Ibiza and owner of the Knee Deep In Sound label, this handsome young artist from Leeds is still betting on music and the power it has. The death of a close friend led him to a super intimate process of composition that turned into a studio album. With the summer season in full motion, we talked to the always interesting Hot Since 82... Words: HERNĂ N PANDELO


CHASING THE SUN ‘Hey, I’m great!’, says Daley when we catch up with him in Ibiza, about to perform in DC10. ‘I’m very excited that my album is finally being released this summer and I have a ton of great stuff happening!’ And of course, we are excited too. The summer season is in full motion and the white island is known for its lively nightlife . ‘I like to play as many great shows as possible but also find time to chill, which is important’, he adds. ‘You have to remember: at any time of year it’s always summer somewhere. I’m lucky in that I’m never far away from the sun despite living in the UK!’ Daley has been going to Ibiza for nearly 19 years now, which makes each visit something special. This year he’s one of the residents of RESISTANCE Ibiza alongside names like Carl Cox, Maceo Plex and Adam Beyer. As the world’s clubbing mecca for decades, Ibiza has been changing on par with the whole industry and now, techno acts like Padley are the perfect match for what the crowd is looking for. ‘I guess the bigger Ibiza has gotten over the years, the more the sound has changed to reflect what the crowd loves,’ he says in agreement. ‘I also feel that my sound has evolved with Ibiza so it’s not necessarily a case of the trends changing to match my sound, but more a case of our sounds growing and evolving together. A lot of what I play and love started in Ibiza with DJs like Sven.’

‘I feel that my sound has evolved with Ibiza.’ Daley seems pretty down to earth, actually. If you try to reach him during a regular day of his life, you’ll probably find him in the studio. If not, he’s presumably doing something healthy. ‘I break my studio days up with cooking, walking the dog and either a run or a gym session.’ His career momentum is going strong and an album is on the horizon. ‘I’m great at the moment’, he says honestly. With his label expanding, he assumes things are getting bigger but he’s all about being cautious. ‘I think the industry will eat you up and spit you out if you’re not careful so it is all about having balance in your life. I am lucky to have a good home life and work life, and good people around me; so I am in a good place and ready to take everything on’.


FINDING THE WAY THROUGH When we talk with Daley, we are three weeks away from the release of ‘8-track,’ an expanded collection of tracks that he has been working on for over two years. ‘For me, although it’s done, it doesn’t end there. There is a lot that surrounds an album release and making an album is a very different process to producing singles’, he says. ‘This album in particular took me a lot of time to perfect because of where it all stemmed from, but I am really pleased with it. I have already released a few tracks which have gone down really well so I am excited to see the reaction of my fans to the entire LP. I’m already toying around with ideas for the next project!’ A couple of years ago, Daley lost a very close friend and this album is all about his mourning process. ‘The whole writing process has been influenced by him’, he says. Writing music has been therapeutic for him, and this is reflected in the music and the track titles. The concept of the album started a couple of years ago when Cristoph released the first instalment of the ‘8-track’ series under the Knee Deep In Sound label. ‘It’s essentially a black canvass that allows an artists to experiment, go further and wider than a single or EP but not have the pressure of a studio album,’ Mr. Padley explains. ‘I’m not sure I escaped the pressure on myself because I’m a perfectionist; but I’ve certainly enjoyed the feedback to widen my sound and try new ideas.’ He might not have escaped the pressure but the album is done and ready for drop. ‘8-track’ is a deeply personal and cathartic piece of work from the British artist, filled with emotional songs that go beyond the dancefloor. You should give it a spin!


ASIAN FEELING Besides being a resident of RESISTANCE in Ibiza, he’s been following the brand worldwide. Of course, we’ve seen him closing out the RESISTANCE Stage in this year’s Ultra Korea. Drawing a massive crowd on Saturday night, he kept the vibe going until the very end. ‘I actually loved my trip over there. I always love coming to Asia as it’s a region I’ve always been fascinated by; growing up I watched old movies, and now I love Asian food’, he confides, adding that it is an honour for him to come over and play sold out shows in places like Korea, Japan or Singapore. ‘The dancefloors are always amazing. In some respects it really feels very underground, like it’s still a counterculture and that’s special.’ Admittedly, house and techno isn’t that big in Asia compared to Europe or the States, were he plays a lot, and that kind of counterculture feeling seems to be very helpful for a DJ that is now used to performing in front of big crowds. You can also watch him travelling around Japan in one the episodes of Even Deeper, a series of short documentary films were he experiments cultures in an intensive way.

‘It’s worth remembering we’re here to make people dance – it’s as simple as that.’ ‘I toured Japan extensively last year and played some amazing small clubs. What I found was that even if only 100 people came to a small club on a Thursday night in a small city, the people there were so committed to the sound that it was amazing and so refreshing. People coming along – they may be the only person in their group of friends into this music, it didn’t matter… There were people in their suits who had come straight after work just to dance alone and close their eyes and immerse themselves. I don’t see that in Europe. It was very special. Also, I have to say, playing in Womb in Tokyo a few years ago was quite a big deal for me but my last visit to Tokyo playing Sound Museum Vision was probably my favourite Asia show I’ve played!’

Playing only in festivals is very different from touring throughout different cities and feeling the real local scene in front of you. That is something Daley has learned over the years and the trips. However, the aim is always the same: ‘I always just play the room. I play records that feel right and make people dance. It’s worth remembering that we’re here to make people dance – it’s as simple as that.’ ‘There isn’t a day that goes by when I don’t appreciate how lucky I am to have a job that I love and that enables me to travel around the world,’ Daley says. ‘Of course it’s tiring, there’s a lot of pressure and I’m away from home a lot but it’s truly a privilege and that is not lost on me.’ Apparently, the balance that Daley has found is the engine that keeps him moving. Playing neither gigantic venues nor intimate parties, he moves along with the music. As he understands the privilege, he not only accepts the consequences but also squeezes all the juice to keep it fresh. He’s turning mourning into joyful dancing… n







ou guys are celebrating the third year this month! For the past three years SCR has been awarded the best online radio station, collaborated with major brands, and hosted some of the most epic events in Korea. How do you feel about these achievements over the past three years? “There was a lot of stuff we weren’t expecting. We’ve seen platforms come and go. Facebook Live was a huge thing for us when we first started, but Facebook generally was not really as culturally relevant as it is. That’s just in three years and it seems like an infinity ago when Facebook Live was brand new. So one of the big challenges is to really keep up with the best way to let people experience the sounds coming out of SCR.” SCR has been promoting a myriad of talented underground acts through the channel. Do you feel the impact of your platform in the music scene here and abroad? “The things that make us happy the most at SCR is seeing how someone from abroad has listened to a Korean artist and that has helped them get a booking. We get a lot of requests from both inside and outside Korea of DJs we recommend. One of the nice things about SCR is that people come to us to gauge what’s hot in Korea, which is really important for us because one of our goals is to see if we can extend Korean culture abroad.” Image: 28

collaborations. But the difficult thing about that is when the economy is bad, brands tend to spend less. So we’re planning to develop different forms of content. There’s not that much acknowledgement for paying for the content. I see brands spending loads of money on construction but the content is like an afterfall. It’s like you’ve built this thing to be sick. But then no one is really thinking about the music and what goes into that thing. It’s like spending your money on a huge LG TV and just watching movies from the 50s. You’re not using it as well as you could.” What kind of support do you think would be necessary to help your movement? “In Europe there’s a lot of acknowledgement that culture and art is a real driver for the economy. Whereas in Asia that’s still to be acknowledged, especially for this form of dynamic music culture. In the West, people use art to renovate areas so that they can then raise the price of the property. Then they also support the artist. Let’s say if we were able to eliminate the rent, SCR would be able to invest in VR camera and make some good stuff. Understanding of the culture and support it with either some space or maybe some grants.” Tell us about the collaborations with Nike and Vans. How did it happen? “Vans was a really early supporter. I think Vans has been doing great stuff –supporting people doing authentic things. We originally had a little pop-up radio booth at House of Vans. It was the first brand collaboration that we did. They were happy to support us financially to make something which was great and we made something cool which they liked and I think it came from there. We’ve done House of Vans for the last three years and each one has gotten bigger.” I still remember the live producer track challenge at House of Vans last year. “That was one of our favorite things of last year! It was like a master chef cooking up a track challenge. We wanted it to be appealing to the people who weren’t so familiar with the scene. The producer/DJs –DJ Bowlcut, JNS, Two Tone Shape—demonstrated how to make a good house track and the guys did a great job. I think programs like that is the future thing for SCR because its not just about the mixes, its about what goes into behind the mixes. And the response was great. There were loads of people asking questions afterwards.”

So what is next for SCR? “I think we live in a Neflix culture. So our goal is to make our channel into a Seoul’s independent music Netflix, where people can watch mixes, interviews, or shows about culture. We’re also looking at how we can do more stuff outside of Seoul. I always used to think that sign of a good healthy scene is that there’s different cities doing different things. Can we see a future where there’s Seoul, Busan, and Daegu each having a certain sound? That would be cool. We’re definitely looking to see how we can get out of just Itaewon. Seoul is very different to a lot of other cities because it’s focused on one area. I think there’s much more room to grow.” Final Remarks “We’re working on an interesting party concept not in a club but maybe in a fun venue. It will be about celebrating the three years and the people who played a huge part –the SCR, residence, and lots of collaborators. We still need to work it out, but it will hopefully be full of some nice surprises.”

So how did you and your team launch SCR? “When we started SCR, we looked at it as filling a gap, a platform that didn’t exist. There was no platform for DJs and also the younger generation to experiment to show what they can do. There was a lot of enthusiasm for people to do stuff during the week as well. The model of SCR is based on pirate radios like NTS, Rinse FM, and Red Light, which is something I grew up with. Also, the team –people like DJ Bowlcut and Seulki, the creative director—lived in other countries and they’ve experienced the scene abroad so we felt that Seoul should have one.” With Berlin Community Radio going down earlier this year, it seems like a daunting task to turn the internet radio platform into a profitable model. What would be some of the biggest challenges that you’ve faced while running SCR? “I think a lot of radios around the world face those kinds of challenges. The first challenge is that we’re not a venue that has door entry or drinks. We almost have to run our business like a media company. So far we’ve survived on brand


GLAM GOULD Glam Gould is a producer/ DJ based in Seoul, Korea. His breakthrough remix of Keith Ape’s trap anthem ‘It G Ma’ garnered him support in the scene globally, and the artist perfected his dreamy, intricate soundscapes over the release of his past two albums ‘Wet’ and ‘Night Flight’. He recently celebrated his 5-year career with the release of his 6 track EP ‘Love Noise’. DJ Mag Asia sat down with Glam Gould to talk about his recent album as well as building a career as an independent artist. Tell us about the new album ‘Love Noise’. What were the ideas behind the album? “To put it in one sentence, “Everything about love is everything about love”. I wanted my music to capture love in its essence, without bothering to make it look pretty and neat. If you think of everything around of you as a noise, the imagery of a perfect love illuminates beyond the level of existence. But the way I see it, I want to embrace it as it is; even the imperfect, noise-filled parts of it.” What is your creative process like? “When I was working on ‘Love Noise’, I wanted to keep it minimal as possible and I tried to get the most out of the accidental noise during the process. Overall, it’s a process of making it simple as possible but leaving the coincidental noise intact.” How did you manage to reach out to your listeners through ‘Love Noise’? “I wanted to deliver my ideas and emotions throughout the album and I thought about how to make these ideas stand out. So rather than making 100 percent of what I want, I decided to focus on the format. My priority was on the delivery of the message and I had to keep myself from overdoing anything for the sake of maintaining the overall tone of the album.” This is your third album as Glam Gould. What would be some of the differences from the previous ones? “Simplicity for one. I used to bring in a lot of sounds for a track, but now I always go through a process of cutting down or trimming other sounds to focus on the main sound. I also used to experiment a lot with new and strange sounds—which could be cool but I often went too overboard with it. My goal for this album was to make it easier to understand—even for listeners who might not be familiar with Glam Gould.” What are your thoughts on working as an independent artist? Tell us about the pros and cons. “Working with a label means that you’re in part responsible for profits and the label itself is also in a position to make the ends meet. But if you’re an independent artist, the pro is that you can musically experiment and further your visions as an artist. The downside of that would be the hardships associated with projects that may require the help of many individuals. The financial part of it is the biggest challenge. I think being independent can both be a pro and a con.” 30


If you think of independent artists as a local hole-inthe-wall joint, how do you think you can develop loyal customers? “I think the key part for me is sustainability—maintaining my music and myself as Glam Gould. I grew up listening to classical music so the melodic elements have always been the center of my work. While building a career as a DJ, I tried to fortify the rhythmic elements as well. But I still find myself gravitating towards melody-heavy music. So my plan is to write songs with good melodies but also tap into the rhythmic side. Also, every time I’m working on an album, I always put in 100 percent of myself at the time. I try to deliver the apex of everything I can do in that time and moment.” How do you brand yourself as an artist and differentiate yourself from the others? “The purpose of branding is to make people remember who you are. And I can’t really control things to only show specific aspects of myself because that’s just who I am. I think I’m always trying to deliver the best of what I like. My music is the link of everything I like.” What would be your dream collab? “Mac Demarco. I really dig his laid back vibes and I feel like we can cook up a really chill joint. Mac is a true hippy.” What would be your ultimate goal as an artist? “I want to meet a lot of people who enjoy the stuff I enjoy, and make a community where people could share what they like. Also, living a normal life while pursuing a career as an artist.” Are there any release plans in the near future? “I’m currently working on stuff that’s coming out in November!”


JOURNEYING INTO CYBERSPACE Ahead of his first ever shows as pioneering Detroit electro unit Cybotron, techno innovator Juan Atkins tells us why he’s revisiting his past — and in the process, making a warp-speed jump into the future… Words: CHRISTIAN EEDE


uan Atkins has always been, in his own words, “a music lover”. Growing up in Detroit, he would treat his parents’ dinner parties as an opportunity to act as DJ for the night, taking control of the record player to share what was catching his ear as a young, impressionable teenager. This was some years before he would first be exposed to synthesizers and electronic music, and go on to form countless essential partnerships as a producer, DJ, label owner and mentor. It was in 1977 at the age of 15 that Juan would come to own his first synth, a Korg MS10. Having spent some time messing around with the machine in a shop, he eventually persuaded his grandmother to make the purchase, and quickly set about getting to grips with its functions, experimenting and building an arsenal of personal demo recordings far beyond his years. It was when he first heard the music of Kraftwerk, though, during the early ’80s — an act that he describes as an “extension of [the] electric disco” of Giorgio Moroder and others that was so popular on US radio in the previous decade — that things truly started to take shape. That road would eventually lead to Juan forming Cybotron alongside Vietnam War veteran Rik Davies in 1981, with whom he would release one of electro’s most-loved and influential albums, 1983’s ‘Enter’, which spawned such hits as ‘Clear’ and ‘Alleys Of Your Mind’. It’s that project that has brought Juan to London for a few days to talk with DJ Mag, and check in on the progress of the impending first ever Cybotron live show, which is due to debut only a few weeks after our chat. Fresh off a flight from Berlin, where he’s been clocking up the hours in the studio working on new material for the live show and a brand-new album, he shows no signs of fatigue, even with his foot in a cast from a


recent injury. Settling down in a tucked-away art studio, Juan gets to grips with exactly why he’s decided to return to the outfit he left almost 35 years ago.


“It’s something that’s been sitting at the back of my mind — or shall I say in the alleys of my mind — ever since we started,” Juan responds, when asked why now is the right time for Cybotron to enter the live realm. “There’s something about Cybotron, in the name, that has picked up a cult status over the years.” He says that promoters around the world have repeatedly put in requests for a live show for a number of years. Detroit festival Movement, he explains, seemed to ask every year, but it never felt quite right — until now. After all, he’d already been incorporating classics from the Cybotron back catalogue into the Model 500 shows he was touring festivals with the world over. Work on the live show — which Juan will first present at London’s Barbican before taking it around the world through the rest of this year — began around two years ago when, put simply, the right offer came through. Since then, he and a team of trusty lighting engineers have set out on developing an experience that is as much about the visual element as it is his music. Juan’s coy about the details when DJ Mag asks him — “I can’t tell you everything because it might ruin the surprise” — but before our chat, the team behind the complex lighting system us a sneak peek. Lasers will ‘talk to’ over a million individual LED pixels over the course of the show, reacting in real-time to Juan’s every musical move with a maelstrom of colour and lights. It’s taken a lot of hard work to get to this point though, with the lighting team developing entirely new software as well as integrating fresh features into their already existing systems to create a unique show. Juan, meanwhile, has been hard at work building the sound of the show, remotely sending the stems to Cybotron tracks old and new for the technical whizzes to chew over.


“It’s bittersweet. Now there’s more music out there than ever before. There are more people out there making music that might not be doing it for the right reasons. The creative possibilities are limitless, but what we are sacrificing is non-creativity. There are some people out there doing this thinking they are just going to make money from the market. What they don’t realize is that there are a million other people out there thinking the same thing. What makes you stand out? There’s a fad element to it. I would rather take the bitter with the sweet in all of this than not have it at all, though. At one time, it was very expensive to be an electronic musician — to buy all the machines and the synths. My grandmother had to buy my first synth, I didn’t have enough money. You just need to ensure you’re doing it for the right reasons. Do it for the love of the art. If you make some money in the process, that’s fine. But don’t put making money first.”


“To me, they were synonymous with Giorgio Moroder and his work with Donna Summer. If you took Donna Summer’s voice off tracks like ‘Sunset People’ and even ‘I Feel Love,’ I think you can hear ‘Spacelab’ and stuff like that from Kraftwerk. I came across Kraftwerk through Electrifying Mojo. They did have some radio hits, like ‘Pocket Calculator.’ They were mainly a Detroit act through Mojo, though. I was making music before I heard Kraftwerk. I didn’t have anything released, but I was just messing around with machines. I was making demos, but it was all quite primitive. I didn’t know too much about sequencers and rhythm machines at that early stage. I was making my own drum kits but it was all quite mangled. When I heard Mojo play ‘We Are The Robots’ for the first time, I was like ‘Maaaan’. It sounded like my music, but it was more precise, regimented, together. That’s where the sound was going.”



Writing new music as Cybotron was essential to returning to the project, Juan says. “The idea for the show came first, but I thought, ‘If we’re gonna do this, I don’t want to be playing decades-old tracks only’.” With Cybotron tracks cropping up in his Model 500 live shows over the years, he is keen to mark out this new iteration from what has come before. “We will still play the older music of course,” he’s quick to assure, adding that the material fans know and love will appear in a slightly reworked form. With electro enjoying something of a renaissance in recent years (witness the busy touring schedules of leading figures like Helena Hauff and DJ Stingray), the music of Cybotron feels as relevant as ever. Work on a new album is coming along nicely, with Juan describing the new material, in simple terms, as an updated take on the sound he helped to pioneer. “If Cybotron were one of the frontrunners of that sound, then of course I don’t wanna disappoint the people that loved that music,” he says. At the same time though, he’s “not going into it to replicate Cybotron’s past songs”.


Juan speaks effusively of the production plugins that are currently allowing him to channel the sounds from synths such as Sequential Circuits’ Pro-One and the Korg ARP Odyssey, both of which were essential to establishing the early Cybotron sound in the ’80s, into new material. “Of course the interpretation is a little different now compared to then in terms of the composition,” he says, “but what I’m trying to do with the new music, because even back then I always felt like we were 20 years ahead of our time, is take some of those old sounds into the future.” Cybotron, to Juan, has always been a future-focused project, like most of his output. His music has long been discussed as belonging to a tradition of Afrofuturism, following a lineage set out by acts such as Sun Ra and Lee ‘Scratch’ Perry before him, and continued by fellow Detroit pioneers Jeff Mills and Drexciya. Juan has continually channeled his lifelong obsession 34

with sci-fi into his output, from the raw machine funk of 1985’s ‘No UFOs’ to, more recently, the refined minimalism of 2013’s ‘Mars Garden’, a track he produced alongside Moritz von Oswald as Borderland. You can trace this love of sci-fi and futuristic sounds in part back to his discovery of Kraftwerk in the early 1980s. Afrofuturism is a common strain through much of the music Juan grew up with, though. “My teenage years were during the ’70s, and I think that decade was the best time for music, looking back,” he says, name-checking Parliament-Funkadelic, the rotating cast of funk musicians headed up by George Clinton since 1968, as one of the single most important acts to his musical awakening. “In the early ’70s, things were more psychedelic with people like Jimi Hendrix. That developed into funk and then into disco, so you had all of these sounds developing and converging.” He admits, though, that he didn’t see his early work — from Cybotron to Model 500 to launching the essential label Metroplex in 1985 — as belonging to that Afrofuturist tag at the time. “For me, it was just techno music,” he says. “I didn’t get into philosophical reasoning for what it was. It was music born out of technology to me back then.”


One of the essential figures to introducing Juan to so much of the music he grew up with was Detroit radio legend The Electrifying Mojo, a man whose influence is felt by most of Detroit techno’s key figures. This was largely thanks to his desire to traverse sounds and eras, irrespective of the genre restrictions placed on a number of US radio stations at the time. Early Cybotron tracks such as 1981’s ‘Alleys Of Your Mind’ became a fixture on Mojo’s shows. He fondly recalls hearing parallels between Mojo’s radio shows and the BBC and pirate radio stations he was first exposed to in the UK during the latter half of the 1980s, as his work with Cybotron and

later as Model 500 saw him start to become a more regular fixture on the other side of the Atlantic. “What I liked about the UK radio was that there was no designated rock station for all-white music or a black station for all-black artists doing R&B and funk,” Juan says. “It was mixed up and, like Mojo, you could tune in at any given time and hear anything.” Those early trips to the UK would also give him a chance to school his DJ hero, putting Mojo onto some of the music that he played on Detroit radio in the late ’80s and early ’90s. “We would come back from trips to the UK, and this was as rave culture and the acid and bleep scene was developing,” he says. He’s wary of using the word ‘trendy’, but says that London, and the UK more generally, was more open than the US at that time to new sounds. Trips to the UK would offer he and his Belleville Three cohorts — Kevin Saunderson and Derrick May — an opportunity to experience new sounds first-hand, which they would then introduce to music lovers back home in Detroit. “The Music Institute was a club we would play at regularly, and share some of this music,” he says, adding that Mojo would let the three contribute guest mixes to his radio shows.


Juan’s birth city of Detroit is of course essential to his story, and to so many of the musical movements he’s spearheaded. It’s there that he would meet Saunderson and May (the latter through his brother), whom he would go on to mentor and collaborate with extensively. He would also meet Rik Davies while attending a community college in the city, forming Cybotron not long after. The Motor City is still his home to this day, even if his various work commitments continue to see him spend less time there than he did in the early stages of his career. Detroit wasn’t always so open to Juan’s musical ideas, though. “I think we were recognized in Europe, mainly in the UK, before anywhere else in the world,” he says, going on to ask: “How can you be from an

American city and have so few people from around America know what you’re doing?” He doesn’t want to seem aggrieved by the slow uptake to his and others’ work in his home city during the ’80s and ’90s, but speaks of a “bittersweet feeling”. “I thank God that whatever forces made it happen, made it happen,” he says, referring to his breakthrough outside of Detroit. That came partly thanks to the inclusion of early Cybotron works on compilations devoted to electro released in the UK during the ’80s. One such release was 1984’s ‘Street Sounds Electro 4,’ which featured the laidback electropop of ‘Techno City’. Fast-forward over 30 years, and that techno city is in the midst of ongoing economic turmoil, owing to the loss of the industrial heartlands that employed so many in Detroit in the past. While travel, Juan says, has given him a more rounded and universal take on the social matters of the day, he jokes that the election of Donald Trump in 2016 has allowed him to enjoy the time he gets to spend outside of the US more in recent years. He speaks positively, though, of the buzz that exists around the annual Movement festival in his home city, where he’s played a number of times — most recently in 2017, billed as The Belleville Three alongside Saunderson and May. “Movement has brought a lot of attention to Detroit, flying artists in from all over the world, and finally giving the city a bit of power in that scene,” he says. “When you’ve got around 1.5 million people from all over the world coming downtown for an entire weekend, you take notice.”


Juan is open about enjoying the creative process involved in studio time and performing his own music live, more than playing records in clubs. “After a while, the DJ became the headliner, so I had to rethink,” he says. “I still put more capital and value on making my own tracks than playing other people’s.” He diplomatically considers the merits of both his DJ bookings and the various live shows he’s toured, adding that the stress of travelling with records to DJ gigs certainly plays a part in his preferences. “Of course people now can show up with their USB, but I still like to play some vinyl,” he says. Above all, the ability to showcase his own work to audiences via his Model 500 shows, as well as recent live gigs with Moritz von Oswald, carries an undeniable allure to him. “It’s the beauty of presenting stuff that you’ve created. That will always take precedence over a DJ show to me.” Continuing to dart between considering the roles that both play to his musical progression, he eventually concedes that the lack of limitation associated with DJing has its benefits. Keeping him on his toes, he’s ready to adapt to whatever space and crowd he finds himself playing to. This applies, too, to his live sets, though. “I don’t want to go into anything being stubborn and saying, ‘This is what I’m going to play’. If I’m playing on a beach in the summertime in the middle of the day, it’s obviously gonna be a very

different set to Berghain in the middle of the night where it’s dark and sweaty.” The techno you might be likely to hear on an average weekend at one of Berlin’s clubs is somewhat different to the sound that Juan put on the map in the late ’80s, though. A sound that is more stripped-back, loop-driven and functional dominates many of the world’s techno clubs today. Does he feel that the techno scene has become a little too whitewashed in 2019? He’s quick to agree that it has, though is appreciative of the positives that come with the genre’s increased accessibility to producers and clubbers. With synth manufacturers loading their machines with presets, Juan says that many people starting out with production are at risk of not truly testing themselves and their own ideas. “When you find a sound you like, you should ask yourself, ‘How many other people have used this sound?’” he advises. It’s easy for these kinds of discussions to get mired in generational disputes, characterized as a black-and-white battle between the older heads and the new school. Juan, though, isn’t especially bothered about younger people not having a detailed grasp of the music’s history, as long as there’s a willingness to get to grips with it and push things forward. He worries, however, that there’s a growing contingent of people that aren’t so aligned with his outlook.


Juan’s commitment to looking forward and continuing to devote time to new projects reminds DJ Mag of the work ethic of another Detroit techno luminary, Jeff Mills, who is also as active as ever over three decades into his career. When asked whether he ever sees himself winding things down for good and stepping away from the spotlight, though, Juan does acknowledge that, if anything, his health could play a role in the decision. “I wouldn’t necessarily say I’d have to slow down,” he says, “but I would say I should take breaths and have some time for myself.” He admits that in the past, his workaholic approach would see him seek out gigs in the cities and places he wanted to visit, rather than simply booking a holiday. As somebody so concerned with progression, it may seem like an odd decision for Juan to return to a project from the very first phase of his career, especially since Cybotron continued for a number of years without him after he left in 1985. “I’m not looking at this as an opportunity to start where I left off,” he says. “I wanna look at this as an opportunity to present new ideas, because that’s what Cybotron has been from the start.” With almost four decades in the music industry under his belt, continued technological advancements are keeping Juan inspired, enabling him to further realize the futuristic sounds he’s long pushed, and make a logical next step for Cybotron. “There’s a track that I’ve just finished which speaks about maintaining humanity,” he says. “Technology is nice, but we don’t wanna become total robots. We need to keep our creative minds working.”




Identity is not important, the music is! Does it really matter who I am? I have been asked this question a lot”, and the conversation begins… “It’s so funny that people just assume that I am a guy. Pretty weird, right? I mean, I could be a gender or gender-identifying person, what does it matter, as long as you like the music. All I can reveal about me is that I love making music and especially the kind which one can relate to –especially, if you are Indian or of Indian origin- and that helps to release a good dose of serotonin.” Todh Teri is the new protector of the Indian sound. Todh Teri wants to keep the golden era of Indian cinema alive! Far from the camera flashes, this hidden identity puts the current


sound of India ahead of its own personality. “The basic idea of the alias is to jog the memory of Indian clubbers and tease them by throwing in just the right amount of original sound, which they can relate to. Indian cinema in the 60s, 70s & the 80s produced great disco & cabaret numbers. Not all originals, but mainly influenced by the West. So it is basically a revival in a modern form, which creates a bond between two generations: the young clubbers, who are into electronic music, and their parents.” With that being said, Todh Teri gained attention and has compiled the very first Get Physical compilation about this amazing country. We tried to see why…

Being able to compile the first ever India-dedicated compilation of Get Physical must be something to be really proud of. What can you say about it? “Thank you very much! Kudos to Get Physical and everyone involved who helped in the smooth execution of this project. It is something to be proud of but I think, more than me, the artists should be proud of the music that they have composed for this compilation, because each and every track is special. Getting 12 amazingly unique tracks in a short time was totally unexpected, as everyone wanted to do their best, which they eventually did in a very limited time. Same goes for the graphic designer who did the amazing cover art and the journalist who wrote a very detailed and explanatory press text. I am honored to have compiled and mixed it!” What did you want to achieve with this one? “To animate electronic music producers in India to release records, to make the labels accessible to them! There is so much talent in India, it’s incredible like the country itself. The producers there are not any less than the top league folks. So I hope this compilation is a start and together with the help of the Get Physical, we can find some more gems in this vibrant & musical nation.” Which sound and artists did you want to showcase here? “Well, of course the music had to fit the label but still had to have that slight Indian touch. I do not mean cliché like sitar, tabla sampled music… The artists I asked for the compilation are deeply rooted in India and have been around for a while now. Their music has matured with them, hence I was pretty sure that they would deliver exactly what the label and I were looking for. The focus of the music was mainly electronic with a pinch of India, inspired by a classical raga -India melodic framework-, mood, day to day life, environment, traffic, anything actually; so each and every artist did their bit to fulfil the requirement in their own way.”

Why do you think Get Physical is paying attention to those countries? “Get Physical did similar compilations with Africa and Brazil. I can’t really answer this question in detail as this is something Roland would be a better candidate for. In my opinion, they are exploring the world as a label, establishing a relationship and making a statement that electronic music brings people together.” What’s going on in India? “A lot of gigs with crazy line-ups. Night life is booming in India at the moment. Great venues, promoters, organization… It’s definitely on the rise despite of the ridiculous deadlines.” What are the main pros and cons of being an electronic artist here? “The clubs are limited for electronic music. They shut early. The DJs & artists cannot really express themselves in that short period of time. Electronic music is not really something that the government supports, which is a big issue! Good thing is that one gets paid the same amount for less working hours and no ultra-late nights, unlike in some other countries. People are open and hungry for new music, so one can push boundaries, which is very motivating. They are appreciative and make you feel good about you and your art. The biggest advantage of being an electronic artist in India, you don’t need to rent an extra studio. Music can be made comfortably at home because the neighbours are used to every kind of sound that exists on this planet, so no one complains!”

How did you get involved in this? What is your relationship with the label? “I was was introduced to Roland Leesker, the label head by a common friend. It didn’t take us long to figure out that we are on the same page. Since then, we have been working hand in hand.” How has the compilation been received by the crowd and other DJs? “Oh, it has been overwhelming with a great feedback from across the globe. DJs are playing it and everyone simply loves the artwork, kudos to Mirjam Schmid!”



Last April completed one year of Avicii’s demise. Tim Bergling, the name behind the famous project, was the swedish DJ, music producer and artist who marked the ears and hearts of people on a global scale, accumulating more than 800 presentations, several hits and awards during his career, leaving an unparalleled legacy for the dance international music. Tim was just a shy boy from Stockholm who liked to produce music. At the age of 16, he began to produce and at 18 he made his first shows. His friends described him as a “hardworking” person, and it was through his single “Levels” that his career began to reach unexpected heights. Considered one of the great pioneers of the proclaimed EDM, its impact went far beyond the big numbers that hits such as “Levels”, “Wake Me Up”, “Hey Brother”, “I Could Be The One” and “Waiting For Love” -and lots more. His complete delivery to music and his work 38


resulted in two albums -”True” and “Stories”- and in the visibility of electronic music in places and groups that were difficult to conquer. His productions have become a real soundtrack in people’s lives. Kind of cliché, right? But this is the pure truth. It’s no wonder that Tim ended up attracting collaborations with artists like Nile Rodgers, Chris Martin (Coldplay), Rita Ora, Aluna George, Madonna, and many others. Avicii managed to captivate all types of audiences with his joyful, melodic and pulsing music, making it impossible not to admire him. Genius. With unique and engaging productions, Tim has teamed up with a legion of fans and dictated market trends in a natural way. As well as the Swedish House Magic trio, he starred in the massive pop entry to electronic music, which made him one of the best paid DJs in the world, as well as being considered one of the best DJs in the scene as well.

In his documentary “True Stories”, released in 2017 and directed by Levan Tsikurishvili, Tim commented that when he was on stage, he felt special and connected with the public. Although very young, Avicii began to travel the world and to presence in the main festivals of electronic music, living the dream of any DJ and producer. With all this frenetic routine, trips and non-stop shows, Tim complained that he did not have time to “live” and that, at some point, it all began to become tiresome, because he never stopped. In this process, alcohol has become an active part of your life, acting as a “refuge” for his exhaustion and, in a way, energy and sociability. But what he could not imagine is that all this would result in acute pancreatitis - inflammation in the pancreas, one of the causes of which is often excessive alcohol consumption. Unable to make a few presentations, Tim said that he felt as if he were stabbing his pancreas, and that he often preferred not to eat or drink water to avoid pain. The remedies, which were supposed to help him, were doing him harm too. Tim, however, sought to fulfill his commitments.



In 2014, he stepped away from the stage and canceled a series of concerts, a decision needed to recover from surgeries. In that time, however, caring for oneself was not so fruitful. Tim reported that even off-tour his anxiety would not allow him to relax. The thought that it would be over soon and he would have to go back on stage again really bothered him. Unlike many artists, Tim never liked being the center of attention. He just wanted to produce his music, just like many DJs around the world. All these spotlights made his condition worse. In testimony, again in his documentary, Avicii said: “I can’t do this all my life”. Finally, in 2016, he decided to leave the stage and dedicate himself exclusively to musical production. In 2017, Avicii surprised everyone with the release of the “AVĪCI (01)” EP, proving that even when he was retired, he was there, focused on music, his true passion. The numbers of streamings were spectacular and, as always, Tim caught the ears of the people in a captivating way. His intention was to keep doing this until the last days of his life. On April 20, 2018, we were surprised by the news of his death. Tim was found dead at a resort in Muscat, Oman. There were no signs of criminal activity at the scene, nor was the cause of mortis immediately revealed. Later, in testimony to the press, fans and friends, the Bergling family reported that “Tim was an explorer, who was looking for answers to existential questions. [...] Tim was not made for the business machine where he was. [...] He could not go on. He wanted to find peace, “giving the possible understanding about suicide.


His death moved not only the stage professionals, fans, friends and family, but several artists who admired him. Tim was honored in numerous places by co-workers, major festivals, churches and, of course, in a public square in Sweden. Avicii was a victim of the demands of the market, the demands on himself and the slow destruction of his mental health. “A fragile artistic soul,” was how the family described it.


DJS ARE NOT MACHINES People see the professionals of discotheque as superhuman machines. Life on the road is not as easy as we think, and it’s not just the dream that appears in the images and videos we see on social networks after shows - that’s just the tip of the iceberg. Of course, your favorite artist wants to play in your city and bring music to you. However, at a certain point in their careers, the schedule of these artists’ shows can turn into dull logistics, stressful days, and many sleepless nights - and even without proper food. Hotel rooms are like prisons, they say. There is a name for it: Burnout Syndrome, something very present in the life of the DJs.


According to the Ministry of Health, “Burnout Syndrome is a physical, emotional and mental state of extreme exhaustion, a result of excessive accumulation in work situations that are emotionally demanding and / or stressful.” Dark moments were not only present in Tim’s life. Names such as Nicky Romero, Hardwell and Laidback Luke have already commented openly on the subject. One thing we have to put in mind is that everything in excess brings consequences - especially when one lives to work. For those who are on the road consolidating an international career, there is often no button to pause resulting in psychosomatic symptoms. In the current years, we still see many people avoid looking for professional help from psychologists or psychiatrists. With that in mind, at the end of March the Avicii family issued an official statement on the creation of a charity foundation, the TIM BERGLING FOUNDATION, which seeks to work with healthcare companies and professionals with a focus on mental health and suicide prevention. According to the Bergling family, the foundation on their behalf will be a way to honor their memory and continue to act in their spirit, helping others who are in difficult times to get help and support. The Tim Bergling Foundation also has plans to expand in the future to include initiatives on climate change, threatened species protection and nature conservation, always aiming to make a difference - just as Avicii did during life.



POSTHUMOUS ALBUM April finally brought us a novelty that left even more of Tim’s disappointment: a new video on Avicii’s YouTube channel: “The story behind the TIM album.” According to Per Sundin, president of Universal Music Sweden, the day Tim arrived in Oman, he had made a telephone conference with the label, where he presented 16 new songs that were almost finished. As an important material, the Bergling family decided that these 16 songs were released to their fans and released on a new album called “Tim”. The album was released on June 6, with its profits reverted to the foundation and you can already hear it in all digital platforms. Tim left an important legacy and his existence contributed positively not only with his songs and genius, but being a unique person. Even though it’s no longer present, it will continue to impact the music industry, serving as a reference and inspiration for many producers and DJs. Their songs will always keep you alive and legends like Avicii never die, they stay forever. So more than ever: thanks Tim! You will never be forgotten.u








he five-time winner of the Top 100 DJs has been releasing lots of music, going from psytrance bangers to pop ballads, helping breakthrough artists and working with long time established acts. Armin tells to DJ Mag ASIA some memories about his beloved Japan. “It’s great to see DJ Mag expanding worldwide, which is great for dance music culture. Specially, in Asia”, he says. We are in the middle of South Beach, hanging out in Sethai Hotel, where he’s been conducting several interviews over the day. “I don’t know what’s happening there but dance music seems to be exploding in China, right now. It’s incredible. I’m so happy about that!” He’s been in Japan recently, he remembers. Ultra Japan, which happened last September in Tokyo City, was one of his favorites gigs of the year and, luckily for him, he’s about to go back to the land of the rising sun. “I love the people in Japan. I’ll be back for EDC really soon. I really can’t wait”, he announces his plans before going into details. “Japan was one of the first countries that supported me. One of the first countries I went to as a DJ! Norway and Japan… I still don’t know why. Japanese people seems to really know their stuff.” But, why is that? We ask. The truth is nobody knows exactly. “Trance music has always been big in Japan, specifically”, Armin says. He’s been coming to this country a lot since his debut, playing festivals in Tokyo and doing rounds by Osaka and Ageha, to name a few. “I really learned to appreciate the Japanese culture. It’s a very different country but people are lovely and I’ve always had massive support there, so I’m really thankful for what happened to me in Japan.” Nowadays, dance music has gone mainstream all over the world and, of course, it has impacted over this lands. “Obviously, EDM appeals to a younger crowd but dance music has always been big in Japan. More than in other countries, I would say”, the trance DJ/producer analyzes. “It’s not always been at the peak but it had its ups and downs. I remember being at Japan in 2001 for playing sold out venues in many different clubs in Japan”, the nostalgy comes to life. “The crowd response has always been amazing! I’ve always had a Japanese fan club and people will follow me around so, yeah, it’s exciting. And seeing people really excited about my upcoming show at EDC… Ultra Japan was crazy! It was amazing. It was one of my favourite gigs from last year.” Looks like he enjoys coming to Japan as much as we do when he comes to town!

FAMILY MATTER “I spent January & February at home, not gigging at all. I was with my family. I have a daughter of seven and a son of five. I have to take the kids to school every day and I make it a thing that I actually do it myself; I give them breakfast, I put them on my bicycle and take them to school”, Armin describes. “I come back home at 8:45, and I’m done! So then is when I get into the studio! Before we had the children, me & my wife, we’d get up at then, have breakfast, read the newspaper, go to the gym, then have lunch… So I’d be in the studio by 3 or 4. And then at 6 we were having dinner. So now I have two children and at twelve o’clock, I already have half of the day behind me, and I already finished a track or started producing… So, I guess, in an ironic way, I’m more productive than ever being a father.” “This is very good for my balance. Having a family life at home and having a studio at home, which I’m really blessed about. I can work whenever I want to and I can stop the same way too. So my wife says ‘I need your attention’ and we can all go to the living room to spend some time together. I’m making a really big point on spending time with my wife as well because it is very easy for your relationship to sort of fall between the cracks because you prioritize everything, from your children to your career. We try to have quality time together. I’m a very lucky guy that I’ve found a woman like her.”






You guys performed at the Hard Strike Music festival in Seoul. How did that go?

How did it all start? How did you guys get into making music?

Johnnie: “That was awesome. We weren’t sure what to expect. One of the most energetic crowds ever. They just kept bouncing during the whole set. It made us very comfortable. It was our second live show in Korea. We have always been a bit more nervous during live shows because there’s more that could go wrong. But when you have a crowd like that, you just feel eased straight away.”

Johnnie: “High school music club. Harry was already playing drums and I played the clarinet. Then, we got to know each other and made a couple of songs, which weren’t very good. And yeah, we kind of went from there. We thought we really enjoyed doing it and thought that maybe we could pursue this as a career. We didn’t know much about DJing or anything; that came after we moved to London and we learned dance music. It was a nice progression. We knew we wanted to make music and then we started clubbing in London when we were in college. And we were like, ‘alright, this is what we wanted to do’.”

How was your gig at club Chroma? Harry: “It was like an after play; a lot later than the main show. But there were people with all the Third Party merchandise like the t-shirts and stuff on. It was surprising because we thought that it was kind of like a VIP Vegas club type thing. So, we thought it was going to be just like tables and chill. But when we got there, everyone was wearing our t-shirts. They had traveled all the way out to the club from the festival. So that was great. Respect!” How do you think about the clubs in Korea in general? Johnnie: “We have performed in three or four now and each one has been very good. Even the very first time, which was maybe like five years ago in Octagon, was amazing. There’s a good fan base here and in Japan.” You guys have been touring a lot in Asia. How are the crowds in Asia compared to their counterparts in UK? Johnnie: “Definitely, like I was saying about Hard Strike festival, the energy level was like a workout. When you’re jumping for that load, you guys must have some good calf muscles. Because that really is a work out. But honestly, compared to England, there’s a lot more jumping, movement in the body and a lot more energy. The crowd knew the lyrics as well, which is great. We get that in places like England and a few other places in Europe, but not everywhere. There’s a lot of places in Asia, like Japan and Korea that really know the songs.” Harry: “It depends where in Asia. Like here in Korea and Japan, people really know the songs. They are the best.” Last year in Ultra Korea you guys showcased a thank you banner in Korean during your live show. How did you guys come up with that? Harry: “Our manager, who is also my brother, just researched it and made the banner. When we do live shows, we play live and also have a live VJ who travels with us. We always want to incorporate something special when we do those shows. It’s not just that we’re playing and singing but we want to incorporate visual elements. Not hard to do right? We try to do that everywhere we go if we are doing a live show. If we are just playing a normal DJ set, we don’t have a VJ so you can’t do too much. But when we do our live shows, we try to tailor it for the fans. For our show in Japan, we had an intro for the song ‘Together’ and we had that come up in Japanese. We also had pictures of the fans who sent their pictures in and used them to curate a collage that came together to make up as the intro was built. That was the concept behind ‘Together’ because the music itself is more like for our fans rather than commercial. When we made this album, we weren’t too much worried about crossovers because we knew we wanted to focus on what we love and what our fans wanted.

What was the first DAW that you used to produce music? Harry: “Cubase in school. We then transitioned into Logic. We went to college in London and we learned Logic and Protools. Now, we also use a bit of Ableton for time stretching since they are very good for that.” What is it like to work as a duo? Can you tell us about the pros and cons? Harry: “Pros and cons are the same, actually. The con is that we argue a lot and we spend way too much time with each other. But, it is also a pro because we can be honest about our opinion; like, if the track is good or not good. Most of the time, I would start a track and he would just be like “no”. And you know genuinely when someone is feeling it as well. And we can be honest with each other straight away we don’t have to worry about hurting others feelings. It’s quick and you also really know when each other likes or doesn’t likes something. That’s a pro.” Johnnie: “It means it takes longer to finish music because we both have to be happy with a track which could take time. But yeah, it could take longer because there’s two of us but hopefully by the end, the music has gotten to a better place. It tends to make the final product better than if it was just on your own.” Harry: “Also, another pro is touring. You don’t get lonely. A lot of our friends who are single DJs, they say it’s a big problem. If you don’t have a tour manager with you, you could get like you know; we know people who have come back halfway from the tour because they were losing it. Especially with the whole attention on mental health and stuff from touring. And we definitely know people who’ve struggled. Especially if you are genuine; our manager is my brother as well so we’re pretty chill.” How do you guys take care of stress? Johnnie: “Meditation. I do actually meditate sometimes. But in terms of music, you do need some stress. So it’s not good to just be completely without stress because then, you wouldn’t push yourself. It’s good thing to have two people to keep each other on a certain path. DJing in general has gotten more comfortable for us. But when we do live shows, we do get quite stressful because it’s a brand new thing. We do have to manage that since it’s a new thing to learn. But you just have to have faith in it.” Harry: “He is never stressed, I’m always stressed. So that balances out. I don’t think we deal with stress that well. We’re not the best people to ask. We don’t have a strategy; maybe that’s the problem.” Johnnie: “We’re working on it. But I think everyone is always


working on it. You’re forever working on it.” Harry: “I think a big thing for us is that we produce and mix everything ourselves. So we are doing the whole process. A lot of DJs now, as we know, at the very least, someone’s mixing their tracks, if not fully ghost produced. That’s a stressful thing for us because we’ve never been able to let it go and pass on the process to a mix engineer or a ghost producer. So that’s quite stressful. During tour, we always have to make sure we have enough studio time. Whereas some people can go on tour and relax, we are always still thinking about the track that we have to finish.” Johnnie: “It takes time to work on a good music.” You guys had to work day jobs to fund music education early on in your career. How did you balance between work and music? Johnnie: “Good question. I was kind of lucky with my job. I had work for 4 days and had 3days off. We tried to work so that we would have 2-3 days together back in the house in our living room which was our studio. We tried to make it so that we were both off at the same time. So, it was tricky.” Harry: “We had to put in everything during those 2-3 days. We worked pretty hard. We did like our day job. After coming home from work, we were working on our music most of the nights. Back then, we were young; so, we didn’t need to sleep.” Johnnie: “Advice for people. When you’re younger, just use the energy that you have. And also, you don’t need to sleep as much. So you should feel lucky that you can do that when you are young because you won’t be able to do that all the time. You should try and find some sort of work that you enjoy, because you’ll need to put in the hours. If you enjoy the work, the hour that you put in will help.”


Harry: “I would say don’t do music unless you’re ready to work pretty hard. Because it is not like if you want to make money you go do something job where you make money easier. But music is what everyone wants to do. It is one of those industries. You have to be prepared to work hard. A lot of people think they are going to become the next Martin Garrix straight to the top, but that’s like winning a lottery. For most artists, it’s a hard work and a long process.” So what was the source of your motivation at the time? What kept you guys going? Johnnie: “Good question. From my side. My love for music was what kept me going. I’ve always liked the fact that music makes me to be inspired, not just to make the music itself but to wake up every morning with motivation to do this and that. It is a nice feeling when you know you can make that same positive influence on others. I know that we’ve always enjoyed playing our music to someone else and if they did really like it, that was like a big burst. So all of that motivated me.” Harry: “Knowing that was what we wanted to do and that if you worked hard enough we knew we could do it. So like we were writing songs that’s decent but doesn’t sound right yet, but with enough work, we believe that those songs could and it did work. Just like what he said, the love of music and the belief that if you work hard enough you can do it: Faith.” Do you guys have any tips on how aspiring producers can get their music noticed? Harry: “It’s a hard one. But I think it’s a good one. For a long time, everybody said just get out there and hustle and get your

music to enough people. But I think it should be the opposite of that. I think you just need to make good music, you know? Maybe in the beginning it was more about the hustling but especially now, there are so much music that unless it’s good, no one’s going to hear it. Just make a good music. You should spend the time in improving your sound and refining your music before you worry about anything else. But then, you probably should also hustle. But! Make sure it’s good first. There are a lot of people out there hustling with bad music.” Johnnie: “My add on to that would be, in the process of making music and coming up you are being inspired by other people and you would usually then fall into a category of a certain kind of music; you’ll be most likely masking probably the main DJs you love. A tip that I would give to someone starting out is that you should try and cater it a bit to the labels. Rather than just completely being 100% yourself and just making what you want, then firing it out to different labels, I would try to be little more distant from myself and really try to see and feel what my sound is, who is it like, what are they playing, and try to get on that angle a little bit. I’m not saying completely, but I think that will help you just spark the career; as soon as you get a few going on the label, then you will get promoted and you’ll start meeting people.” So can you guys tell us about your creative process? Harry: “There are few different ways that it can start for our tracks. Johnny would spend a lot of his time trying to find a sample or a bit of magic from a record and if it’s a nice starting point, we would usually try to write around that. For most songs, that might be the starting point. But now, we do some vocal stuff and that would be more like sitting down with a songwriter just playing chords and starting with the vocals. But the one thing that is quite consistent with the songwriting is that we try to write the best moments first; like the real hook. We keep working until we know we have magic, even if it’s a tiny little bit that’s really good. And we would write around that. Whether it’s the melody, song, or vocal, we always want to get one amazing bit first. We find the best bit first and then do the arrangements and the drums. Apart from that, it’s always quite different. Finding that little ‘nugget’.” You guys have been working hard to push a strong progressive house vibe and in doing so you guys have always managed to throw in some UK elements in your music. Can you tell us about some of your influences in the UK scene? Johnnie: “It’s many of the old guys. Like Fatboy Slim especially, for the sampling which is unbelievable. Back in the days when he was using tapes, it was just mind-blowing. Also, bands like Chemical Brothers and people like that.” Harry: “A big one for the sampling is Chase & Status, who is a UK drum and bass artist. They are like massive in the UK. Justice, they are not UK but they are close. And from the progressive house side, I think Swedish House Mafia and Eric Prydz. Prydz is my number 1.” Did you guys listen to these artists while growing up or did you find them out later? Johnnie: “Yeah, I’d say the Swedish House Mafia who were mainly individual back then, Deadmau5 who was new, Eric Prydz, and old Chris Lake on Toolroom records.” Harry: “And then also some UK bands like Coldplay in terms of the uplifting sort of vibe. It’s hard to make people happy but it’s what they do for fun. We wanted to make it sound uplifting, but not cheesy, Coldplay is a big influence on that.”

You guys never bought the hype and always stayed true to progressive house. Tell us about how you fell in love with progressive house? Johnnie: “Hard question. How do you fall in love? I think it’s like a feeling when you just feel right and I think that we have always stayed true to it; because it just flows. It’s like how you live your life almost.” Harry: “We were taking a long time to build a journey even though we’re in the big room side of progressive house. We still try to keep that journey elementary and I think that’s just what we love about it. I think for some genres, such as the melodic genres like progressive house or trance, there’s always that feeling to it: that certain people would like and be fans of those genres. I think there would always be a hardcore fan base for the genre because it gives you that feeling. And yeah, that was it for us. It was that combination of dance music plus the feeling. We would still go to techno clubs and stuff, but my one thing was that progressive house and trance would always have that extra feeling to it.” What would be your dream collaboration? Harry: “Probably, Coldplay.” Johnnie: “Radiohead would be amazing. Don’t know how it would work, but it would be an interesting collab. Harry got me into Radiohead. They kind of changed my outlook on how music could take you on an absolute journey from up and down to sad and happy.” Harry: “We always had a dream to collaborate with the Swedes and we did that. That was the one that we did get to do. A dream come true moment for us.” What is next for Third Party? Johnnie: “For Third Party, we have a couple of tracks that didn’t make the album, so we’re hoping to have them finished really soon. One of them might be a very big collaboration and that’s in the works. So that’s kind of the plan for rest of the summer. In terms of doing the next album, we’re not even thinking about that yet. The amount of work that’s involved and just thinking about that causes stress. Everything has to be put into an album. If you want to make a proper album where it all makes sense from beginning to end, that is stress; but it’s a good stress. For now, I think we’ll relax for a while. That’s the plan.” Harry: “We also have something we prepared for our Korean fans. We got to work with a legend rock band NELL, singing our song Northern Lights from the album. The song has a Coldplay vibe to it, very uplifting and euphoric, and NELL’s voice was a perfect fit. It will be released on a new label CO-NECTD out here and hope the fans will like the surprise.” Can you say hi for the fans of DJ Mag Asia? Johnnie: “We love our fans in Asia! Big love.” Harry: “There are some markets where the people are into a certain kind of music because of the hype. But in Asia, we really sense that the people do love the music for itself. Especially in Korea and Japan, it’s like they are not just in it because they’ve just got into a festival and that’s what everyone does. There’s a lot of people who really love the music and know everything. So, respect and love! Hope you guys enjoy the album!”





The taste of heaven, selected by festival goers and Asian clubbers Words: KEVIN KANG, TIFFANY KIM


ummer has arrived once again. Ruthless summer heat has our foreheads beaded with sweat even after the nightfall, and the sticky humid air has our breaths up to our necks. But music is long, and night is short. If the summer heat is keeping you from enjoying a night out, rest assured. DJ Mag Asia introduces you to the hidden gems around the world along with their signature cocktails. From a stylish bar that serves mesmerizing cocktails to a spot on a beach where you can slip on your drink while watching the sunset, here are one of a kind bars where you can get drunk in music and enjoy a drink. Ward off the summer heat with cool drinks and music.


CASUAL CHAMPAGNE BAR IN HANNAM, C-BAR A jaunty bar offering C-LIVE shows and champagne base cocktails.

Their signature cocktail, Between, a tequila-based cocktail infused with pomegranate and aloe juice with a hint of rose aroma that lingers on the tip of your nose pairs perfectly on a breezy summer night with good music. If you are up for something little stronger, try Secret L.I.T. with mango and peach juice added to the traditional long island iced tea along with an extra shot of whiskey; its heavy yet fruity cocktail will help you get drunk in the atmosphere and the vibe of Seoul 232.

C-Bar is a casual champagne bar where its ceiling is filled with golden disco balls that resemble champagne bubbles and with variety of numerous champagne bottles. From the cozy venue that comes in a short glance to the high-quality cocktails with champagne base and the flashy interior, the place allows you to imagine as if you’re invited to a fancy party in an exotic location. C-bar has been receiving its spotlight for providing venue rental services, and hosting biweekly C-Live social networking party, where local DJs can network and mingle. C-bar is equipped with DJ 2000nxs2 3 Deck and DJM 900nxs2, good enough for any and all DJs to showcase their sets, paired with a set of Pioneer Xprs Series speakers, which is an optimal choice for filling up the cozy space with an array of various genres fit for any kind of parties including House, Disco, Funky, Techno, and Tech House. Among many choices of champagne-based cocktails on its menu, the most popular signature cocktail is the C.Rose: Champagne mixed with Monin Rose Syrup and French liqueur Cointreau made with orange peel that adds a hint of citrus taste to the deep rose aroma.

Address: 232, Itaewon-ro, Yongsan-gu, Seoul, Republic of Korea Phone Number: +82-02-749-0232

Address: 4-2, Daesagwan-ro 12-gil, Yongsan-gu, Seoul, Republic of Korea Phone Number: +82-10-3165-5702

ITAEWON’S DINING BAR, 232 SEOUL Where you can enjoy high quality music and drinks. Located behind the main crossroad of Cheil Agency at Itaewon where it boasts neon signs that brighten 365 nights a year, 232 Seoul lets its customers to have much curiosity from the moment they enter the place. Its exterior reminds of a garage, but the interior is filled with antiques and vintage furniture that creates warmth, making it a perfect urban retreat. 232 Seoul stands behind its motto, “Good Environment”; 232 Seoul caters good music through good speakers in a good environment with good drinks and food. 232 Seoul’s 1989 Turbosound TMS4 speaker provides abundant midrange sound, rivaling club sound system despite being a dining bar in a minute space. On every weekend night, local underground DJs have been playing their sets providing its customers with various entertainments. Living up to its set motto,


“Good Environment”, 232 Seoul is equipped with high quality DJ gears: Technics SL-1200 MK5, XDJ 1000 MK2, S9, and DJM400.


SHIBUYA’S FINEST CULTURE COMPLEX, DÉBRIS A perfect destination for your night out in Tokyo. When you ask another for places to go in Tokyo, Shibuya makes it on that list. Though Shibuya is famous for the scramble crossroad and fashion, you can’t take clubbing out of the equation. Along with WOMB, a club that’s been consistently listed as one of DJ Mag’s top 100 clubs, Shibuya is a home to numerous numbers of clubs with various genre and concepts. If you find yourself amongst the overflowing sea of clubs in Shibuya, take a visit to Débris at Daikanyama. Also called as little Brooklyn of Tokyo, Shibuya’s Daikanyama boasts its simple and quiet atmosphere that is much different from the heart of busy Shibuya. Managed by the creators of Zipang Festival that has been introducing underground artists, DJs, and creators with a single motto, “100% made in Japan”, to the community since 2015, Debris is a multi-cultural space where it showcases diverse exhibitions and films aside from clubbing.

Paradise Books, also adds complexity to its already charming vibe. Débris’ cocktails are made from a very strict list of liquors and spirits chosen from its master mixologist. Débris has quite an exotic bottle in its shelves: Andes herb liquor, Cocalero, a recently trending liquor in Japan’s party scene, Malfy Gin, which is a craft gin imported from Italy that comes in various citrus flavors and Nusa Cana, a hard-to-get Indonesia rum. Debris wishes that its customers float around freely without a purpose in its space. If you get a chance to visit Tokyo, stop by to feel Débris’ universe.

Address: Daikanyama 11-12, Shibuya, Tokyo Phone Number: +81 3-6416-4334

Debris is secretly hidden behind a wall of a restaurant/bookstore, playing along its speakeasy concept that’s been created during the Prohibition Era. The tastes of various artists who have participated in many festivals in Japan is embedded in every corner of the space. Along with the flamboyant neon light lettering that sits behind the bar, the mix of wooden table creates a modern yet comforting atmosphere. A wall of diverse publications on one side of the bar,


THE POPULAR PLACE WHERE WORLD CLASS DJS COME AND PLAY EVERY YEAR. Environmentally friendly cocktails that you can enjoy with the sea breeze. Indonesia’s Bali, a world class vacation spot where it prizes its beautiful beaches along with scenery of its nature, also has an exotic spot of its own; it’s Potato Head Bali. Potato Head Bali is a lifestyle brand in Bali, Indonesia that has restaurants, beach clubs and other various spaces under its umbrella. One of its restaurants, Ljen is known for its dishes cooked with local delicacies while minimizing food waste. Including Kaum, where it serves traditional Indonesian foods, there are many spaces where it shows off local traditional interior accessories with its local plants. The beach club is well known globally for booking world class DJs such as Virgil Abloh, Peggy Gou, and Honey Dijon. Aside from this glamour, there are many showcases and events, such as nature preservation workshops and local cultural promotions that coincide with its founding beliefs.

Potato Head’s Hong Kong bartender Tom Egerton created a new environmentally friendly cocktail which the ingredients are bought from local farmers and the waste is minimized by using from its seeds to even its skin. He has explained that the concept of the cocktail comes from Kalpavriksha, a tree that appears in Hinduism, where its usage is beyond that of any other plant. The cocktail is based on ingredients indigenous to Bali, such as pineapple, mango, coconut, and sambal. The fact that the bar only uses plant-based straws is also an interesting step taken toward the brand’s beliefs. Sipping on a cocktail below the warm sky while gazing at the waves of the endless sea just may feel like heaven on Earth. And the environmental preservation practice is a bonus.

With many vacations spots around the world going through major difficulties like that of Boracay in the Philippines, nature friendly movement that Potato Head Bali is driving is an interesting take in such era.

Address: Jl. Petitenget No. 51B Seminyak, Bali, Indonesia Phone Number: +62 361 4737979


JOCKEY JOURNAL e world’s The on-the-road diary of th top DJs treading the globe



Thijs Westbroek, who goes by his alias Brooks, is already a familiar name in the EDM scene. Over the past years, the Dutch producer/ DJ made a name for himself through collaborations with the likes of Martin Garrix and David Guetta. The young DJ recently wrapped up his successful tour in Korea and Singapore, and kindly enough has agreed to share his wild, vivid memories with DJ Mag Asia. From his shows and interviews to his first encounter with spicy Korean food, it seems like the artist had an absolute blast in Asia. Check out his story below!

“I just came back from two great shows in Korea & Singapore! I was really curious when I hopped on the plane back in Holland, because it was actually the first time in Korea for me. I heard a lot of stories about Korea, a lot of people that went there before were super excited for me to go! They all said it was a super cool place. When I got there it amazed me how good everyone’s English was and how easy it was to get to the show and above all how involved everyone was with my music and with my career. When I did interviews I got really cool questions that I normally don’t get! They actually knew a lot about what was going on in my career currently, and how things were in the past.” “The show itself was absolutely amazing! I don’t think I’ve ever been to a festival were people went this crazy. They knew all my songs and they were jumping on every drop from the beginning to the end! It was also really cool to see people in the crowd carrying festival flags with my logo on it. I saw flags of at least 20 different countries from Asia. It’s really cool that they all fly to Korea for Ultra to be at the same place, for the love of music! Backstage was also really fun and there were a lot of colleagues from STPMD Records -from Holland- which I knew. Everyone supported each other and we had lots of fun!”

“The next day, I flew to Singapore. I’ve been to Singapore a couple of times already. But this was the first big show which I played there. I didn’t have that much time to go in to the city unfortunately, but the festival was madness all over again; had a lot of fun! There were a lot of people backstage who were involved with the organization of Ultra too, it was really nice to meet them! They took great care of me and I am very thankful to them for booking me. When I went in the crowd with some friends for like 5 minutes there were lots of people coming up to us, they told me they really liked the show. Just the whole overall vibe there is excellent. Everyone is happy and enjoying the music. When I am touring it is insane to see that people literally on the other side of the world appreciate and know my music! So yeah really good vibes in Singapore too!” “When I was on tour, I also had some great food experiences. After the show in Korea I went to a local restaurant with a couple of friends. We were somewhere in a back alley, so I didn’t really know what to expect. But the food was amazing. I’ve tasted the Asian cuisine many times before, but I got some stuff which I never heard of. They wanted me to try all kinds of different things. I got like one level below the most-spicy food and that messed me up -in a good way. It was so hot but it was amazing food! It was something special to try it out, and they were really happy to see me trying new stuff even though I was struggling. So yeah overall it was amazing to be in Asia. I got to visit a lot of cool places and meet some great locals who were more than willing to help me out in exploring the local culture. I would definitely like to visit Asia again, I hope to be back soon!”




Source: Official website of Seendosi


원더러스트 코리아, 나마스테! 도심 속 자연에서 음악과 함께 찾아가는 트루 노스(True North)

가를 중심으로 한 다양한 웰니스 클래스, 음악, 건강한 음식과 멋진 자연이 함께하는 글로벌 웰니스 라이프 스타일 페스티벌,

원더러스트(Wanderlust)가 8월 24일 토요일 서울 난지 한강공원에 첫

서브컬처의 성지, 을지로 신도시 다양한 오브제를 멋지게 조화시킨, 콜라주와 같은 공간

상륙한다. 미국, 독일, 프랑스, 영국 등 전 세계 17개국, 49개 도시에서 개최하는 원더러스트는 여러 요가 행사에서 진행되었던 단순한 아사나 위주의 요가 클래스들과는 다르게 EDM 요가, 아크로 요가, 발레핏,

즘 을지로는 레트로의 열풍에 힘입어 소셜 미디어에서 핫 플레이스로 자리 매김하고 있다. 단발성이 될지 모르는 유행과는

아프리카 댄스, 트램폴린 운동, 캉구 점프, 페인팅 테라피, 사운드 배쓰 명상,

빗겨나 4년째 꿋꿋하게 을지로 밤 문화를 담당하고 있는 공간이 있다. 바로

음악 공연 등 총 8개의 스테이지 및 스튜디오에서 무려 45개의 프로그램을

을지로의 복합 문화 공간 신도시다. 대로변에 무수히 늘어져 있는 철물점과

운영한다. ‘진정한 삶의 이정표 찾기’가 목표인 원더러스트에서 자신의

조명 가게를 지나, 노가리집 앞에서 술잔을 기울이는 사람들로 왁자지껄한

무한한 가능성과 에너지를 일깨우는 시간, 오롯이 자신에게 집중하는 시간,

골목 끝 언저리, 희미한 불빛이 무신경하게 걸려 있는 신도시의 간판을

스트레스를 시원하게 날릴 이벤트 등으로 총체적인 힐링을 경험할 수 있다.

비춘다. 농담 삼아 많은 사람들이 ‘장기매매’를 운운할 정도로 낡고 어두운 건물의 계단을 오르다 보면 온갖 생각이 스쳐 지나간다. 5층의 문을 여는

한편, 지난 7월 19일 요가와 마음가짐에 영감 받은 앰비언트 LP ‘Flow

순간 무언의 안도감과 함께 각종 웅성거림과 음악으로 가득한 공간이 나를

State’를 공개하고, 원더러스트 남부 캘리포니아(Wanderlust SoCal)에서


페스티벌 요가 세션을 운영한 바 있는 세계적인 트랜스 트리오 어보브 앤

누군가에게는 버려질 물건, 단지 ‘잡동사니’로 치부될 수 있는 각양각색의

비욘드(Above & Beyond)가 “사람들이 삶에서 정신적인 건강과 행복을

오브제들이 사방에서 빛을 발한다. 한약방에서 쓰일 법한 약재 보관함과

찾을 수 있도록 관심을 유도하고 돕고 싶다. 정신 건강에 대한 인식을 높이고

계속 바라보면 삼라만상의 경지로 빠져드는 LED 부처님까지, 어디에서

현재에 집중하여, 시간, 두려움, 스트레스가 사라지는 자유롭고 창의적인

찾아왔는지 모를 물건들이 한데 어우러져 묘한 분위기를 자아낸다. 신도시의

마음 상태, 즉 몰입의 상태에 도달할 수 있다.”고 밝힌 바 있다. 음악과 요가로

트레이드 마크인 간판 또한 원래 낙원 상가 인근의 유명했던 게이 바에서

사람들을 치유하고자 하는 이들의 목적처럼 원더러스트 페스티벌에서는 그

가져온 것이라고 한다. 또한 매주 다양한 로컬 아티스트 및 디제이들이

동안 수많은 관객이 위로를 받았고 행복을 찾았다. 이처럼 음악과 요가로

펼치는 파티가 있고, 영화제, 페스티벌 등의 행사를 기획해오고 있다.

진정한 삶의 의미를 찾는 사람들이 많아지고 있는 현재, 서울 도심 속에서

6층의 루프탑 또한 이 베뉴의 묘미라고 할 수 있다. 초록빛의 폭포 조명과

개최되는 원더러스트 코리아는 어떤 모습일지 기대가 된다. ■

고요한 을지로의 밤 풍경을 배경으로 올 여름의 더위를 날려보자. ■


Source: Facebook of Manpyong Vinyl music @manpyong

Source: Instagram of AJO @ajo_ajobyajo_official, Facebook of AJO @ajoajoajoajo

도메스틱 브랜드 AJOBYAJO가 운영하는 카페 겸 바, AJO

따스하게 마음을 울리는 바이닐 펍, 만평

이름처럼 이목을 사로잡는 마성의 매력

연인 또는 친구와 함께 좋은 음악이 듣고 싶다면

있다. 강렬한 임팩트를 주는 하얀색 대문을 지나면 각종 불교 장식과

감도는 거리 한 쪽, 따스한 불빛과 함께 창틀 사이로 새어 나오는 음악이

동양적인 오브제로 가득한 쇼룸에서 향 냄새가 가득 몰려온다. 쾌락 후에

발을 잡는다. 합정에 위치한 바이닐 펍, 만평은 레코드 판으로 재즈, 펑크,

찾아오는 현자타임을 암시하는 듯한 불상이 인자한 미소로 찾아오는

소울 등의 다양한 음악을 선보인다. DJ의 센스 있는 선곡과 함께 나무로

이들을 반긴다. 짐짓 고요하고 차분한 분위기에서 울려 퍼지는 음악 소리가

직접 제작한 턴테이블 부스를 보고 있으면 절로 마음이 따뜻해진다. 벽에

파리의 부다 바(Buddha Bar)를 떠오르게 한다.

진열되어 있는 다양한 LP와 그림, 가지각색의 조명은 주인장의 취향을

4층의 카페 또한 분위기가 압권이다. 입장하자마자 코이 피쉬가 헤엄치는

고스란히 반영한다. 연인 또는 친한 지인들과 함께 좋은 음악을 즐기기에

거대한 수조 바 테이블이 눈길을 끈다. 수조 뒤편으로 보이는 일본어 폰트가

이만한 공간이 또 있을까?

일본 애니메이션 아키라(Akira)를 연상시킨다. 특색 있는 커피 메뉴와 음료

2015년 오픈 이후 꾸준하게 사랑받고 있는 만평은 그 이름처럼 음악을

외에도 같이 제공되는 버터 박힌 곶감이 상당히 인상적이다.

사랑하는 사람이라면 누구든 자유롭게 이야기를 나눌 수 있는 공간이다.

애프터저크오프는 카페와 바 외에도 얼마 전 서울 기반의 여성 디제이 크루

고객이 가져온 레코드판 또한 자유롭게 플레이 할 수 있다고 하니 참고하자.

바주카포 서울(Bazookapo Seoul)의 파티가 있었다. 멋진 신생 베뉴이지만

만평에서 매주 금요일과 토요일 밤에는 파티, 일요일에는 종종 레코드 마켓이

앞으로가 더욱 기대된다. ■

열린다. 자세한 일정은 만평 소셜 미디어 계정에서 확인할 수 있다. ■

해 초에 오픈한 카페 겸 바 애프터저크오프(AJO)는 도메스틱

파로 북적이는 합정역 인근을 지나 한강 방면으로 걷다 보면 길

Source: Facebook of IDAHO @cafeidaho

브랜드 아조바이아조(AJOBYAJO)의 을지로 쇼룸 위층에 자리하고

양 옆으로 드문드문 멋들어진 카페와 편집샵이 보인다. 고요함이

망리단길이라고 불리며 열풍을 끌었던 망원동의 초입에 위치한 카페 아이다호(Idaho) 는 전자음악 크루 써킷 서울(Circuit Seoul)과 키즈웨이브 레코즈(Kidswave Records)의 프로듀서/DJ 크랜(Kran)과 시각 디자이너 오세애(fantastic rinrin)씨가 운영하는 복합 문화 공간이다. 올라가는 계단부터 분위기가 심상치 않다. 아이다호에서 열린 다양한 파티 포스터가 벽을 장식하고 있고, 계단 중간에 위치한 작은 공간에 공포 영화 한 장면을 연상시키는 으스스한 네온 조명과 블랙 스크린 티비가 설치되어 있다. 입장하면 왼편으로 보이는 카운터 위 ‘서로 서로 인사 합시다’와 복도 한편에 붙어있는 ‘모닝 스트레칭’ 안내판 등 카페 곳곳에 과거 동네 체육관이었던 흔적이 보여 정겹다. 잭슨 폴록 (Jackson Pollock)의 액션 페인팅처럼 형형색색의 물감이 튀어 있는 빈티지 쇼파가 메인 스테이지의 정 중앙에서 강렬한 존재감을 뽐내고 있다. 메인 무대 외에도 카페 안쪽의 전시

퓨처 펑크 감성의 독특한 복합 문화 공간, 카페 Idaho 은은한 네온 불빛과 함께 음악을 즐겨보자

공간이 상당히 인상적이다. 매달 정기적으로 다양한 아티스트의 무대와 전시가 진행되며 카페 앞쪽에 위치한 매대에서 스티커, 앨범 등 여러 가지 굿즈를 구매할 수 있다. 이외에도 아이다호는 각 분야의 아티스트를 초빙해 디제잉, 프로듀싱, 타투 등 다양한 워크숍도 개최한다. 자세한 전시 일정은 아이다호 인스타그램 계정을 참고하자. 시그니쳐 메뉴인 밀크티잼을 바른 토스트, 구스 반 산트와 한국에서 흔히 찾아볼 수 없는 메론 소다는 꼭 맛보기를 추천한다. ■



THERAPY IN MUSIC 핫 신스 82(Hot Since 82)로 알려진 데일리 패들리(Daley Padley)는 진실성을 소홀히 하지 않고 세련된 커리어를 유지해왔다. 레지스탕스 이비자(RESISTANCE Ibiza)의 레지던트와 니 딥 인 사운드(Knee Deep In Sound) 레이블의 오너로서, 이 리즈 출신의 젊고 잘생긴 아티스트는 여전히 음악과 그것이 가진 힘에 베팅하고 있다. 절친한 친구의 죽음은 그를 작곡 과정으로 인도했고, 그의 결실은 스튜디오 앨범으로 완성되었다. 본격적인 여름철을 맞아, 항상 인상적인 아티스트인 핫 신스 82와 이야기를 나눴다. Words: HERNÁN PANDELO


태양을 쫓아서 “나는 아주 잘 지내고 있다!” DC10에서의 공연을 앞두고, 이비자에서 만난 데일리가 말했다. “이번 여름에 드디어 내 앨범이 발매될 예정이라 매우 기대되고 엄청난 일들이 벌어질 예정이다!” 물론 우리도 상당히 기대된다. 여름 시즌이 한창인 하얀 섬 이비자는 활기찬 밤 문화로 유명하다. “나는 가능한 많은 무대에서 공연하는 것을 좋아하지만, 여유로운 시간을 찾는 것도 중요하다.” 그리고, “일 년 중 항상 어딘가는 여름이다. 영국에 살고 있지만 태양으로부터 결코 멀리 떨어져 있지 않다는 점에서 운이 좋다고 생각한다!” 데일리는 거의 19년간 이비자에 방문해왔고, 그의 방문은 매번 특별하다. 올해 그는 칼 콕스(Carl Cox), 마세오 플렉스(Maceo Plex), 아담 베이어(Adam Beyer)와 같은 거물들과 함께 레지스탕스 이비자의 레지던트 중 한 명이다. 수십 년 동안 세계적인 클럽 메카로 자리를 지킨 이비자는 시장과 함께 변화해 왔고, 근래에는 패들리 같은 테크노 아티스트에 대한 수요가 폭발하고 있다. “이비자가 지난 세월 동안 커진 만큼 음악 또한 대중의 취향을 반영하기 위해 바뀐 것 같다” 라고 그가 동의했다. “또한 내 사운드는 이비자와 함께 진화되어 왔음을 느낀다. 트렌드가 내 사운드에 맞게 변화되기 보다는 우리의 사운드가 함께 성장하고 진화했다고 생각한다. 내가 틀고 사랑하는 많은 음악은 이비자에서 스벤(Sven)과 같은 DJ들로부터 시작되었다.”

“내 사운드가 이비자와 함께 진화했다는 것을 느낀다.” 데일리는 꽤나 진솔한 사람이다. 일과 시간 도중에 연락하려고 하면 그는 아마 십중팔구 스튜디오에서 작업 중일 것이다. 만약 그렇지 않다면, 아마도 건강을 위한 활동을 하고 있을 것이다. “나는 요리, 애견 산책, 달리기, 체력 단련으로 스튜디오 생활로부터 여유를 찾는다.”라고 데일리가 밝혔다. 그는 활발하게 커리어를 쌓아가고 있고, 조만간 그의 앨범이 공개될 예정이다. “나는 지금 아주 잘 지내고 있다.” 그가 솔직하게 말했다. 그의 레이블이 성장하면서 일의 규모가 점점 커지고 있지만, 그는 모든 일을 조심스럽게 생각하고 있다. “ 조심하지 않으면 음악 산업에 먹히고 버려질 것이라고 생각한다. 그래서 삶의 균형을 찾는 것을 중요하게 생각한다. 나는 좋은 가정생활과 직장생활, 그리고 내 주위에 좋은 사람들이 있어서 행운아라고 느낀다. 그래서 지금 내 위치에서 모든 것을 떠맡을 준비가 되어 있다.”


방법을 찾아 나아가는 것이란… 우리가 데일리와 대화했을 때, 그는 2년 넘게 작업해 온 곡들의 확장판인 ‘8트랙’(‘8-track’)의 발매를 3주 앞으로 남겨 놓고 있었다. “앨범은 끝났다고 볼 수 있지만, 나에게는 여기서 끝이 아니다. 앨범 발매를 둘러싼 많은 일들이 있고 앨범 제작은 싱글 작업과 상당히 상이한 과정이다.”라고 그가 말했다. “특히 이번 앨범은 만들게 된 계기 때문에 완성에 오랜 시간이 걸렸지만, 나는 이 앨범에 매우 만족한다. 이미 몇 곡을 선공개 했는데, 반응이 정말 좋았기 때문에 LP 전체에 대한 팬들의 반응이 엄청나게 기대된다. 벌써 다음 프로젝트를 위한 아이디어들을 만져보고 있다!” 2년 전, 데일리는 매우 친한 친구를 잃었고 이 앨범에 친구를 애도하고자 하는 마음을 담았다. “앨범의 모든 곡을 쓰는 과정은 떠나간 친구에게 영향을 받았다”라고 그가 말했다. 친구에 대한 곡을 쓰는 것은 그에게 치유적인 경험이었고, 곡 제목과 음악에도 그의 경험이 녹아있다. 앨범의 컨셉은 2년 전 크리스토프(Cristoph)가 니 딥 인 사운드 레이블을 통해 ‘8트랙’ 시리즈의 1부를 발표하면서 시작되었다. “앨범의 컨셉은 아티스트가 자유롭게 실험하고, 스튜디오 앨범의 압박감 없이도 싱글이나 EP보다 더 멀리, 더 넓게 나아갈 수 있는 빈 도화지와 같다” 패들리가 설명했다. “나는 완벽주의자이기 때문에 압박감에서 자유로웠다고 생각하지 않지만, 피드백을 통해 내 사운드를 넓히고 새로운 아이디어를 시도해 볼 수 있었다. 그가 압박감에서 벗어난 것 같진 않지만, 어찌됐든 앨범은 완성되었고 발매될 준비가 되었다. ‘8트랙’은 영국 출신의 아티스트, 핫 신스 82가 만든 아주 개인적인, 카타르시스의 작품으로, 댄스 플로어를 뛰어넘는 감성적인 노래들로 가득 차 있다. 꼭 들어 보기 바란다! 56

아시아의 느낌 이비자에서 레지스탕스의 레지던트 디제이로 활동하는 것 외에도, 그는 전 세계적으로 레지스탕스 브랜드와 함께하고 있다. 그는 올해 울트라 코리아의 레지스탕스 무대에도 올라 클로징 무대를 선사했다. 토요일 밤 수많은 관객들을 끌어 모은 그의 공연은 끝까지 멋진 에너지를 유지했다. 그는 한국, 일본, 싱가포르 같은 곳에서 매진된 쇼를 하는 것은 영광이라며 “아시아에서의 여행이 정말 즐거웠다. 나는 어렸을 때부터 옛날 영화를 보며 자라왔고, 지금은 아시안 음식을 사랑하기에, 아시아는 나에게 항상 매력적인 지역으로 여겨진다. 아시아에 오는 것을 사랑한다” 라고 말했다. “아시아의 댄스 플로어들이 항상 놀랍다. 어떤 면에서는 정말 언더그라운드처럼 느껴진다.

페스티벌에서만 공연하는 것은 다양한 도시에서 투어를 하며

여전히 서브컬처의 느낌이 있는데, 그런 부분이 특별하게

실제 로컬 씬을 경험하는 것과는 상당히 다르다. 데일리가


수년간 여행하며 배운 사실이다. 하지만 목표는 항상 같다: “ 나는 항상 사람들을 위해 음악을 튼다. 기분이 좋은 음악을

물론, 하우스와 테크노는 그의 주무대인 유럽이나 미국에 비해

틀고 사람들을 춤추게 한다. 우리는 사람들을 춤추게 하기 위해

아시아에서는 그리 인기있지 않다. 하지만 그러한 서브컬처의

여기에 왔다는 것을 기억할 필요가 있다. 그것이 전부다.”

느낌이 이제는 많은 사람들 앞에서 공연하는데 익숙해진 그에게 많은 도움이 되는 것처럼 보인다. 그가 여러 문화를 집중적으로

“세계를 여행할 수 있고 내가 사랑하는 직업을 갖게 되어

체험해보는 짧은 다큐멘터리 시리즈 ’Even Deeper’에서 일본을

매일같이 감사하며 살고 있다” 라고 데일리가 말했다.

여행하는 핫 신스 82를 만나 볼 수 있다.

“물론 피곤하고, 압박감도 많고, 집을 자주 비우긴 하지만, 큰 특권이라고 생각하고, 내게는 전혀 손해볼 일이 아니다.”

“나는 작년에 일본 이곳 저곳을 여행했고 몇 곳의 작지만 놀라운 클럽에서 공연을 했다. 목요일 밤 작은 도시의 작은 클럽에 100

데일리가 찾아낸 삶의 균형은 그를 움직이게 하는 원동력이다.

명의 사람들만 모여도 사람들이 소리에 너무 열중해서 놀라웠고,

거대한 공연장이나 소규모의 파티에도 연연치 않고, 그는 음악을

아주 신선한 경험이었다.” 함께 오는 사람들 중 이 음악을 듣는

따라 움직인다. 그는 그에게 주어진 특권을 이해하면서 그

사람이 소수일지라도 개의치 않는 사람들이 많았다. 퇴근 후에

결과를 받아들일 뿐만 아니라 모든 노력을 쏟아 세련된 커리어를

양복 차림으로 와서 혼자 춤추고, 눈을 감고 몸을 음악에 맡기는

유지하고 있다. 그는 애도를 즐거운 춤으로 바꿔 나가고 있다. ■

사람들도 있었다. 유럽에서는 보지 못한 광경이어서 매우 특별하게 느껴졌다. 또한 몇 년 전 도쿄의 클럽 움(WOMB) 에서의 공연도 나에게 꽤 큰 일이었지만, 마지막 도쿄 방문 때 사운드 뮤지엄 비전(Sound Museum Vision)에서 한 공연이 내가 여태껏 아시아에서 한 공연 중 최고였다!”

“사람들을 춤추게 하기 위해 우리가 여기에 왔다는 것을 기억할 필요가 있다그것이 전부다.”







시작은 불안했지만, 이번 울트라는 희망을 가득 안겨줬다. FRIDAY 전날의 폭우가 모두를 조마조마하게 했다. 엎친 데 덮친 격으로 개최지 변경과 발목 부상으로 인한 마틴 게릭스 (Martin Garrix)의 공연 취소까지, 페스티벌에 방문하는 모두가 흥이 좀 식었다고 생각할 법하다. 하지만 그럼에도 명실상부 울트라가 아닌가? 우리를 포함해 모두가 잔뜩 기대에 부풀었다. 6월 7일 금요일, 오후 2시에 베뉴행 셔틀을 탑승했고 마침 한국 스타 저스틴 오(Justin OH) 또한 같은 셔틀에 타고 있었다. 전날보다 날씨가 나아졌다. 해가 쨍쨍하진 않았지만 적어도 하늘이 우중충한 수준은 아니었다. 가파른 언덕을 따라 삼십 분간 셔틀을 타고 이동한 뒤, 멋진 에버랜드 스피드웨이(AMG 스피드웨이)에 도착했다. 놀랍게도 베뉴는 우리 예상을 훨씬 뛰어넘었다. 4 개의 스테이지를 수용하고도 남을 만한 널찍한 레이스 트랙이 골짜기 사이에 자리했다. 풀로 수북한 언덕으로 둘러싸인 레이스 트랙은 사방이 경관이었다. 오후 5시를 몇 분 정도 남겨놓고 햇빛이 구름 사이로 얼굴을 들이밀었고, 모든 것이 좋아 보이기 시작했다.


메인 스테이지에서 영 밤스(Young Bombs)가 빌리지 피플(Village People)의 명곡 ‘YMCA’의 신선한 EDM 버전을 틀고 있었고, 많은 사람들이 오기 전이었지만 관중들이 벌써부터 리듬에 몸을 맡기고 있었다. 듀오의 선곡에 신나게 화답하고 있는 사람들을 뒤로하고, 다른 무대를 구경하기 위해 메인 스테이지를 떠났다. 레이스트랙을 따라 걸어 가장 가까운 무대인 레지스탕스(RESISTANCE)에 도착했다. 디제이 양 옆으로 지붕처럼 스크린이 설치되어 있었고, 로컬 디제이 바가지 바이펙스써틴(Bagagee Viphex13)의 테크노 사운드가 선명하게 울려 퍼졌다. 먼 거리에, 예상 관객 순으로 2위인 거대한 라이브 아레나(Live Arena)가 눈에 들어왔다. 무대 앞에 아직은 빈자리가 종종 보였지만, 페스티벌의 하이라이트가 될 것임이 분명했다. 더 멀리 뒤편, 베뉴의 가장자리에는 마지막 무대인 울트라 파크 스테이지(Ultra Park Stage) 가 위치했다. 다른 무대들의 뒤에, 양 옆으로 수많은 푸드 스탠드가 가득한 레이스트랙의 끝자락에 자리했지만, 무대 뒤편의 경관 덕분에 매우 가치 있는 방문이었다.


어느새 오후 6시가 되었고, 우리는 마실 것을 찾아 백스테이지로 향했다. 마티스 앤 사드코(Matisse & Sadko)가 메인 스테이지에서 틀고 있었지만 한국의 햇빛을 만끽하며 걸어 다니기로 했고, 점점 더 많은 사람들이 입장하는 모습이 보였다. 마침 트랩 셋을 선보이고 있는 티비 노이즈(TV Noise)의 무대를 보게 되었다. 햇빛 아래에서 공연하는 듀오는 에너지로 가득했고, 사방에 끝장나는 노래를 쏟아냈다. 활기차 보이는 관객들 또한 매번 손을 높이 치켜들고 모든 드랍에 화답했다. 어두워질 시간이 가까워졌고, 우리는 잇츠 에브리띵(Eats Everything)을 보기 위해 다시 레지스탕스 스테이지로 향했다. 하우스 보컬과 올드 스쿨 테크노 비트를 조화시키는 그는 부스의 콘솔을 능수능란하게 다루며 수많은 효과를 선보였다. 우리 옆에 어려 보이는 여자가 셀카를 찍더니, 가방에서 또 다른 펜던트를 꺼내 완벽한 사진이 나올 때까지 열심히 고군분투하는 모습이 눈에 들어왔다. 산 뒤로 해가 지기 시작하는 모습을 보고 우리는 메인 스테이지로 발걸음을 옮겼다. 나잇메어(NGHTMRE) 가 ‘In My Mind’의 보컬과 알파빌(Alphaville)의 ‘Forever Young’을 믹스하고 있었고, 메인 스테이지 왼편의 노을이 노란색 영상 및 무대의 불꽃과 완벽하게 어우러졌다. 1일차의 후반부를 장식할 포터 로빈슨 (Porter Robinson)의 무대를 볼 생각으로 마음이 들떴다. 오후 8시가 되기 5분을 남겨놓고, 긴 금발의 어린 DJ/

프로듀서가 무대에 입장했다. 그는 스크린의 지원사격 없이 공연을 시작했고 ‘Utopia’라는 문구가 화면에 떠올랐다. 첫 드랍에 맞춰, 애시드 음악의 사운드와 함께 초록빛 레이저가 쏘아졌다. 검은 스크린에 하얀색으로 갖가지 단어들이 등장했고, 관객들은 계속되는 영상을 보며 흥미롭게 기다렸다. 로빈슨의 셋이 계속될수록, 공연에 맞춰 준비한 영상이 그만의 음악 브랜드를 너무나 잘 반영하는 것처럼 보였다. 여자 보컬, 감미로운 사운드, 일본 애니메이션 이미지, 옅은 파랑 색과 섬세한 무대 디자인 모두가 포터 로빈슨의 음악과 절묘하게 어우러졌다. (미안해 마틴. 이제 네가 별로 그립지 않아.) 9시에 다이로(Dyro)를 보기 위해 라이브 아레나로 향했다. 그는 우리가 오늘 내내 들은 곡 중 드랍이 가장 강력한 드레이크(Drake)의 ‘God’s Plan’리믹스를 틀고 있었다. 베뉴 전체에서도 최고의 분위기가 바로 이곳, 스탬프드 레코즈(STMPD RCRDS) 무대에 펼쳐져 있었다. (마틴, 아까 말한 거 사실 진심은 아니었는데... 팬들이 너 없이도 너무 잘 놀고 있네.) 다음 곡으로 ‘Cinema’의 엄청난 버전이 나왔고, 관객 모두가 열광했다. 다이로가 마이크를 잡고 “다들 미칠 준비 됐어?”라고 외쳤다. 그리고 다이로의 말은 마치 예감처럼 현실이 되었다. 어느새 오후 10시가 되었고, 모든 것이 끝나갔다. 다리가 피곤에 절어 있었고, 우리는 버츄얼 셀프(Virtual Self)의 무대를 감상한 뒤 메인 스테이지 클로징 셋을 포기하고 휴식을 선택했다.



SATURDAY 토요일에 우리는 낯짝이 두껍게도 조금 늦은 시간에 베뉴에 도착했다. 다행히도 아침부터 날씨가 좋았다. 팍앤선즈(Park & Sons)가 공연하고 있는 레지스탕스 스테이지로 향했고, 어제에 비해 훨씬 많은 수의 관객들이 보였다. 날이 점차 후텁지근해졌고, 노출이 많은 옷을 입은 사람들이 보였다. 우리는 메인 스테이지에서 강력한 덥스텝 곡을 쏟아내고 있는 제드스 데드(Zeds Dead)의 무대로 향했다. 많은 관객들이 강렬한 선곡에 푹 빠져 있었고, 어제에 비해 더 많은 사람들이 보였다. 메인 라인업의 공연 전까지 페스티벌 곳곳을 돌아다녔다. 아트 디파트먼트(Art Department)가 이미 수백 명의 관중들 앞에서 마치 최면을 거는 듯한 그들의 음악을 틀고 있었다. 무대로 향하는 길목 또한 인파로 가득했고, 듀오의 음악이 우리를 포함한 많은 이들의 마음을 사로잡았다. 다음 목적지는 라이브 아레나였다. 로컬 아티스트 콜드 (Colde)가 휴식을 취하는 관객들을 대상으로 멜로디를 노래했다. 분위기가 좋았고 사람들도 좋은 시간을


이동했다. 라이브 아레나의 에너지가 이보다 더 최고조일 순 없었다. 칼 하이드(Karl Hyde)가 무대에서 모든 것을 쏟아내었고, 사람들도 그의 동작 하나 하나에 열띤 반응으로 화답했다. 어제보다 관객이 덜했지만, 돔 형태의 공연장에서 그들이 전달한 에너지는 정말로 놀라웠다. 언더월드의 공연에서 모두가 한 마음으로 통했고 듀오 또한 그 에너지를 느꼈다. ‘King of Snake’ 의 비트가 모두를 뛰게 만들었고, 무대에서 초록 불빛이 반짝였다. 언더월드는 한껏 올라간 분위기를 조금도 누그러트리지 않았다. 에너지 레벨이 한계 이상으로 치닫고 있었고, 모두가 그들의 모습 하나라도 놓치고 싶어하지 않았다. 우리는 ‘Born Slippy’가 나올 때까지 가만히 서있었고, 마침내 주변을 돌아볼 수 있었다. 모든 예상을 뛰어넘은 공연이었고, 우리에게 잊지 못할 순간들을 안겨주었다. 보내는 것처럼 보여 우리도 함께하기로 했다. 푸드 스탠드의 줄이 점점 더 길어졌고, 각 무대의 관객들도 불어나고 있었다. 토요일답게 많은 사람들이 일찍부터 베뉴를 찾았다. 이날은 인상적인 라인업이 가득했기 때문에, 페스티벌 최고의 공연이 될 무대를 보기 위해 메인 스테이지로 자리를 옮겼다. 개러스 맥그릴런(Gareth McGrillen) 이 열변을 토할 때마다 수많은 사람들이 손을 들어올려 환호했고, 7시 25분에 나이프 파티(Knife Party)의 셋이 시작되었다. 에너지가 놀라울 정도로 고조되었고, 잊지 못할 광경이었다. 의심할 여지없이 가장 멋진 무대 영상은 바로 관객들이었고, 솔직히 말해 한국 관객들이 보여준 열정은 그렇게 불릴 자격이 있었다. 아직 해가 떠 있었지만 아무도 신경 쓰지 않았다. 파티는 이미 시작했기에, 끝날 때까지 아무도 떠나지 않는 각오로 노는 모습이었다. 불꽃놀이가 시선을 잡아 끌었고, 꿈꾸는 듯한 멜로디 진행과 에너지가 가득한 드랍으로 관객들을 열광시키는 듀오의 공연 매 순간 순간을 모두가 목도했다. 밤이 되자 우리는 라인업 확정 이후로 꼭 봐야만 할 공연으로 손꼽은 언더월드(Underworld)의 무대로

밤 9시가 되자 우리는 오늘의 하이라이트를 즐기기 위해 메인 스테이지로 복귀했다. 스크릴렉스(Skrillex)가 늦어지자 기다리는 관객들을 위해 ‘보이스 오브 울트라’ 로 알려진 데미안 핀토(Damian Pinto)가 즉석에서 멘트를 준비했고, 대기 시간의 지루함을 덜고자 프로덕션이 밥 말리(Bob Marley)의 노래를 틀었다. 9 시에서 10분이 지난 후 소니 무어(aka 스크릴렉스)가 등장하자, 모두가 설렌 마음으로 기대를 모았다. 놀라운 인트로와 함께 시작한 스크릴렉스는 영상과 조명에 지나치게 의존하지 않고도 관객을 열광의 도가니로 인도했다. 공연 내내, 불꽃, LED 조명, 레이저와 함께 모두가 멈추지 않고 계속 뛰었다. 셋 시작 후 5분이 지난 후 스크릴렉스가 ‘Animals’ 를 틀었고, 그것이야말로 바로 정점이었다. 관객들의 요구 없이도 그는 공연을 끝없이 이어 나갔고, 모두가 끊임없이 울려 퍼지는 명곡의 폭포 속에 흠뻑 빠졌다. 관객들 모두가 신났고, 소니가 종종 마이크로 소리치며 호응을 유도했다. 나는 또 다시 메인 스테이지에 마음 속으로 금메달을 주었고, 불꽃이 수놓는 하늘을 뒤로하며 얼굴 가득 미소와 함께 호텔로 향했다.


SUNDAY 페스티벌의 3일차이자 마지막 날이었고, 벌써부터 다리가 후들거렸다. 8회를 맞는 울트라 코리아의 추억들을 조금이라도 더 간직하고자 이른 시간부터 베뉴로 출발했고, 완벽한 울트라 체험을 위해 푸드존에서 핫도그와 피자를 먹기로 했다. 라이브 아레나에서 세인트 레인(Saint Lane)이 공연하고 있었고, 안타까운 소문이 들려왔다. 사실일까 궁금했지만, 어차피 나중에는 알게 되겠지 싶었다. 한편, 비가 올 것처럼 보였고, 일요일의 비보에 금요일과 토요일의 놀라웠던 시간마저 무색해지지 않을까 생각했다. 팀워크(Teamwork)의 셋 후반부를 감상하기 위해 메인 스테이지로 향했고, 관객이 단체 사진을 위해 밴드와 함께 포즈를 취했다. 다음 차례로 카쿠(Kaku)가 곧바로 무대에 올라와 단 한 순간의 정적도 허용하지 않았다.

(Whipped Cream)의 무대가 있었고, 마르코 베일리 (Marco Bailey)의 공연을 보러 가기 전까지 그녀의 셋을 즐겼다. 마르코 베일리는 그의 시그니처 테크노로 우리를 춤추게 했다.

3시가 넘자, 울트라 코리아 공식 소셜미디어에서 스웨디쉬 하우스 마피아(Swedish House Mafia)의 클로징 셋 취소를 확정하며 소문이 사실화 되었다. 안타까운 일이지만 그렇다고 무언가를 할 수 있는 것도 아니었다. 카쿠의 거칠게 달리는 베이스와 에너지 가득한 공연이 마음의 짐을 조금이나마 덜어주었다. 이후 레지스탕스로 향한 우리는 한동안 로컬 디제이 소미(Sohmi)의 비트를 즐겼다. 파란 머리와 끝내주는 테크노 곡으로 그녀는 언더그라운드 사운드를 듣기 위해 모인 관객들의 흥을 돋웠다.

오후 7시, 우리는 메인 라인업의 무대를 보기 위해 메인 스테이지로 이동했다. 아직 날은 밝았고 듀크 두몽트 (Duke Dumont)가 거대한 관객을 열광시킬 준비를 하고 있었다. 그의 음악은 메인 스테이지 스피커를 장식하는 일반적인 EDM과 베이스 사운드와는 거리가 있었으나, 그런 그의 셋은 상당히 멋있게 다가왔다. 불과 연기와 함께 하우스 장인 듀크는 마치 지하 공연장에서 50명에게 음악을 트는 것처럼 공간의 열기를 높였다. 듀크가 아담 베이어(Adam Beyer)의 ‘Your Mind’에 이어 틀은 마지막 곡은 그의 가장 유명한 히트곡 ‘Ocean Drive’였다.

또한 레이든(Raiden)이 메인 스테이지 무대에 올랐다. 로컬 아티스트가 메인 스테이지 관객들을 춤추게 하는 광경이 황홀하게 느껴졌다. 마틴 게릭스 (Martin Garrix) 트랙을 틀었고, 관객에게 그의 친구 마틴을 격려하는 환호를 부탁했다. 다음으로 윕 크림

8시 반이 되자 케이조(Kayzo)가 클로징 셋을 시작했다. 몇 가지 아쉬움은 있었지만, 울트라 코리아의 끝이 점점 다가오고 있었다. 케이조는 관객을 어떻게 열광시켜야 할지 아는 디제이였고, 그가 놓인 상황에서 최선을 다했다.

더해가는 열기와 함께, 케이조는 베이스와 더 많은 베이스를 쏟아냈다. 유리스믹스(Eurythmics)의 ‘Sweet Dreams’가 엄청난 베이스 드랍과 함께 믹스되었고 관중 모두가 그 어떤 때보다 더 열기어린 반응으로 화답했다. 이제 끝이 가까웠고, 모두가 알고 있었다. 관객이 매 순간 디제이의 드랍에 반응하는 것은 상당히 특별한 경험이었다. 케이조 또한 감동받은 모습이었고, 이런 행사에서 경험할 수 있는 것 중 최고의 경험이 아닐까 한다. 크랜베리스(The Cranberries) ‘Zombie’ 의 목소리가 나오는 순간, 모두가 이 강력한 퍼포먼스에 전율했고, 비가 내리기 시작했지만 이 열기를 식게 하긴 커녕, 행사를 더 멋지게 장식했다. 참으로 아름답게 이벤트의 대미를 장식했다. 다른 모든 것보다 음악이 중심이 되었다. 유명한 이름이 그렇게 중요한 것도 아닐뿐더러 공연 취소는 이미 지나간 일이지 않나. 마틴 게릭스와 스웨디쉬 삼인조의 행사 불참과 베뉴의 변경이 가져온 걸림돌은 공연장에 모인 수많은 한국인들의 흥을 깨기엔 역부족이었다. 그들이 이런 페스티벌을 어떻게 즐기고 기념하는지를 직접 경험하게 되어 큰 의미가 있었다. 이 생각을 마음에 간직하고, 다시금 음악의 위대함을 느끼며 떠난다. ■



WHAT’S HOT IN CHINA ? Source: Bandcamp of Genome 6.66Mbp @Genome 6.66Mbp

Source: Facebook of Great Wall Festival @greatwallfestival


在文化遗产享受的 Rave 派对 长城跑音乐节(Great Wall Music Festival) 令人恍若置身于梦中

国的首都,是北京;代表北京的,是万里长城。这座 建筑物与广阔的自然相融合,使人无法相信这是只

靠人力创造的。这让人被压倒的万里长城不但是大陆的 宝贵的文化遗产而且是世界中古七大奇迹之一。过去为 了防止北方匈奴族的入侵而堆积的这座山城,谁预料到 现在成为了一个来自世界各地的人聚集在一起享受 锐舞

来自不同次元的上海互联网厂牌 Genome 6.66Mbp “我们唤起我们内心最真实的声音”

“ ‘G

enome 6.66 Mbp’ 是为破坏世界而诞生 的。我们唤起我们内心最真实的声音,绝望、

喜悦还有兴奋。”上海互联网厂牌 Genome 6.66Mbp的


首张 Tavi Lee 和 Kilo Vee 在上海传奇式的俱乐部庇护所

长城跑音乐节每年邀请像本·克鲁克(Ben Klock) 、马塞尔·德

(The Shelter)见面,当初他们想和心灵相投的人一起做

特曼(Marcel Dettmann) 、 戴夫·克拉克(Dave Clarke)




、 大卫·库塔(David Guetta)等这些代表电子音乐的DJ







海外艺人不断地合作。这使他们的音乐不能被定为 Tech-


no 或者是 Grime 或者是 Footwork 等体裁。具有让人




风格,像来自不同次元的专辑封面能够让 Genome 从


Resident Advisor,I-D,Bandcamp 等获得“超越时代




他们的舞台不局限于中国的 underground 俱乐部。今年

且派对前举办万里长城马拉松、野营、after-party 等多



Berghain 的 Panorama Bar 和柏林的 CTM 音乐节等,





Source: Facebook of Tsunano @tsunano

Source: Smartshanghai of ALL Club @ALL Club

中国年轻人的偶像 Tsunano 他对待自己的音乐的态度是一种“完美主义”

上海俱乐部的新传说 Club ALL “Cyberpunk” 和 “Dystopia”

1992年出生于台湾的首都,台北的Tsunano是目 前在上海最受欢迎的一名 Electronic Hip Hop &

Reggae & Funk 音乐制作人和 DJ。他从17岁开始了自己 的音乐制作和 DJ 生涯,而在2009年发布的一首歌‘当心 (Watch Out) ’使他成为了中国大陆电子音乐的新秀。虽然他 主要在中国上海活动,但他的活动范围不限于中国国内。

海大名鼎鼎的 underground 俱乐部 庇护所(The

他参加了明日世界电子音乐节(Tomorrow Land)、 阿姆


斯特丹舞蹈活动(Amsterdam Dance Event)等海外大

整个 underground 俱乐部留下浓重的阴影。但不久,

型音乐节而得到了 Yellow Claw、Cesqeaux、Aazar 等

叫“ALL”的新希望再次出现在上海。从 Gabber、Grime


以至冰冷氛围 Techno 和中国传统歌曲,这俱乐部的音乐





(吴莫愁(Momo Wu), 鹿晗 (Lu Han), 李宇春 (Chris Lee),


华晨宇 (Hua Chenyu)等)制作的音乐每次都会获得好评。

一系列的派对让人联想到‘Cyberpunk’ (赛博朋克)

特别是2015年与名声鹊起的少年音乐人 Chace 合作的吴

和‘Dystopia’ (反乌托邦)这两个单词。目前在国内最令

莫愁的歌‘无惑(No Confusion)’两周之内被播放了40万多

人兴奋而广受赞誉的厂牌 Genome 6.66 Mbp 和 SVB-


KLT 经常在这俱乐部派对,还有像俄罗斯的 ic3peak 一样

Tsunano 去年出演中国人气综艺节目‘即刻电音(Rave





向,或为此排斥其他人。 ALL 不允许模仿欧洲俱乐部的面

使他被 NYLON 或 Vice 等品牌邀请为品牌大使。而且


2014年 风暴音乐节(STORM Festival)和异视异色(Vice

给许许多多的艺术家和 Alternative 音乐爱好者提供了最

China)合拍而红遍大江南北的关于 Tsunano 纪录片能够





用音乐来治疗 以“Hot Since 82”闻名的Daley Padley, 一直以来都保持着真实, 维持着成熟干练的职业生涯。作 为RESISTANCE Ibiza的常驻DJ和Knee Deep In Sound厂牌的掌门人, 这位来自利兹的年轻帅 气的艺术家依然在为音乐及其所拥有的力量下注。好友的离世,引他步入作曲之路, 他的成果完成于工 作室专辑中。在夏季正式来临之际, 我们采访了常给人留下深刻印象的艺术家Hot Since 82。 Words: HERNÁN PANDELO


追逐太阳 “我过得很好!” DC10的演出在即,在伊维萨岛见到 的Daley说。“这个夏天,我的专辑终于要发行了, 我对此非常期待, 也将会发生很多特别的事情!”当然 我们对此也相当期待。 正值夏季的‘白色小岛’伊维萨岛以其充满活力的 夜文化而闻名。“尽管我喜欢尽可能多地在舞台上演 出,但享受闲暇的时间也很重要”他补充说。“总有 某个地方是夏天。虽然我住在英国,但我并没有远离 太阳,从这点来看,我十分幸运!” 近19年来,Daley几乎不断地访问伊维萨岛,而他的 每一次到访都是特别的。今年,他和Carl Cox, Maceo Plex, Adam Beyer等大腕一起成为RESISTANCE Ibiza的常驻DJ中的一员。几十年来,伊维萨岛一 直是全球夜店的圣地,紧随市场变化,近年来对像 Daley这样的电音大师的需求激增。“多年来,随着 伊维萨岛的发展,为了迎合大众的口味,音乐也似乎 发生了变化”他如此说道。我的音乐也随着Ibiza而进 化发展。我觉得,与其说趋势变化符合我的音乐,不 如说是和我们的音乐共同成长和进化的。我所播放的 以及热爱的许多音乐, 都来自于Ibiza的Sven等DJ。

感觉到我的音乐和 Ibiza一起进化了 Daley是一个很坦率的人。如果你在工作时间试图联 系他,他大概十有八九是在工作室工作。如果不是, 那可能是在为保持健康而活动着。“我通过烹饪,遛 狗,跑步和健身找到了我在工作室生活中的闲暇时 光”Daley说。 他正在积极地丰富着自己的职业生涯,不久他的专辑即 将发行。“我现在过得很好。”他坦言。随着他的厂牌 不断壮大,规模是越来越大,而他对每一件事都保持谨 慎。如果不小心谨慎,你将在音乐界被吞噬被遗弃。因 此找到生活的平衡点很重要。我拥有良好的家庭生活, 工作生活以及周围有很多的好人,可以说是个幸运儿。 所以现在的我已经准备好承担起我所处位置的一切。


所谓寻找方法向前是... 我们和Daley交谈时,距离他耗时两年多创作的歌 曲‘8 Track的发行还有3周的时间。”可以说专辑已经 制作结束了,但是对我来说还没有结束。围绕专辑发 行有很多事情,专辑制作和单曲制作是相当不同的过 程。“他说。”尤其是这张专辑,由于制作契机的缘故, 尽管完成制作花费了很长时间,但我对这张专辑真的 非常满意。已经提前公开了几首歌,因为反响很不错, 所以非常期待歌迷对整张专辑的反应。我们已经在为 下一个计划接触各种想法!” 两年前, Daley失去了一位非常要好的朋友, 这张专辑 寄托了他哀悼朋友的心情。”专辑里所有歌曲的创作 都受到了离世朋友的影响”他说。写一首关于朋友的歌 曲对他来说是一次治愈性的经历,曲名和音乐中也融 入了他的经历。 这张专辑的概 念始 于两年前Cr i s to p h通过K n e e Deep In Sound厂牌发表的“8 Track”系列的第一部 分。“专辑的概念就像一张空图纸,艺术家可以在没有 工作室专辑压力的情况下自由地实验,比单曲或EP走 得更远更宽”Daley解释道。“因为我是一个完美主义 者,尽管我不认为在压迫感之下还可以自由,但我可以 通过反馈来拓展我的音乐, 不断尝试新的思路。” 他似乎还未能从压力中解脱出来,但不管怎样专辑已 经完成并准备发行.‘8 Track’是来自英国的艺术家,Hot Since 82制作的非常个人化的宣泄作品,充满了超越舞 池的感性的歌曲。一定要听听!


亚洲的感觉 除了在Ibiza担任RESISTANCE的常驻DJ之外,他还在 全球范围内与RESISTANCE品牌进行合作。今年,他 还登上了“Ultra Korea”的RESISTANCE舞台,为观众献 上了闭幕演出。周六晚上,他的演出吸引了无数观众, 而他始终保持着充沛的能量。他说,“能在韩国,日本, 新加坡等国家的一票难求的舞台上表演是件非常荣幸 的事,我非常享受在亚洲的旅行。我从小就看老电影 长大,现在热爱着亚洲美食,亚洲对我来说一直是一 个充满魅力的地区,我非常喜欢来亚洲”。“亚洲的舞 池总是令人惊叹。在某些方面,真的感觉很像地下。现






地,在亚洲并不像在欧洲或美国那样受欢迎。但是这 种亚文化的感觉,对于现在已经习惯在很多人面前表 演的他来说,似乎很有帮助。在他集中体验各种文化 的短纪录片系列‘Even Deeper’中,可以见到在日本旅 行的Hot Since 82。 “我去年在日本各地旅行,在几家规模不大却很惊人 的夜店演出了。周四晚上,小城市不大的夜店里,哪怕 只有100个人,大家热情的欢呼声让我感到惊讶,这是 一次非常新鲜的体验。一起来的人中,即使听这种音 乐的人是少数,大部分人也并不在意。下班后,有穿 着西装而来独自跳着舞的,也有人闭上双眼把身体交

学习到的。尽管如此目标向来是一致的:“我总是为人 是, 我们来这里是为了让人们跳舞——这就是全部。” “能够去世界各地旅行,拥有自己热爱的职业,我每 天都在感恩生活。”Daley说。 “当然我也会疲惫,压 力也很大,家经常是空着的,但我觉得这是一个很大 的特权,对我来这根本不是吃亏的事。” Daley找到的生活平衡是推动他向前的动力。他不拘 泥于宏大的演出场地或是小规模的派对,而是听从音 乐的调动。他理解着给予他的特权,不仅接受其结 果,而且倾注一切努力来维持他成熟干练的职业生 涯。他正在将哀悼变成快乐的舞蹈。■

付给音乐的。这是在欧洲从未见过的景象,感觉很特 别。另外,几年前我在东京的夜店WOMB的演出对我 来说也是件大事,还有最后一次去东京,我在Sound Museum Vision的表演是我在亚洲所做过的最好的表演!

需要记住的是, 我们来这里是为了让 人们跳舞——这就是 全部







开局虽让人不安,但这次的Ultra仍带来了很多希望 星期五 前一天的暴雨让大家忐忑不安。屋漏偏逢连夜雨, 举办场地的变更和因脚腕受伤致使马丁·盖瑞斯 (Martin Garrix)的演出取消,无疑令来参加音乐节的 人都觉得有点扫兴。 但即便如此,不也是名副其实 的‘Ultra’吗? 包括我们在内,所有人都充满了期待。 6月7日星期五,下午2点乘坐了去往公演场的车,刚 巧韩国明星Justin OH也在这辆车上。天气比前天 要好,虽然阳光还不算明媚,但至少天空不再阴沉 沉的。 沿着陡峭的山坡,乘坐30分钟左右的摆渡车, 便到达了美丽的爱宝乐园Everland Speedway (AMG Speedway)。 令人惊讶的是,公演场地远超于我们的预期。即 使启用了4个舞台,山谷中间仍留有一条宽阔的跑


道。 被草丛环绕的场地四周都是景观。 离下午5 点还有几分钟,阳光从云缝里扑面而来,一切都开 始变得好起来。 主舞台上,Young Bombs正播放着Village People 的名曲‘YMCA’的EDM版本。 虽然聚集的人还不 多,但在场的观众们早已把身体交给了节奏。暂别 那些兴奋地回应着二人组选曲的人们,为了观看其 他舞台,我们离开了主舞台。 沿着跑道一路走,来到 了最近的舞台—RESISTANCE。 DJ 两侧设有像屋顶 一样的屏幕,本地DJ Bagagee Viphex13播放的电 子乐清晰地响起。 远处,预计观众人数排在第二位的巨大的场地 (Live Arena)映入眼帘。 虽然现在舞台前还能看 到一些空位,但无疑这里将成为音乐节的一大高 潮。更远的后方,场地的边缘位置是最后一个舞


台—Ultra Park Stage。 在其他舞台的后面,两旁 布满了各种美食摊位直到跑道的尽头,得益于舞台 后面的景观,这次的访问是非常有价值的。 不知不觉到了下午6点,我们去后台找饮料喝。虽 然Matisse & Sadko在主舞台放着音乐,但我们决 定边走边享受韩国的阳光,渐渐地,我们看到了越 来越多的人入场。 恰巧看到了正在展示Trap的TV Noise的舞台。 在阳光下表演的二人组充满了能 量,四面都洋溢着顶级的歌曲。 看起来精神抖擞 的观众们不停地高举双手回应着所有的音乐。 天 色已晚,我们为了看Eats Everything, 再次前往 RESISTANCE舞台。 将house音乐和old school 电子节拍融于一体的他熟练地驾驭了展台的控制 台,展现出各种效果。 在我们旁边,一个年轻女子 正在自拍,她从包里拿出另一个吊坠,直到拍出完 美的照片为止,努力孤军奋战的模样映入眼帘。 看 到 太 阳 开 始 落 山 , 我 们 便 向 主 舞 台 走 去。 NGHTMRE将‘In My Mind’的声乐部分和Alphaville 的‘Forever Young’混音在一起。主舞台左侧的晚 霞与黄颜色的影像以及舞台的焰火完美交融。想 到要观看第一日后半部分的波特·罗宾逊(Porter Robinson)的舞台,心里就激动起来。

离晚上8点还有5分钟,一头长金发的年轻DJ/制作 人出现在舞台上。 他在没有屏幕的配合下开始了 表演,‘Utopia’字样出现在画面上。 配合着第 一个高潮,绿色的光束伴随着Acid音乐的旋律发 射出。 黑色背景上,白色字样的各种词语纷纷出 现,观众们看着不断出现的影像,兴致勃勃地等待 着。伴随着罗宾逊连续不断的打碟,配合演出所 准备的影像似乎很好地体现出专属于他的音乐品 牌。 女主唱,甜美的声音,日本动画形象,淡蓝色和 精巧的舞台设计,都与波特·罗宾逊的音乐绝妙地 融合在一起。 (对不起,马丁。 现在不太想念你) 9点,为了看Dyro前往Live Arena。 他正在播放我 们今天所听到的歌曲中,音乐最强烈的D rake 的‘God’s Plan’的混音。 整个公演场最棒的氛 围就是在这里,STMPD RCRDS的舞台正在进 行着。 (马丁,刚才说的其实不是真心的... 粉丝们 没有你也玩得很好啊。)下一首歌是‘Cinema’ 的特别版本,全场观众为之疯狂。 Dyro握住麦克 风 喊道:“大家准备好和我一起疯狂了吗?”然 后,Dyro的话就像预感一样变成了现实。 不知不 觉到了晚上10点,一切渐近尾声。 腿累得快瘸了, 我们在欣赏了Virtual Self的舞台后,放弃了三个主 舞台的压轴表演,选择了休息。



到了晚上,我们前往了在公布演出阵容后入选为必 看的”Underworld”的表演舞台。 这无疑将是Live Arena的最高潮。Karl Hyde在舞台上倾洒了一切, 人们对他的每一个动作都反应热烈。虽然观众人 数比昨天少,但在圆顶形状的演出场上,他们传递 的能量实在惊人。在Underworld的演出中,大家同 心相连,感受到了组合或者个人的能量。‘King of Snake’的节奏让所有人都跟着跳跃,舞台上绿色的 光束十分耀眼。 Underworld丝毫没有浇灭无限高 涨的气氛。 能量指数直奔极限,所有人都不想错过 他们的每一个面貌。 直到‘Born Slippy’出来我们 都静静地站在那里,总算可以环顾一下四周了。这 场演出超乎想象,给我们带来了难忘的时光。

星期六 星期六我们厚脸皮地在稍 晚的时间到达了公演 场。 幸好从早晨开始天气就很好。 前往Park & Sons正在演出的RESISTANCE舞台,与昨天相比, 现场的观众人数明显增多。 天气渐渐变得闷热起 来,可以看到一些着装暴露的人。 我们走向了在主舞台倾泻着强烈Dubstep曲风 的Zeds Dead的舞台。许多观众被强烈的选曲深 深吸引,相比于昨天,观众明显更多了。 在主线阵 容演出之前,我们走遍了音乐节的各个角落。 Art Department已经在数百名观众面前播放着他们 催眠式的音乐。 通往舞台的路口也挤满了人,二人 组的音乐征服了包括我们在内的许多人的心。 下一个目的地是Live Arena。 本地艺人Colde为


休息的观众们演唱了歌曲。 气氛很好,人们似乎也 在享受着美好的时光,我们也决定参与进来。 美 食摊位前的排队越来越长,各舞台的观众也越来越 多。 不愧是星期六,很多人早早就来到了公演场。 因为这一天充满了令人印象深刻的阵容,所以为了 观看音乐节上最精彩的演出,我们移动到了主舞 台。 每当Gareth McGrillen发表热情的讲话时, 无数人举手欢呼,7点25分,Knife Party的表演开 始了。 现场气氛惊人的高涨,十分令人难忘的场 面。 毋庸置疑,最精彩的舞台影像就是观众,说实 话,韩国观众表现出的热情是有资格被这样称为 的。 虽然太阳还高高挂着,但没有人在意这些。 所有人都抱着派对既已开始,直到结束,谁都不会 离开的思想准备在玩儿。焰火吸引了人们的视线, 我们目睹了通过充满梦想的旋律和充满能量的音 乐,令观众为之疯狂的二人组演出的每个瞬间。

到了晚上9点,我们为了享受今天的高潮,又回到了 主舞台。 以‘Voice of Ultra’著称的Damian Pinto,为等待迟到的Skrillex的观众们,临时准备 了说辞,为了减少等待的无聊感,制作组播放了鲍 勃•马利(Bob Marley)的歌曲。9点10分钟左右, 桑尼·摩尔(aka Skrillex)登场,所有人都怀着激动 的心情期待着。 以惊人的前奏开场的Skrillex,即 使不依赖影像和照明,也足以引导着观众走向狂 热。 整个表演过程,伴随着焰火,灯光,激光,大家一 刻不停地跳跃着。 演出开始5分钟后,Skrillex播放起‘Animals’,这 才达到了高潮。 在没有观众要求的情况下,他无 止境地持续演出,所有人都沉浸在不断响起的名曲 瀑布中。 全场观众都兴奋不已,桑尼不时通过麦 克风发出声音来引导观众们的呼应。 我再次将心 中的金牌给了主舞台,离开被烟花点缀的那片天 空, 面带微笑地走向酒店。


星期日 这是音乐节的第3天,也是最后一天,腿早已没了 力气。 为了再多保留一些第8届Ultra Korea的回 忆,我们早早就出发前往公演场,为了Ultra的体验 更加完美,决定要在美食区吃热狗和比萨。 Saint Lane正在Live Arena演出时,听到了一些不 好的传闻。 虽然很是好奇,但我想反正以后终会知 晓。 另一方面,天似乎要下雨,我想周日的噩耗会不 会连带着周五和周六的惊艳时间也变得黯然失色。 为了欣赏Teamwork表演的后半部分,我们前往 主舞台,观众为了拍摄团体合影与乐队一起摆好 造型。下一个轮到Kaku登台表演,不允许现场有 片刻的沉寂。 3点多,Ultra Korea官方社交媒体上确定取消了 Swedish House Mafia的闭幕演出,传闻成了现 实。 虽然是一件令人遗憾的事情,但也是无可奈 何。 Kaku的粗犷低音和充满能量的表演,使大家 减轻了一点心理负担 之后,走向RESISTANCE的我们享受了一段本地DJ Sohmi的节奏。 她以蓝色的头发和过瘾的电子音 乐,为听地下音乐而聚集的观众们助兴。 此外,Raiden也登上了主舞台。 本地艺人引得主 舞台观众翩翩起舞的景象令人陶醉。 马丁·盖瑞斯 (Martin Garrix)播放着歌曲,请观众为他的朋友马 丁加油欢呼。 接下来,在去观看Marco Bailey的 演出之前,我们沉醉于Whipped Cream的舞台。 Marco Bailey用他的标志性电音使我们跳起舞来。

晚上7点,我们前往主舞台观看主线阵容的表演。 天还亮着,Duke Dumon正为了庞大的观众嗨起 来做着准备。虽然他的音乐与点缀主舞台所用的 一般电音和贝斯声有些差别,但他的表现十分精 彩。 伴随着火与烟,House匠人Duke就像是在地 下公演场给50个人播放音乐一样,空间热度不断升 温。紧接Adam Beyer的‘Your Mind’之后,播放 的是Duke最有名的热门歌曲‘Ocean Drive’ 。 到了8点半,Kayzo开始了闭幕演出。虽然还意犹 未尽,但ULTRA KOREA已经接近尾声了。 Kayzo 是深谙如何能让观众嗨起来的DJ,他在身处环境 下竭尽所能。 伴随着越来越火热的气氛,Kayzo加入了更多的 贝斯。 Eurythmics的‘Sweet Dreams’与超强 的贝斯声融合在一起,观众的反应比任何时候都

要热烈。所有人都知道现在离结束已经很近了。 每个瞬间观众对DJ的音乐做出的反应,都是相当 特别的经历。 Kayzo也深受感动,这可能是他在 这样的活动中所经历过的最棒的一次体验。小红 莓乐队(The Cranberries)‘Zombie’的声音响 起的瞬间,所有人都被这强有力的表演所震撼,虽 然开始下起了雨,但不仅没有让这股激情冷却,反 而使得表演更加精彩。 真是精美地点缀了活动的结尾。 相比其他任何东 西,音乐成为了中心。 名气并不那么重要,取消演 出也已经是过去的事了。马丁•盖瑞斯和Swedish 三人组的缺席和公演场地的变更所带来的障碍, 不足以影响聚集在演出现场的无数韩国人的兴 致。 我们亲身体验了大家是如何享受并纪念这种 音乐庆典,感觉很有意义。 这个想法珍藏于心,再 次感受到音乐的伟大而离开。■





DJ MAG JAPAN × MNN コラボイベント 「Chapter One」 未成年参加型イベント!

招待制イベント DJ MAG JAPAN presents SundayAfternoon あなたも参加しませんか?


宿の休日に新しい楽しみ方を提供する」を目 的に開催してきている SundayAfternoon



できる素敵な空間となっている。また、女性や小さなお 子様も楽しめる場となっており、幅広い世代がダンスミ ュージックを通して交流できる場だ。招待制イベントな


に、気軽に立ち寄れる原宿の新たなスポットになりつ つある。■ 72

い頃から身近にダンスミュージックがあるヨー ロッパや北米と比べると、日本のダンスミュージ


グローバルスタンダードを日本国内で創り出すために も、普段クラブに行けない未成年の方たちに、世界トッ プレベルの音楽を体感できる環境を提供することがDJ

MAG JAPANの使命であると考え、EDM総合ポータル サイト「MNN」とタッグを組み、本イベントを開催。1回

目には、Martin Garrixの「STMPD RCRDS」と最初

に契約したLIONEと、Moksiが立ち上げたばかりのレー ベル「Moksi Family」と最初に契約したロシア出身の SLATINを招聘。そして2回目には、Don Diabloのレー

ベル HEXAGONやFuture House Music等からリリー スし、ヒット曲を連発させているフューチャーハウスシー ン注目度No.1のJordan Jayが来日。国内注目若手DJ

たちもパフォーマンスを行い、普段活動する場所が限ら れてしまっている次世代の若手DJたちの活躍の場を作 っていければと考えている。■

オランダ発世界最高峰の DJ/Producerスクール “THE SCHOOL OF HOUSE” 日本初上陸 君も本場のダンスミュージックを学ぼう


OP100DJsにも輝いたMartin GarrixやNicky

Romero、Spinnin’ RecordsやArmada Music


では絶対に実現不可能だったスクールが、今年日本に やってくる。

“THE SCHOOL OF HOUSE”は、オランダの首都アム ステルダムを拠点とするDJ/Producer専門学校。DJ

やプロデューサーとしての授業はもちろんのこと、ダン スミュージックの歴史からアーティスト像、レーベルの

設立、アーティストPR、 マーケティング、フェス&イベン トオーガナイズ、作曲、法律、キャリアプラン等、1人1 人に合わせた様々な分野のコースが用意されている。 過去には、DJ MAG TOP 100 DJsで3連覇を果たし

ているMartin GarrixやNicky Romeroらが講師とし て登壇しており、グローバルスタンダードである教育の

質はもちろんのこと、ネットワーク作りにおいても世界 最高峰のDJ/Producerスクールとなっている。そんな

THE SCHOOL OF HOUSEが日本にまもなくやって くる。■


本特有のポップでかわいいダンスミュージック “KAWAII DANCE MUSIC”が今、世界で注目され


ザーや心地よく軽快なメロディが、欧米、東南アジアを 中心に広がりをみせ、日本独自のKAWAIIとダンスミュー ジックの融合が新たな市場を生み出しつつある。

ARMADA MUSICのA&Rのトップ・Jeroen te Rehorstは、 「一昔前、EDMブームがあった際、アメリカでは、

ヨーロッパにはない 独自のローカルヒーローや大 物アーティストで成り立つ自給自足な文化を作り上

げ、Marshmelloなどの絶大な人気を誇るアーティスト を生み出してきた。彼らはヨーロッパでの人気はそれほ

どないが、それは問題ではない。独自の音楽文化を軸 に成長し、欧米のアーティストの様に成功へ進むべき。 」と語っている。


に、KAWAIIとダンスミュージックの融合が日本独自 の自給自足文化を作り上げ、世界に認められるダンス

ミュージックの1つの文化を作るのではないかと考え ている。■



THERAPY IN MUSIC HOT SINCE 82 として知られるDaley Padley(以下デイリー)は、常に作品の中に真実味を持たせ 非常に洗練されたキャリアを歩んできた。時にはRESISTACE IbizaのレジデントDJとして、時には

Knee Deep in Soundsというレーベルの代表として、若くハンサムな英国リーズ出身のアーティスト

は、全身全霊で音楽と向き合い、音楽の持つ力に全てを賭けている。親友の死が彼を作曲に没頭させ、結 果として新たなアルバムが生まれた。これからが夏本番。いつ会っても非常に魅力的な彼に話を聞いた。 Words: HERNÁN PANDELO


太陽を追いかけて 「凄く元気だよ!」開口一番デイリーは言った。DC10への出演 を控え、イビザ島で会った時だった。 「遂にアルバムが完成した んだ!それに加えて、凄く期待している沢山のアナウンスがあるん だ。」それを聞いた我々も期待で胸が膨らんだ。 夏のシーズンが本格化してきたイビザ島の醍醐味といえば、活気 に満ちたナイトライフだろう。 「出来るだけ多くの舞台に立つこと は重要だけど、その合間に自分だけのゆったりとした時間を設ける のも同じくらい大事なことなんだ。」加えて、 「一年を通して地球の どこかは夏だからね!英国に住んでいるにもかかわらず、照りつけ る太陽から遠く離れない生活ができるのはラッキーかもしれない ね。」 (英国は通年曇り空であるのを揶揄して) デイリーがイビザ島に訪れるようになって19年が過ぎた。しか し、毎回の訪問が特別なものだと彼は言う。今年はCarl Cox, Maceo Plex, Adam Bayer等、超大物DJと肩を並べ、RESISTANCE IbizaのレジデントDJに指名された。この数十年間、クラブのメッカ として不動の地位を維持してきたイビザ島は、常に市場と共に変 化、そして進化してきたといえるだろう。近年は、デイリーの様なテ クノDJが爆発的なブームを巻き起こしている。 「長い年月の中で成 長をとげたイビザの音楽が、ファン達の嗜好にも反映されているん じゃないかな。」と彼は言った。 「そういう意味では僕の音楽もま た、イビザと共に進化してきたと思う。僕のサウンドにトレンドがつ いてきているんじゃなく、全ての要素が一緒になって成長して、進 化しているんだ。イビザは僕のサウンドの原点だよ。全てはイビザ でSvenのようなDJを観た時から始まったんだ。」

「僕の音楽もまた、 イビザと共に進化してき たと思う。」 デイリーは意外にも実直な人柄である。日中、彼に連絡すると、十 中八九スタジオで作曲の作業中であろう。でなければ健康維持の 為のアクティビティに勤しんでいるかだ。 「料理、愛犬の散歩、ラン ニング、フィットネスジム等、スタジオ作業から一息つきたいときは それらにかぎるね。」 彼は着実に、そして恐るべき早さでキャリアを積み重ねている。近 日発表されるアルバムもその一つだろう。 「今は全てが順調なん だ。」彼が率直な胸の内を明かしてくれた。先述の彼が代表を務 めるレーベルが拡大するにつれ、仕事の規模も大きくなっている のだが、彼は常に慎重さを忘れないようにしていると言う。 「そう しないと音楽業界に喰いものにされたあげく、捨てられるのがオ チだからね。だからこそ人生はバランスが大事なんだ。仕事でも 私生活でも充実しているし、沢山の良い人達に囲まれている。それ が僕の成長の秘訣なんだ。」


突破口を探して 我々がデイリーにインタビューをしている時点で、彼が2年もの歳 月をかけ作り上げたアルバム “8-track” の発売まで3週間余りだ った。 「アルバムの制作はほぼ完了したと言ってもいいだろう。でも 僕のゴールはそこではないんだ。制作の過程で多くの事が起きた し、アルバムとシングルでは制作のプロセスが全く違うんだ。」と 言い、 「今回のアルバムは、制作に至るきっかけがきっかけなだけ に、特に長い時間を費やしたよ。でも結果には凄く満足しているん だ。すでに何曲かリリースしてみたんだけど反応も上々だしね。ア ルバム全体を聞いてもらうのがとても楽しみだ。加えて次のプロジ ェクトにも動き始めたしね!」とした。 数年前、彼は非常に親しかった友人を亡くした。件のアルバムは亡 くなった友人への追悼の意が込められているのだ。 「収録されてい る全ての曲に彼が影響している。」結果的に、亡き友人へ送る曲の 制作が友を亡くした彼の心を癒したのだと言った。その影響は全て の曲や曲名にさえ影響している。 アルバムの草案は、2年前にCristophがKnee Deep in Sounds のレーベルを通して“8-track” シリーズの第1部を発表した時に 生まれた。 「アルバムのコンセプトは、自由かつ試験的でスタジオ アルバムのプレッシャーも無く、シングルやEPよりも遥かに遠く、 広く進んで行けるキャンバスの様なものだ。」と説明した。 「僕は 完璧主義者だからプレッシャーから完全に自由になれたとは言い 難いかも知れないけど、外部からのフィードバックを介してサウン ドの幅を広げられたし、新しい事にも挑戦できたと思う。」 彼がプレッシャーから解き放たれたかどうかは定かではないが、 いずれにせよアルバムは完成し、発売を目前としている。 アルバ ム“8-track”は英国出身のHot Since 82による、至極個人的感情 の詰まった、カタルシスな作品であり、ダンスフロアを飛び越えて いく様な曲で溢れている。是非とも聴いてもらいたい! 76

アジアへの想い 彼はイビザ島のRESISTANCEのレジデントDJだけでなく、世界 中のRESISTANCEのステージに立っている。今年のウルトラ・コリ アでも土曜日のRESISTANCEステージでクロージングセットを 披露した。彼のパフォーマンスは非常に多くの観客を集め、最後ま で素晴らしいエネルギーをキープしていた。彼は日本、韓国、シン ガポール等で完売される様な人気公演に出演できるのは非常に 光栄であるとし、 「アジアの国々に行くのは本当に楽しかった。子 供のころはクラシックな映画に夢中になっていたけど、今はアジア の料理に夢中なんだ。どこに行っても魅力的で、いつも訪れるのが 楽しみなんだ。ダンスフロアーにも驚かされた。凄くアンダーグラ ウンドでサブカルチャーなところがある。それが僕にとっては特別 に感じるんだ。」

る。ここ数年間、世界中を旅したデイリーが感じた事実である。し かし彼の目標だけは変わることはない。 「僕は観客の為にスピン





客から敏感に感じ取っていた。その感覚は、大観衆の前で舞台に 立つ彼にとって、どこか懐かしく、逆に新鮮でもあるのだという。


彼が様々な文化を体験する番組「Even Deeper」で、日本旅行を

やっていけることに日々感謝しているよ。」とデイリーは言った。 「


もちろん疲れる時も、プレッシャーを感じる時もあるし、家を留守 にする日も多いかもしれないけど、凄く恵まれた環境にいるんだっ



らアメージングなクラブが凄く多かったよ!小さな地方都市の、キ ャパが100人位のクラブに出演したんだけど、皆が音楽に全てを














seum Visionはアジア全体で考えても格別だったよ!」

「「そもそも僕らDJは観 客に踊ってもらう為にプ レイしているはず。それが 全てさ。」 大型フェスティバルだけで舞台に立ち感じるものと、世界中の様 々な都市をツアーし、ローカルなシーンで感じるものは大きく異な







音楽が魅せてくれた底力 不安が希望に変わる時 金曜日 前日の大雨のせいで皆、気が気でなかった様だ。そ れに加えて会場の変更と、Martin Garixx の足首 骨折による出演キャンセルともなると、観客の意気 は沈んでしまうのが妥当ではないか。しかし、そこは やはりウルトラ。私達を含め、皆が最高潮だった。 6月7日金曜日、午後2時発の会場行きシャトルに 乗ると韓国のスターDJ、Justin OHも同乗してい た。天気は前日に比べ良くなっていた。太陽がギラ ギラ照りつけるとまではいかないが、曇ってジメジメ とはしていない。厳しい坂を30分間シャトルを乗り 移動したのち、素晴らしいエバーランドスピードウェ イ(AMGスピードウェイ)に到着した。 驚くことに新しい会場は私達の予想を遥かに超え るものだった。4つのステージを収容しながらも広 々と感じられるレース場は、広大な芝生と四方を山


に囲まれていて実に景観だ。午後5時になろうとす る頃、雲の隙間から太陽が顔を覗かせ、全てが好転 し始めた。 メインステージでは Young BombsがVillage Peopleの名曲、 「YMCA」のリミックスを流していた。一 番乗りで入場した観客達が、長蛇の列を成している 入場口を尻目に非常に面白いトラックのリズムに身を 任せている。デュオの選曲を楽しむ観客を後にして、 私たちはレジスタンス・ステージへと向かった。DJ ブースの両脇からズラッと並ぶLEDスクリーンがま るで屋根の様だ。そこではローカルDJの Bagagee Viphex13のテクノサウンドが鮮明に届いていた。 遠くには収容数で2番目の規模になるであろうライ ブ・アリーナが見えた。ステージ前には未だ空席が 目立つが、フェスティバルの多くのハイライトは此処 で起こるのは明らかだった。更に奥にはウルトラパ ーク・ステージが見える。他のステージに比べ後方


に位置しているが、無数のフードスタンドに囲まれ ているので興味深い環境だった。 気がつくと午後6時を過ぎていた。喉を潤す為に バックステージに向かうことにした。メインステー ジではMatisse&Sadkoが流していたが、やっと顔 を出した太陽の下、どんどん増える観客の中を歩き 続ける。するとトラップのセットを披露しているTV Noiseを見つけた。太陽に向かいながらプレイして いるデュオは、四方八方にエネルギーに満ちた曲を ドロップしていて、観客もそれに応えるように手を 高々と挙げ歓喜に満ちていた。日が少し落ち始めた のでレジスタンス・ステージへと戻ってみよう。Eats Everythingがハウスのボーカルとオールドスクー ルなテクノビートを混ぜ合わせ、ブースにあるコン ソールで様々な演出を試していた。それに釘付けに なった私達の隣では若い女性がセルフィーを撮って は、カバンから違うアクセサリーを出して「奇跡の一 枚」を撮るため試行錯誤している。 山々の後ろへと日が沈むと、NGHTMREがメインス テージに立った。Alphavilleの「Forever Young」 と、 「In My Mind」のボーカルをミックスしていて、 沈む夕日と黄色を主とした映像、舞台から上がる火 柱が演出を完璧なものにしてしまった。日が完全に 沈むにつれ、メインのPorter Robinsonのセットを 待ちわびて期待に胸を膨らませた。

午後8時になろうかという時、若々しい長髪ブロンド のDJ/プロデューサーが舞台に立った。LEDスクリ ーンの援護射撃無しに始まったセットは「Utopia」 というフレーズだけが映し出され、最初のドロップと ともにアシッドなサウンドと緑のレーザーが打ち出 された。黒の背景に白で様々なフレーズが映し出さ れ、観客の興味を一層引き付け、セットが続いて行く 程に用意された演出の全てが彼の音楽性を如実に 表現していると感銘を受けた。 (マーティン、すまな いね。君がいなくても寂しくなかったよ。) 9時になり、Dyroを観る為にライブ・アリーナへ と向かう。彼は今日聴いた曲の中でもドロップが 最も強かったDrakeの「God’s Plan」で会場を 盛り上げていた。会場の中でも最高のバイブスが此 処、STAMPD RCRDSの舞台で流れていたのだ。 (マーティン、先程のは本心じゃなかったにせよ、君 がいなくても観客たちの盛り上がりは凄いものだっ たんだ。)次に「Cinema」壮大なバージョンが流れ ると、全ての観客が熱狂に満ちた。それを見たDyro がマイクを握り締め、 「皆、ブチ上げる用意はできた か?」と叫んだ。それはまるで予言だったかのよう に実現したのだ。気がつくと10時になろうとしてい て、今日の終わりが近づいているのに気づいた。広 大な会場のお陰で足は悲鳴を上げていたのでV i rtual Selfのセットを観た後、クロージングのセット を観るのを諦めて休息を選んだ。



応える。昨日より少なく見えた観客数は熱量でそ れを上回って余りあるものだ。観客全員がデュオ と心が通じ、デュオもまた、観客のエネルギーを 全身で受け止めていたのだ。 「King of Snake」 が皆を飛び 跳 ねさせ、舞台は眩い緑の光で 包ま れる。デュオは決してその最高潮に達した熱気を 下げることはしなかった。最高潮のまま「B o r n Slippy」流すまで駆け抜けたのだ。私達も予想を はるかに超える舞台に魅了され釘付けになってし まった。


メインステージで力強いダブステップを流してい るZeds Deadを観に行く。昨日とは比べ物になら ない程の観客が強烈な選曲に歓喜している。メイ ンのラインナップまで歩きまわることにした矢先 見つけたArt Departmentは、まるで催眠術をか けるような音楽を流していて、私 達を含む全ての 観客の心を虜にした。

今日は印象的なラインナップでいっぱいだ。最高 の舞台になるであろうという期待を胸に、メインス テージへと移動した。Gareth McGrillenが熱弁 を吐く度に観客は手を挙げ歓呼し、7時を少し過 ぎた頃、遂にKnife Partyのセットが始まった。言 うまでもなく会場のエネルギーは即座に最高潮に 達し、忘れ難い光景を目の当たりにした。観客の エネルギーこそが最高の舞台演出だと思っている のだが、韓国の観客が見せてくれる情熱は、世界 でも稀にみるレベルのものだと断言できる。まだ 太陽が沈んでもいないことは誰も気にかけていな いようで、体力を温存するなど考える余地もない 様だった。盛大な花火が視線を集め、夢の様なメ ロディー進行と力強いドロップで会場を熱狂させ るデュオのセットに皆が釘付けになっていた。

次の目的地はライブ・アリーナ。そこではローカル アーティストのColdeが休息をとる観客にメロデ ィックな歌を披露していて、最高にチルな雰囲気 となっていた。フードスタンドに並ぶ行列はどんど ん長くなり、会場も人で溢れるようになった。土曜 日ということで皆早めに来場したのだろう。

日も沈み、ラインナップが確定した時から絶対に 見逃せないと思っていたUnderworldを観にライ ブ・アリーナに向かった。そこには熱 狂が熱 狂を 呼ぶ、限界まで上がりきったエネルギーが満ちて いた。Karl Hydeが持つもの全てを吐きだすと、 皆も彼のひとつひとつの動作に熱を帯びた歓声で

私達は少し遅めに会場に向かうことに。幸いなこ とに朝から天気は良好で、Park&Sonsが始める 頃にレジスタンス・ステージに向かうと、昨日より 遥かに多くの観客がいた。それに服装も昨日より 露出が多めなのは気のせいだろうか。


既に9時になろうとしていた。私 達は今夜のハイ ライトになるであろうSkrillexを待つ観客に合流 した。どうやら少し遅れてのスタートの様だが、心 配は無い。 「ボイス・オブ・ウルトラ」で知られてい るMCのダミアン・ピントが即座にコメントを用意 し、プロダクションチームが準備したBob Marleyの曲をバックに観客の熱気が冷めないようフォ ローしてくれる。そして10分程遅れてソニー・ム ーア(Skrillexの本名)が登場すると、一気に会場 中の期待を集めた。驚くべきイントロで始まった彼 のセットは映像と照明の演出に過度に依存しなく とも十分に観客全員を虜にしてしまった。公演中、 トラックはもちろん、花火、照明、レーザー、そし て観客。全てが一体になり全速力で駆け抜けた。 セット開始5分後に「Animals」が流れ、早速にテ ンションが最高潮に達した。会場にいる全員セッ トが永 遠に続くよう願っていたし、終わりのない 名曲のるつぼに落ちて行った。ソニーはしばしば 観客に呼応を問いかけ、観客はそれにありったけ の力で応えた。私は心の中で今日のメインステー ジに金メダルを授与し、煌びやかで幻想的な花火 を背に顔いっぱいの笑顔と共に会場を後にした。


日曜日 フェスティバル3日目、最終日の今日は朝から既に 足が悲鳴を上げていた。しかし8年目を迎えるウルト ラ・コリアの思い出を少しでも多く残すべく、早めに 会場に向かいフードスタンドでピザとホットドッグで 腹ごしらえをする。ライブ・アリーナでSaint Laneの 公演を観ている時、良くない噂を耳にしたが、本当か どうかは後になって判るだろう。加えて空模様も怪し くなり、金曜、土曜と続いた素晴らしい経験に、先程 耳にした良くない噂がちょっかいを出し始めた。 Teamworkのセット後半を観にメインステージに向 かうと盛り上がった観客達が入場バンドを挙げ写 真を撮っていた。Teamworkが終わると、すぐさま Kakuが舞台に上がりプレイし始めた。 3時になろうとしていた時、耳にした良くない噂が 現実となってしまった。SNS上で、Swedish House Mafiaの出演がキャンセルになったと公表されたの だ。非常に残念ではあるが、アーティストのキャン セルは珍しい事ではない。せっかく来ているのだか ら楽しむしかない。現にKakuが驚くほど熱い公演 を魅せてくれているではないか。 4時を過ぎた時、レジスタンス・ステージに足を運ん だ。ローカルアーティストのSohmiが、青い髪をな びかせながらテクノサウンドをドロップしていた。ア ンダーグラウンドな音楽のファン達にはうってつけ のサウンドだろう。 一方、メインステージではRaidenが舞台に上がって いた。メインステージで観客を魅了するローカルア ーティストが存在するのは素晴らしい事だ。Raiden は友人でもあるMartin Garixxの曲をかけ、彼の早 い回復を祈る歓声を会場と共に大きくあげた。次 はWhipped Creamの出番だ。私達は彼女のセッ ト前半を観た後、Marco Baileyの舞台へと向かっ

た。彼はシグネチャーとも言えるテクノサウンドでい つも私達を自然と踊らせる。 午後7時、ヘッドライナー達を観る為、メインステー ジへと移動した。まだ明るかったが、Duke Dumont が巨大な観客を熱狂させる準備を進めていた。彼 の音楽は通常メインステージの大型スピーカーから 放たれる一般的にポピュラーなEDMではないのだ が、逆にそれが彼のセットを新鮮でクールなものに した。火と煙に包まれたハウスミュージックの職人 は、そこがまるで50人程が満員の地下室かの様に とてつもなく濃厚な空気で会場を満たした。Adam Bayerの「Your Mind」に続き、彼の大ヒット曲、 「Ocean Drive」でセットを締めくくった。 8時半になると、Kayzoがクロージングセットを始 めた。いくつかの障害があったが、今年のウルトラ・ コリアが終わりに近付いている。Kayzoは、会場の 盛り上げ方はもちろんの事、自身が置かれている状 況を確実に把握している様だった。 彼はベースにベースを重ねる様に強大なサウンドを

放つ。Eurythmicsの「Sweet Dreams」が驚異的 なベースドロップとミックスされると、会場はこれま でにないくらいの反応を見せた。会場もまた、終わり が近い事を知っているのだろう。DJがドロップする 度に、観客が毎回熱狂的な反応を見せるのは非常に 珍しい。Kayzoもそれを感じ、大きく感動を受けて いるのが明らかだった。The Cranberriesの「Zombie」のボーカルが流れるや否や、会場全体がこのパ ワフルなパフォーマンスに驚愕した。終盤に降り始 めた雨も皆の士気を下げるのではなく、むしろ演出の 一部に思えるくらい盛り上がっていった。 最も理想的な終幕だったのではないだろうか。音 楽自体がもっとも大事な要素であり、著名なアー ティストはその次に位置すべきだと思う。主催者 にとって新しい会場になったのはチャレンジであ り、Martin GarixxとSwedish House Mafiaのキ ャンセルは残念ではあるが、それを持ってして韓国 の観客のパワーを削ぐことは出来なかった。皆がそ れぞれの楽しみ方を見つけ、時には会場全体が一つ になる事が出来る音楽の底力に改めて敬意を覚え ながら、私達は会場を後にした。■






We check out Egypt’s Sandbox Festival in advance of its seventh edition this month... Egypt’s Sandbox Festival has become a destination event in recent years, offering a stunning beachside getaway and a host of international names and local stars to boot. It’s set in the idyllic surrounds of El Gouna in Egypt, beside the Red Sea. “Tito started the festival in 2012 as a one-day party by the beach,” explains Aly Goede, artist booker of Sandbox. Now in its seventh year, it’s not just the desirable location that gathers over 5,000 revellers to the event, taking place 13th to 15th June; the first phase of this year’s line-up includes the likes of Bradley Zero, Axel Boman, Damian Lazarus and Baba Stiltz, with more still to be announced. There will be 50 acts in total playing across the weekend. “We look for interesting up-and-coming as well as established acts, locally and around the world. Acts that are pushing the scene one way or another in different genres,” says Aly, when DJ Mag asks about their booking process.

Each year they’ve set out to grow the possibilities of what’s available on site, from interactive installations to the food court serving local cuisine. A stone’s throw from the beach, a swim or having a go at kite-surfing is as commonplace as having a dance at one of the main stages. “El Gouna is a beautiful little town located 30 kilometres before the city of Hurghada. It is a great location for the festival as the small, laidback town has a great feel to it. Everything is easily accessible and the festival area is not far from hotels and shops,” says Aly. For those daring to travel further afield, the cities of Luxor and Aswan are within driving distance (a three-hour road trip), where there is plenty of beautiful nature to explore. If you weren’t hooked on what Sandbox has to offer already, Aly assures that “you will leave with a big smile and a lot of new friends!” ANNA WALL





MIAMI MUSIC WEEK 2019: THE KEY TO ADVENTURE A renewed Miami Music Week took place in the city of Miami. DJ Mag Asia went there to experience one of the hottest spots the international dance music calendar has to offer… As usual, Miami welcomed us with very nice weather, and we were feeling excited like children. This year Ultra had to face the challenge of moving its monolithic production to a new venue after fighting against the city and its citizens to remain at the famous Bayfront Park. But more on that later… After grabbing lunch, meeting with colleagues and getting some sun at the beach during the week, the time had come to discover one of the main attractions of this edition: the return of the Winter Music Conference. On March 26 the Faena Forum building became the headquarters of the electronic music industry and was full of attendees interested in learning from those who know the most. It was like a strategic meeting point full of new concepts and with its own venue in Miami, the place where the Conference started in the mid 80’s. As we walked a few blocks to get to the press accreditation rooms, we saw the Faena Forum building being ready to host hundreds of artists and influencers from the electronic music industry. Even this year’s venue seemed to be in harmony with the event and its concept: the Faena Hotel was all painted in white with red and black details on it. The first day at 1 pm we attended a very interesting conference by Nik Kinloch and Kevin Lewandosky. The directors of the famous platform Discogs along with Bill Kelly talked about the vinyl and how it was growing and 84

gaining acceptance around the globe. As the day passed by, we went hopping from meeting to meeting. After processing all the information and understanding how one of the most iconic brands made its grand comeback, we were ready for party time! Our first stop was at the heart of South Beach in Delano Hotel. The party week kicked off with Do Not Sit On The Furniture pool session featuring Damian Lazarus as headliner and other renowned talents. The decorations all over the pool party were simple yet creative, such as hanging chairs and dream catchers. As Behrouz played during the sunset, people were getting closer to the DJ booth and waiting for Lazarus. Wearing a hat and a special tunic bearing two elephants facing each other on his chest, the owner of Crosstown made us dance to the rhythm of the purest house sounds. The vocals of Dirty Channels’ ‘The Lord’ were getting us into the magic of the Miami night while behind him, the rest of the lineup enjoyed his performance overlooking the crowd, who seemed to understand what the British artist was doing. It was 10 pm when Francesca Lombardo took over to start the closing set of the party. Omitting vocals during her set, she accelerated the tempo of the music to give it a harder edge till the end. It goes without saying that our first day of the Miami Music Week was a success. Feeling kind of lazy after such a great party, we still ended



up going to the Faena Forum on Wednesday to see how the second day was going. We were glad we didn’t miss a very interesting talk by Dani Deahl, Matt Aimonetti, Jonathan Bailey and Taishi Fukuyama about artificial intelligence in the music industry. Once again, time flew by listening to interesting topics while we enjoyed some snacks at the recreation area, where the second edition of DJ Mag Asia was at hand alongside the North America and the United Kingdom editions. We couldn’t have been more proud of our growth. It was party time again! And our annual DJ Mag Pool Party at Surfcomber Hotel was calling us with an organic combination of underground and mainstream beats. As we entered the party, Don Diablo was on the decks with his fabulous set and the whole crowd got enchanted by his sound. The weather was amazing and our friends from DJ Mag were treating us thoughtfully as usual. It got even better when we found out that the special guest was none other than Mr. Armin Van Buuren! We jumped from our VIP seats to the dancefloor to be part of this set in the daylight. It’s pretty uncommon to get an opportunity to enjoy an intimate performance by the founder of Armada. Wearing a red Armada jacket, he mixed tracks like ‘Another You’ and IIO’s classic ‘Rapture,’ giving them the EDM treatment, and the whole crowd got pleased. Alok started his closing set with ‘Fuego,’ his collaboration with Bhaskar, taking control with full force and pleasing the crowd. The Brazilian DJ closed the party and we were exhausted but really happy. Despite the fatigue, we headed to E11EVEN, the landmark club in Downtown Miami, to celebrate the arrival of DJ Mag Asia. The party featured renowned artists and the best of Asian mainstream with Benny Benassi, Deorro, GTA, Laidback Luck and Wax Motif as headliners, along with Asian talents 2Wasted, Ares Carter, Corsak, Hanabi, Mad Fox, Raiden and S2. Indeed, Asian power was stepping

strong in Miami and we watched from the VIP area as the ravers celebrated a magazine that is growing and has set out to be the medium that records the growth of a whole region. On Thursday our bodies were asking for some rest. After going to the beach and relaxing, once again we went to the Faena Forum to satisfy our curiosity. By 4 pm we were listening to an interesting talk by Danny Howard, MK and Louie Vega. Former basketball superstar Shaquille O’Neal, now a DJ and producer, was in charge of closing the Miami Music Conference. Flanked by his work team, Shaq told us how he decided to become DJ Diesel. That was all for the day – we went back to the hotel to get some sleep and be ready for a very busy Friday. After leaving Bayfront Park in Downtown Miami, Ultra

Picture: RUDGR




relocated to Virginia Key, a wonderful spot between Miami city and Key Biscayne. The beachside venue is accessible via a limited-lane causeway. There, using places like the Miami Marine Stadium and the Historic Virginia Key Beach Park, Ultra deployed its monolithic production. It was a total of eight stages full of talents. Come Friday, we went to the Adrien Arsht Center shuttle station (Midtown Miami). After waiting for a while we got our press passes and got on the shuttle. Normally, it would have taken us no more than 15 minutes to get to the destination, but this time it was more like 30 minutes. Once we got there, we had to walk past the huge mainstage for another 15 more minutes to get to the press area. As we weren’t acquainted with the layout, it took us a while to get used to it. We walked past the Live Stage, UMF Radio and Ultra Worldwide, whereas the mainstage was set up far back at the Marine Stadium. Getting to the Resistance Island was quite an adventure: it lay 1.3 miles from Historic Virginia Key Beach Park, and the only way to reach it was by walking. Both venues offered outstanding music. On Friday, we stayed at Resistance Island and were super excited to see the house and techno acts. Marco Bailey caught our attention at the Arrival stage with its top-tier production and at sunset we started to feel Ultra vibes in the air. Instead of the Arcadia Spider from the previous years, there was fire taking centre stage. The legendary DJ was confident doing what he can do best, taking the crowd on his musical journey. After walking half a mile, we arrived to the megastructure, the queen of the island. Loco Dice had already been throwing down beats and the fans were dancing to the classic ‘The Age of Love’ and its very special vocals. 86

It was night-time when we walked back to the Reflector stage –similar but quite smaller than the megastructure– to see the beginning of Sven Vath’s vinyl set. Meanwhile, Luigi Madonna was playing the Arrival and Adam Beyer graced the megastructure (minus Eric Prydz, who had to cancel his shows due to health issues). It was a tough decision to make where to go first. Our first day at Ultra was coming to an end and we couldn’t have been happier as it was a day full of music! We walked out looking for a shuttle to get back to the hotel and finally get some sleep. On Saturday we found out about the difficulties Ultra had experienced the previous night. It was so unfortunate that some people had to walk 4 miles to make their way out of Key Biscayne. Everyone was worried and we could see that. Ultra released a statement admitting the logistics flaws and promising to improve the shuttle system. After a relaxing morning, a healthy lunch and some muscle stretching, we went out again to the adventure. This time we walked a little further to The Vizcaya Museum to get to the last shuttle stop. The line of people getting on was moving fast but then the traffic didn’t help us. We got there only after 9 pm. This time, we stayed at the Marine Stadium as Tchami ended his show at the mainstage, followed by Armin Van Buuren. The crowd was on fire and the screens were showing a big blue letter A. A very special guest, David Lee Roth from Van Halen fame, joined Armin to sing the remix version of the classic ‘Jump.’ As they both stood on the DJ table haranguing the crowd, the set was getting more and more memorable. People were going crazy with the anthems ‘High Tribe,’ ‘Don’t Give Up On Me’ and ‘Show Me Love.’ Deadmau5 and his Cube 3.0 was about to start and we had to make sure we’d make it on time so, as Zedd started his set on the mainstage, we headed to the Live Arena.



His progressive house set, with best-in-class production, was something out of this world. People were screaming and asking for more. Even though Deadmau5 was out of control we couldn’t stay until the end. The night was young… At the same time, a little bit more up north, Lemon City Studios were hosting Get Lost Miami. Founded by Damian Lazarus, it remains as one of the oldest and most traditional parties of the Miami Music Week. According to its founder, ‘Get Lost is more than a regular party, it is an experience, a 24 hour experience.’

excitement was taking over as we were sure to end the day on a high note. By 8 pm Justin Mylo took control of the UMF Radio, where the whole lineup was curated by Martin Garrix’s label. The festival was about to end with David Guetta at the mainstage. The Ultra experience felt complete, so we decided to leave. Our soul was full of happiness and music, already looking forward to the next year! n

Lemuria stage was packed and we were pleasantly surprised to see Maceo Plex as the surprise guest. The tent was tall and comfortable. After a short while it was clear how the festival got its name. It was not about names or lineups but about losing yourself in the present moment. And the crowd was attuned to this. We started walking and got to Mu Stage, where almighty Damian Lazarus is playing his enigmatic, enchanting music. It seemed that people were hypnotized, dancing with eyes closed and with hands held high trying to reach the sky, feeling the music. Then, to close our night we moved to the Garden of Eden to see Audiofly’s performance. What a special vibe! They played totally differently that night and we couldn’t be more grateful. On Sunday the good news was that Ultra did improve the transportation system to the venue and it was not a problem to get in and out of the island. We got there early to enjoy the last day of the festival. M.A.N.D.Y was playing the Arrival Stage and it looked like everybody else was early too, as the stage was almost full. They were chilling and dancing, trying to recover the energy or saving it for later. After a while and with the sunset upon us, Tale of Us took us on a dark trip at the megastructure. We then decided to walk back to the mainstage. Although we were very tired,







THE POWER OF MUSIC Though it started off a bit rocky, this edition has filled us with hope... FRIDAY A downpour from the previous day kept everyone on tenterhooks. Also, the change of venue and Martin Garrix’s cancelation following an ankle injury would have led one to believe that festival-goers would be somewhat underexcited. But it’s Ultra, you know? Everyone is excited – even us.


hills, it’s a beautiful landscape wherever you look. A few minutes before 5 PM, the sunshine sneaks between the clouds and everything starts to look better.

On Friday June 7, we set off to the venue at 2 PM with Justin OH, a Korean star DJ, riding on the same shuttle. The weather has improved. It isn’t sunny but at least the sky doesn’t look threatening. It’s a half-hour ride along the foot of steep hills until we get to the impressive Everland Speedway (AMG Speedway).

On the Main Stage, YoungBombs is playing an interesting EDM version of the Village People classic, ‘YMCA’, and the crowd is grooving, even though there is still a very long line of people waiting to get in. As the ravers celebrate the duo’s choice of the song, we walk away from the Main Stage to see the other acts and the venue keeps revealing nice surprises. We walk along the racetrack to get to RESISTANCE Stage, the nearest stage. Facing the DJ, the screens are placed at both sides like a gabled roof and the techno sounds of local talent Bagagee Viphex13 reach us loud and clear.

We’re in for a pleasant surprise. The venue is better than we have imagined. It’s literally a racetrack in a sort of valley with room for the four stages and more. Surrounded by leafy

From a distance we see the large Live Arena, clearly the second stage in terms of expected turnout. There are still some room left on the dancefloor but we know it will surely be the


festival’s highlight. A bit further back, at the end of the venue, lies the last stage: Ultra Park Stage. Although it lies behind all the others, at the end of the racetrack line with hundreds of food stands on its side, the scenery behind this stage makes standing here worth your while. It’s 6 PM and we head back to the backstage to get something to drink. Matisse & Sadko have been playing at the main structure for a while but our plan is to keep walking around under the Korean sun, as more and more people get in. We come across TV Noise doing a trap set. The duo is playing facing the sun, brimming with energy and dropping bombs everywhere, and the lively crowd responds to every drop with their arms held high. It will soon get dark and we head back to the RESISTANCE Stage to see Eats Everything. Combining house vocals with more old-school techno beats, the DJ toys with the consoles in the booth for a true bevy of effects. Next to us, a young girl takes a selfie, then produces a different pair of pendants from her bag and tries again, searching for the perfect picture. As the sun begins to set behind the hills, we walk back to the Main Stage, where NGHTMRE is mixing Alphaville’s ‘Forever Young’ with the vocals of ‘In My Mind’, and the sunset to the left of the Main Stage is the perfect setting for the yellow visuals and the fire on stage. We are excited to see Porter Robinson, who will take the stage towards the end of day one.

Right on time, 5 minutes before 8 PM, the young DJ and producer with long blonde hair enters the stage. Unaided by the screens, he starts his performance until ‘Utopia’ shows on the screens, and with the first drop, green lasers are shooting to the sound of acid music. The crowd waits expectantly as the visuals go on, showing words that seem to have been written randomly in white over a black background. As Robinson’s set progresses, it is clear that his particular brand of music really matches the unique visuals prepared for his performance. Female vocals, ethereal sounds, animé images, light blue shades and a very careful stage design. I’m sorry, Martin. We don’t really miss you. At 9, we decide to go to the Live Arena to see Dyro. He’s playing a version of Drake’s ‘God’s Plan’ that features the most powerful drop we have heard so far today. It seems as if the best vibe in the whole venue is here, at the STMPD RCRDS Stage. Martin: we didn’t mean what we said, but it seems your fans are really enjoying themselves. Next up is a killer version of ‘Cinema’ and the crowd goes wild. Dyro grabs the mic and blurts out, ‘This shit is about to go down’. And, just like a premonition, that’s what happens. It’s almost 10 PM and everything’s said and done. Our legs are feeling the extenuation, and after a good dose of Virtual Self, we decide to miss the Main Stage closing set to get some rest.



As the night falls, we go to see Underworld, a must-see act since they were announced. The energy at the Live Stage couldn’t be better. Karl Hyde is giving it all and the people respond to every move. It’s less crowded here than yesterday but the energy in this kind of dome is just as amazing. Everyone’s on the same wavelength and the duo can feel it. The beats of ‘King Of Snake’ get everyone jumping, as green lights shine from the stage. Underworld does not let down. Energy levels are redlining, and no-one wants to miss a thing. We stand still until ‘Born Slippy’ plays, and it helps us put things in perspective. This event is surpassing all expectations and is giving us unforgettable moments.

SATURDAY On Saturday, we have the nerve to get to the venue a little later. The weather has been nice since the morning hours and that’s exciting. We stroll up to the RESISTANCE Stage, where Park & Sons are playing, and it’s much more crowded than yesterday. The day is a bit muggier and people look more scantily dressed. We wander up to Zeds Dead: the duo is throwing down some serious hard dubstep tracks on the Main Stage. The ravers are into it and we notice that there are many more people here today. Before the main acts, we go wandering around. Art Department have already started playing their hypnotic music to the crowd in hundreds. The ways that lead to the stages are packed. The duo’s music captivates us and many others for quite a while. Our next goal is the Live Arena, where local talent Colde is singing straight-up melodies to an 90

audience that has decided to relax for a while. The atmosphere is great and people want to have a good time, so we decide to join in. The lines at the food stands are getting longer and the crowds at each stage are getting bigger. You can tell it’s Saturday and people were able to make it earlier. It’s an exciting lineup today so we are heading back to the Main Stage to see what will become one of the best acts of the event. Knife Party starts his set at 7.25 PM, before a sea of people that raise their hands whenever Gareth McGrillen harangues them. The energy is incredibly high. It’s a sight to see. The best visuals are, without a doubt, the audience, and the truth is, Koreans deserve it. It’s still daylight but no-one seems to mind. The party has started and no-one is leaving until it ends. The fireworks catches the eye and everyone follows every move of the duo, who combines dreamlike melody passages with high-energy drops that keep attendees with their arms held high.

At 9 PM we go back to the Main Stage for the cream of the crop. Skrillex is keeping the crowd waiting and Damian Pinto, ‘The Voice of Ultra’, has to improvise a few remarks as the event’s production plays Bob Marley songs to lighten up the wait. When Sony Moore comes out, 10 minutes after 9, we understand the magnitude of the situation. With an incredible intro, without relying too much on visuals and lights, Skrillex stands at the turntables dropping basses that make the fans go wild. There are fireworks, lights, lasers... The ravers jump nonstop for the duration of the gig. Five minutes into his set, he plays ‘Animals’ and it is the apex. The audience is not asking for more but he insists and gives us more. Everyone’s immersed in his wave of never-ending hymns. The ravers are stoked and Sony harangues them with occasional shouts on the mic. Once more, the Main Stage gets the gold medal and we go back to the hotel with a smile on our faces as the fireworks behind us light up the sky.


SUNDAY It’s the third and last day of the festival and our legs are feeling tired. Eager to keep the best memories of this eighth edition of Ultra Korea, we set out for the venue pretty early and decide to have hotdogs and pizza in the food area to complete our Ultra experience. Saint Lane is playing the Live Arena and we’re enjoying ourselves until we hear a rumour that’s upsetting. We wonder if it’s true. We’ll find out later. Meanwhile, it looks like it’s going to rain and we wonder if the amazing time we’ve had on Friday and Saturday will get overshadowed by the Sunday’s bad news. We go back to the Main Stage to see the end of Teamwork’s set, and the audience poses with the band for a group photo. Next, Kaku takes the stage right away to leave the shortest possible stretch of silence. By 3, the rumours are known to be true as social media confirms the cancellation of Swedish House Mafia’s closing set. It’s unfortunate but there’s nothing to do about it and Kaku’s energetic performance takes our mind off it with his hard-driving bass. Fifteen minutes after 4, we head off to RESISTANCE Stage to get entranced by the beats of local DJ Sohmi for a while. With her blue hair and good techno bombs, she entertains the crowd that’s here to listen to underground sounds. Raiden is playing at the Main Stage. It’s good to see a local talent getting the main structure audience to dance. He plays a Martin Garrix track and asks for

a loud shout out to his friend. Next up is Whipped Cream and we enjoy her set until we decide to go to see the beginning of Marco Bailey’s gig. He makes us dance with his signature techno. By 7 PM we head back to the Main Stage to see one of the major acts. It’s still daylight and Duke Dumont gets ready to get the large crowd dancing. His music is not your typical mix of EDM and bass that blasts out of the Main Stage speakers surely deserves our appreciation. With fire and smoke, the house music guru raises the temperature as if he is playing in a basement to 50 people. After Adam Beyer’s ‘Your Mind’, the last track is, naturally, his greatest hit, ‘Ocean Drive’. At 8.30 PM Kayzo starts the closing set. After a slew of setbacks, the end of Ultra Korea is drawing near. The DJ knows the ropes and, realizing the position he’s in, makes a good use of it.

a super bass drop and the crowd responds like never before. It’s the end and everybody knows it. It’s a unique feeling every time the audience responds to the DJ’s drops. Kayzo is visibly moved. These are all the things that can you expect from such event. When the vocals to The Cranberries’ ‘Zombie’ play, everybody surrenders to this powerful performance, and the rain that starts to fall, far from dampening the spirits, makes the event even more epic. It’s a beautiful way to close the event. The music hovers above everything else. Proper names don’t matter and cancellations are a thing of the past. The Ultranauts found their zen in the blast of music and their own adrenaline. It’s a pleasure to see how they celebrate and enjoy the arrival of an event like this. Holding this thought in mind, we walk away full of respect for the power of music. n

He throws down the bass and more bass as the fire burns. Eurythmics’ ‘Sweet Dreams’ is mixed with







A visit to the two water-splashing EDM festivals of Thailand … Thailand also has a lunar New Year. Every year, the lunar New Year is celebrated around Buddhist countries in South East Asia including Taiwan and Myanmar. April in Thailand is the time of the year where you can feel the spring breeze and summertime energy. That being said, the new years in the country is so much more than just a small family gathering—the entire country goes wild as people flood the streets to enjoy the festival. The quintessential part of the celebration is Songkran, the world’s largest three-day water festival held every year in Thailand’s major cities. The name Songkran comes from a Sanskrit word meaning ‘passing’ or ‘approaching’ and it symbolizes the passage of the sun from one zodiac to another. During the three days of festivities, crowds of locals and foreigners roam around throwing buckets of water at cars passing by, using water guns and soaking everyone in the vicinity. In addition to Songkran festival that might evoke one’s childhood memories of dabbling in water, EDM festivals coinciding with the Thai new year are also on the list of highly anticipated events. DJ Mag Asia visited two amazing events—S2O


Songkran and Siam Songkran Music Festival— to deliver the news of what are believed to be the two hottest festivals in Asia. A major part of the events during Songkran festival is S2O Songkran Music Festival that takes place for three days from April 13 to 15. Returning for the fifth edition this year, the largest festival in Thailand lived up to its fame as thousands flocked to the event. Live Park, the venue of S2O, was swarming with merchants selling water proof raincoats, sunglasses, and numerous attendees alike who were getting ready to get soaked. Upon entering the park after the longest line, a gigantic stage and streams of water came in. Just by watching the scene from a distance, the hot summer day seemed to cool off a bit as the festival took the water game to a whole other level, with powerful streams of water pounding the crowds like a waterfall. The giant stream of water was made all the more sensational combined with flashy lasers and colorful lights from the stage—the effects of which reached its height at every drop where it was joined by water cannons.

The holy trinity of water, light effects, and music created an unforgettable moment. Everyone went wild, jumping and screaming with enthusiasm, and so were the DJs who also swayed to the rhythm. As a rare item for Thai shores, electronic music guru Fatboy Slim headlined the first day, leaving an indelible mark on the entire crowd as he ran across the stage with excitement. The second day featured another epic lineup of artists on stage—Rave Radio, Netsky, David Gravell, EDX who left a deep impression on the attendees while electronic music mogul Tiësto closed the stage with his phenomenal set. The final day of S2O, the world’s coolest festival, was ended with Steve Aoki’s unique performance. If S2O is crowned the biggest electronic music festival in Thailland, there’s a new contender on the block, and it’s Siam Songkran Music Festival that launched this year. Taking place at Show DC Arena in Bangkok, the festival boasts a stellar lineup despite only being its first edition. The world-renowned Dutch DJ Afrojack, hard style superstar Headhunterz,



Dutch trio Yellow Claw, and house legend Fedde Le Grand rocked the stage during the four days of festivities. Just upon entering Siam Music Festival, the first thing that caught my eyes was the side stage which resembled the shape of a cake. The stage featured a unique design different from any other, and it was an exotic experience to watch the DJ perform on top of a mountain of rectangular structures stacked on top of each other. This cake-like stage felt extra special as the hammocks installed right below the stage added to its appeal, allowing anyone lying on the hammock to feel the heavy bass resonating from their head to toe. Like S2O, the main stage at Siam presented a combination of giant water streams and colorful lights.

People in the front row were literally “feeling” the music as they were being soaked by the cool streams of water. The festival showcased the face of a true global event as people flocked from all around the world to get together and enjoy the festival. Standing alongside the appeal of an amazing lineup and unique stage was the ‘Thai Taste’ F&B booths dedicated to Thai street food. The booths were conveniently set up behind the side stage, offering world-famous Thai dishes. The signature dishes ranged from tom yum soup and roast duck to pork barbecue, pork marinated in Thai spices and more, which were accompanied by music from the side stage. The drinks were also sold in Thai fashion —cocktails weren’t served in your regular festival cups; but they came in baskets that

required some heavy lifting with both hands. Drinks were reasonably priced at 500baht (around 15$), and customized to the taste as they were offered with various choice of base ingredients. ‘Thai Taste’ offered an opportunity to experience authentic Thai flavors that no other festivals seemed to offer. Attendees from all around the world who flocked to S2O and Siam Music Festival were completely soaked by cool streams of water and waves of music presented by the stellar lineup of artists. A moment of jealousy sublimed while witnessing a country placing an electronic music festival as the centerpiece of a national holiday. May wind always be at the backs of S2O and Siam Music Festival as they bloom to become true global festivals in the near future.



Techno REVIEWS Roberto & Jamie Anderson Warehouse EP Fossil Archive 8.0

Often the simplest approach is the most effective, which is evident on this collaboration. Working with Jamie Anderson, label owner Roberto shows his Chicago credentials by dropping a resonating bass and getting Robert Owens to bring his unmistakably soulful vocals to ‘Broken’. The same line-up is also in place for ‘Bare Essentials’; while the backing is more functional and percussive, Owens’ vocals bring the track to life, unravelling seductively over the sharp snares and dense, weighty kicks.

This hypnotic bomb, filled with warm pads and dreamy synths, has an intelligent breakdown that ends with a powerful industrial bass.

Eats Everything Comatose

Kneaded Pains 7.5


Maceo Plex

Super Eats Everything delivers heavy techno for big rooms once again. Having nailed it on his previous release for Kneaded Pains, the British eater appears on Dense & Pika imprint once again with two new singles that perfectly represent his funny but always committed techno attitude. ‘Hands in the air’ rave pads and stabs in a colossal halftime breakdown for this one, bookended by hearty 909 drums, rampaging claps and rasping bass.



Teenage Mutants

Released at the beginning of the summer, anyone could think this would became the soundtrack of 2019 season. And maybe it is… Using diva vocals for the first time –not in the same way as everybody does, of course- Maceo work the same way as in almost his entire discography with his distinctive drum pattern and robotic sounds. The song came out in three different ways, with original, instrumental and ‘late night’ mixes. It may not be his best song but the way he used the vocal will for sure make you realize the song is being played as soon as you hear it. Unique.

Stil vor Talent


When The Lights Are Out


Sam Deliaert alias Farrago is growing as a skillful producer and this EP on Lenske is giving us a clear example about what he’s capable of. Having served as the epic topper of Amelie Lens’ Timewarp 2018 set and RA podcast, ‘Neontrace’ will undoubtedly ring a bell to all self-respecting fan of the LENSKE mastermind. Melding a heavy structure with well-timed breaks and the kind of fluttering bleepy melody, this one is pure emotion. No wonder why Belgian rising star Amelie Lens is using it to close some of her sets.

Nicole Moudaber Seeing It Through MOOD 7.5

Techno icon producer, DJ and label boss of MOOD Records, Nicole Moudaber, is back with her very first release of the year. This song give the EP its title and is and adventure through steady percussion, dialing sound effects and white noise. ‘Seeing It Through’ seems like it’s been made in another dimension. Ethereal and atmospheric at its most.


Vibrancy 1605 7.5

Slovenian DJ, producer & label owner Umek has released ‘Vibrancy’, the second EP in as many months on his own1605 label. The EP’s title track is the clearest example of his powerful sound, with a pounding kick-drum making way for a groove-laden breakdown halfway through. This is clear evidence of a versatile artist capable of pairing emotional melodies with the heaviest of techno beats. He’s back at it and he’s showing how good he is.

Perseus Traxx

Schrodinger’s Box 009 Schrodinger’s Box 9.0


Nigel Rogers takes a break from his gritty Northern Powerhouse project to deliver this killer EP under the Perseus Traxx alias. The untitled A1 is a powerful, bass-heavy affair, while on ‘A2’, Rogers heads in a different direction, as grainy kicks underpin warbling, mysterious synths — think a beefed-up Legowelt. For this reviewer though, it’s all about the ‘B1’, where Rogers applies mesmerizing acid pirouettes to a rigid percussive framework and ominous bass tones. Factor in a remix from the underrated Timothy Fairplay — there’s no information on which track he’s reworked — that takes Rogers’ source material on a trip across the electronic disco cosmos, and the ninth Schrodinger’s Box release is indispensable.

Amelie Lens Access

Second State 7.5

Amelie Lens released the ‘Hypnotized EP’ on Pan Pot’s label with two original tracks that serve as an interesting showcase for its powerful sound. B-side on this one is ‘Access’, a searing, propulsive techno cut, with his characteristic sound. Tailor-made for her immense big room DJ sets.



Talking 2 B Mad Rekids 8.5

Radio Slave and Patrick Mason return as SRVD for the release of ‘Talking 2 B Mad’. This interesting piece, built on rock solid drums, industrial synth fizzes and twisted vocal loops, awakens a primal part of your being and gets you moving. Sitting at a lengthy nine minutes, this is without a doubt a wicked warehouse dancefloor cut. A match made in techno heaven.

Dok & Martin Andromeda Say What? 8.0

Dok & Martin are one of the brightest new talents of techno scene making a name due to constant effort and hours of quality studio sessions. Andromeda came as an EP on Say What? label with three tracks and this one catch our ear right at the beginning.

Hype 8.5

Volume two of Teenage Mutants longest release to date carries on the suspended tension from the previous volume into a melodic resolution with seven songs from the duo, including some interesting collabs. However, ‘Hype’ is the one that gave us chills with those dark vibes all over it. Prepare to go on a journey.


Turn It Up


FJAAK presents the first release of their own label, SPANDAU20. First outing on the new label comes in hot with NIKK’s long anticipated banger ‘Force Of Pleasure’ backed by an equally powerful rave tool that the duo have been hammering in their live set for a bit now called ‘Turn It Up’. Raw but joyful.

Bart Skills & Weska Lost On You Drumcode 8.5

Drumcode mainstay Bart Skils links up with emerging DJ/ producer Weska for a maiden collaboration. When Weska migrated to Berlin a plan was hatched to collaborate, with the pair swapping ideas back and forth, before linking up in Amsterdam to finish the work. The propulsive ‘Polarize EP’ is the result and ‘Lost On You’ is what we call a powerful Side B. A heady trip into the abyss with a sinister vocal line and powerful climax.

TECH HOUSE REVIEWS Amine Edge & Dance Anotr Get Busy EP

NoExcuse Records 8.5

Draw Me

Inermu Records 7.5

The sample-loving house heavyweights deliver a summertinged anthem in ‘Get Busy’, which quickly develops energy with an infectious, bass rumbling beat that has enough groove to roll on until winter. However, they go one step further, shamelessly adding a wild sample from a well-known early ‘80s disco-funk classic. Tamango Records owner and Desolat affiliate, Yaya, jumps on for an understated cool, deep refix.

This Dutch duo delivers a tidy, deep and rolling EP on James Dexter’s Inermu Records. There are two well-balanced originals that groove well and offer trippy technicals in the mid to high frequencies; ‘Draw Me’ has spoken musings, while ‘Try Try Try’ forms a hypnotising and very low-slung groove. James Dexter shifts ‘Draw Me’ into a more atmospheric cut that’ll (kinda) make you feel like you’re submerged.

Renato Ratier

Heather (Tube & Berger Remix)


D-Edge Records 8.5

Delightfully electrifying stuff on Renato’s single ‘Atacama’, which is revised into something more soulful by A.84, and more deep and chunky by Ney Faustini. Renato Ratier is one of the most prolific producers of Brazil with an empire built around his nasty but always elegant techno.


Get Physical Music 8.0

Ray Mono

Sample based music will always leave its traces. The original from Samim takes a sample from one big Latin song and that sticks with it no matter what. Tube & Berger has directed the focus on the dancefloor with a straight 4/4 kick drum and some brassy sounds. Seems like Tube & Berger knows what the dancefloor needs.

Moxy Muzik

Gorgon City

This sumptuous EP comes from producer and resident of the highly regarded Leeds party, Mono_Cult — Ray Mono. He supplies a serious double act of absolute fire lauded by Moxy’s label head, Darius Syrossian. The attention duly falls on ‘Esperanza’, for its devilishly catchy vocal sampling, but EP opener ‘Initiated’ is an understated, rolling beast. The EP is completed with two remixes of ‘Esperanza’ from Fuse affiliate Seb Zito, and rising Argentinian Brandub. Zito supplies a dub mix-styled, bass bumping ride, while Brandub invigorates his remix with a new atmosphere, bubbling pulses


Esperanza EP 10

Mark Knight The General 8.0

Elrow Music

Mark Knight, owner of Toolroom Records, strikes back with this new absolute banger. Built around a Latin vocal sample, this catchy production has been rocking dancefloors from Miami to Milan and is already facing Ibiza. The name comes from the name of the original song of the vocal, a big hit in South America a couple of decades ago. The right move from one of the most accomplished artists in the game.

Elizabeth Street 9.0

Released on his own REALM label, the new ‘Elizabet Street’ single by Gorgon City is a new homage to the Chicago street where house music would’ve been born. This is an interesting song from this ever growing group, with lots of energy for the dancefloor, melodic chords and a flying vibe, typical Gorgon City style. British flavor.


Volar La Pluma Heat To Toe 8.5

This new percussive production from Ninetoes is a clear example of the using of Spanish speaking vocal samples on nowadays music. ‘Volar La Pluma’ combines those Latin vibes with some electronic madness, courtesy of German DJ and producer Ninetoes. The way the drop is built shows us how good this is going to work on the dancefloor. This one is smart.

Amine Edge & Dance Get Busy (Yaya Remix) NoExcuse Records 8.0

Yaya provides an alternative adaptation of Amine Edge


This went out in April, coinciding with a date the two were having together in Manchester’s Albert Hall. ‘Complex’ is a typically tough and bouncy cut that fuses the two producers’ takes on house music into a playful, no-nonsense club belter. Is not that complex but it works with Curtis Jones’ vocals and some robotic make up voice over the quirky main structure. It’s not complicated, its complex! & Dance’s ‘Get Busy’. With intelligently processed layers of percussion and analogue melodic elements, he creates a sense of wide space with an added bit of wobble, giving it an addictively hallucinatory appeal and making it sound very different from the original. This one came out on NoExcuse Records.


I Represent Banana LouLou Records 7.5

Kolombo keeps growing with his particular tech house style filled with distorted vocals going along with a candid structure. Hi hats and powerful synth stabs give the track the strength with a drop that remind us to ‘Flash’ from Green Velvet. This is Olivier Gregoire first release of 2019. A dub house track, with his classic old school touch and a dirty fat beat. He is clearly producing stuff for his own sets.


You Little Beauty Catch & Release 7.5

FISHER keeps the momentum with his new single ‘You Little Beauty’. Following the successful ‘Losing It’, this is the second release of his own platform Catch & Release. A housey vocal tune with a proper tech house structure

that is willing to take the dancefloors of Ibiza by storm. Is this going to be as big as ‘Losing It?’ We’ll see…

Dale Howard Don’t Touch Club Sweat 8.0

Super funny! This new single from --- Dale Howard is made entirely for the dancefloor. With the accumulation of noisey stabs and a women vocal giving all the warmth, this is a song that will call attention to any dance floor where it sounds.

Sindey Charles Hot Moog

Saved Records 8.0

Making his debut on Nic Fanciulli’s Saved Records, Sidney Charles releases his ‘Fnk Hrd’ EP. This is a good example regarding what we can expect on his productions: hard grooves, raw sounds and a classy simplicity. ‘Hot Moog’ comes as the Side B of the release, offering pulsating low-end, swinging hats and echoing rim shots that together form a no-nonsense roller. Saved keeps


House REVIEWS from the collaborative album ‘Moogie’ EP, ‘Reconnaissance’ sees the artist transcend beyond his lo-fi image as he manages to deliver a proven peak time club weapon. With heavy hitting break-beats and throbbing bassline, the old-skool rave influence oozes from the track.

is the re-singing of Jomanda’s ‘Make My Body Rock’ vocals that links both tracks in a moving, emotive fashion.


DJ and producer Michael Woods is going strong with his housey alias OFFAIAH. This new song is another stomping house cut, following his massive remix of Jack Back’s ‘(It Happens) Sometimes’. Demonstrating his signature style of bumping, driving house music, the Las Vegas based artist delivers a deep, rolling bassline and tension-building drops destined to set the club alight. Featuring vocals from Cat Connors, ‘Somewhere Special’ has all the ingredients of a future summer weapon.

Fly away Z Records 8.0


Space Seduction 9.0

MUJA When it comes to raw, soul-filled old school house jams, House guru Demuja never seems to disappoint. The Austrian house go-getter surprises us yet again with another solid house track. His background as a drummer genuinely shines through as the producer experiments with various textures and percussive elements on ‘Space Seduction’. Feel food melodic vibes are present throughout the track accompanied by a wash of warm synth sounds.

Diplo & Blond:Ish Give Dem


Those two names together? Yes! ‘Give Dem’ is part of the new Diplo EP called ‘Higher Ground EP’. This collaboration is a pristine, peak-hours club heater, with a grooving bassline and whistles bringing some serious energy to the track. Made entirely for partying, with its up-tempo production and sparse, but catchy lyrics courtesy of Nigerian singer Kah-Lo, this one is a spicy tribal addition to both artists’ catalogue. Peak time bomb.

Dan Shake Freak

Shake Music 8.5

Taken from his ‘Freak’ EP, this title track of Dan Shake’s recent effort is everything you would expect. On ‘Freak’, the London-based artist weaves together house and disco adding to the list of yet another Dan Shake brand of body-rocking dance anthems. Percussive sounds, catchy refrains screaming “freak”, and funky basslines all make this track so great. After two minutes, the track truly sparks into life as percussive loops 96

are suddenly joined by cool, elevating acid riffs.

Tom Jarmey Me and You Wax Villainy 8.0

Ever since the success of his single ‘beach jazz’ blowing up on Youtube hitting 1.2 million views, Tom Jarmey has been building a strong career as a producer/DJ. Hailing from UK, the young artist boasts a nice blend of house, techno, and disco. Taken from his album ‘White Label Edits, Vol.1’ earlier this year, ‘Me and You’ finds the UK producer delivering a sweet concoction of soul-like sounds, break-beat, and funky guitar loops.

Mall Grab


Looking For Trouble 8.5

Often referred to as a pioneer of the lo-fi house scene, DJ/ producer Mall Grab is known for his dusty, warm sounds that resemble listening to an old vinyl. This time, the Australian producer attempts to break out of the lo-fi box through his collaboration with his housemate and DJ partner Alysha Fleiter (Nite Fleit). Taken

A multi-instrumentalist and electronic producer based in UK, Crackazat crafts expansive zones with his fusion of jazz and house music. Three years after creating an album for Z Records in which he used the label’s acapella archives, the artist returns once again to spice up the soulful vocals with his sensible touch of bright house music. ‘Fly Away’ features vocals from the legendary funk & boogie collective, The Sunburst Band. Soulful vocals are layered on top of bouncy pianos and the song is imbued with rich elements of Latin house.

Roberto Surace

Joys (Extended Mix) Defected Records 9.0

Throughout every Ibiza season there is a record that becomes the track of the summer and it seems that Defected is becoming a monopoly on this matter. Being played by Marco Carola, the song gained recognition while a label battle started in order to sign it. Finally, Simon Dunmore platform ended wining and the song is out. In the unlikely event you haven’t already been captured by ‘Joys’, its earworm vocal and explosive bassline make it one seriously addictive track set to go stratospheric.

Nic Fanciulli

Miracle (Body Rock) Paul Woolford Endless Bassline Mix Crosstown Rebels 8.5

Paul Woolford’s Endless Bassline remix comes as the side B of Faniulli’s latest release. Stuttering hi-hats provide rhythm as the titular rolling bassline chugs on, whilst toneful piano keys merge with reverberating, soulful vocals. Unique, yet staying true to the original, the addition of distorted claps helps create the perfect dancefloor cut; but it


Something Special ft. Cat Connors Defected Records 8.0

DJ Tennis Gordon

Running Back 9.0

‘Gordon’ is one of those tracks that you just know isn’t all it seems. It starts innocently enough, just a murkly bassline, a kick, a hat and a clap, some low-level burbling going on in the periphery. Then the break drops, and the party starts; an irresistible, brassy rave line to bring wall to wall grins. Later, shimmering arps complete a blissful picture. Featured on Gerd Jansons’ Running Back label, it presents DJ Tennis pulling some serious disco devastation here.

Dennis Quin I’ll Take You Rejected 8.0

No effing about with this track from Strictly Rhythm and Madhouse alum Dennis Quin for Joris Voorn and Edwin Oosterwall’s Rejected, which after a sparse start to 2019 has hurled this bombshell into the breach. Tough, New Jersey beats and a nagging vocal loop that hints that hands will soon be in the air are the order of the day. No point in resisting. This is simple, brutal and brilliant.

Bass REVIEWS Halogenix Gaslight EP Critical Music

8.0 One of the most interesting producers of the last decade, Halogenix, raises the bar once more, flipping between the light and the dark of his ‘Gaslight EP’. Established on the scene with great releases, this one goes as the perfect example of balance. SOLAH vocals work great with his beats on ‘Out of Line’ and, at the same time, complete bangers like ‘Would You’ and ‘Line B’ show his darkest side. Textured balance!

Wreckless 1999

Peer Pressure International

8.5 Whoever thought Christina Aguilera could sound this good? Forget about genies, bottle the essence of this track and we’ll take a lifetime supply, please and thank you. For us, ‘1999’ is the perfect balance of classic-sounding percussion rooted in jungle, with a layer of misty melancholy and low, rumbling, heart-shaking sub. Notes of glowing spirituality echo through the background, bringing a sense of relief to an otherwise dark and encroaching tune. Don’t sleep on this eclectic gem of an EP, which stretches from jungle to tech. Pure magic.

Benny L

Vanta Black (Instrumental) Metalheadz

7.5 Fresh new drum and bass from the legendary Metalheadz label. Vanta Black is a sonic statement like no other! The complete EP brings two original pieces plus this version, an inimitable sound like no other that calls everyone’s attention with its details and his fresh composition. Bass makes its way through with an exceptional and intriguing start. Benny L is going up!

Special Request

grooves, hoovers and cheap 808 snares aplenty for all to enjoy.


All For You ft. Karen Harding Virgin EMI

7.0 British producer Wilkinson is one of the biggest names the scene has nowadays. Without taking too many risks on this one, ‘All For You’ is as close as pop music as it gets, with Karen Harding delivering a great performance on the vocals. Straight to the charts with this winning formula.

Nammy Wams Yellow Secret Technology Grime Tapes

9.0 Slackk’s archival pirate radio rips project, Grime Tapes, has now borne its own fruit and blossomed into a record label, with a 20-track collection of wayward beats from Nammy Wams serving as its first transmission. ‘Yellow Secret Technology’ is a collection of grime beats made from between 2013 and 2018, and veers from the drunk, attitude-laced staccato of ‘Languid’ and ‘Pinching’ to the dreamlike underscoring of ‘Boop’ and ‘Miharu’. It’s a selection that seems wonderfully aware of counterpoint — the dark, more brutal moments are contrasted by thinner, more upbeat bits like ‘Prayer’. It’s a heavily loaded, lovable debut.


Come Together ft. Tyson Kelly Hospital Records

7.0 One of our favourite tracks of recent times sees the light of day. This huge remix of The Beatles’ ‘Come Together’ keeps all the original funk and flair, and throws a whole load of weight into the mix. A great way to introduce this classic to new crowds. Amazing move!



8.0 Is it a return to process, perhaps? Or simply a return to just messing around in the studio and seeing what the fuck might happen? Either explanation has resulted in some of Special Request’s most enjoyable material to date. On ‘SP4NN3R3D’, did he lighten the fuck up, or change the goalposts? Or did I? Irrespective of my monologue, there’s design, offbeat



CHST046 8.0 Impressing one of the original dons of dubstep with his music, the Bristol-based Opus hits out with a new EP on Distance’s Chestplate label, and if I’m honest, I didn’t really get it until the stutter of ‘Titan’. The main cut, ‘Crumble’ feels kinda familiar, another hard tune that balances the menace of


Turn Off The Lights EP OWSLA 8.0

They are back! Sonny Moore and Alex Ridha, better known for those Skrillex and Boys Noize monikers, are once again joining forces in this new Dog Blood EP. Pure strength on this new EP where Dog Blood brings a heavy rave mood. The perfect amount of breaks and bass filled with some rave sirens, bouncy beat stomps, weird industrial clangs and more. A powerful return from these two.

its weight with Indian melodies, but on ‘Titan’ and ‘Reach’, Opus stretches his patterns in superfantastic fashions.


Bronze EP

Coyote Records

8.5 Shotting some real Steel City grease, the Sheffield-based Utah? steps out on Coyote Records for the first time with a four-track EP that maps a multiverse of styles. Careering, siren-like synths jostle for attention on ‘Polymer’, and in the same way, ‘Tilt’ feels superbly melodically embellished. ‘Bronze’ and ‘Signal’ are the warped peaches in the can, though, two exceptional steppy club-room heaters.


Rise And Boast Asbo Records

7.0 We always keep our ears out for Asbo — a label with a real roots culture, authentic to the core in both style and etiquette. Just in time for the warmer months, the imprint blesses us with another cut from its unreleased dub archive. It’s a soft, stepping, tropical love song perfect for pulling up your partner and windin’ in a dance. The drop brings us classic jungle flavours

with a light vibe, not your average sounding track. We like it!

Fred V

Storm ft. Rothwell Hospital Records

7.0 So here we have it, Fred V’s first solo release. Of course, its home had to be Hospital. It’s a cute, easy-listening, sing-along track, not one for the darker heads, but then you knew that already, right? ‘Storm’ sees stunningly smooth vocals from Rothwell paired with organic guitars, rising chords and bright, wide synths. The initial feeling is perfectly pretty pop, but the drop reveals layers of jumpy, pulsating distortion and a touch of jazzy, clicky microfunk, à la label-mate Bop.

Andy C

Back & Forth RAM Records

8.5 DJ/producer and RAM Records label boss Andy C has a pretty straight forward message in here. The vocal repeats this very clear: “Move your body back & forth”. A very clever production for the prolific producer released on its own platform. This is a dancefloor banger! With its modulated bass line and punchy drums, this dark piece will work in a small club or in a big festival.


Trance REVIEWS the (flood)gates to a XXXLsized drop that finally goes convincingly vertical inside the closing third.

Protoculture & Mino Safy Redemption

A State Of Trance 7.5

‘Redemption’’s foundation has three keystones. Specifically, a ‘Dooms Night’-lite w-w-whopp effect, a forcefully supersawing post-break mainline and, at its centre point, a ‘Saltwater’-esque Celtic vocal. The first works reasonably, the second decently, but the third — highly authentic and respectfully backed by in-keeping violin and piano — puts ‘Redemption’ in June’s endzone.

Jeffrey Sutorius ft. Jonathan Meldensohn Nothing Hurts Like Love” (Tomas Heredia Remix) BODYWRMR 9.0


Sands of Time

Future Sound of Egypt 8.0

One of the most respected and innovate groups in dance music are back with their official FSOE 600 anthem. This one is hugely euphoric and invoking old school rave nostalgia. Aly & Fila weave through synths that push forth and melodies that envelope, before a female vocal speaks of the ‘Sands Of Time’. A great match for their own brand.

KhoMha & Sander Van Doorn We Come In Peace Armada Music 8.0

Trance luminary Sander van Doorn is back with a brand-new single via his Purple Haze alter ego joining forces with Colombian producer KhoMha on Armind. This one is a deliciously dark piece that gradually builds momentum over its near six-minute duration, showcasing the darker side of Sander van Doorn’s and KhoMha’s combined production prowess. This powerful musical concoction begs to be blasted from the best and biggest speakers on the planet.

Neptune Project

Proteus (Thrillseekers Remix) Mythology 8.0


A good combination between iconic Thrillseekers and ever interesting Neptune Project. Unlikely to blow up prime-time on your average trancefloor, but that’s not its point. Fair rippling with harmonic intent, bass waves and seaside ethers, it’s your gooseflesh that’s in trouble here.

Will Atkinson Autobahn VII


If ‘Autobahn’ is a nod to Kraftwerk, it’s a magnificently bonkers one. That said, with Will, quirk’s generally fitted as standard. Revving motorbike engines accompany its opening narrative (Deutsch, natürlich), while decidedly Kraftwerkian percussion and analogue FX only enhance the impression. “Take me to the nasties” suggests an Englishman, which opens

Buenos Aires born and raised DJ & producer Tomas Heredia certainly is no stranger to nu breed talent watchers around the world. Following an earlier Dash Berlin remix the Argentinian starlet gave ‘Nothing Hurts Like Love’ a clever and inspiring treat. Buckle up for a progressive fuelled ride.

Radion6 & Exis The Truth

Who’s Afraid Of 138?! 8.5

We open on ominous pads, a church bell tolling and, direct from the cloisters, some chanted Gregorian business. Really, we couldn’t be anywhere else but psy-land (Exis’s presence is another ample clue). What follows is a cannonball run of acid rage, hard rawk yells (+ geetars), scything synths and a firebranding preacher man, all naturally built around a whipquick tempo. Mad… but are you not entertained?

Ferry Corsten & Nevve Freefall

Flashover Recordings 9.0

Judging by many of the common indicators, ‘Freefall’ appears to have been more ‘flyby’. That’s a big shame,

as, on almost all counts, it’s Ferry’s best in several years. On first listen, Nevve’s vocal is catchy, but with genuine feeling to carry it, it becomes overwhelmingly irresistible come your fifth. Ferry’s welling pads are a perfect summation of the incoming season, and by the time they reach their most natural of conclusions, you’ll be more than ready yourself.

Jordan Suckley & Kutski Ecstasy Love

Damaged Records 8.5

Hard trance! This amazing production combines both sounds in a very particular way. With the best of the trance structures and a vocal sample that keeps saying “ecstasy love”, it evolves into a banger, closer to hardstyle but without leaving the trance space at all. If you want to surprise a rocking trance crowd, this one might work.

Kyau & Albert You Are All Anjunabeats 9.0

Another Anjuna artist embracing the darker, underground electronic scene as of late. Following 2018’s euphoric ‘Never Lost’ album, the German duo are back making slow burning dance floor beats, this time with ‘You Are All’. With their signature vocals giving the warm touch, this one goes to the heavier side of Kyau & Albert discography.


The Darkside Afterdark 8.0

The name says it all! Rising tech trance maestro, Shugz is debuting on Sneijder’s label with his first original. Featuring classy effects with a tech and psy influence, ‘The Darkside’ is a true dancefloor destroyer. He’s paying homage to the old school here with this one.


Zedd & Katy Perry

Martin Garrix

UMG/Capitol Records

Epic Amsterdam

Never Really Over 7.0

If it ain’t broke, don’t fix it. Zedd & Katy Perry know which is the formula that works and they will continue to pursue that. ‘Never Really Over’ is a clear example! After the success of ‘365’ they came with this pop song, combining Zedd beats with Katy’s particular voice. Without surprises, this is exactly what we are expecting from those two.


All My Friends Columbia/Sony 8.5

Already named ‘the song of the summer’ by Porter Robinson, this is the first Madeon single over the last four years. French producer surprised us all with this new super funky song, giving away a mid-tempo discoinspired pop vibe with his own vocals in it. A good comeback from the young producer before the debut of his new live show at Lollapalooza in Chicago.

Kelsey Lue

Due West (Skrillex Remix) Columbia/Sony 9.0

American producer Sonny Moore is back on track, releasing lots of music this year. This was the first release of a string of new music and finds him on his pop suit. Already featured on the credits for the original, Skrillex gave this one a nice tropical vibe with some distorting vocals flying away from the dubstep he’s been doing on his early days. It’s amazing how Skrillex manages to do a good song on every musical genre that he ever touched!

Major Lazer

Can’t Take it From Me ft. Skip Marley Mad Decent 7.5

Diplo and his friends from Major Lazer, Jillionaire and Walshy Fire, invited Bob Marley’s grandson Skip for this one. ‘Can’t Take It From Me’ is a dance-pop tune that builds a soft, tropical mood into a vibrant horn hook while Marley sings a positive message of love and resilience.

Summer Days 6.5

A strong contender on the race for the song of the summer. Young super star Martin Garrix always delivers. This time, along Patrick Stump from Fall Out Boy and American rapper Macklemore. With a Daft Punkinspired bassline and a diverse sum of voices, ‘Summer Days’ is working great not only on the dancefloor’s but also the mainstream radio/streaming circuit around the world.

Gamper & Dadoni

Bittersweet Symphony ft. Emily Roberts Big Top Amsterdam 7.5

German duo Gamper & Dadoni went straight to the top of the charts with this rework of the classic song from The Verve. Actually, there isn’t much new things going around but, if you love the original one, this is a nice new way of playing it. An excellent adjustment for the dancefloor.


All Around The World ft. A Touch Of Class CYB3RPVNK 8.0


Fadil El Ghoul, known as R3hab, is a master at giving beloved songs a second life. This time, featuring A Touch Of Class, he dropped a rework of ‘All Around The World’, originally released in 2000 by Eurodance group ATC. Another exciting addition to mainstream sets around the globe, with El Ghoul providing a tasty funk house bass line for this revamped track.


Galantis & Yellow Claw

RCA Records

We Can Get High Big Beat Records 8.5

This two acts have teamed up for a new collaboration that is perfect for sunny summer days. From the high-pitched vocal chops to the anthemic feel of the entire thing, ‘We Can Get High’ is a light-hearted future bass gem, with the vocal sample somehow encapsulating sounds that Yellow Claw and Galantis are both known for while still leaving room for each of their individual styles.

Spicy ft. Charli XCX Mad Decent 8.0

Diplo released his own version of the Spice Girls’ classic ‘Wannabe’ together with French Herve Pagez and vocals provided by British pop sensation Charli XCX. This is a funny take on the 1996 super hit from the super group and a wise step from almighty Diplo, who mixes beats from the original with reggaeton vibes, warm strings and a smart drop. Right in the nostalgia.

Higher Love ft. Whitney Houston 8.5

Seven years after Whitney Houston’s death, young Norwegian producer Kygo received the honor of producing a collab with one of the greatest voices of all times. Intended to be included on the third edition of the mega star, ‘Higher Love’ finally ended being just the bonus cut on the Japanese edition of the LP. Now, is back in full force with revamped beats by tropical house maestro. Whitney for the new generation!


Talk (Disclosure VIP) RCA Records 8.5

After releasing the original song with singer Khalid, the duo made an alternative version. While ‘Talk’ was in heavy rotation they added some housey beats injecting lots of dancefloor energy to it, increasing the tempo and switching up some drum patterns. Still in the pop realm, it works on the dancefloor.


Further Listening

ELLEN ALLIEN Allientronic Bpitch Control

8.5 This new one finds Allien returning to that well, pumping out ready-out-of-the-package Berlin club anthems. Stripping down her sound for some of the tracks, Allien relies on repetition and simplicity to move her eighth LP forward. Recorded at the end of 2018 in her hometown of Berlin, ‘Alientronic’ is her eighth solo album, following on from 2017’s Nost. Spanning eight tracks, it touches on ambient, techno and electro with her particular taste. Shaping the past but looking to the future with confidence, she shows us classic techno and acid metaphors from her own visionary point of view.


Jonas Kopp

Moon Boots

Flying Lotus

Universal Music




TIM 7.5

Avicii’s fans were waiting fervently for the musician’s posthumous album. While posthumous album releases are comforting to some listeners, others are curious about whether the album is an altogether accurate representation of what the artist wanted the music to be. Whether it’s one or the other, it’s clear that this is a question without an answer. hanks to his family and team, we now get to experience ‘TIM’, a posthumous album featuring 12 tracks that was finalized after his passing by his good friends Carl Falk, Lucas von Bahder, Albin Nedler, Kristoffer Fogelmark, Salem Al Fakir and Vincent Pontare. They worked to finish the album in a manner that they all felt resembled Tim, as well as making him proud.


Non Virtual Reality 7.5

‘This album’, reads the introductory blurb to Jonas Kopp’s third long-player, ‘was created to be a quantum frequency shuttle immersed in an individual experience from the subconscious to a collective consciousness unified to a high frequency of light’. No, us neither, but all credit to the Argentinean producer, at least there’s some thought gone into it, even if it is all a bit baffling. Following two previous long-form forays on the legendary Tresor, ‘Non Virtual Reality’, on Madrid’s Semantica, is a complex morass of bleak ambience, roughhewn frequencies, rich, electronic textures and murky soundscapes. It’s not for everyone, granted, but jump on board Kopp’s quantum frequency shuttle and you can’t help but be impressed by how ‘all in’ he’s gone on this leftfield conceptual journey.

First Landing 8.5

This is Peter Dougherty’s –aka Moon Boots- debut album. Hailing from Brooklyn, this producer has burst onto the scene in recent years having cut his teeth in Chicago, looking up to legends like Derrick Carter and Frankie Knuckles. Now Moon Boots serves up ‘First Landing’ – an ambitious 10 track LP showcasing his impressive range as a producer, seamlessly blending classic US house sounds with funk and soul influences, expansive electronica, sun-kissed R&B and moody dancefloor energy. This body of work features seven collaborators, including notable guest appearances from Fiora, Lulu James and Janelle Kroll.

Flamagra 9.0

The LA production maverick who is surely never bored launches another belting, brain-rewiring album into the stratosphere. ‘Flamagra’ totals 27 tracks and covers seriously varied ground, yet almost always rooted — however subtly — in the LA beat scene he helped pioneer. There’s super-slick hip-hop in tracks featuring Anderson .Paak (‘More’) and Denzel Curry (‘Black Balloons Reprise’), smart, sparkling synthpop — ‘Spontaneous’ with Little Dragon — tripped-out space-funk galore (‘Post Requisite’, ‘Debbie Is Depressed’, etc), and all manner of sideways jazz odysseys – the good kind. FlyLo now excels in making the abstract accessible and appealing. There are enough hooks and killer beats in ‘Flamagra’ to invite repeated listens, yet he still flies his own freak flag mighty high, attracting some hefty collaborators in the process: Solange, George Clinton, David Lynch.

Further Listening


Hot Since 82

Hot Chip



Knee Deep In Sound



Fabric pres. Kölsch



This year Fabric relaunched its long-running mix series under the ‘Fabric presents’ banner, and its latest entry is a statement of intent in terms of aspiring to something more elaborate than just DJ mixes. “Fabric presents Kölsch” features ten entirely selfproduced tracks from the Danish veteran, essentially a new artist album, though more focused on the dancefloor. Reflective of the fact it was all produced in-between shows on tour, each of the ten tracks is named after the flight on that it was created, which shows more than anything how new music seems to just roll right off the tongue for Kölsch. Musically, it’s the extravagant melodic techno that he does so well, with a certain stylistic throwback to early, dreamy rave sounds representing the thematic line that runs through it all.


A Bath Full Of Ecstasy

Our cover artist is releasing his studio album ‘8-track’. Created in the midst of a hectic touring schedule and while mourning his best friend, this one presents the breadth of Hot Since 82’s everimpressive work as a producer, holding up a mirror to his DJ sets in the process. Merging his eclectic range of influences into his driving house and techno templates, it’s a deeply personal record that reflects a challenging time in his life. It’s a record made for dancefloors but which holds enough depth and diversity to demand repeated listening anywhere and everywhere outside of clubs and festivals.


Soft sonic bubbles, overwhelmingly positive songwriting sentiments and copious playful melodies. It’s not hard to understand how Hot Chip’s latest long-form earned its name; a sickeningly sweet declaration of good feelings made palatable thanks to the inclusion of some welcome, more reflective interludes. Clearly intent on lifting listeners’ spirits, and arguing the case for vocoders in the process, songs such as ‘Melody Of Love’ and ‘Positive’ are catchier than most infections, the title number introduces US chart-friendly electronic balladry to the equation, with ‘Hungry Child’ a bona-fide pop-dance anthem in the making. Less sugar-coated, but not gritty, ’Spell’ reminds you this troupe have long-since mastered elements that move dancefloors, and at the other end of the spectrum (well, almost) ‘Clear Blue Skies’ approaches shoegaze. Who needs groundbreaking when things are this nice and well-executed?

10 Years of Monkeytown 9.0

After ten years, a hundred releases and countless outstanding tracks, Monkeytown celebrates its anniversary with a compilation featuring new music by the artists that shaped the label in the past and will do so in the future. Modeselektor’s label has always tried to combine both experimental and dancefloor focused spheres simultaneously, never neglecting fun nor freethinking. The 12 tracks from the likes of Shed, Mouse on Mars, FJAAK, Redshape, Anstam and many more showcase and celebrate the label’s continuing mission: to explore new sounds and to seek out new bangers.


8.5 This production duo needs no introduction with thousands of fans around the world, transcendinng the drum & Bass scene working with artists such as Snoop Dogg and Rihanna. They are extremely versatile musicians. They cut their teeth in drum & bass with darker, heavy releases and, after a while, they branched out to more melodic, dancefloor friendly tunes and with that came major recognition from inside as well as outside the Drum & Bass community.

Inspired by the ‘90s jungle drum ‘n’ bass that first got them into making music, the group spent a week in Jamaica recording a series of original dancehall tracks with a wide variety of artists. They sampled these tracks – in the way the first generation of jungle DJs would have sampled from old Jamaican dancehall records – and cut them with new beats, to build a new jungle drum ‘n’ bass album. Now you know why they chose that name.



DENON DJ ADD STREAMING TO THEIR PRIME DJ HARDWARE It’s the first DJ hardware to incorporate streaming without a computer...


ENON DJ announced that they’ll be updating their PRIME series DJ hardware to include streaming capabilities. The new update will include streaming directly from Beatport, SoundCloud, TiDAL and Beatsource without a computer. As the PRIME series hardware is already WiFi- and Ethernet-ready, users will log in to their relevant accounts and can access pre-made playlists and curated ones. Beatport PRO users (prices for the PRO subscription are yet to be confirmed) can download up to 100 tracks to store on the device for offline play and tracks that you stream are cached as they’re loaded to avoid any dropout issues. To load a track, users simply search the appropriate service using the touch screen. You can add hot cues


and loop points to the streamed tracks, though it’s not clear how much metadata is stored on the streamed track, or if the waveforms are instantly visible or if an analysis process is required.


Shares His Tips For Keeping Focused In The Studio EXERCISE IN THE MORNING

Either way, it’s a huge step forward for DJ technology, and one we expected to happen much later than one week after Beatport’s announcement. Questions around how the artists and labels will be compensated are still unclear, but we intend to find out at our panel at IMS on Wednesday, May 22nd at 12:30 pm.

If I get up and go straight into the studio, I sometimes find it hard to get motivated, exercise always puts me in a positive mood and gets the creative vibes flowing.

MEDITATION OR 20-MINUTE NAP IN THE AFTERNOON After a few hours of constant focus (usually mid-afternoon) I often feel mentally tired. A quick nap or meditation - or a combination of the two helps me to recharge and refocus. A cup of coffee right before a 20-minute nap is also a good trick, so the caffeine hits your system just as you wake up.

LISTEN TO OTHER STUFF As with all new DJ tech, it’ll take some time and testing to bed in and really develop its potential, but for now it looks like DENON DJ have won the race to stream directly to hardware. n

If I’m in the studio and not feeling inspired, I take 30 minutes or so (out of the studio) to listen to some of my favourite tracks, new or old... then go back into the studio and without directly copying them I’ll have a few ideas that will stick in my sub-conscious.




NUMERO UNO Build Quality


IK Multimedia deliver their take on the analogue synthesizer..

Ease Of Use





Value For Money


Sound Quality


K Multimedia are known for their diverse collection of production products, ranging from software plugins and samplers to various hardware options covering speakers, soundcards, microphones and amps. However, the UNO is their first foray into a hardware synth and it looks like they have got a winner on their hands. When we look at the multitude of analogue hardware synths that now seem to be en-vogue, they all come with some cool styling, with plenty

of knobs and sliders so users can get hands-on and tweak to their heart’s content. However, looking at the UNO it has more in common with a digital synth of yesteryear with its flat look and rather-limited seven knobs. At first, you’d probably think that it’s in fact a digital synth but no, it’s a true analogue beast, and behind the all-plastic casing, there’s a true monster sound. Talking about the plastic casing, some synth fetishists will consider the look and the build a little tame, but we can see what IK Multimedia has done here. Instead of going for a more expensive casing and materials, they’ve kept it to the basics, but then loaded up the internals so that users get a very goodsounding synth albeit at a trade-off. We can live with that, especially considering how the synth sounds. If it sounded cheap we would most definitely kick up a fuss about the looks, but it doesn’t so we’re going to live with it. The sound – which is probably the most important factor – is incredibly good, but when you consider who helped develop the UNO, it’s no surprise. Some of you might remember the Alesis Andromeda – a £3,000 analogue powerhouse from almost 20 years ago. Well, its designer synth guru Erik Norlander is the brains behind this little number so the UNO boasts an impressive heritage from the get-go, a welcoming factor indeed. When fired up, the UNO sounds pretty impressive and covers a surprisingly large range of

sounds with aplomb – the 100 presets do a good job in showcasing what the synth is all about, from deep dirty basses to gritty top leads. We were pleasantly surprised at the depth of sound from the synth. Oh, and each preset also includes an associated arpeggio sequence, which adds additional depth. Talking about the front-panel controls, or lack thereof, the UNO features a matrix-style programming section where the parameters of the synth can be tweaked. The lack of a detailed visual display means that programming is all done by ear, but getting results is pretty easy and quick, especially when using the cutoff knob – a standard go-to for instant sound-shaping gratification. On the flip-side, the UNO comes with a software editor that can be used on iOS, Mac or PC, which gives access to all of the parameters with their own individual knobs and switches in a visually-pleasing graphical interface. The fact that the editor can be used on iOS devices is great as the UNO can also be powered by batteries, making it a very compact and portable synth. IK Multimedia also make a carry-case to protect your little synth while on the move. One novel element of the synth is the on-board multitouch 27-note keyboard that looks a little like the ’board on Pioneer DJ’s Toraiz AS-1. Some people might not like this approach but there’s nothing stopping users connecting it up to their master controller keyboard of choice. We think it gives the UNO a little bit of a retro character. The keyboard can also be used to program the built-in sequencer, in real-time or steptime modes. For something so small and compact we have to say the synth really is feature rich.


A wicked sounding analogue mono synth. GRIPE

Not going to win any prizes for its looks. UNO is a great sounding synth — what it lacks in the looks department it makes up for with its sound.

8.6 Right, in terms of connecting it all up, a simplified approach has been adopted with mini-jack audio in and out ports on its rear, as well as a micro USB connector. Even the MIDI connectors are of the mini-jack variety, however IK Multimedia include DIN breakout cables for connecting it to your MIDI gear. IK Multimedia have taken a novel approach to their first steps into the world of synthesis and while there have been some obvious trade-offs in terms of the build, there have been no shortcuts when it comes to the sound department. The UNO is a very capable synth that would sit perfectly in any DJ/producer’s studio – we highly recommend it for anyone looking for a cost-effective way to get into the world of hardware analogue synths. 103


IT’S RITON TIME We gain an insight into the studio workings of notable DJ/producer, Riton... Words: MICK WILSON Pics: MARYAM HODJATI


J and producer Riton, using a collection of analogue gear he’s been collecting for twenty years, has crafted his own unique style and signature to his productions and remixes. Last year’s ‘Rinse & Repeat’ single and resulting album ‘Foreign Ororo’, a partnership with vocalist and friend KahLo, both achieved critical acclaim — venturing into fresh, new dancefloor territory — while remixes for Becky Hill, Selena Gomez and Gorgon City kept him busy throughout the year. 2019 sees the talented fellow pick up where he left off with new productions and production duties, bringing a sliver of cool to some of the major labels’ more pop-infused artists.


What is keeping you busy in terms of studio work? “I’ve been doing bits of production for other people and stuff, I’ve just done a collaboration on one of Jack Jones’ tracks and have been doing other bits for ‘the majors’ — pop production, additional production, giving the tracks a bit of an edge, getting finished songs and adding my touch, putting them through the old machines and getting them sounding phat.” How does additional production on tracks differ to doing a remix? “Basically, I have to approach it differently to doing a remix, as often the artist would then come back and say that they didn’t want the track rewritten, which is what I would do if I was remixing it.

Instead, I approach it as adding the additional elements that would finish the tracks, helping it over the line, giving it an edge, and then sending it back to the label or artist. It’s more a case of taking what they have already and getting the sound really good, switching out or re-doing the bass on analogue synths and putting sounds through the outboard gear, trying to give the drums a bit of dirt by putting them through equipment like my old E-mu sampler and stuff like that. Adding some cool FX, taking it and tweaking it, perfecting it — it’s a fun process. You’ve got the heart and soul already invested in the track so you don’t have to worry about some of the things that you would normally worry about if it was a song or production of your own. You are given a set of boundaries, and it’s quite nice to have to work



within them. In fact, it is quite a creative process being given rules to stick to even though you are still adding your signature to it.” With a remix, you have a blank slate to be creative then? “Yeah, when I remix I really like to do my own thing. When I’ve been asked to do a remix on a house song and the track is house-y already, I don’t really find much to do on it, just a slight re-version. I prefer to have just the vocals so that I can re-write the track and do my own thing. When it’s already a house track it’s difficult; with a remix I like to do something that’s 100% original.” In terms of collabs, which process do you prefer — remote working or being in the studio with the collaborator? “I always prefer to have the artist with me when we are writing the songs, so that we are on the

03 04




same page but I have a couple of people, like Boy Matthews — who wrote ‘Ocean Drive’, the Duke Dumont track — he lives out in LA. We’ve done a track together which is quite a big collab, we had to work remotely with Boy sending over top-lines and stuff for the track via the internet, but most of the time I try and get people to sit in the studio. I’ve just done a session in the studio with Andrea Martin who did the Toddla T track, she was cool to work with.” Looking around your studio we noticed the Akai MPC X sitting pretty in the middle, is your set up based around this? “I use the MPC to try and sequence on as much as I can. You can have it hooked up to the computer or use it standalone — the good thing about the MPC X is it has CV and Gate output so that you can use it with the analogue gear as well. I find that the clocking side, the timing on the MPC, is way tighter. If you have got a complex project running on the computer with lots of tracks and then sending MIDI as well, things can start to sound out of time, but if you have the MPC running alongside I can make all the MIDI and CV stuff all in time. I really like the combination of the MPC controlling other drum machines as well. I’ve got an E-mu SP12, an old ’80s drum machine sampler that is really good and when controlled by the MPC is sick.” Can you tell us about a few of your key pieces? “One of my favourite bits of kit is the E-mu SP12, which is such a great sampler. The [Thermionic Culture] Culture Vulture for distortion, it gives the sound a bit of drive and analogue warmth — love that. Then the ARP2600 clone which is incredible and then my favourite effects unit is the Eventide Harmoniser, the H3000, from 1986. It’s a multi-effect with pitching and all that, it has this metallic early digital sound that I use on everything. It’s got the classic micro-pitch shifting that Prince used to use on his vocals. I would say that anyone who just uses soft synths and wants to get a bit of grit on their sound should look at the Culture Vulture. There is also a UAD version of it, which I have trialled alongside the hardware and it sounds pretty great as well.”

RITON’S ESSENTIAL KIT 01. Mu-Tron Bi-Phase 02. Pearl SC-40 03.UAD Apollo 8 04.Maxon AD-230 Flanger 05.Eventide H3000 06.Distressor 07. Eventide H7600 Do you spend a lot of time tinkering around on your hardware to create sounds, then? “To be honest, I get really excited as soon as I get an idea or sound I think I should make a track out of, and then start adding elements to it, instead of jamming the whole day on one thing. What I have been doing recently on my ARP2600 clone is an example. I got the software version of it, then started looking at the patches on that and copying them on to the hardware. I’ve been doing that a lot as I have quite a bit of the original kit, using the virtual versions as they have so many presets and recreating the presets on the original hardware, checking out what patches people have been doing on the VST versions and then coming up with my own on the hardware.” And your production methods, how have they changed over time? “As I got more gear I started to write outside of the laptop using analogue sequencers and stuff like that — things that I like to work on. When I was living in LA a few years back I was actually using a mixing desk and using the desk to add reverb and delays — using the desk to record, say, eight channels of audio for one sound and then what would end up in the computer would be the final sound. Whereas before I would get it into the computer, then start adding FX and other things on top of the sound. Using the desk in that way was cool — to have the final sound as I wanted it in at the time, rather than doing it later. It was a different learning process to me, having the mixing desk changed my way of working.” 105


SIGN OF THE TIMES Sigma’s productions have managed to smash up the mainstream, giving drum & bass chart-topping success... Words: MICK WILSON


igma have taken drum & bass to a new level. From their massive live stage shows to their DJ sets, they’ve managed to cross over from the underground to becoming popular mainstream artists, collaborating with the likes of Paloma Faith and Labrint. Remix duties have seen them take on Ellie Goulding, Eric Prydz, Groove Armada, Skepta and Sway. DJ Mag Tech managed to grab hold of Joe Lenzie from the duo during their recent tour to discuss their production career in more detail... When was the first time that you realised that you wanted to get into music production and DJing? “My dad was making music for fun on an Atari 520ST with Pro 24 when I was super young, and growing up I was surrounded by creative-minded people. When I was thirteen my parents saw me and my brother were really into music and they bought us an Emu ESI32 sampler. It had fifty-two seconds sampling time, which was groundbreaking at the time, for such a low price! I made some

awful tunes for a few years, realised I preferred to DJ, and focused more on that until eventually I got back into music production in my late teens while studying music technology in Leeds. I met Cam, he caught the bug instantly and the rest is history.” What was the first bit of kit that you bought? “Aside from the DJ equipment, and the sampler that was a gift from my parents, the first piece of kit I bought was a pair of Behringer Truth monitors. To be honest, I didn’t have a clue what I was looking for, but I couldn’t afford a pair of Mackie HR824s — which a lot of the drum & bass producers used at the time — and these were a dirt-cheap alternative. They served me well, and probably really pissed off my neighbours!” What synths are you using when creating your tracks? “We don’t really use specifically one synth, as there are so many amazing soft synths. We regularly use





Uhe Diva, all of the Output Kontakt instruments, and the obvious synths — Serum, FM8, Nexus, and Omnisphere. In terms of our favourites, it’s a very difficult one to call. Our top five would be NI FM8, Serum, Massive, Omnisphere and the [Arturia] Minimoog.” And your go-to piece of kit? “My laptop. I’m still amazed that you can sit anywhere in the world and potentially compose and produce a fully orchestrated symphony on a laptop that to the untrained ear could be a twenty-fourpiece orchestra. Technology is king.” When you’re producing, do you use a lot of hardware or, as mentioned, are happy to use the software alternatives? “Software to sequence and finish off, but a bit of everything. We like the sound of a real instrument or recording of a synth because it always adds an element of character to the song. The marriage of both can create a nice equilibrium if done in the right way.” Tell us more about your studio space... “We have an amazing studio space, it’s actually a custom-built log cabin that’s insulated and plastered with acoustic panels. It’s been kitted out by Artnovion acoustics. You send them a spec of your room and they send you a design based on the spec. It sounds great and looks amazing. For monitoring we use the Barefoot MM27. In our opinion, there are a handful of speakers that come close to these, the clarity in the mids and low-end is unreal, and the twin woofers kick out a hefty lowend. No sub required. In terms of other equipment, we currently have a MacBook Pro running Cubase 9.5. We tend to use a lot of sampled instruments as they add a tangible element to the production, and have become part of our signature sound. We also have a Mellotron that we bought a few years back







that is simply wonderful. We use it in every track, the sounds are timeless and the vibe this synth creates is second to none. Highly recommended.” How long has it taken you to get to this stage? “Any overnight success takes ten years, right? Or not! We are constantly working to improve our production and ideas and funnily enough, no piece of music is ever finished. It’s just as good as it can be.” How did you go about producing your latest single, ‘Anywhere’? “We were sent a rough demo of the song from our pals Danny Shah and Sky Adams. It was about 20bpm slower with a very airy ‘80s-style of production to it. I heard the track in a different light and spent a few days crafting a completely new backing track, in a different style. We then jumped in the studio together, recorded the vocals again and wrote a few additional lines and hooks to finish it off.” How do you approach the production process from a mixing perspective? “We like to mix tracks as we go along. It can be quite disheartening if you create a whole song, and

when you come to mix it you have to strip back a lot of the elements, and change drum-hits, etc. If you get an amazing sounding loop, that is half of the battle and we usually approach the process in that way and work from there.” Why is it important to keep dynamics in your tracks? “Dynamics are important as they emphasise the feeling of the track. Fortunately for producers appealing to a Spotify-based audience, the loudness war has now ended, as they have an automatic volume control so everything is balanced to be the same level. Allowing that extra headroom also allows for a lot of additional low-end, which is something we all love. Thank god for technology!” Space — is it really the final frontier? “Space is important in music, the air between sounds creates the groove, and to create a space between sections of a song can build tension, feelings of calm and evoke all different types of emotion.” What inspires you to make music? “Going to a nice place, enjoying time with our friends, performing in live environments. Inspiration can be drawn from every aspect of your life.”

01. Nuemann u87 02. Melotron 03. Norrd Lead 04. Barefoot Micro Main 27 05. Hedd Type 07 Monitors 06. Native Instruments komplete Control 07. Mackie Big Knob 08. Cubase CC121 What is a typical day in the studio for you? “That completely depends on our schedule. We work on a lot of different material. Sometimes we create a variety of different loops, other times we write club-based music. Some days we work with songwriters and create stripped-back ideas, other days we work on song ideas sent over from our publishers. It’s always fun!” You’ve remixed an impressive selection of artists, how do you approach a remix project? “We won’t remix a song unless we know that it’s going to work. That can be down to a number of different factors, but is usually dictated by the vibe.” How have your production methods changed since you first started? “We tend to work on a lot more vocal-based music than when we first started out. Vocals are a dark art, and can be very difficult to get right, and we constantly work on trying to get that perfect vocal mix. A great song will always outlast and outshine a reload track.” 107



DJ Mag has been giving constant access to elite DJ and producer’s tips. We went through their recent editions to find out the best ones for you. Learn from the bests!

“If you’re not totally in love with a sound, get rid of it, even if you’ve been working on it for hours. Something better is always around the corner. So, let’s go. Also, with tracks, same thing. Don’t work on something unless it has something special from the start. Music is infinite, there’s no point in holding onto things that you are not sure of. Find some people who you really click with to make music together. It should be fun, challenging, stressful at times… And don’t settle for a democracy. Quincy Jones said that studio sessions should be a dictatorship and he is right. Otherwise, you just get a watered-down vision instead of something deeply passionate.”

Taken from DJ Mag issue 587

MATTEW JONSON “One of the key elements to making a record for me is to keep things simple and make one idea turn into a masterpiece, rather than having a few ideas that you try make work together with each other. I think some producers will start with a good initial idea, but then will complicate it by adding other ideas to it to try and make it too complex. What works for me is to compliment everything around the main parts, and then try and expand them in as many ways as possible to create a story that all revolves around your initial idea. Simplicity in music is what I like to say makes a hit, as long as it catches the ear and you believe in it.”

Taken from DJ Mag issue 585

AVISION “Less is more — the challenge that I would suggest to any music producer or newcomer is to try to find those essential few elements that match within perfection between them. Adding layers and charging your project with so much instrumentation can lead you to lose the main focus of the whole story. Sometimes we tend to think that adding must be better than a lack of elements, but the sweet-point is when you find that magical element that in combination with another one makes you feel over the moon. It requires time and patience on what you want to communicate within your music, but I always try my best to apply this to any new project I start working on. It will also make your life easier when you mix down the whole song, so think about it.”

Taken from DJ Mag issue 586

SQUIRE “Being a successful producer is about more than just learning how to use a DAW — you’ve got to be passionate about what you do, trust your ears and always get advice from trusted professionals. I find that my best music is always when I’m in a good mood —I end up writing it in a short time as I’m literally expressing what I’m feeling at that present moment. I tend to have a rest from the project I’ve been working on for a few days then go in with fresh ears and go over the mixdown. Using outboard equipment will certainly help you get a warmer sound as well, so if you can, try and invest in some good analogue equipment. “A good working environment is key — try and eliminate any noises that could distract you and most importantly have your studio monitors set up correctly. Having a good acoustically-treated room is essential as this is your listening environment. I think talking to others and getting feedback as much as you can will certainly help make your music better. Just take as much constructive criticism as you can and consistently think outside the box, but most importantly, enjoy it.”

Taken from DJ Mag issue 589


“You can decorate the entire studio with expensive equipment and not write a single note. On the other hand, with desire and love in your heart, you can write incredible music. So, I think the whole process is about heart —everything else comes from the mind. The most important thing is to be yourself —again, I stress that the equipment is not so important, believe me. When you discover good equipment through your heart and by understanding the process, this will make your music unique.”

Taken from DJ Mag issue 582



“As we play live electronic music onstage, we would like to point out two very important points for like minds. The first is the fact that too much control is losing control: you should limit the amount of gear/controllers you take on stage. If your act is computer-based, use one controller, make the most out of it, learn it like it was an extension of your body, invest a lot of time in fine-tuning the ranges of the midi mapping, because it is an instrument and an instrument should be properly tuned. “The second is a very helpful technique which we call ‘the home button’ — meaning a button that will allow you to go back to familiarity after making a mess. Here’s an example: if you work a lot with effects, you can map one button on your controller to turn them all off. This will allow you to radically change your sound and go back to the starting point with the press of a button. This is actually in our opinion a core element of electronic dance music, as it is a lot about building tension and breaking it.”

Taken from DJ Mag issue 572

SKINNERBOX “I make all my music with headphones. I know this is really strange, but when I was younger, growing up in New York really limited my options to be able to play music on monitors. I first started using iPhone headphones and my track ‘Careless Suggestions’ was made on these! I don’t think producers should get hung up on what gear they have. It doesn’t take gear for you to be a great producer, take it from me after using a substandard laptop and iPhone headphones. It just takes inspiration and to be driven. When it comes to producing, be yourself and don’t try to recreate something someone has already made.”

Taken from DJ Mag issue 578


“Try to modulate preset sounds to make something different. That will make a hell of a difference in your productions. That’s why I love to work with modular synths and another thing, it is more fun and effective to do modulations with a real machine instead of doing it with the computer mouse. But if you haven’t got the hardware, on the other side, you can also buy a good controller and use that.”

Taken from DJ Mag issue 563

JEAN CLAUDE ADE “One of the basic things that we would say to anyone is to listen to everything, don’t shut yourself off to what is musically around you. Be open in life as well as music, as it is good to have influences from all over the map; don’t limit yourself to just a few genres like house or techno, experience other styles. The most amazing music is made when it’s about surprises, creating something unexpected, not following trend or being on the safe side. Try out things, be spontaneous; this applies to DJs as well as producers. Bring your own identity to the table, be true to yourself, take it step-by-step to make a solid grounding, don’t lose yourself in the hype. Fool around, make mistakes, don’t necessarily go with all the new bits of kit and use any gear you feel comfortable with. Embrace lucky accidents as there are the things that will me your music stand out.”

Taken from DJ Mag issue 560

TIEFSCHWARZ “When it comes to finalizing a song, production becomes more about reduction. Specifically, the reduction of unnecessary elements in order to enhance the track’s overall frequency range. The core of most songs is the kick, bass, and snare or clap elements. For electronic music, base almost all final reductions around these elements in order to attain a really weighty core. Once this core is mixed, focus on the main hook or vocal to get those elements sitting cleanly atop the mix. Now that the track is tight, and expressing its main elements, it’s time to add the zest — via percussion, synths and pads. This is the stage in which tracks get busy, and the positive effects of reduction can really be seen. Solo in each remaining element, and if one does not sit right, change or delete it. ‘Less is more’ almost always helps a mix down.

Taken from DJ Mag issue 577




e’re so stocked to share with our readers the amazing festivals and concerts that are taking place in Asia this summer. This season’s concert line-up looks more promising than ever with plenty of top-notch DJs as well as up-and-rising acts to catch. From We THE FEST Indonesia to Ultra Japan, here is our 2019 guide to some of the hottest music events in Asia.


MARK SIXMA TOUR WHERE? Yogyakarta & Badung, Indonesia / Singapore / Bangkok, Thailand WHEN? July 10th – 13th (Yogyakarta: July 10th, Badung: July 12th, Singapore: July 13th, Bangkok: July 18th) HOW MUCH? Various prices HIGHLIGHTS: Mark Sixma’s name always seems to pop up when it comes to listing the hottest trance artists in the world. Throughout his celebrated career, the artist also hit the Beatport Trance Chart at #1 with his iconic single ‘Requiem’ and has also performed alongside top DJs including Armin Van Buuren, Ferry Corsten, Paul Van Dyk and many more. Catch his show this summer in various venues across Asia.


I HATE MODELS ALBUM TOUR WHERE? Tokyo, Japan / Seoul, Korea WHEN? July 19th – 20th (Tokyo: July 19th, Seoul: July 20th) HOW MUCH? Various prices HIGHLIGHTS: Placing himself at the forefront of modern industrial techno, I HATE MODELS, real name Guillaume Labadie, delivers countless techno bangers in his latest effort “L’Âge Des Métamorphoses”. His recent album finds the artist taking his craft to the next level, blending industrial techno with a hint of electro house. Techno fans, be sure to mark your calendar for an epic night.


WE THE FEST, INDONESIA WHERE? Jiexpo Kemayoran, Jakarta, Indonesia WHEN? July 19th – 21st HOW MUCH? 1,000 – 7,750 IDR HIGHLIGHTS: We the Fest is coming back with its sixth edition this year from July 19th to the 21st! It features a groundbreaking festival experience incorporating the magic of music with arts and fashion. Rae Sremmurd, Troye Sivan, San Holo, Yaeji and more are confirmed for the lineup.




WHERE? The Ranch at Gohtong Jaya, Genting Highlands, KL, Malaysia WHEN? July 20th – 21st HOW MUCH? 360 – 450 MYR HIGHLIGHTS: This one needs no introduction as almost everyone in KL and beyond were at the annual highlands festival. This year, Rae Sremmurd, Yuna, Yaeji, San Holo, Jai Wolf will make the festival a can’t-be-missed local music event.

WHERE? Zozo Marine Stadium & Makuhari Messe, Tokyo; Maishima Sonic Park, Osaka WHEN? August 16th – August 18th HOW MUCH? 13,800 – 39,000 JPY HIGHLIGHTS: Marking its 20th anniversary this year, Summer Sonic Festival is an annual two or three-day festival held simultaneously in Chiba and Osaka. The festival is returning to an iconic location overlooking Tokyo Bay and will feature some of the biggest names in the scene including Flume, R3hab, Disclosure and many more. Although there won’t be Sonicmania—the all-night EDM event leading up to the festival—this year’s Summer Sonic is expected to bring myriads of talented internationals as well as local acts.



YAEJI ASIA TOUR WHERE? Singapore/ Bangkok, Thailand/ Hong Kong, China/ and many more WHEN? July 17th – August 1st (Singapore: July 17th, Bangkok: July 18th, Hong Kong: July 23rd) HOW MUCH? Various prices HIGHLIGHTS: Ever since the success of her works including ‘Raingurl’ and ‘Drink I’m Sippin On’ that went viral on YouTube, Yaeji has become a sensation in the house music scene around the world. The Korean-American singer/producer/DJ is well known for spicing up deep house music with whispering vocals. Get crazy tonight with crazy Yaeji. www.yaeji.ny



ELECTRIC DAISY CARNIVAL KOREA WHERE? Seoul Land, Gwacheon, Korea WHEN? August 31st – September 1st HOW MUCH? 99,000 – 175,000 KRW HIGHLIGHTS: The Electric Daisy Carnival (EDC) is coming to Korea! Notable names like deadmau5, Alesso, Dillon Francis, and Excision will give you an experience to never forget. It’s surely an event you wouldn’t want to miss!


SUNNY SIDE UP FESTIVAL 2019 WHERE? Manarai Beach House, Bali, Indonesia WHEN? August 24th HOW MUCH? 1.100.000 IDR HIGHLIGHTS: Sunny Side UP festival takes place in one of the most beautiful places in the world, the island of Bali. The festival brings together world-class headliners and DJs from a variety of genres on stage. Some of the scene’s most iconic names, including Mark Ronson, Madeon, and Disclosure, have performed at the Manarai Beach House overlooking the picturesque Nusa Dua beach.




WHERE? Nanji Hangang Park, Seoul, Korea WHEN? August 15th HOW MUCH? 88,000 KRW HIGHLIGHTS: The Grammy award-winning producer/DJ is coming to Seoul for the first time this August. Well known for being the pioneer of future bass, the Australian producer rose up to the mainstage ranks with his 2012 debut and album ‘Skin’. Flume recently dropped a new experimental album titled ‘Hi, this is Flume’, and he is also expected to bring other talented artists to perform with him in Seoul.

WHERE? Marina Bay Sands, Singapore WHEN? August 31st HOW MUCH? Various Prices HIGHLIGHTS: Silent Disco offers a true unique party experience through its customized Bluetooth headsets that allow the audience to switch among three DJs that play different styles of music. The headsets come with integrated LED lights that switch its colors depending which channel you are listening to. Enjoy a unique party experience at Silent Disco.




ROSKA ASIA TOUR WHERE? Circus, Osaka, Japan/ Oil Club, Shenzhen, China WHEN? August 1st - 3rd HOW MUCH? Various prices HIGHLIGHTS: Roska is a London-based DJ, producer who is known for blending UK funky, house, and various strains of bass-heavy club music. Often lauded as the pioneer of the Funky house sound, Roska is currently one of the hottest artists in London’s underground scene.


SAN HOLO ALBUM 1 TOUR WHERE? Ageha, Tokyo WHEN? August 31st HOW MUCH? Various Prices HIGHLIGHTS: Ever since his debut in 2014 with the COSMOS EP, producer/DJ San Holo has been perfecting his own brand of bass music. The Dutch artist garnered the attention of the world with his remix series, ‘Don’t Touch the Classics’. Catch San Holo at Ageha, the biggest club in Japan.

September [FESTIVAL]


WHERE? Taipei Metropolian Park, Taiwan WHEN? September 7th HOW MUCH? TBA HIGHLIGHTS: Creamfields is an iconic UK music festival that has made its foray into Taiwan. With The Chainsmokers, Andrew Rayel, Carta, Ben Nicky and others performing live in Taiwan, it’s almost guaranteed that you will party till your ears ring and legs feel woozy.

WHERE? Nanji Hangang Park, Seoul, Korea WHEN? September 7th – 8th HOW MUCH? 88,000 – 154,000 KRW HIGHLIGHTS: Each year, Spectrum Dance Music Festival unfolds a new story, unveiling a world inspired by “THE FUTURE OF CULTURE TECHNOLOGY.” Kygo, Afrojack, Charlotte de Witte and many more will join the journey!



SHVR GROUND FESTIVAL 2019 WHERE? Indonesia Convention Exhibition ICE BSD, Indonesia WHEN? September 6th – 7th HOW MUCH? 500,000 – 2,000,000 IDR HIGHLIGHTS: Music enthusiasts in Indonesia must prepare themselves to welcome another massive music festival, SHVR GROUND FESTIVAL 2019. Above & Beyond, Afrojack, Timmy Trumpet, Brennan Heart, Darius will take you to experience something you’re never felt in other music festivals.


WIRED MUSIC FESTIVAL, JAPAN WHERE? Aichi Sky Expo, Japan WHEN? September 7th – 8th HOW MUCH? 14,000 – 40,000 JPY HIGHLIGHTS: Alert to all music lovers! Wired Music Festival is hosting its 5th anniversary with an eclectic range of genres. Inviting world class artists such as Kygo and Wiz Khalifa, the festival will deliver the most epic performance of a lifetime in what will be a day of non-stop action!



FORMULA 1 SINGAPORE GRAND PRIX CONCERT WHERE? Singapore marina bay street circuit, Singapore WHEN? September 20th – 22nd HOW MUCH? 38 – 9501 SGD HIGHLIGHTS: Festival-goers can expect a diverse host of genres across nine stages at the three-day extravaganza! EDM supergroup Swedish House Mafia, Brit sci-fi rock masters Muse, and Cali funk rockers Red Hot Chili Peppers will headline the night race’s entertainment stage alongside some of the biggest names in music.


ULTRA JAPAN WHERE? Tokyo Odaiba Ultra Park II, Tokyo, Japan WHEN? September 14th – 15th HOW MUCH? 15,000 – 52,000 JPY HIGHLIGHTS: Ultra Japan is the biggest EDM festival in the country and you don’t even need to catch a train to a paddock in the middle of nowhere to enjoy it. Held since 2014 at the outdoor Ultra Park in Odaiba, the festival is part of the Ultra Music Festival global circuit. 113


When it comes to describing Josh Wink’s music, one would find it challenging to just sum it up in a few words. In this regard, the Philadelphia-based producer/DJ have set himself apart from his peers through his mind-blowing works that blurs the line between house and techno. From the myriad of hits that he released under multiple monikers, Josh Wink has established himself as one of the most influential pioneers in the electronic music scene.


JOSH WINK Alongside his hits ‘Higher State of Consciousness’ and ‘I’m Ready’, the artist has performed at one of the scene’s biggest events including Ultra Miami, Tomorrowland, BPM Festival, and many more. DJ Mag Asia sat down with Josh Wink, who recently celebrated the 25th anniversary of his Ovum Recordings imprint through a remix album of his 1998 classic ‘Sixth Sense’ featuring Louie Vega and Shlomi Aber.


“Stevie Wonder’s ‘Sir Duke’. I remember being 6 years old and in my mother’s car. When this would come on the radio, she would always pump the brakes of the car to the rhythm of the horn section of this glorious song.” THE FIRST RECORD THAT YOU EVER BOUGHT?

“I believe I was 4 or 5 years old… Not sure. But I bought the 45’ single of Terry Jacks ‘Seasons In The Sun’ for 25 cents at a yard sale. I knew all the sad lyrics to this song as well as the B side track ‘Put The Bone In’. Not sure why I bought it. But at 4 or 5 years old, I had a quarter and simply wanted to buy a used record at a yard sale.”

“Don’t listen to many albums as I listen to songs that stream. But the last LP I can remember listening to fully through has been the new Flying Lotus LP ‘Flamagra’. I am a fan of his and am continually digging his creativity.” THE RECORD IN YOUR COLLECTION THAT YOU MOST TREASURE?

“Can’t really say. I have 14,000 records in my collection and so many are special and have meaning behind them.”



“Listen to a lot of eclectic internet radio, jazz, reggae, reggae station/ playlists on Spotify. I always have to have music on, regardless of where. Music to set the mood and soundscape of my day and overall feeling of where I am.”

“I can’t really say record. Kind of like asking me which of my children is my favorite. Impossible. But one that continually haunts me and remains to have a part of my life is Brian Eno’s ‘Thursday Afternoon’. This hour-long sublime piece of ambient music which calms, centers and focuses me each time I listen to always evolves and grows into something new. So simple! And my mind, the track lets me go everywhere and anywhere while listening to the 60 minutes composition, influencing my atmosphere of where I am, whilst it is played.”


“HA. Probably, Terry Jacks’ ‘Seasons In The Sun’, which I mentioned above. It’s a sappy, melancholic song that I listened to a lot when I was really young. So, it has become sentimental.” 114


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