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Ecuador 367 piso 13 oficina A - CP: 1214 Ciudad Autónoma de Buenos Aires Buenos Aires - Argentina +54 11 4778 1500

EDITORIAL Proyect Leader B A N Directors Nicolás Barlaro, Pety Peltenburg Editor Hernán Pandelo

COMERCIAL Institutional Relationships Gustavo Rana

Sales & Advertising Leo Jurjevich

Event Production Roberto Fernández

Back on the road again we are here showing what we’ve been doing over Latin America over the past four years, trying to bring dance music closer to the people with a wider concept. Until now, we’ve been receiving quite a great response in terms of audience and the growth remains steady, accompanying the growth of the entire scene. We feel confident and able to continue contributing to an ever stronger scene, and we won’t stop trying to reach every corner of it. For this issue, we combined Richie Hawtin and his vision about the scene on our cover story together with the best of this upcoming event. Feel free to immerse yourself in this interesting content...


Financial Assistant Belén Casas

DESIGN Director Alejandro Ramos Design María Laura Sánchez Layout Sergio Aguirre

TRANSLATION J&B Traducciones www. Grosman Traducciones




Our last’s year experience at ADE.



We’ve chosen the events that call our attention on this new edition.



There are some of the best Latin talents gracing the ADE program.



Richie Hawtin takes his new project to our region.






Two Latin photographers working in Ibiza during the season.


These are last year’s most voted artists.



Jonas Kopp has a message to give at every step…



Afternoons In BA


One More Time!


Warm Up Stories


For Export



Mutek AR


The Festival of Tomorrow

30 46


THE MEETING POINT The Amsterdam Dance Event has everything for everyone.


he N°22 edition of the Amsterdam Dance Event is once again the place to be. An international meeting, based in one of the richest cultural cities in the world, will run from October 18 to 22, developing an extensive program with all kinds of proposals. Half conference, half festival, including discussions, talks, meetings, workshops, presentations, surprises, stories, gifts, experiences and more than a few intrapersonal interactions with people who enjoy the same things that we do, is the space where you have to be in order to dismiss the summer once and for all. On this occasion, the organization has decided to go one step further, surpassing what’s been done on their previous editions, showing that attention continues to grow and the city, with surprising elasticity, continues to adapt to the increasingly demanding requirements of a conglomerate of events that, each with its particular vision and its idea of the world, become a coherent whole.

This year, the Amsterdam Dance Event has managed to bring together more than 2500 artists in 140 spaces that, for five days, make Amsterdam a place where all languages ​​are spoken, all genres are heard and you learn on every step. Whether you are just a fan of electronic music who wants to see your favorite artists in one of the great clubs of Amsterdam, you want to attend a workshop to learn about the new products offered by one of the key manufacturers in the industry, or you’re interested in discussing the future of electronic music with one of its spotlighted or behind-thescenes actors, the Amsterdam Dance Event has what you’re looking for. Over the next few pages, we’re going to recap last year’s edition and give you the lowdown about this new edition from a Latino perspective...

International Review

He who seeks

SHALL FIND The Amsterdam Dance Event has everything for everyone! We reminisce on our days at last year’s edition of the European encounter by excellence....


e began writing this article when the taxi took us to Schiphol Airport, after having lived, for the second consecutive year, the event that for two decades has filled the Dutch city of Amsterdam with young people hungry for proposals, artists willing to exceed their limits by taking risks in presenting themselves and a sea of​​ businessmen who, from meeting to meeting, plan everything that is going to happen the following year. A time to close chapters and open others, to open up to the infinite world that music gives us and take advantage of the luck that it is just being here. Today we are leaving but we know that whenever we are involved in the electronic world, the Amsterdam Dance Event will be our north star and I already feel nostalgic at the thought that the planet should completely turn around the sun until we step on Dutch soil, the place where museums understand electronic music, and where it is perfectly blended in with a culture so present and cared for that it breathes in every corner.

wednesday After settling into our hotel, we set off a little late for the Top 100 DJ Awards that DJ Mag mounted in the incredible Heineken Music Hall, one of the most important event venues in this Dutch city. There, not only will we find out who will be considered the #1 DJ for and throughout the next year but we will also enjoy performances from some of the top ranked DJs.  By the time we arrive, crossing a rather large dance floor, we see the Dutchman Oliver Heldens doing his thing on the trays. His avant-garde music, unlike anything that is heard on any of the mainstages, fills the atmosphere that is not yet complete but that has many young people bobbing to the sound of his bass oriented beats.  A huge screen behind him, and two other flanking left and right begin to unveil the top positions, while on Instagram we can follow the DJs, minute by minute, who are being immortalized for a year  on said list.  At 10 pm, the young Heldens’ set and a host is presented, microphone in hand, to unveil the evening’s grand winners. First, Don Diablo takes the stage by becoming the “Tag less DJ” of the survey. At #15, he takes the stage to receive the award for Tag less DJ, awarded by the German automotive company Audi. Oliver Heldens then returns to the stage to receive the award for Best House DJ by being placed in the #8 position, his best ranking to this day. The scene continues with the host on stage, talking to an audience that, more than prizes, is waiting for the sounds of their favorite DJs. Minutes later, the countdown reaches the first position and Martin Garrix is crowned ​​ the new king of the Top 100 DJs.  The audience goes crazy and Martin thanks everyone through the microphone almost at the same time that he plays the first subject of his presentation. “Turn Out the Speakers” turns the audience euphoric and the real celebration begins at the Heineken Music Hall. 

From then on, with the place fully packed with an audience that seems to love the young DJ, everything runs smoothly. The ceremony turns into a party where the audience responds to every sensation created by the music. Exhausted after a journey of more than twelve hours, and knowing who was crowned as the new #1 DJ in the world, we went back to the hotel to rest for a few hours.

thursday Our second day in Amsterdam reminds us of our visit last year. The cold and the clouds take over the atmosphere and our coats are an absolute necessity to leave the hotel.  We head towards De Brakke Grond, a cultural center located in one of the narrow streets around Amsterdam that serves as the ADE site, where we anxiously try receiving the backpack. In the room that is just behind the counter where we get our backpack, our attentions are fully grabbed by the new Pioneer equipment. After noon, an incredible workshop materializes, where the experienced Dutch DJ TLM performs an excellent demonstration of his skills on the trays, and exposes all his wisdom to the curious who want to know more about the Rekordbox DJ, the company’s favorite software. It’s amazing how, unwittingly, we end up acquiring knowledge of some of the best-trained characters in the industry. Without leaving the building, we came across one of the spaces where Pioneer has its equipment and we spent a good amount of time trying the consoles, while, on the walls, we could appreciate an interesting sample that has Joris Voorn as the protagonist.  The Dutch lent some of the photos he took during his travels and exposed them there, so that we could all appreciate something he was capturing with his camera. Simple and interesting, shots appear from different cities. We get lost in De Brakke Grond for hours, and when we leave, the weather seems to wink at us, the sun comes out and the blue from the sky amazes us. It is the first time we see so much blue at once and we walk a good while alongside the canals of the orange city.   At night, it is time to venerate one of the great record companies that have been created during the electronic scene’s second half of existence.  It’s Global Underground, legendary label directed by Andy Horsfield who, for more than twenty years, has been at the forefront, creating mixes that have remained in history. As from 8pm, cocktails are present at the Q-Factory. That’s where we go. In addition to enjoying a nice and interesting photographic exhibition where you can see old albums from DJs like Sasha and Carl Cox of previous years, we are able to talk to some current DJs.

A few beers later they tell us that it is time to go to the dance floor, to leave the lobby and lose ourselves in the musical history that the label tries to tell us about with the DJs that it has selected. When we reach the first of the two rooms, the screen surprises us from afar with the legend Eelke Kleijn and the Dutchman appears in front of a diminished liking that seems super-understanding. It’s early. They still do not turn up at 12 midnight and the beats are quietly released from the sound system. The artist is one of the last additions to the label’s roster and, in his own words, is proud to perform at such a significant event. His performance is accompanied by a series of images from different parts of the world that refer to the series that have come across the platform throughout the years. Slowly, spaces are filling up, and when the session is over, a historical figure takes over. James Lavelle was, and is, a key player in the label’s history and he is seen enjoying his performance at the party. His set extends until 2 in the morning in Room 1 but, when we ask the locals who is in there, Luke Santos begins his performance in Room 2. This artist, originally from Argentina, has lived in Amsterdam for many years.  Paralyzed from the shoulders down after a car accident in Chile, his performances are very special. He is testing new glasses that help him make the musical selection from what he selects with his eyes and clicks with a device that is in his mouth. You rarely experience such an incredible sensation through music. The whole track makes you lose yourself with progressive emotional sounds and with his incredible story of triumph. Nobody does anything but get lost in the music and, while listening to the fine mixes in detail, we talk to the DJs who keep them company, among them Mariano Mellino, Marcelo Vasami, Graziano Raffa and Nick Varon, among others. From the track, Javier Bussola and Fadi de Aly & Fila look attentive. The emotion of those minutes cannot be described and it really touches us in the deepest way imaginable. After his performance, we return to Room 1 to hear the beginning of Darren Emerson’s set, another eminence that much had to do with the history of Global Underground. There, music is still the protagonist, something that has always prevailed in the ethos of the label. We had a good time and returned to the hotel more than satisfied. Full of music.

International Review

friday On Friday, after a few good hours of sleep, we left the hotel to a city that surprised us with a radiant sun and just a few clouds that, with the passing of just a few minutes, moved away towards the horizon. Sunny Amsterdam is the most beautiful thing we have ever seen.  That is something that surprised us after those cold experiences in that city. Today we have a full day of interviews and we are excited to exchange ideas with big names from the scene. We returned to the De Brakke Grond to anonymously enjoy the talk that ADE MusicTalks had organized with the young Dutchman Oliver Heldens as its protagonist.  In one of the hottest places in the ADE, where knowledge is present as the main currency. Everyone goes there to learn from those who know best and we took the opportunity to do the same. In his talk, Oliver answered many questions asked by the many fans present. With his warmth, he shows the clarity with which he lives his career and, somehow, we can understand why he is where he is. He looks humble, shares some of his experiences and, with the title of Best House DJ and eighth place in DJ Mag’s Top 100 DJs awarded just two days before, he exposes all of his passion for music.  Once the talk is over, we wait behind the scenes to talk more extensively in an interview that you will see later in the magazine.   Delighted at the welcome we received from all of Oliver’s team, we left with smiles on our faces, ready for the remaining tasks of the day.  We walked down Rokin Avenue until we reached Amsterdam Centraal Station. On our way to A’DAM Tower, the center of operations of The Media Nanny, where Dubfire and Joris Voorn are waiting for us, immersed in their daily interviews, to chat with us about their plans during and after the event. To get there, we had to cross on a ferry that leaves every 15 minutes from the Amsterdam North station, which is just a few meters away, crossing a small body of water. The ferry is free and, once it reaches the coast, we get on without paying any tickets while we see people getting on their bikes, as if it were the most normal thing in the world. Two minutes later, we reached the other side and, after walking a few blocks, we reached the tower. The interviews take a while and by the time we leave, we have little time until our next event, a really interesting one.   This year the production of the Amsterdam Dance Event surpassed all expectations imaginable for a medium that comes from the other side of the ocean and is accustomed to conservative governments, reserved and far from electronics as a culture.  Here, on the contrary, the city has worked together with the promoters to make electronic culture good for all. Something for everyone’s enjoyment and enrichment.  Thanks to our responsibility of working in this pleasant environment, our income is already assured.  We go to  the  Rijksmuseum, the National Museum of Dutch Art which, among other things, houses the most famous

collection of paintings from the Dutch Golden age. There, in an unprecedented joint work, the production company Audio Obscura, from 7 in the evening until 11 at night, presents Maceo Plex with the spirit of making history. When we arrived, a good amount of people was gathered outside the door. The imposing building appears inert in front of us and the central canal through which the bicycles pass daily is closed and that is where the event is held. After a few minutes of waiting, we enter to lose ourselves completely in this story.  The completion of the tunnel, with gothic tints, appears made up by dim orange lights that make it even more spectacular. To the sides, huge windows reveal the works of art that the Rijksmuseum houses on its walls and, from where we stand, the sounds of Maceo are appreciated as never before. His performance has already begun and the street full of the bikes that serves as the dance floor is crowded like no other event.  Then we found out that, to the free show, that was to house 2 thousand people, more than 55 thousand had registered, with many more left waiting outside.   Maceo’s music has everything it needs to play in dingy spaces, with basses that erect the skin and dark melodies that seem to make the cold come out of the stone walls that cover the room.  The night cold is lost between the body heat and coats stop making so much sense.  A camera flies above us, transmitting the party live and direct on the internet. Everything seems to be where it has to be. The simple idea that we discussed among ourselves regarding how much the local government had to have collaborated to make this all possible gets us all excited and gives us hope for a future where electronic music is considered a culture in all its forms, worthy of these types of examples, where the enrichment is completely obvious.  When he finishes his performance, Maceo greets the public and he is enthusiastic. People are anxious and, probably continue their night at some club. We left after a very strong dose of culture.

saturday Without any stops, we go to the Van Gogh Museum where Armin Van Buuren himself - in another incredible joint venture between the electronic companies and museums of the city presents “Armin Van Buuren Embraces Vincent”. A great way to tour the Vincent van Gogh museum, as if Armin was next to us. The trance genius created a special multimedia guide for these days and we went through eleven masterpieces by Van Gogh while, on our headphones, Armin himself tells us his fascination with those images, all while listening to music from his “Armin Only Embrace” tour.   The radiant sun continues to make our stay more enjoyable and, after our walk through the museum and enjoying the transgressive works of contemporary artist Banksy - walking the streets we discover an art exhibition being held a few feet away from the Van Gogh museum, we head towards the Compagnie Theater to be able to appreciate in first person the new creation from genius Richie Hawtin. MODEL 1 is the new instrument that the artist developed along with Andy RigbyJones in order to make creativity simpler when it comes to performing live.  Through the PLAYdifferently brand, Richie tries to make electronic presentations more dynamic and interesting and, once we’re there, we fall in love with the piece by understanding how it works. The Amsterdam Dance Event is an ideal place to see new trends...   The afternoon has arrived and we have the last great expedition of this fleeting journey that leaves us with so many things. It is one of the less conventional shows of the whole program and that is why it intrigues us so much.  In the Marktkantine space, the young talent Francesco Tristano presents his show “P: anorig” with the stellar participation of the great Derrick May.  We are very excited to see this duo live. The space, somewhat removed from the central tourist area of Amsterdam, ​​ is a kind of bar with a wide dance floor and a stage that, by the time we got in, already had three large keyboards set up in a semi-circle. The show is the new concept from the man from Luxemburg, where he discovers nuances between the classical and techno worlds.   At around 7.30, it is time for the main event, after a warm up with ambient tones. First, Francesco appears on the scene, in front of an intrigued audience, playing warm melodies with his hyperkinetic movements in front of the three keyboards

that have been set up on stage. The light show is in tune with the hypnosis that arises in the musical plains and gains some intensity, with smoke coming from behind the scenes and four or five halos of white light that at times cast the shadow of the talented musician and, at times, hide it behind the clutter of visual stimuli. Half hour after the show’s start, after a brief intermission that people fill with applause, the legend appears on stage. Derrick May joins him and the people’s screams make us take notice.  With a towel on his shoulders, like a boxer waiting for the second round, Derrick smiles and greets the young Tristano before marking a bass line on the synthesizer on the right of the stage. Soon, both are submerged in the maelstrom of music, playing one of the tracks that came to light in their studio album “Surface Tension”.  With Derrick present, the concert takes a turn and techno takes over the environment.  Yes, now we dance.  The performance turns even more dynamic and, in the hour and fifteen minutes remaining, we get lost in the amazing world of these two. A surprising conjunction of worlds with two generations that are united for the sake of music.   When we leave, Amsterdam is dressed in the black veil of the night and the warm lights of the street guide us on a walk that lasts forever. On the waters, we can see the reflection of the buildings and their century old finishes. That conservancy in the facades is inversely proportional to the way in which they face cultural life. The avant-garde vision that exists in this city we have not experienced anywhere else.  Smiling, we walk those last few blocks, with many new stories to tell and the certainty that we will return every year. u

International Review

Our choices for this

YEAR’S ADE Each edition is better than the last one!


e’ve chosen the events that call our attention on this new edition. Ok, there are a lot more than our highlighted events per day but we’ll have to make a choice someway. So, before travelling all the way to Amsterdam, we’ve selected the gigs we won’t miss at all!

wednesday MATTHEW DEAR LIVE 19:00 - 23:00 Melkweg | Lijnbaansgracht 234A, Amsterdam Artists: Mathew Dear PLAY IT, SAY IT ADE 23:00 - 07:00 Shelter | Overhoeksplein 1, Amsterdam Artists: Seth Troxler, Heartthrob, Harry Romero & The Mekanism ADE OPENING PARTY AT PANAMA AMSTERDAM 20:00 - 07:00 Panama | Oostelijke handelskade 4, Amsterdam Artists: James Zabiela, Pleasurekraft, Jay Lumen, Fatima Hajji, Carlo Lio, Technasia & Tahko IN TRANCE WE TRUST FESTIVAL 21:00 - 07:00 WesterUnie | Klönneplein 4-6, Amsterdam Artists: Paul Oakenfold, Adam Ellis, Alex Di Stefano, Greg Downey, Jordan Suckley, Menno de Jong, Neelix, Sean Tyas, Darren Porter, Shugz, Will Atkinson, Gabriel & Dresden, Alex Kunnari, Alex M.O.R.P.H., Andy Moor, Tenishia, Mr. Sam, Nifra, RAM, Thomas Knight, Nick Arbor, 2nd Phase Airwave, Amir Hussain, Allen Watts, Dark Fusion, Niko Zografos, Sam Jones & Sam Mitcham

thursday ADE LIVE DAY 2 18:30 - 23:00 Melkweg | Lijnbaansgracht 234A, Amsterdam Artists: Hercules & Love Affair, Red Axes, Marian Hill, Cubicolor, Youngr, Phlake, Sinead Harnett, Harrison Brome, Elderbrook, Nambyar AFTERLIFE X LOVELAND ADE 22:00 - 06:00 Mediahaven | Moermanskkade 107, Amsterdam Artists: Amandra, Antigone, Barnt, Keith Carnal, Kiasmos, Konstantin, Mathew Jonson, Mind Against, Patrice Bäumel, Recondite, SHDW & Obscure Shape, Stephan Bodzin, Tale Of Us & Vaal A STATE OF TRANCE 22:00 - 04:00 AFAS Live | ArenA Boulevard 590, Amsterdam Artists: Aly & Fila, Armin van Buuren, Cosmic Gate, Protoculture, STANDERWICK & Ben Gold DGTL PRESENTS: 23:00 - 07:00 Scheepsbouwloods | Tt. Neveritaweg 15, Amsterdam Artists: Nina Kraviz, Âme, Modeselektor, Jon Hopkins, Oceanic, Fort Romeau, Ryan Elliott & De Sluwe Vos

friday AWAKENINGS X PAUL KALKBRENNER PRES. BACK TO THE FUTURE 16:00 - 22:00 Gashouder | Klönneplein 1, Amsterdam Artists: Paul Kalkbrenner, DJ Pierre vs. Phuture, Michel De Hey & Simina Grigoriu

“We are our choices.” Jean-Paul Sartre

SLAM! MIXMARATHON 22:00 - 05:00 Ziggo Dome | Arena Boulevard 61-75 , Amsterdam Artists: Oliver Heldens, R3hab, W&W, The Jillionaire (Major Lazer), Bizzey, Brennan Heart, Blasterjaxx, Dante Klein, Kris Kross Amsterdam, La Fuente, LNY TNZ, Martin Jensen & The Juke NGHTDVSN & LITTLEBIG PRESENT: TELEPORT ADE 22:00 - 08:00 De Marktkantine | Jan van Galenstraat 6 - 10, Amsterdam Artists: Jon Hopkins, Clark, Max Cooper, Nathan Fake, Courtesy, Roman Lindau, Joefarr, Terr, Beckett, Black Amiga DEEP HOUSE YOGA ADE SPECIAL 09:00 - 22:00 Theater Amsterdam | Danzigerkade 51, Amsterdam Artists: M.A.N.D.Y.

International Review

saturday HYTE ADE DAYTIME 08:00 - 20:00 Warehouse Elementenstraat | Elementenstraat 25, Amsterdam Artists: Marcel Dettmann, Robert Hood, Dekmantel Soundsystem, Ryan Elliott, DJ Stingray 313 & DJ Deep. PURPLE HAZE - ALBUM RELEASE PARTY 23:00 - 06:00 Chin Chin Club | Rozengracht 133, Amsterdam Artists: BLR, Grum, Purple Haze, Tim Mason & Tinlicker. DOCKYARD FESTIVAL ADE 2017 11:00 - 23:00 N1 | Wethouder van Essenweg, Amsterdam Artists: Sven Väth, Mano Le Tough, Paco Osuna, Technasia, Cuartero, Eats Everything, Nakadia, Ilario Alicante, Tim Green, Âme, Markus Fix, Egbert, Luca Agnelli, Victor Calderone, Jayro, Oscar Mulero, Vril, Pfirter, Zadig, Reeko, Tripeo, Exium, Kwartz, Lewis Fautzi, Jonas Kopp, P.E.A.R.L., Ben Sims, Planetary Assault Systems, Octave One, Truncate (AKA Audio Injection), Shifted, ROD & Kirk Di Giorgio. DGTL X KOMPAKT RECORDS 22:00 - 07:00 Scheepsbouwloods | Tt. Neveritaweg 15, Amsterdam Artists: Michael Mayer, Patrice Baumel, Gui Boratto, Weval, Pachanga Boys, Danny Daze, Locked Groove, Tobias Thomas, Apparat & Roman Flügel. ADE GREEN HIGHLIGHTS. DeLaMar Theater (D1 Panel Room) | Marnixstraat 402, Amsterdam ADE Green brings together thinkers and visionaries in the fields of innovation, sustainability and social change, together with the electronic music community. It seeks to find ways to see how to create environmentally sustainable solutions to clubbing, how to make venues more inclusive and promote good social change through music. HOW CAN YOU SUCCESSFULLY COMMUNICATE ABOUT CLIMATE ACTION AND ENGAGE NEW AUDIENCES? 13:00 - 13:45 CAN FESTIVALS HELP TO IMPROVE HUMANITARIAN ASSISTANCE? 14:15 - 14:45 FUTURE FESTIVALS: REDESIGNING STAGES 16:45 - 17:45



There are some of the best Latin talents gracing the ADE program. Take a look.

DANIELA HAVERBECK Living in Amsterdam since 2010, chilenean Daniela Haverbeck is well known in the hard techno scene and she’ll be part of the only hard techno event at ADE alongside some well-known artists like Mike Drama and PETDuo. You can catch her at the Mental Torments Night show in the Dhoem Dhaam Warehouse on Friday.

KINTAR Relocated in Ibiza after an unpleasant episode that included the theft of his studio and all the material on his home town in Buenos Aires, Kintar has established in the scene & developed a nice career with a growing label and plenty of shows worldwide. In fact, is in his own party where he’ll be performing, the Sudam Showcase, a platform that has been growing with the support of big names.

FERNANDO OLAYA This Colombian from the city of Zipaquirá will be performing at the ADE Allstars show developed by the labels Movement Recordings, Just Movement and Balkan Connection on Saturday at the Recycle Lounge Gallery Club. He’s been growing a lot lately, releasing an an amazing piece of work with his last album “Stereophonik” on Natura Viva a couple of months ago.

JILLIONAIRE We all know Major Lazer but not everybody knows that one of his members is from Trinidad y Tobago, a small island in Central America. The Jillionaire is a complete star within the electronic music world and he’ll be performing twice during this week: one on Thursday at the Jimmy Woo lounge & on Friday at the SLAM! MixMarathon at the amazing Ziggo Dome. On top of this, he’ll be the the main character of a Q&A on Friday at the Melkweg.

ELIO RISO Where has Elio Riso not played yet? With gigs all over the world, he stablished himself as one of our main international artists. Elio will be playing at the Descend Music Boat Party on what is called the first ever boat party at ADE on board the Supperclub Cruise. He’s also booked to play along some of his fellow countrymans at the Sudam Showcase on Friday.

MATIAS AGUAYO & THE DESDEMONAS Born in Chile and raised in Germany, Matias Aguayo has been a great contributor to the Latin scene with his label Cómeme, adding artists from our region. Now, he digs into some dark forms of rock music with some post-electronic 2017 style with his new project. He’ll be playing with his band as part of the ADE LIVE two-day program.

ADRIAN HOUR He is Mark Knight’s protégé and he is an established artist of his label Toolroom Records. Adrian will be playing on his annual party Toolroom Live at the awesome Panama on Saturday. u



THE AFTERNOONS IN BUENOS AIRES ARE FILLED WITH MUSIC The Argentine city goes for evening events on the weekend.


hat began as an isolated proposal that hardly summoned the staunch followers of the electronic music world and was actually aimed at a more social target; which not everyone chose and was far from the electronic scene; something that seemed like just a crazy idea of ​​making people dance during the day, getting them out of their daily weekends routines and giving them something new to try, finally found its place.   It was not easy and the road had no shortcuts.  Many years have passed since the scene began to solidify its proposals.  First,  it  was Saturday nights, favorite day for night life in Buenos Aires, with some places being consolidated for over twenty years. Afterwards, several were consolidated on Fridays.  Wednesdays and Thursdays tried, everyone trying to fill up the evening hours.   With an emerging scene that seemed to be more in scale to the esteem of 18

the international industry, contributing with more and more events to a rich electronic culture, Buenos Aires had the first of many runs that were consolidated in the afternoon. It was a place called Club One. A proposal that was on Sunday afternoon until the early hours of Monday and worked as the ideal place to finish out the weekend in the city’s downtown district, at a place specifically designed for these types of events, Palacio Alsina. More like a social encounter than a high-flying musical proposal, it moved with the scene for years, being a space for clubbers to continue their festive days for hours and, without taking it into consideration, it was the seed that germinated in a phenomenon that, to this day, continues its expansion in the epicenter of Argentine electronics.   “We all knew that Club One already existed, “ says Agustín Festa, an important member of the local industry who has been linked forever to clubber culture, with a strong exhibition channel of new sounds through his radio, working together with his brother and business








partner Nicholas under their famously recognized alias, the Festa Bros. “We knew that abroad, the sunsets always had great exposure and good acceptance... There are thousands of sunsets that were and are famous”, he continues to give us a clear idea of how this new fad was developing.   After Club One, a new proposal appeared in the Palermo neighborhood, with a cool aesthetic. It was called PM Open Air and it ended up being a key space. Its appearance was seen as a new opportunity, an exit from the saturated proposals and it took everything deemed cool to the electronic world. Slowly, the first year of PM was gaining notoriety, allowing young people a space for relaxation and good music from early Saturday hours. And everything went its natural course. A year later, the party moved to the north coast of the city and the phenomenon of which we speak began.   On Saturday afternoons, they began to bring exclusive, international proposals, which could only be enjoyed while attending daytime events. This not only opened the doors to clubbers but gave promoters the strength to situate artists who, perhaps, could not include them in their traditional night time events.   These new proposals moved to new opportunities, new beginnings and new artists arriving in the region and, through good concepts, appeared even better events at the main clubs in the city. Saturdays with PM at the Punta Carrasco Oasis and with Savage at Jet, Sundays 20

with the Rio circuit, also at Oasis and with ZEF, splitting their evenings between several nightclubs. People’s predisposition was one of the keys. Some just wanted to add more hours of music to their weekends; others wanted to modify their habits and stop waiting until the wee hours of the morning to listen to their favorite music. The truth is that the events are firm and have won the hearts of many who restructured their habits thanks to these new proposals. “I’ve done night events for more than ten years and it was time to change and offer people a good product,” explains Andres Rego, one of the promoters at Savage, a Saturday afternoon event, with an aesthetic that takes place on the side of the river at the Jet nightclub and has been gaining adherents to the point of being one of the key spots of the current local scene, competing head to head with other night events.   “As it’s something different, people come predisposed for you to show them new things” says Festa on the ZEF events and how  they  have become leisurely and fun Sunday afternoons events. “Like any boom, I think events that do things the right way will stick around. More than a location or a specific artist, people want real things. We are at a time when people are looking for new things and the entire development of these parties depend exclusively on producers’ creativity”.  With this predisposition, afternoons gain ground and young people get proposals.  That’s a real win/win. n




nce again, these two big names are back on everyone’s lips. Unexpectedly, after fifteen years of one of the events that dazzled the world of electronic music, a new tour leads them to evangelize the audience on a completely different level and context.   After an end of century in which they had become increasingly strong, the Brits Sasha and John Digweed were encouraged to take a step towards the evangelization of an area as important in the music industry as is the United States. With the help of Kevin Lyman, President of Immortal Records, and support from a young Jimmy Van M, they undertook one of the milestones that were marked with fire in the history of an increasingly successful industry: The Delta Heavy Tour.   It was an innovative proposal: thirty-two dates spread out in about two months- from March to May

2002, scheduled to be carefully connected by bus, turning into madness combining the ambition of a working group with the perfectionism of logistics and, of course, a scene that was predisposed to accept such an adventure.  They had already connected with the northern country due to their residence in Twilo and the Delta Heavy tour which closed an incredible moment for both.   Of course, we all know the story and we know how important that moment ended up being not only for the scene in general but also for both DJs. The superstar status they had was secured and it paved the way for hundreds of DJs who came later.   Fifteen years later, electronic music has reached unimaginable places.  The global electronics industry market has over billions of dollars in profits and there are certain dance music stars who make more money than some of the top pop figures such as Calvin



Harris and the increasingly successful Martin Garrix.  EDM became the gateway for young people, who are seduced by collaborations from the world of pop and radio and join the movement of electronic music through major festivals and their main stages. Many begin to predict the end of an era, the explosion of the EDM bubble, claiming lack of originality.  Of course, even if there is more or less criticism, as we said, the EDM industry has its followers and seems difficult to stop functioning as such - we see it more as a reinvention.  But there’s a new light at the end of the tunnel and it goes on and they both go back to being under the spotlight.  

DELTA HEAVY TOUR SASHA & JOHN DIGWEED IN 2002: “We’ve watched the American scene grow and hopefully we’ve grown with it. The Delta Heavy tour gives us an opportunity to play in cities we’ve never played in before and bring something special to each and every event.”

JIMMY VAN M IN 2002: “Together with Sasha and John, we will use Delta Heavy to provide future support to the artists, DJs and music we believe in”



JOHN DIGWEED & SASHA SPEAK ABOUT THE RESISTANCE RESIDENCE AT PRIVILEGE IBIZA “RESISTANCE has been making massive inroads around the World with their forward thinking lineups, high quality sound and next level productions. To be a part of their first residency in Ibiza is a huge honor and something I am excited to be part of. The fact that they have chosen the biggest club in Ibiza shows they are intent on making a big noise on the island right from the start. There is no better feeling than playing to a massive room full of people throbbing in unison to your set. Really looking forward to playing alongside Sasha and a host of world class DJs on this night.” – JOHN DIGWEED “After sitting down with the guys from Ultra / RESISTANCE and seeing the incredible plans they have to transform the venue and then seeing rest of the lineups for the shows, I couldn’t have signed up quickly enough! I’m so excited to be playing these shows with John this summer. When people see the production Resistance are putting into this iconic venue it’s going to blow them away” – SASHA 

Yes, some events have had both artists on stage together throughout the years but it is now, with the Resistance brand, where things seem to take shape and put them in that place, apparently, so well. And it is not just a nation like the United States at that time. In this new era where globalization is no  longer a phenomenon and has actually become something current, expansion takes them everywhere.  They’ve already visited their native Great Britain, as well as Miami, South Korea, Singapore, Croatia, China, Japan, Argentina, Brazil and Peru, and revolutionized Ibiza with seven shows at Privilege.  There, accompanied by great names, was where this ability to evangelize the audience was most noticeable.   These seven presentations, thanks to Resistance, and some others that were added on,  was where the electronic underground took  a  deep breath to continue its course and find more and more fans.  Not to win the battle against EDM or to reach the top of the sales charts nor to run the vain race of success. But because music was made for just that: Resistance! And there seems to be no one who can lead the movement better than the two of them. n



WARM UP STORIES We asked some of our local talent to reveal some of their memories when they were warming up for the main DJ…


he art of warm up remains and will always be important to set up a night. For those in charge of leaving the dancefloor to the main DJ, means a great opportunity and are those moments where they measure their knowledge and feel whether or not they are prepared to develop their career. For many, it is the starting point for a great adventure. We look for some of our local talents to tell us their stories when it comes to making a warm up. This is what they told us.





“If I have to choose one of the most beautiful experiences warming up to great references of electronic music, I undoubtedly choose the night of Sudbeat Showcase with Hernan Cattaneo in Tel Aviv. It was a night that I was waiting for my entire career and being able to fulfill it was one of the most beautiful satisfactions that I had in my short career in music. His words and all the teaching he always tries to share made it an unforgettable night. From my point of view, the best of all.”


“Recently, I played with Luciano in Peru, at a party for 8 thousand people. I played first and then Felipe Valenzuela. It turned out that Luciano had a problem and was late and, while we played -because we decided to do back to back to hold the dancefloor packed-, every time there was a screen with the news of Luciano’s trip. For example: ‘Luciano is flying over Los Angeles’, ‘Luciano landed the plane’, ‘Luciano is just off the plane’, ‘Luciano is doing the passport check’, ‘Luciano is in the van’... We played for four and a half hours with Felipe until Luciano arrived. And when it came, it obviously exploded. The owner of the party said: ‘I don’t give a damn, I paid the fine!’ And Luciano kept playing for five more hours. Imagine that I had to stay at the party because Luciano asked for it, so I had to change my flights. All great fun.”

“A few weeks ago, for the MORD showcase at Mansion Club, there were several factors that made me anxious. First, MORD is one of my favorite labels and I felt I had to find a balance and not play to much music from the platform, so that it did not feel like a ‘tribute’; and, secondly, I had to deliver the booth to W.I.R.E. I’ve never seen him live. I was focused playing when, from one moment to another, I felt a super strong energy and I turned to look and was this character of almost two meters high that seemed extracted of some witchcraft ritual or obscurantism. I was not able to speak to him. He started to connect his gadgets and then Julianna went up to the booth so I asked her the favor of asking him when he was going to start but he did not tell her. I just looked at him out of the corner of my eye and then I did not see him anymore: he was crouched. Suddenly, I look down and he says, ‘Maggie’. I just waved to let him know that I was leaving the booth when the song ends. The words did not come out of me. I ended up with a song with vowels quite dark to go on with what seemed like a ritual to me.”





“IN FRONT OF THE SEA, UNDER THE STARS” “For me, every time I can share a booth with artists I admire is an incredible experience. I will tell you my favorite: When I had to warm up to Blond: Ish at Lost Beach Club, Ecuador. For me, it was one of the most magical warm ups I’ve ever made. I admire them a lot and, for me, having that opportunity was very rewarding. The breeze of that night was incredible and the main stage developed outdoor was at its best... The dancefloor was full and receptive to the music and, in the end, I ended up playing longer than expected. Then, when I had to deliver the cabin to the duo, the dancefloor was already on! When they started playing, the music they shoot was amazing. The people were very happy and I had a smile from ear to ear. It was very gratifying for me. I do not know if the story is so fascinating but it was a very nice experience.”

“Without a doubt, the strongest experience we had in terms of warm ups was the date together with Solomun in Mute Mar del Plata, where we went through different emotional stages between before, during and after. We met with Solomun to play a couple of times in private afterhours on previous years when he visited Buenos Aires but we had never shared an official date and, much less, in front of this amount of crowd. Finally, the moment arrived and we started playing on a huge arena which we saw how it filled from zero to 17 thousand people in the first two hours of our set. While we were playing, Max received an audio of his 3-year-old son giving him strength that was very emotional, to the point of filling his eyes with tears. Another very special moment was towards the end of the set, when we were playing tracks a bit higher up and the first descent came. After a long silence, we feel the applause of those 17 thousand people with their arms in the air, which is a very difficult sensation to describe between happiness, pride, nerves and a little shame also to feel exposed in front of so many people. Finally, the funny touch of the anecdote was that when we finished playing, we got out of the cabin and were approached by different people to greet us, congratulate us, give us their feedback on the set and more. Between them, there were two girls who approached us and, while we thought they were going to congratulate us or ask us for a photo, or something like that, they told us: ‘Guys, where’s the backstage bathroom?’ That instantly brought us back to reality...“


“MARKUS COULDN’T BELIEVE IT” “I had many but, perhaps, this one is more crazy by how everything ended. I had to warm up for Markus Schulz in Mandarine Tent and in the previous day we had played in the Metropolitano. In Rosario. When we were coming back to Buenos Aires, he talked to me about how much he loved my warm up and asked me the name of some songs. ‘Yes, the one that you put in at that moment and two songs after’, he was saying. Then, I told him that I did not remember and he asked me: “Don’t you have a list with the songs that you are going to put?’ And I said ‘no, I always improvise, it gives me more adrenaline’. And then he asked: ‘So you’re telling me that those three hours were merely improvisation?’ Of course, I said yes. At the next day, he arrived to the booth and when I was about to end my set, he told me to go on for another hour. After my warm up ended, as we’ve been talking about names and I didn’t remember most of the songs I’ve played, I gave him my pendrive with all the music I’ve played in Rosario. He hugged me and thanked me for the gesture and, after two days, he sent me an email with a part of my set recorded. That was one good anecdote to remember.”






“I was playing on NYE in Rosario, on a night that was nothing out of the ordinary, even though it was a hot night. I was finishing my warm up and the headliner came to greet me –until then, all normal. As soon as I end my set, the DJ in question takes out an insecticidesized spray container and starts spraying the mixer obsessively with that product. Of course, then he takes out some hypoallergenic towels to complete the cleaning of the mixer. From there on, I was always left with the doubt of whether I should be a little more hygienic or the subject in question is an obsessive of cleanliness. It was Sander Kleinenberg.”


“One of the warmups we always remember most and will always remain in our memories was the one we performed for Carlo Lio and Dubfire in 2011. Our career, as many knows, started as separated artists and one of the first big events was this party. The biggest surprise was when we were announced that we would be part of the event, which made us really happy because, at that time, we were very into the genres that Dubfire and Carlo Lio played. In fact, we’ve already released music on Rawthentic –Carlo Lio’s label- but our goal was to reach SCI + TEC so we had a couple of months in the studio working on a possible material to deliver. On that night, the big surprises did not stop arriving. The first one was a venue with a big crowd from very early hours of the night, which allowed us to have a better platform to show our project -I think it was one of the first official presentations of Figueroa & Obando- & leaded us to develop true passion for warm ups, knowing that you are the first thing that people listen to and that you have the responsibility of warming up the dancefloor without overdoing… At the end of that night, we learned a lot! At about 12 PM, Carlo and Ali arrived at the site and Carlo, who previously knew us, decided to introduce us to Dubfire. That was when we got surprised by Dubfire words: “I know who you are. I can’t stop playing your latest release on rawthentic! Do you think we can do something for SCI + TEC?’. Without any doubt, it was one of the best anecdotes of our entire career and helped us to build what we have today.”


“One of the most bizarre anecdotes I got in a warm-up was a date at Mandarine Club where Stephan Bodzin played and I had gone to visit my friends on the club’s tech team. Suddenly, the manager informs that there was no DJ for the warm up and everyone looked at me to take care of the situation. Without headphones and without pendrives, I had no alternative to use the in-ear that come with any cell phone and we used a pendrive and also a CD where, while playing the music of the CD, we recorded new music on the pendrive and so, for an hour and half, until the actual DJ in charge of the warm up came to open the night. Definitely, an anecdote we always remember in the mythical booth of Mandarine Club.” n


FOR EXPORT Six artists waving the flag of his country all over the world.


ince a couple of years ago, the physical barriers that weighed on Latin America have been erased thanks to the internet and the instantaneity of social networks and

technology. Since then, some brave adventurers looked have sought by all means to reach the epicenter of electronic music, sticking productions on large labels, bringing their

sounds to the world. We’ve looked for Latin artists to tell us about the releases that brought them closer to the international elite.


Diego Infanzon – “Memories Of My Mind EP” [Tronic] How did you ended up releasing an EP on Tronic? “I remember that I chased Christian over email for long time… I thought it were four months. Later, I told this to Ian from Analog and I asked him if he was able to help me because Christian didn’t answer my emails nor listened my demos. He introduced me and sent him my music. The first demos weren’t enough for Christian so he asked for more music. After seven months, Iwas able to hit the target. I waited more than a year to sign the EP without counting the six months of waiting that has the label to go on sale, at least. There are a lot of artist there waiting to release music. Tronic is the second bestselling techno label in the world. Not only did I concentrate on sending him the demos, but with humor I told him that I would not give up until I got to the EP. Now I’m doing the same with Terminal M from Monika Kruse.” “It’s important that is still sounding current. After that, Christian came to Montevideo and everything went a lot easier. Now, in November, I have my second EP out, four tracks to end the year on top. I think is one of the best EPs on my career. This is something I really enjoy. If I don’t have my weekly personal space on the studio to express myself, I feel that there’s something missing. In general, I tend to produce lots of material. Some of them aren’t even played… but when some of your tracks end on hands of a DJ that you love, that’s amazing. With the first EP in Tronic I had a big reach. Now I feel part of the family.” “Lots of DJs came to Uruguay this year and knew me because of this EP. Let’s hope that the second is even stronger and can carry the flag of my country higher. This is just beginning and is a long way, and you can’t stop. Nowadays, if you are not a producer, is impossible to go outside.” “One of the things that I’m most proud of is being born in Latin America. Latinos are very creative and our music is respected a lot, today, which I believe was not happening years ago. Currently, there are many great artists. I think we are at the same level and we have a lot to contribute to the international scene.“


COMIN’ UP (ARGENTINA) JORGE SAVORETTI ON VISIONQUEST Jorge Savoretti – “Soulvor EP” How did you ended up releasing your EP in Visionquest? “For many years, I had a great relationship with the Visionquest crew. Lately, they felt superidentified with the music I’m doing and, thankfully, I was able to get two EPs with them.” What do you feel about representing your country? “I find it hard to put it into words. I love to be Argentine and to have been born here, and it makes me very happy when the public is proud that the local artists are being successful.” How important is to have your own productions being heard all over the world? “Today, it is necessary. Unfortunately, for you to do well in this job, which is a bit ‘abstract’, marketing has a lot of weight. That’s why a lot of people -not all- instead of listening and looking at the content, let themselves be dazzled by the lights around. “ What is the best about being Latin in the international circuit? “I think our warmth sets us apart from the rest. While most of the people who are part of our scene are very good, Latinos are a bit more relaxed.”

Oddity around the world. There are many ideas in our head but it’s all about taking the time, letting things flow organically and making them happen naturally. We see this as a project for the long run. A platform for our music, for other artists we like and to become part of our family. A platform to showcase the artistic side and visual identity we want to express.” What does it feel like to represent your country? “As everyone in this industry, we all represent a country. Maybe coming from Venezuela and how things been in these past years put more connotations. We feel proud coming from Venezuela and not only representing our country but also hearing nice comments from people when we tour, that they also feel we represent South America. We are fortunate to have an international career, get to do what we love every weekend and make it our living and way of life. It’s not that easy to make it coming from South America as most of the action happens in Europe, so living here is something that is needed to make it happen if you are planning to make this 100% of your time.”

(VENEZUELA) FUR COAT ON ODDITY Fur Coat – “Genesis EP” What was the idea to start Oddity? “The idea of having our own label was always around, but we think it’s all about timing. The feeling of finally materializing this idea came to us last year. We took our time to make this project come true. For us, this is another platform in which we can showcase new artists we’ve been playing music from, work with remixers we like, have a printed artwork that has a concept behind and also a home for our music.” Why did you release “Genesis” on Oddity Records ? “Launching the label with an EP from us is what made sense. We had worked on several tracks which had gained early support from friends like Tale Of Us and Slam. Over some conversations, we invited Slam for a remix as they loved ‘Sustain’. So basically we had in our hands a package that made sense for us and it was the sound we wanted for the label and names we wanted on board for the direction we are taking.” What is the bigger picture for the label? “The label has no strict itinerary. So at the moment won’t work over pressure to have a precise date to be releasing things. We will have continuity but we are clear that for us it is about quality and not quantity. So aside from signing new artists and having complete EPs we’ll be looking at showcasing


How important is it to have productions that are listened to worldwide ? “Our way of thinking and being probably on a more underground circuit, we are clear we aren’t going to get rich out of our music. Nowadays, music is your presentation card in a way. We firstly do it cause we love creating but it’s also a key point if you want to play around the world. When your music reaches places around the world, you start getting recognized and it’s easier for promoters to book you. After that comes the second phase, which is delivering a good set and party when you are booked. It’s many things that make you able to tour worldwide, from going to the right party with the right promoter, having your music being played by other DJs and people buying it, to you delivering a good set when you are being booked.” What’s the best thing about being a latino in the electronic music scene? “We don’t think there is a turning point on where you are from when it comes to music. People in a club or when they buy your music aren’t thinking of where you come from. We think it’s all about what you are transmitting with your music and performances. We do feel some extra warmth and people being closer and coming with comments as they are proud and happy for us that we are latino in places like Venezuela, Colombia, Brazil, Argentina and probably most of South and Central America. Even in the states in places where Latino community has an important presence such as Miami, you can feel that extra love.”


(ECUADOR) NICOLA CRUZ ESPÍRITU ON MULTI CULTI Nicola Cruz – “Espiritu” [Multi Culti] How did you end up pitching your EP on Multi Culti? “I worked with Multi Culti since 2014, approximately. It felt like the right platform to launch another strand of my music.“ What do you feel when representing your country? “I never think of music -in my music- as something patriotic. I like the idea that there are no borders because it is a universal sounding language. In that way, the representation at the moment of playing is broader, with a more global sense.“ How important is it to have productions that are heard all over the world? “I think it is good to expand the message. There is no doubt that it is very beneficial for me to be able to communicate with several corners of the planet.“ What is the best thing about being Latin in the international circuit? “Perhaps, is what one contributes as an inhabitant of Latin soil. Hybrid rhythms from rich mestization, everyday stories of humble people, interesting sounds that are often related to very ancient rituals. I think it’s a very interesting combination to listen to.“

(COLOMBIA) MARIO OCHOA ON TOOLROOM TRAX Mario Ochoa – “Beast” [Toolroom Trax] How did you end up releasing it? “Over the past five or six years, I have had a very good relationship with Mark Knight and the Toolroom team. It is a great label that respects my work and, to tell you the truth, I love working on projects for them. I finished ‘Beast’ in December of last year and I immediately sent it to Toolroom and they immediately answered that they loved it. I also know that Mark has played it all over the world this year and he always tells me it’s a bomb.” What do you feel when representing your country? “Obviously, it’s a pride. Especially, knowing how hard it is to have worldwide recognition for a Latin American and that artists and labels from other countries respect your work. Colombia is a beautiful country with a lot of talent and I am proud to represent my flag at an international level.”

(MEXICO) ZOMBIES IN MIAMI ON SUARA Zombies In Miami – “Odissey EP” [Suara] How did you end up pitching your EP in Suara? “Approximately, in January, being in BPM Festival, Coyu asked us if we had some unpublished track to put it in his session of the festival and we gladly sent him a track. This track was ‘Odissey’. He liked it so much that, one day later, he asked us if we wanted to release it with Suara. That day we were together in Playa del Carmen. In the course of the next months, we gave him a couple of extra tracks and we set the remixes. It was a great release. “ What do you feel when representing your country? “It is a pleasure to be able to do what we like the most and take it to a lot of places around the world. Representing our country with our music is an honor. “ How important is it to have productions that are heard all over the world? “It is a pleasure to fulfill dreams and have the opportunity to release our music on the labels that we once wanted. It is a constant work that has allowed us to gradually achieve a greater reach. “ What is the best thing about being Latin in the international circuit? “We believe that Latinos have that different touch. We are very open and noble as people, always very cheerful and helpful, and we can get along with everyone. Luckily, we have had the joy of making many good friends in this whole world. Musically, we have a fresh and always risky spark. Latin America is the past, present and future.“

How important is it to have productions that are heard all over the world? “It’s very important because that way you get the attention of great artists and labels. On more than one occasion, it has happened to me that some big label has contacted me with interest to get my music out because they heard someone play a track of mine or they found it on some other artist’s chart... In this work, more than sell music, it’s important the exposure you have, to know who to send you promos, to manage your social networks well, to keep in touch with your fans at all times and, of course, maintain a professional image always.” What is the best thing about being Latin in the international circuit? “I think it’s to show the rest of the world that we are not going as far back as they think. In my opinion, today, Latin America has an impressive number of great artists and many on the other side of the world do not even know they are Latino. I give you an example: many people think that I am Canadian -I am, but not of birth- because I lived there for ten years but my roots are Latin. And without those roots, perhaps, I would not have the versatility that I have when creating my music. I love seeing some people’s faces when I tell them I’m Colombian. As I said before, being Latin is not easy in this environment but I think that, over time, and being more united when it comes to working, Latin America can become much bigger and more respected than it already is.“ n



to South America Richie Hawtin is bringing his new show to Buenos Aires! We catch up with him to know what to expect from his CLOSE experience.


ith a particular vision that has seen him overcome in every step, Richie Hawtin has reinvented himself in ways that seemed difficult for someone who had achieved success. However, his brazen understanding and his need to always take a step forward to contribute to creativity, led him to put his foot back on the accelerator. Thus, after becoming a true pioneer in terms of electronic music, not only succeeding in planting his name in the international elite but also developing current sound streams that still today have real consistency, and owning some of the brands that most influenced the musical industry, again he has an obsession: live creativity expansion. First, we saw his immersion in the world of hardware and the output of MODEL 1, a project he made with Andy Rigby-Jones, an experienced technician who, with a past in Allen & Heath, collaborated with the Canadian to create a piece that reinvents the live performances, adding a number of better features to a conventional mixer. This incursion continues to rise and, with the help of some of his friends who become ambassadors of the brand, tasked with testing the product in their performances, has gained a place in the cabins of the whole world, fighting against the standards that govern the scene when choosing equipment to play. After that, it was time to develop a new concept! That’s where CLOSE was born. 30

Where does CLOSE born? Is this a follow up from past projects or you’ve developed it from scratch? “Everything I do is a follow-up from something in my past as I see my entire career as a slowly developing and unfolding story. Quite often I have ideas that cannot be realized at the moment I come up with them due to the fact that I need to do a lot of research and even learn new things in order to deliver a new idea at the top of my ability. CLOSE is exactly like that, as it’s partly a development of ideas that I first started working on with our CONTAKT shows and then further developed with the Plastikman Live shows in 2010/11 and even so, the original idea of CLOSE came nearly five years ago and it still took that long to take it to a place where it was ready to unveil it to the public.”

and that would follow my normal routine of performance moves and gestures and present it in an engaging and inspiring way. CLOSE by its very name is supposed to bring you as close to me and the creative moment that is happening on stage, even closer than just being in the DJ booth, really feeling like you’re sitting on my shoulder and having a birds eye view of what’s going on. By setting the show up in this way, I’m free to think only about the music side of the show knowing that the cameras around me will be able to watch my every move!”

Can you explain what this concept is about? “Plastikman Live was a show that was created in a way that allowed me to play as live as possible while still controlling all the audio and visuals that were part of the experience. However, to make that possible there were still a lot of things we had to decide while creating the show and once the show was ready there were things that had to remain the same for each performance. I had a lot of options during each show but I still missed the flexibility of a DJ performance where I can even add new records each day and even through things into the mix that I’ve never played -or sometimes even heard- before. That was the starting point of CLOSE: to have a show that was visually stimulating and flexible

that is happening on stage,

“CLOSE by its very name is supposed to bring you as close to me and the creative moment even closer than just being in the DJ booth, really feeling like you’re sitting on my shoulder and having a birds eye view of what’s going on.”  

And it adds lots of visual elements… What are these elements planned for? “CLOSE is not a small club show and has always been envisioned for larger scale festivals and stages where

I cannot recognize what the DJ is playing or doing. Where it feels like everyone is locked into a sonic moment that exists only for a brief time and only for that intimate group of people. That’s the type of moment I strive to create every time I perform.” Does this feels like giving a step forward in your career? “For me, a step forward is when I can continue to connect and excite my audience while still putting myself in challenging and inspiring situations. I feel that I’m at my best when I’m free to lose myself in the moment, in the interactions with my machines and then allow my instinct and skills to unroll a tapestry of frequencies and sounds that elevate all of us to another level. CLOSE really is where my head is at right now, in between DJing and live performance and living in the moment of spontaneity in front of hundreds or thousands of people!”

“CLOSE really is where my head is at right now, in between DJing and live performance and living in the moment of spontaneity in front of hundreds or thousands of people!”

people are quite far away from the performer. With this in mind, the visuals are the link to me and help bring people closer to what’s happening on stage. The real intention is to give people a visualization of the creativity energy that is happening on a macro scale: my movements, and interactions with the mixer and my machines, magnified in a cohesive and creative graphical presentation.” Is it to give to the crowd a wider experience or is it for them to understand a little bit more what you are doing? “In my opinion for CLOSE to be a successful show it has to be both entertaining and informative and that’s why you’ll find lots of different elements and moments in the show, some that are more abstract and others that really focus in exactly what’s happening on stage with the machines and I!”   And what was in your head when you developed this? “The status quo of DJing is quite boring at the moment and even as the scene has exploded to a

new level there seems to be less real understanding of what a DJ can really aspire to be. It seems that in the growth of our scene and with larger and larger shows the idea of a DJ has narrowed to a lone torso on stage, often behind an uninspiring table or led screen pumping their fists in the air… Sure part of DJing is playing great music to the crowd, entertaining, but it can go much deeper than that. The audience -especially new comers- need to understand more about the creativity that goes into a great performance in order for our scene to continue to grow, inspire and innovate. Sure they’ll always be a time and place for pop type DJs or Vegas ‘showmanship’ but it’s my intention to go beyond the ones and twos of regular or classic DJing and explore how far we can push an art form which uses pre-recorded music as its foundation. Playing two records together and creating a third imaginary record is where this process started. But my inspiration came from listening to artists like Derrick May and Jeff Mills who literally tore records apart by their live editing, EQ and early drum machine experiments. My most memorable experiences on the dance floor have always been moments where

Do you see this as the future of the live shows in the electronic music world or is just your plan for your own show? “Many live shows fall back to typical visualizations that in my opinion are not cohesively linked to the aesthetics of the music. I believe the future of large scale live performances are when you really feel that both sound and visuals sit comfortably together and create a new level of experience.   Its quite difficult to do this and quite often the visuals can be distracting from the main and most important part of the show, the music, so it requires delicate balance to bring them together and fuse them into something truly spectacular!”   How important is the crowd when developing a project? You think about doing it for them or is this just your artistic expression and it doesn’t matter if the crowd get in or not? “You must remember the audience when thinking of a show like this. One of the best parts of DJing is the feedback loop between you and the audience, how the energy transfer of music and ideas locks you into a relationship that helps inform your musical decisions and inspire new ideas throughout the entire performance.  Many acts and traditional live shows are quite preprogrammed and just play to the audience and I hope that all my shows, especially CLOSE, respond to the audience somehow and help make an intimate experience that envelopes everyone!”


And how has CLOSE been going so far? Where did you present the show? “Many of the CLOSE shows from this year -and our experiment shows from last year- have been highlights with a huge difference in the energy and feeling from the audience. I love being up there doing what I do best, and I know that my energy can be infectious to the crowd! This energy creates an incredible feedback loop which has taken every CLOSE show to a new level! I’ve enjoyed every show and each of them has been different and an incredible and enjoyable creative challenge!” And how have you been growing around this new way of performing? Have you discovered new things? “There has been a development at each and every show, learning how best to use the equipment that I’ve chosen to bring on stage and even adding new equipment at nearly every show. I’ve already updated and modified the live analog modular systems four times since the beginning of the show and now have added a second MODEL 1 mixer in order to have more control over all the new sounds. CLOSE is a work in development and that’s part of what will continue to excite me over the next months and years as we do more and more shows around the world.” How complicated is to develop this show in terms of productions? Does this represent more work & production than your last projects? “These type of productions take the time, energy and expertise of an entire team to realize. I start with an initial idea and concept and then slowly work together with lighting designers, production managers, visual artists to bring a cohesive idea together. Often we have to meet with technology and equipment companies to see if the idea is even possible and then modify to create a production that can tour around the world successfully. For CLOSE it takes eight people to travel to each show and help with the setup and production in order to make sure everything goes smoothly so that I can perform relaxed and at my best and put on the best show possible!   Talk us about your next visit to Argentina with CLOSE! “It’s been over two years since I last visited Argentina which is terrible since it’s one of my favorite countries to play and is filled with very supportive and passionate fans! We did try to come down a few times but I really wanted to make sure my return to Argentina was something special and that’s why we chose to wait a little longer so that we had the opportunity to present CLOSE for the first time. I know that all my fans would have been happy enough for me to just show up and play a regular DJ set, but I wanted to give everyone something special and create a moment for us all to go to the next level, together!”    How is for you to bring this show over here? What should the South American crowd 32


about Richie

PLASTIKMAN My alter-ego who is more Richie Hawtin than Richie Hawtin. What I mean is that Richie Hawtin is the extrovert who has become the celebrity DJ that people see all over the world and in many different experiences and situations. Plastikman is the introverted Richie Hawtin why lies in a private world locked in a more intimate communication with my machines and close friends.

PLUS 8 The record label which I started in 1990 with my friend and partner John Acquaviva. I was only 19 at the time of our first release and this was an important period of development for me as both creative artist and independent business man. Having our own platform put us in a position to never compromise and create our own unique world within the world of electronic music.

MINUS Inspired by theories of subtraction MINUS was a new beginning for me after my first label PLUS 8 slowed down after eight incredible crazy years of success. Minus allowed me to re-focus on my creativity and allowed me to further develop my DJ’ing skills with the style of “Decks, Effects & 909.” The early period of MINUS from 1998 until 2005 was an incredibly inspiring time with DE9 releases, Plastikman albums and a growing collection of new friends and artists like Magda, Troy Pierce, Gaiser, Hearthrob and a momentum that bought the new sound of “minimal” to the entire world, including Argentina!

ENTER. ENTER. was envisioned to bring a deeper style of clubbing to Ibiza and around the world. Going beyond just a line up of big names, ENTER. bought together innovative and inspiring artists in an immersive environment to tighten the experience of the audience. ENTER.’s core principles were EXPLORE. and DISCOVER. 

CLOSE CLOSE builds upon everything that I have learnt in my career as a DJ, performer and producer, fusing everything together in a new type of large scale performance which brings people closer to the creative moments that are happening on stage.

expect about this and what do you think they will experiment, taking in account your last experiences on the region and the CLOSE shows you’ve done? “I love regular DJs shows and will be doing those in Rosario and Mendoza but CLOSE in Buenos Aires will be something different. This will be the first chance for many of my Latin American fans to see me at my best! I can’t wait!” You named a second MODEL 1 as a new addition to your set up. That’s another big project you’ve headed… “Yes, the last two years have been extremely busy for me and launching my own new mixer company, PLAYdifferently, and our first product MODEL 1 has been an inspiring experience. Building my own mixer has always been a dream of mine and it’s taken nearly ten years of development but finally we have it for everyone to see and use. MODEL 1 was created to be the best sounding mixer on the market with no compromises on quality and to offer new capabilities never before offered on a mixer like dual cueing to help two DJs to play back 2 back in new more creative ways and an innovative sweepable EQ system to enable studio style production within the DJ set. Our company name and slogan is PLAY DIFFERENTLY and we hope that our mixer helps continue the development of the art form of DJing!”   And how the reactions of the scene have been so far? “Everyone is impressed with the quality of the sound and design. Most of the DJ Mixers out there are consumer products that are built to be as cheap as possible, there are no real professional products in the market for DJs, only ones pretending to be. MODEL 1 has been created by professional DJ’s who strive for the best and who will not compromise in their chose of creative tools.”   Do you see this becoming the industry standard in the future? “MODEL 1 is a different type of mixer compared to everything else in the market.   We can already see that many artists are now starting to request MODEL 1 as their mixer of choice and we hope that this continues and that MODEL 1 has its own place in DJ booths -and home studiosaround the world!”

“I personally want to push forward and see how far we can take the art of DJing. How far can we go beyond just playing someone else’s music?”

Looks like instead of trying to use the technology to “work less”, you’ve developed a way of take an advantage of all this tech

advances… Was this the main aim? To blur the lines within playing music and making music? “There are a lot of DJs and artists out there who are happy to show up with a USB stick and play one record after another. Nothing is wrong with that, it’s the foundation of DJing and where we all start, but I personally want to push forward and see how far we can take the art of DJing. How far can we go beyond just playing someone else’s music? How can we put our own personality into the way we play other people’s music and what can we do to create really unique experiences every time we play. The most innovative DJs have always been artists who blur the line between playing music and making music. I feel part of that group and I’m happy to help everyone who’s feels the same to explore their creativity in new and innovative ways with products like MODEL 1.   We think about Richie Hawtin as a man that is always creating… Why is that you’re not releasing music every week during this era of lots of losts of music? “I create every time I get up to perform so I don’t feel that I need to be in the studio every day to fill this creative urge. That’s also while the CLOSE Live show is so important for me. It’s bringing an even closer connection to what happens on stage and what would have normally happened in the studio. I’m not saying that I do not like being in the studio. I do, very much! But life is always about processing and developing and finding new adventures.  My earlier career was more about sitting in the studio and now my life is filled with travels, playing and performing, developing Technology and following other passions that I have!”   How do you feel about this time of overstimulated music releases and newcomers & producers doing so much music? Do you feel comfortable with it? “I feel that we are in an incredible moment in the development of techno music right now. So many new producers experimenting for the first time, stretching out their first ideas and new found creativity and exploring in many new ways. That’s exciting to hear and exciting to play as a DJ. Of course there’s always good records and there’s always not so good records, but that’s part of the ecosystem of music in general. Let’s find the good ones and look positively towards incredible new producers finding a way to the top!”   How much important is the music production in order to being successful in this music world? “Music production is still very important as music goes further than what we can do physically as human beings. I can only be in one place at a time, but a great piece of music can have a life of its own. Hundreds or thousands of people can be listening to a piece of music that I’ve created while I’m doing

something completely different. In this way, having great productions is very important to help introduce your ideas to people around the world and therefore is an important part of the development of an artist’s career.”   Even you, with your status, are still creating and producing... Maybe not music but entire experiences. Do you use this in order to keep being relevant? We think you, like just a couple of DJs, can be able to stop producing and you would still be able to perform all over the world living from the past. Do you feel this necessity? “Yes, you’re right. A number of DJ friends/peers and I are at a position in our careers, now with so many incredible events and releases in our past, that we could probably just sit back and relax, do a little bit of touring and live the easy life. Perhaps some of my peers will do that, but I don’t think I will. I’ve always been inspired by how technology based music –techno, for example- continues to push forward and look for new innovation. This futuristic search is at the heart of our music and at the heart of why I first became involved in the scene and it continues to drive my energy and passion every day!”

“I miss the simplicity of a scene that was more creatively driven than economically driven.”

How much of that young Richie Hawtin that used to cross the river and went to the parties in Detroit is still inside you? Which are those situations in life where you still find that little boy? “At this moment in my life and career I feel very lucky to be leading the life that I do and to be involved in so many incredible projects that are driven by my passion. Because of this, I feel closer to that younger Richie Hawtin more than ever at the moment. That purity of commitment to music and technology and to even my other passion of japanese Sake, reminds me of why my career started in the first place. A career driven by passion and the drive to forge ahead with my own unique Richie Hawtin ideas and sounds.”   What do you miss from those old days? “If anything, I miss the simplicity of a scene that was more creatively driven than economically driven. Things have changed a lot and this brings people into our scene for many different reasons.  However, I know why I’m here and I surround myself by other like-minded artists and friends who all work together with positivity and passion...” u Richie Hawtin will perform with his show CLOSE - Spontaneity & Synchronicity at Mandarine Park in Buenos Aires on December 2.




n the midst of a busy season, Latino photographers Julian Farina and Juan Afanador take time to chat with us about their adventures. Both are in Ibiza for the summer season and, somehow, with their differences, they share the same path.  Juan Afanador is Colombian and this is his first season on the island. Julian Farina is Argentine and his experience in Ibiza is even greater, with two seasons under his belt and a third that is running with remarkable fluidity.  


This year, both were in Argentina -the country that joined them in the  first place- for the yearly edition of Lollapalooza, working for  important international company led by famous photographers Marc Van der Aa and Doug van Sant, Alive Coverage, then they traveled to the Ultra Music Festival in Miami and now, they divide their time on the island, between working at different events and moments of leisure next to a great group of Latinos with whom they coexist. “We have events in Europe. Electric Zoo remains the BPM in Portugal and then we return to Latin America for the different local editions of Ultra “, details Juan with his Colombian accent. Together with Julián, they have managed to consolidate themselves on the island and are happy with the arrival of new clients. “Now ‘Saga’, 36

the cycle that Bedouin does at Heart,” Julian advances. “We continue  to  work with Rumors, Music On and Labyrinth from Hot Since 82. Also, we collaborate with various media such as Resident Advisor”, he says proudly.   In the globalization era, with everyday devices that have cameras and allow everyone to become a photographer, they have very clear ideals. In this scenario that puts them in a privileged place which opens doors for them to expose their photographs of some of the biggest celebrations in the world, they make it clear on how they work. “It’s all to order. In fact, we are in favor of the philosophy of looking for jobs, but we try to work very well and work comes on its own,” says John. “For example, we are already working with Music On and Paco Osuna is playing.  Obviously, he will see those photos and know who were the ones who took the photo. Tomorrow, who knows? He will know who we are and what we do. He is going trust us,” he says, hitting the nail on the head: trust, a fundamental element that today gives them a lot but it has not been easy to earn. “That’s what the artist is looking for, confidence. To be able to say: ‘I know them, they know how to work.’ “  

“We are in favor of the philosophy of not looking for jobs, but we try to work very well and work alone.”

LOOKING FOR AN IDENTITY Clearly, it was not always so. At some point that trust had to be gained.  Julián began taking “wave” photos at clubs in the City of Buenos Aires that had nothing to do with electronic music.  Eventually, he began to get more jobs and found himself working for more than four electronic events per week, including big clubs Crobar and Mandarine, and some international shows, for example, Armin Only, UMF BA, among others. “It was all very natural. At the beginning, before I was a photographer by profession, I took pictures of trips, vacations, friends, experimented with new things with the camera ... I took some courses and, with practice, I gained experience ... Over time, solely electronic music, “says Julian.   Juan came into photography because of a particular situation during his adolescence in his native Colombia. An accident ended in fracture and, unable  to skate,  as his main activity- he decided to do what those who are injured always do: buy a camera to film and photograph his friends. When it came time to pursue his studies, Juan decided to go to Argentina to pursue a career in film.  “I went  there because I have family in Argentina and because the university was ranked as the best in Latin America to study film,” he recalls.  Juan was enamored with the city and its strong cultural content and, in search

of a job that help with expenses, he arrived at a small club in Buenos Aires and offered to make a courtesy video. “Over time, I received an email to cover an event. I went and it was a Red Bull battle, something much more important than I imagined. I made a great video that I still like today. Since that time, I make videos of parties. I was called from different places and so it just started to happen,” recalls Juan Afanador that, in the midst of that climb, also began with photography.  “I discovered photography in a new world, where there were people dedicated to photography but of music festivals, traveling with DJs. And, there, I thought, ‘If this can be done, it’s what I want.’”  

“That’s what the artist is looking for, confidence. To be able to say: ‘I know them, they know how to work.’ “

The international opening came for both over time.  Juan, who already had several videos circling the electronic scene, traveled to New York to see his mother and, once again, managed to mingle with the local scene. “I spoke to Borgore’s manager, with whom I had already worked, and he told me they were needing someone for a date that would be at Pacha New York.  It was perfect timing!”, he recalls.  After that event at Pacha, he continued to work with Borgore´s people and I received a proposal from the Tiesto team. There, he began working with Red Light Management, which continues to this day. “Now, I’m a publisher of some types of Tiesto team content and wherever I am, I get resources and edit them,” he says and returns to the same: “You already know how I work.”   Julian’s arrival in Europe also came about on its own. He traveled with his European passport and with the confidence of knowing that his product would open doors and opportunities in Europe for him after having worked and generated a good portfolio in Argentina. After having spent almost three years working full time in Argentina, Julián decided to travel to Europe to look for a long season of work, which ended up directing his steps to Ibiza. “I came to Ibiza and, the first time, everything went very well. I worked with Grupo Pacha the first season, with the whole group, at almost all their events,” says the Argentine about his experience two years ago.

TWO ROOKIES AT MMW The first year we worked at MMW we did all the hazing together. We rented Airbnb in a place that was about forty minutes by car from Miami Beach, which is where all the events happen, but we did not rent a car but a scooter that did not accelerate to more than 50km/hr. Therefore, it took us an hour and a half each way, besides that we could not go on highways and, on a couple of occasions, GPS made us get on and we had to, with all the panic imaginable, continue walking on the side of the highway until we found the next exit, begging to not get fined. Luckily, it did not happen and it was a very rewarding week.



Fortunately, these two doors have been opened and jobs and customers have arrived.  “What happens in Ibiza is great.  The island is very small and, like it or not, everyone is dedicated to the development of the music industry. The island has a particular lifestyle and there are certain things which allow you to socialize with people from all over and go a little deeper into the industry,” says Julian, who claims to follow in the footsteps of his companion, focusing on the view that both have of the scene and what the work of photographers and cameramen represents.” Juan is great at editing videos and cinematography.  I’m getting into the video world too. It is completely different from photos and is much more complete. One can elaborate more, in a more complex way.  I think, too, that with technological advancements, that’s what’s coming ... Telling stories in movement is what draws the most attention.  Although the photo is not going to become obsolete, it is taking a more secondary role”, he justifies and his companion accompanies what he is saying.  “Having the knowledge of filmmaking applied to the advertising of electronic music, and knowing  how  to  use  it, we believe and we realize that we can benefit a lot of artists and organizations,” says Juan and  defines:  “The  electronic music industry uses audiovisual resources more and more. We do not offer a product developed specifically for this niche.”   “We have a style that can be adapted to the needs of each customer,”  says John.  Let us take Hot Since 82 as  an  example, ... people are going to see him during the four hours that he performs on Fridays.  The rest of the week for the general public, he is their music and Instagram profile,  or Facebook ... they are  images,  and  all these images have to be cared for by professionals. While clear on the working modalities we know how to do it. Each artist has his paradigm and on that builds his image.  We cannot make an equal video for a trap or dubstep artist than for a house, or trance artist.”  

“With the technological advances, the videos are what is coming ... Telling stories in movement is what draws the most attention. Although the photo will not be obsolete, it is taking a more secondary role.” 38

01 “Photo session with Guy Gerber, last year in Ibiza. This photo was used for the posters that were placed around the island announcing their party, Rumors. It was a nice surprise to see the posters everywhere since I did not know which would be their used in advance. Obviously, I kept a couple of memories.”

02 “This is one of my favorites from last season: The Music On dancer’s team posing in front of the legendary Amnesia nightclub.”

03 “The first time I went to Amsterdam, I was hired by Paco Osuna to cover him at the Dockyard festival, during the week of ADE 2016.”




“Above & Beyond at Mute, Mar del Plata. The day had a mix of epic ingredients: the energy of the crowd, the colors of the sunrise on the beach, clouds and smoke, among other things, made this photo one of my favorites.

“There are several festival photographers who are very good. They are stars, and have been able to grow and assemble an empire of festival photography. That is, in essence, generating the need. Once you know how to offer that, and you know how to systematize, and you know how to always deliver the same quality, you generate confidence. It is known that you deliver, you never miss a date, you deliver everything in a timely manner, and the next day you have 10 pictures”, Julian makes clear, although his companion adds a detail: “Sometimes,  I  prefer  to  linger over a video and do it very well, rather than dispatch it quickly and have it turn out ugly.”   That is perhaps the premise that led them to where they are. “We are aware that a lot of things have been achieved but also that we are missing a lot of things,” says Julian about their careers. “With Juli this is what we focus on, the now,” says John. “We are looking for the audiovisual development of the artist.  And  we  aim to introduce video clips into the music industry in a few years “, he enthuses and landed on a more personal vision: underground vs. mainstream.   Both know the two sides of the coin and have an armed position regarding the division we draw.  “They are different ways of working,” says Julian, at the same time as Juan replies, “Totally.”  For Julian, everything is different from conception.” In the EDM industry it mixes musical art with the  theatrical and visual,” says Juan and lets us know what jobs  he  prefers:  “In  the EDM industry, photography and audiovisual, everyone is very well armed.  There are already written things that have to be done ... You see a video of Hardwell Aftermovie or Martin Garrix and in narrative terms  and  general shots, it is practically the same ... In the underground, you have more visual freedom,” he argues. Now, he tells us, they are working at the Heart club, which is part of the same business group as Cirque du Soleil. “All performers and all art is amazing, where we point the camera, something beautiful comes out of it”, he assures and is noticeably enthusiastic.  With some years of experience in the industry, they are at their best, having succeeded in absorbing the good without believing that everything is already solved. With a portion of the success already achieved, even with goals and projects, both are focused. u

02 “Marco Carola at the Ultra Music Festival. This day I thought I could not get there because I was finishing the set of Carola and I was on stage, at the other end of the venue. In the end, I arrived right on time when they were tossing the confetti. Wonderful!

03 Tomas Heredia at Mandarine Park, Buenos Aires. This day I was playing Dash Berlin and, in the warm up, it was not just raining cats and dogs, but also windy in the direction of the stage. Everyone was in the booth inventing some system so the mixer would not get wet. In the end, the rain stopped and it ended up being an epic night.”



ARGENTINA 2016 Argentina has decided. These are last year’s most voted artists.


he first edition of Best Of Argentina was a complete success. More than 35 thousand people went through the voting platform with the intention of analyzing, from their own perspective, what is happening in the southern country. From December 9th to January 31st, voting was enabled for all those who wanted to support some of the local talents we nominated. 73% of the votes came from men, compared to 26% by the female audience who added their support. To our surprise, the voting tendencies reflected in the first days did not change throughout the entire voting process, with some minor changes in one or two categories. The results are now available. Here they are:

BEST HOUSE DJ 01. BAREM 02. DEEP MARIANO 03. FRANCO CINELLI Mauricio Barembuem won the Best House DJ category, obtaining one of the largest amounts of votes, taking into account all categories. The Argentine, former Minus, who knows how to enchant the whole world through his minimal techno with his own stamp, turned to more houselike grounds some time before releasing his brand new record platform called Fun Records. This new adventure, on which he embarked along with his friend and partner Alexis Cabrera, was a great help for his redefinition on the scene, positioning himself in the world as a headliner with his own style. With 31.5% of the votes within the category, Barem got the first position. Deep Mariano and Franco Cinelli, two heavyweights of the Argentine scene, complete the podium in a very interesting 2016 that saw them both head events throughout the country, often in back to back format, earning their place at the top of the local industry.

BEST PROGRESSIVE HOUSE DJ 01. HERNÁN CATTANEO 02. MARTIN GARCÍA 03. MACELO VASAMI The category with the most differences from the entire voting. With 67.7% of votes, Sudbeat’s boss, who appeared as a strong candidate to win the crown in his genre, showed that he still leads the progressive house movement in the country - and around the world. In a year in which his presentations in Argentina were fewer than usual, he got the support of his audience to get the first position in the poll. Second was Martin Garcia, another historic DJ in the country, who consolidated himself as one of the great figures in the local scene. The third place was for the ascending talent of Marcelo Vasami. The young DJ and producer was part of the showcase that Sudbeat label organized at the end of 2016 where he demonstrated the level he is offering at present.

BEST TECH HOUSE DJ 01. ELIO RISO 02. FESTA BROS 03. MATIAS SUNDBLAD In one of the most contested categories of the entire voting, the Argentine-born Italian-blood artist knew how to make the difference that earned him the title of Best Tech House DJ in 2016. His presentations around the world have given him a privileged position in the region, to which he has arrived after immense tours in which he appears daily in Ibiza, sharing booth with the greatest figures from the international scene. His recent productions, with appearances in respected labels such as Great Stuff and Deeperfect, are also key facts to understand part of his success. Completing the podium, there are two of the most recognized and important acts in the Argentine scene. Both Festa Bros duo and Matias Sundblad are synonymous with quality DJ sets focused on the dance floor. Their presentations in all parts of the country make them two of the most federal acts in our vast nation.

BEST TECHNO DJ 01. ROMINA COHN 02. JONAS KOPP 03. ADRIAN HOUR And now, Best Of Argentina´s most contested category. The only woman who was nominated ended up winning her category: the techno genre. The Argentine woman appears in the local circuit of events related to techno and her figure as an icon of the scene dates back to a long time ago. DJ Hell’s favorite - they recently played together in Bahrein -, she has worked with artists such as Felix Da Housecat. She is a leading figure in the Argentine techno scene and her first position, with 22.8% of the votes, is proof of it. Up close, with 18.3%, Jonas Kopp obtained the second position after a year full of success and trips around the world - so far in 2017, he has already played in Argentina, Portugal, Austria, Brazil and Italy – obtaining a strong position in the international techno elite. Backed by the great Mark Knight, and releasing successful music on Toolroom label, young Adrian Hour remains firmly on his way to the international elite. Settled in Berlin, a prominent future in the techno scene is ahead of this artist who got the third position.

BEST TRANCE DJ 01. HEATBEAT 02. CHRIS SCHWEIZER 03. TOMAS HEREDIA Heatbeat duo gets the top position in another of the most contested categories. For a long time now, they have been in charge of bringing Argentine trance to the world with regular presentations in all continents and with successful productions that see the light in the most outstanding labels from the enormous industry of trance. 2016 was another of their great years, with highly successful local parties and releases that not only reached the top of the charts but also saw them return to the style that gave birth to them and made them stand out. Their last step was to have become the first artists in the region (not only in Argentina) to create their own platform within a giant like Armada Music: Aerys Records. The podium is completed by two of the great promises from the present local trance. Not so far from the winning duo, they have both won the podium thanks to their constant level of presentations and releases. Chris Schweizer consolidated his sound in 2016, becoming one of the artists with the greatest sales in Beatport, while Tomas Heredia comes from performing twice with Above & Beyond and from releasing a new single in Armada Music, promising a successful 2017.

BEST LIVE PERFORMER 01. GUTI 02. TROCCA 03. ALEXIS CABRERA Another of the easy resolutions of the survey took place in this category. The Argentine based in Barcelona won the section with 43.8% of the votes, almost doubling those who followed him in this same section. Guti is the maximum representative of live presentations around the world and week after week he plays with the big names of the international elite. He visited the country in 2016 and made us all dance with his groovy house and, back in Europe, he’s been producing a lot more of that gangster vibe house that will make everybody dance in the whole world. The Head of Arjaus Music Academy, Mariano Trocca, was left in second place. Mariano is one of the most respected figures of the local scene and obtained second place with his live act Trocca. The third place was in the hands of another international artist: Alexis Cabrera. Barem’s partner also had a great year with presentations across the globe, many in Argentina, and the growth and consolidation of his record label Fun Records.

BEST PARTY 01. PM OPEN AIR 02. RIO ELECTRONIC MUSIC 03. SAVAGE The podium for Best Party Cycle is entirely represented by the City of Buenos Aires. With more than 30% of the votes, people chose the Saturday cycle that takes place in the Punta Carrasco complex. With five seasons in its history, the cycle has consolidated as the plan par excellence for Saturday afternoons in the Federal Capital, with its facilities located outdoors near the river and a broad hiring policy that is always well-aimed. In 2016, artists such as Traumer, Rebolledo, Shall Ocin, Livio & Roby, DJ W!ld, Andhim, Cuartero and Kolombo, among many others, went through its booth. The second place was for Rio Electronic Music, a brother cycle to PM that takes place on Sundays in the same facilities and which has established based on major events, featuring world-class artists such as Solomun, Adriatique, Monika Kruse, Yousef and Troy Pierce. Savage was in third place, after a great year on the terrace of the Buenos Aires nightclub called Jet Lounge. Also near the river, the sunset format played a fundamental role and ended up on the podium. With a very interesting aesthetic, it also presented big names of the likes of Uner, Volkoder, Fur Coat, &ME and Dennis Ferrer.

BEST NIGHTCLUB 01. CROBAR 02. THE BOW 03. BAHREIN Another of the battles in this category starred entirely by clubs from the capital city. Buenos Aires, with its weekly cycles full of international artists, provided the best nightclubs. The winner, Crobar, made a slight difference with 23% of the votes thanks to its consistent hiring from the underground world for several years now. Crobar has always been at the forefront of electronic music. This year it celebrated its tenth anniversary in Buenos Aires, with the presence of Claude VonStroke on the turntables. In July 2012 it gave birth to its Crobar Be Techno cycle of parties and since then it has secured a place in the heart of Argentine fans and DJs around the world. From Ben Klock to Carl Cox, John Digweed, Chris Liebing, Magda, Josh Wink, Len Faki and many others, everybody loves Crobar´s dance floor. The second place was in the hands of The Bow. The club was recently renamed and with a cycle aimed at the whole spectrum of house music on Saturday nights, it fought tooth and nail for the first place. Third was Bahrein, the mythical nightclub located in downtown Buenos Aires that has remained firmly in the conscience of the clubbers for more than a decade. Only fourteen votes left the club Dorian Gray from Córdoba outside the podium.

BEST VENUE 01. MANDARINE PARK (Buenos Aires) 02. LA FÁBRICA (Córdoba) 03. MUTE (Mar del Plata) With a good margin from the second place, Mandarine Park is positioned as the most representative venue for mass events in the country. 33% of votes went to the space that is located in Punta Carrasco, which in 2016 could not give its best due to the problems that hit the City of Buenos Aires after the tragedy occurred at Time Warp. Although only Hardwell and techno masters Ben Klock, Sam Paganini and Marc Houle participated, that was enough for it to keep the first place. The second place was for La Fábrica, the interesting space in Cordoba that attracts big names with an enviable regularity. Located right by the river and surrounded by trees and mountains, this former factory has a most private vibe. In 2016, it presented talents of the likes of Boris Brejcha, Marco Carola and Pan Pot, among others. The podium was completed by the summer diva: Mute Mar del Plata, the space that every year organizes the most popular events in the Argentine coast, obtained the bronze medal. u



few days after the release of their new studio album “Photon Belt”, we spoke with the Argentine who lives in Spain to investigate the details of an incredible 2017 that has been based on marked fundamentals. With explanations for everything and nothing at random, Jonas has a message to give at every step. How he learned, how he works under pressure, the details of his relationship with an institution such as Tresor and the decisions he has to make in order to continue his life, both personal and professional, among other things. Look what he told us!   Hi, Jonas. Where are you? “Now I’m at my house Barcelona. It’s been a year since I moved here. I used to live in Berlin! I lived there three years. It’s a change I made, more than anything, because in Berlin the issue of finding a house was getting a bit difficult ... “ Why? “Because there was a lot of repercussion due to what was happening in Berlin. It welcomes many people who do not have life goals and who do not have that structure in them and who go to Berlin to try their luck because it is cheap and easy. Before, it was very easy to get an apartment until the boom exploded. This, added to the migratory problems because of the situation in the Middle East, caused obstacles and conditions when renting. There were many people who rented and then sub-rented the apartments. Every time you went to see an apartment, there were twenty people at the same time. Very standoffish. Crazy. And since I have Pfrirter and my agent in Barcelona, ​​I started to look at some houses online and found one that was exactly what I was looking for, because it has the ideal conditions so I could just move in and set up the studio. Everything was the same. I was lucky and I found it.” What joy! So already settled in ... living like a regular citizen? “Yes, I have a German visa, which is a work visa. It is an artist’s visa. They give it to you, in principle, for a year and then you go and renew it, depending on your income. Every year you have to renew it. I was renewed for two years and, at the end of last year, in November, I was renewed for two more years. When five years of the visa are complete, I can apply, if I want to, for residency or, automatically, they give me the visa for life.” Fantastic! Being there must have been very useful. Your career proves it. Tell us about the new album in Tresor. It has a very interesting concept! Let’s break it down: How does this relationship with the German institution begin?

“Yeah of course. The bridge with Tresor started once I went to play, in 2011. At that time, I had my agent, my booker, who was a German woman named Carola Stoiber and she was the label manager at Tresor during the “golden age”. She was the one who brought the Americans to Germany for the first time. It was she who made the Detroit-Berlin connection and who led the record label all that time. Then it was my agent and it he was the one who made the first contact. Then, it happened that a friend of mine, Paulo, another label manager, who worked at !K7, started working at Tresor. I already had contact with him and we started talking. The first project we had, as to what record was with DJ Hell, he had released a compilation with original and exclusive tracks that he mixed himself. Paulo said to me: ‘Are you up for doing something for DJ Hell?’ I said yes. In the nineties, for me, DJ Hell was an inspiration and I influenced me a lot. I tried to absorb that influence and made two tracks. Paulo contacted me to do this in a very short time, because they closed in three days. To be honest, I like to work under pressure.” You need that deadline ... “When you come with a concrete idea and you tell me ‘I need this in three days’, I’m active. If you come and say ‘look, I need this in about four months’, honestly, that’s not for me ... “ Surely, you will be doing nothing for three months and at the last minute you get started. “Exactly.  What happens is that I work very fast.  Very fast work, with pressure. And in communication with the label manager.”  And you managed to deliver to DJ Hell on time, then ... “Yes, that’s the truth. I sent him two tracks and he chose one. The compilation came out, the vinyl came out, it was selected in one of the vinyl’s that came out, and then, there, we started a relationship that lasted until the album came out.” That came out in 2014 ... “Exactly.” And how did you end up conceptualizing? “It was natural. I lived in Berlin and sometimes we had lunch, and he offered. I felt quite a bit of pressure, no joke. But I took my time. It was my first album. I had never experienced anything like it. It was a new, cool process ... I learned many things and, also, it was a moment of changes in my life. A new It was giving a special tune, I could give the best of me and came out that album that, for me, is a very special album that is going to stay ... I think it is a


‘timeless’ sound that has no expiration date. I tried to do something that lasts in time, which relates to most of the things that came out in Tresor. They are of such quality. Or better, let’s say, that quality. “ Right, it doesn’t keep up with what was hot in 2014. It’s something more specific. And how close is the label to the album? “Yes, it fuses. In fact, every record launch is done at the club or at one of the festivals they put together. Now, they not only have the club but they also run the Atonal festival, which for me, as for many people in Europe, is the most conceptual festival there is. I think it’s the new techno. That’s techno, for me, now. You go to a place, which is a factory, a giant ship. A structure that makes your jaw drop when you see it. Full of people, at full capacity, with ambient and experimental music performances. It’s very advanced ... For me, that’s the new thing. And they work with that festival and, last year, they’ve had a festival at the same structure all of the club’s 25 years of existence. This structure is next to the club and it’s all interconnected with access points, and they opened everything. They opened the factory, the club, and other smaller dance floors. And they played all the greats: Robert Hood, Surgeon, Regit ... “ And now, you launched a second album. At Tresor too. With a concept that I do not know if it has to do with what you printed in the music, very interesting. How did you release this second album and what can you tell us about the concept? “We had a plan with Paulo to make a new album this year. It was already planned. I started to work on that and, first, I started with the theme because I believe that each album has to represent something, it is not just a mix of songs and that’s it. For me, an album is like an artistic project: it has to have a meaning, a concept, an idea and, for that, I thought about this. In this concept which, clearly, is something real, is not something fictitious. So, I started investigating.  I’m in pretty deep with energy saving issues and such and was always linked with this subject. In fact, with my side projects, too. For example, with Telluric Lines, which is my ambient project. Precisely it represents the seven points of energy on the planet. The planet has seven energetic points, which are the chakras of the planet and, from there, emits tons of energy that serves to balance the earth. That is the balance that exists. But, returning to ‘Photon Belts’, the new album, is something that is happening, that’s underway. From 2012 on, much of what was said about the Mayan calendar. That was a start date for the process. We started to come in, to get close to this. This is like a freeway. Our planet, and our whole galaxy is moving, and in that movement, we are going through different parts of the universe. Every eleven thousand years, this process repeats itself. It is cyclical. This marks that it is about to happen again.” It goes beyond just earth. “Exactly. That’s it. The whole galaxy, the Milky Way, is moving ... That’s why it’s been eleven thousand years. And, once we pass through that belt of light particles, photons, which is a lot of very powerful energy, there will be radical changes. Let’s say it’s like the natural evolution of our planet and of us as a race.” And why did you bring this to an album? What does it generate in you that makes you put out ten titles? Does it impress even you? How does it affect you? “What I feel, the mission that I feel I am fulfilling, is to reach the new generations with a real message that, through music or art, is digested easier. I, as a referent of a genre, can reach certain types of people and I think it makes more sense to give a real message for people to become aware, something positive. Do not generate fear but generate awareness. You have to be right! You have to be light, without loads, without problems, without karmas ... Solve everything you can at this moment, the vibe, higher and higher. That’s the message.” Getting some things off your chest ... “Yes ... For example, everyday routines, things that are left and that have to be solved ... It is not good to have conflicts or unresolved issues with people. It is good to ask for forgiveness, to give thanks, to travel light ... It does not cost much. Simply be aware. And then, take care of your lifestyle, habits. Be right…” Loving oneself, of course. And tell me specifically about the album, how do you bring it to music? How do you put it into practice, or dance sound, such a clear concept? “Well, the album consists of ten tracks. This album is not as tracked as the previous one. It’s a bit more experimental, more complex. All of this, suggested by Paulo who told me ‘we have to go further, we have to generate something 44











more’ ... And I felt comfortable doing it. I stopped thinking about what was right for the track and I went deeper. The album has three ambient interludes that are frequencies that work with the brain. There are certain frequencies that work with the brain, with the chakras ... “ They activate something ... “Exactly, they activate the chakras.  Did you see the Tibetan bowl sessions?  These people show up with a stick and play a kind of bowl ... Through the friction of the stick with the bowl, a vibration and a sound is generated. That frequency is generated, goes to 420 Hz, which is a frequency that heals. You listen to it, you breathe, you relax and that frequency gets you in and it works and activates the charkas, and it frees you from all the crap you may have. It’s amazing, a healer. I learned that when I went to experiment with ayahuasca in Peru. I learned how to interpret the frequency of sounds and I learned that the universe is sound. And, knowing this, I always try to apply it to the tracks. Especially, those that are ambient. That is the matrix of everything. Work with a certain frequency and with that goal to generate awareness, or open a door for people to switch to a new vibration. The last time I was in Buenos Aires, I made an ambient set at the CCK, I put forth the idea. I did it with Antonella Arismendi who is someone who works on the subject but with visuals. And it was amazing. Antonella spent a month working while I played the tracks. They were familiar, it was my daughter ... It

was an hour and a half experience of ambient, totally silent. Not a whisper. The session ended and everyone who came to me said ‘I feel better’, ‘I feel higher’, ‘something happened’ ... “ You touched something in them. “I’m researching but it works. So, I do these sessions and I see the people’s. There was a girl, a friend of Antonella’s with a frequency meter and she measured the frequency of the room at that time and said that it was very high. All the people were vibrating at the same frequency. A very interesting collective thing was generated. And with this I continue to research, to generate awareness through music. I am aware that my job is that. I discovered this in the past two years. Before, I made music like any other producer, more oriented to the track, but later I began to discover myself. Who I was, what I was doing in this life and why all the synchrony I was having ... And I understood that I was able to send a message and heal through music and sounds. For me, it’s very interesting ... “  I imagine it must be an infinite amount of investigation. A new stage of your life in which you got into... “Yes, and I try to take that to the people. Besides, I feel good about myself later because, all of a sudden, I post an ambient theme and people say, ‘Oops! It made me feel such a thing. ‘ For me, it’s the best possible feedback. That grain of sand that I contribute to people so that things are a little better is what fills me more. I do not care if he is ranked or not, or who touches him ... In that context, I got to where I wanted to go and played where I wanted to play. Now, I want to go beyond all that. So, well, I’m happy. It’s a good time for this album to come out. Everything has meaning, content. The albums are for those moments, for when you have something to say. “  It’s good that this is a new stage, like your first album at Tresor that is timeless. This also represents a state of yours that you may hear later in the future and say: ‘Here I was trying to help people with frequencies’. It’s good because it immortalizes that too ... “Exactly. It has a deep and true meaning. That will last all the time. There is no limit or expiration date. I believe that every art form that has a true meaning is timeless, something that you can hear from here to 2000 years into the future and it will generate something ... “ They are very altruistic ideals but we also want to ask you about some achievements you ended up getting, something that could appear on the other side of the scale. You appeared on a remix on Soma’s compilation, with names like Adam Beyer, Jeff Mills, Robert Hood ... “Yes, it is feedback that is generated. I took a lot of influence from all those labels like Tresor and Soma. They are historical! I remember when I started to play ... I have a very cool story ... When I was starting I was, I don’t know, 16, 17 years old ... I worked for another DJ from the west of Buenos Aires who was someone I looked up to at that time. He was a guy that, today, I tip my hat for what he did, in that area and in that time. We are talking about the year 97, 98 ... He was called DJ Walker and had a super underground scene. All the west: Ramos Mejía, Haedo, Moreno ... and, you’re like, ‘Moreno?’ Yes, Moreno! “  All this without social networks ... “The first time I went, I was afraid, but when I got to the place, I was speechless.  It was a place that represented New York’s Fifth Avenue.  The background was all decorated with Manhattan, the Statue of Liberty ... Very crazy, very big.  One thousand, one thousand five hundred people ... The dance floor had two high walkways, like the old clubs of the 90s, which were like ships, and the catwalks on the sides. The cabin in the middle ... It was imposing. A giant cabin with the largest laser light show in Argentina. I could not believe it. And this guy, Walker, playing music that I had never heard in my life. At that time, in that area, it was like moving to another dimension. And the people who went there were not drugged, they were all music fans. They were dressed all psychedelic, with their hair standing up, platform shoes ... It was very New York, with respect to the music and dress ... and that was my thing. That was the best thing that could have happened to me. There I learned everything. It was the best school, I already knew how to mix, technically, but not the issue of handling the night and club times. DJ Walker was quite fast and taught me everything. It was a little rough, too, because it was quite demanding. I suddenly had no music and he made me warm up with his music, with his lyrics on the CDs ... And I had to be there. Sometimes I did not find things and it was difficult. That way I could not find the music and I could not mix, and he would come into the cabin and hurry things up. He put

a lot of pressure on me and that made me generate the speed necessary that I had to have to play. The truth is that I always thank him when I see him. Did you see that when you have a good teacher? You always remember them ... “  You touched an interesting subject. How much do you care about the world of teaching? “When I was in Argentina, last time, I was teaching at a studio that I had in my house, a couple of guys who started from scratch just making noise. Resonance - mental resonance, Farceb, Aalderan ... They started with nothing and studied with me for six months and there they are, getting known. Well, Pulse One, for example, now they played at Berghain last week. So yes. I love that. If I lived in Argentina, I would like to have a school.”           And, do you feel like coming back or has Barcelona got you hooked? Do you think about going back? “Yeah of course. Let’s see ... I’m clear that I have to be here until the five years of my visa are up.” Of course, that’s the main objective ... “Yes. Then, when I have that visa for life, I can move as I want. I’ll be able to move without problems. The heart is always there but it is also difficult. The market is difficult. It is difficult to live in Argentina. As I am now, living from playing and making music, in Argentina would be very limiting for the life I have and what I have to pay. I have a daughter ... Once you’re there living, things change. You can play once or twice but now, the third, people get used to it. The magic is lost a little. If I go back to Argentina, it would have to be in a different context. Work from something else, with a school, or something. Also, I think of my colleagues who have schools, like Mariano Trocca, and I think, ‘I’m not going to open a school’.”  To compete ... “Of course, I’m not going to complicate my life. For now, I’m fine like this. I have the possibility to travel every month and a half, I see my daughter for ten days and I return. So far, everything is in harmony and balance. My daughter is fine, I am fine ... I fought all my life for this, to get to this place ... “ You are in a place of privilege and, when you return, you are going to have to fight ... “I have these internal questions where I ask myself what to do but, honestly, I have no alternative. This is the only one: go home as much as I can, be there several days, talk every day with my daughter, with photos, videos ... Luckily, she understands and her mother too. I, of course, before I made the decision to leave, I talked to her and discussed this with her. She was the one who told me: ‘Your place is there, you have to go.’ She was the one that drove me. Besides, if you think about it, after all, it’s for her benefit. You’re giving her the best. Everything you need, perhaps, in Argentina, it would be more difficult or almost impossible to give everything I give her now. Slowly, coping, we’re doing well ... Fortunately, now she’s growing up, and getting a bit more dependent.”  To close, what other things have you planned for the future? Any projects? “There will be another album that is the first for Telluric Lines and, in addition, I will be performing at Mutek Buenos Aires, so I will be able to present my Telluric Lines show there. It fills me with joy because, in truth, it is something very special. I worked this project along with an Austrian visual artist. The project was put together along with this artist called Rainier Kohlberg and he’s a genius. I discovered him at one of these Atonal festivals. He made an installation and drew my attention to what it generated, visually speaking. And I understood that he generated the same thing that I wanted to generate, but through visuals. So, I talked to Paulo and told him that I was interested in working with Rainer, who had the context that I wanted, and everything was going on. We presented it at the last Atonal. He’s a genius. He does visuals in real time. Very nerdy, very interesting ... And we are going to take it to Mutek Buenos Aires. So, super happy with that. Then, I will release a new label in September that will be called Tremsix and that it is a fusion of words of the three Detroit labels that I influenced me: Axis, Transmat and Metroplex. I made a fusion of words using those names and Tremsix came out.” And what will be the idea? Is it on the Detroit side? “Yes, it’s going to represent a bit of that. Detroit, electro, all the deepest techno ... All the influence that I like about them, I’m going to take and then develop. There will be house, electro, techno, ambient ... It will be a wide platform. I’m putting it together, working with a Spanish designer to shape the context, the image. It’s a girl who worked with Jeff Mills ... “ u



MUTEK STOMPED ON HIS RETURN TO ARGENTINA The festival of electronic music and digital creativity closed an edition with excellent proposals.


he festival was announced a few months ago and since then, we have been eager to see what to expect on their return to the country. With the prestige that emerges from its international editions, with headquarters in Montreal and several key points of the music industry like Tokyo, Barcelona and Mexico City, Mutek came to Buenos Aires with the aim of meeting the expectations that, in advance, an encounter like these deserves. With its main headquarters located in the Cultural Center Kirchner -the new bastion of the culture that was born some years ago in the center of Buenos Aires- accommodated presentations of all type, from public interviews with some DJs, like the one that we were lucky to carry forward next to Mathew Jonson, to VR exhibitions with international geniuses such as Simon Wilkinson and his project Circa69. With a surprisingly young audience, something that we loved to discover, the attractions that were presented since Friday 22th worked very well creating a space where the audience will not only see what’s going on but also participate, interacting with the different facilities, enjoying the closeness and the proposals that became a reality thanks to the open mindset of its organizers.

Thus, after three days of repeated walks in the imposing building of Sarmiento St., we were full of emotion to see so many interested young people and a group of organizers willing to put everything of them to give us some interesting content. In addition, of course, of the possibility to enjoy the great performances of some of the names that are making waves in the industry. And we closed it as it should be, in a daytime event in the CMD space of the Barracas neighbourhood, away from the assumptions surrounding electronic music, with families present and a completely different vibe, with music as the protagonist. That’s why we are excited about what’s coming. An era where this kind of proposals can find a space to develop and to grow in our region. A place to keep up with what is happening in the world...




After the inaugural words from local organizer Gonzalo Solimano, the event gave us a glimpse about what to expect during the 3-day event at the top of the CCK building, in a place called “the dome”. In there, the duo Ducasse & Borini presented “Luces Por Segundo” –“Lights per second”-, an amazing proposal created for the viewer to have an intense and immersive experience, making a tour through different states of perception. With the visual experience made by Borini and Ducasse’s hardware live set, going from acid house to techno, it was the perfect way to start the festival.


After our interview with Mathew Jonson on day 1, we relaxed a little walking around the different options that Mutek Argentina had to offer, and ended up in the main room of the building enjoying the sold out event of Nonotak. This duo composed by French Noemi Shcipfer & Japanese Takami Nakamoto, blur virtual and real space in live audiovisual shows that synch melodic, glitchy experimental techno with projectionmapped images on multi-screen geometric structures. This was an absolute surprise and, maybe, the best audiovisual show we’ve ever seen.


The second day of the event presented lots of shows but there was one hailing in the centre of the CCK building that was calling our attention. The Play 2 program was very interesting, mixing in a very spring environment the work of live performers and some amazing visuals. The fact that it was free and costless made it even more special and Nicola Cruz performance was, for sure, one to remember.


Between all those free and weird proposals, there was “Nocturne”. Club oriented, placed in one of the best clubs of the city, Crobar, this was the main event for the clubbers, presenting performances from big names like Mathew Jonson and Sonja Moonear, and locals Alejandro Mosso, Seph, Ernesto Ferreyra and Damian Levensohn. And it didn’t disappoint at all!


This was another show planned outside the CCK building and it was expected to be packed. Access was with prior accreditation through the website and the tickets were gone half an hour after their launch. It was the main event to experience what Mutek is all about. Entire families were there to witness the closing of Mutek and the artists didn’t disappointed at all! Maya Jane Coles, Mike Shannon and Chic Miniature –canadian Guillaume Coutu-Dumont and Argentinean Ernesto Ferreyradeliver the fresh beats during the daytime event to make it memorable. The best way to end it! n



THE FESTIVAL OF TOMORROW We danced in an unconventional place. Yes, everything happened in Colombia,  at the local talent oriented Cometas & Techno festival.



hen talking about how electronic music emerged in different parts of the world, everyone normally says that parties first occurred in abandoned warehouses and  then  at outdoor sites where nature was everything while looking  to establish a more spiritual and romantic connection with the ecosystem, under the motto PLUR, Frankie Bones’ phrase of peace, love, unity and respect. Others also say that the way to put together a good party  was to use coordinates which  as they were being followed, ended  up  leading you to a remote area where power plants, the audience, the lights and one’s own excitement did not end until the last record stopped playing. This short story of how some ravers started in different corners of the world, makes us think of Cometas & Techno, the Colombian festival which, with only two editions under its belt, has emerged in the same way as most of the major events worldwide have. The festival, which had its first edition at the blue wells of Villa de Leyva, found the  right  place  to offer the Colombian electronic scene a single  space.  Something along the lines of “Into  the  Valley”  but  in Latin America:  in Sáchica, Boyaca.  And, as a differentiating bit of character, headlined by only local artists. Diego Dueñas, one of the organizers of this grand festival idea, tells us that after having the perfect venue for the second edition, the blue wells were filled again, which made Trazendenz think that if the festival continued in Villa de Leyva, he would have to move to another municipality in the Colombian capital or worst case, seek a location just as magical as the blue wells. However, after several meetings with the mayor of Sáchica, they


got the good news of finding two places, one hundred percent available where they could hold the event. The first was a normal field, without much magic. The second, an abandoned mine, where there were dump trucks and a small house that showed how nature embraces everything that crosses its path. “We went, saw the place and immediately knew it was the perfect location for the event.  At that time, we understood that we should not look  for  anything else,” says Diego, making  us  think of Dimitri Hegemann and his story about how he found the second location for UFO that later became known as Tresor.  “When we crossed the steel door and entered the chamber, with all the safes covered in rust, we were very clear. The search was over,” he expressed for Der Klang der Familie: Berlin, techno and fall of the Berlin wall, settling that after discovering the stairs leading to the basement, everything seemed to be an Aztec treasure, saying he had found the secret tunnel which led to the Führer’s vault. After several stages to select the great appetizer of Colombian artists, the Cometas & Techno festival, had us embark on the same flight with Astronomical Telegram, Al3xandria and Durcheinander which had us meet at the El Dorado airport with Gotshell and Luix Spectrum. During the departing flight and meeting in the Colombian capital, the attitudes of each artist made us feel more alive than ever. Knowing that we were traveling on a flight where everyone spoke the same language, we did not feel different. In the past, we witnessed Colombian festivals like Freedom, Breakfest Festival or Storyland, where the sound proposal and the assembly had left us content but coming across a festival like Cometas & Techno, we were looking at a totally

different experience. First, the artists who headlined were pure Colombian talent - except Kyle Geiger in this new edition; secondly, the location was not an enclosure with walls and a ceiling; and thirdly, it was located in Boyacá, where the varied natural landscapes and colonial style town placed us all in the fifties with its deserted areas. Thanks to the event’s promoters, we had the pleasure of appreciating much of the behind-thescenes. It was ten o’clock at night, everything was dark and small rays of light illuminated the natural scenery, leaving us all with mouths wide open. We knew that we were just one day away but we  understood that  it  would be an enormous experience. The darkness did not let us appreciate the space too much but the light put us on the edge of a cliff where the music would turn into a sort of shaman, giving us the correct guidelines on how to reach the correct level of satisfaction.  With a capacity of more than eight thousand people, the festival lends itself as an experience for Colombians and foreigners to enjoy some of the most important events in the country. Our day has  come.  The weather is not perfect.  Days  earlier,  it was reported that a storm  would  hit  Villa de Leyva.  And so, it was: the forecast was correct. The first thing that we thought was if the public would be willing to dance in the rain. With or without rain we were ready, waiting for our departure time to see how the energy was at the festival. Seven p.m.  A minivan arrives for us.  We got ready and left for the event. Al3xandria, one of the best live acts in the country travelled next to us. We arrived, the marsh is awesome and the rain was still steady.  We passed the two safety filters, and along the way we felt the ecstasy of the people. Everyone pulls out their


VILLA DE LEYVA, COLOMBIA cell phones, looking for the flashlight option, and they carefully try to get to the festival without getting lost in a puddle. The lights shine brightly, and we are there, following our battle against the swamp and the rain. Once inside, the festival is being musicalized by Fauren, an artist who has been resonating strongly in the capital. THE PUBLIC SHOWS US THAT WHEN THE MUSIC IS GOOD AND YOU REALLY WANT TO DANCE, THE REST DOES NOT MATTER.

We accompanied Al3xandria to the stage to see all his machines deployed. Attracted by the people’s cries, we stepped off the stage and watched the audience’s reaction to the artist. We noticed that the rain was getting more intense and that the public did not seem to feel it. And though secretly we were disappointed for not being able to see the second stage,  we  understood that certain things are out of a promoter’s control- the rain did not allow to set up the second stage. We also understood that people, without a doubt, want to know why this festival has generated so much impact with only having had two editions.  We looked  around and the answer was clear: the festival is taking place in an abandoned mine, which was, it seems, at one time led by an Aztec tribe. After two hours, the applause let us know that a new artist was arriving on stage. We raised our eyes, and there he was, the Alchemist, becoming the night’s commander, who from the very first minute lets you know that it will be a one-way trip. That’s when we understood that it was time to close our eyes and enjoy more music. We opened our eyes.  Ecstasy on the dance floor was livid. People could not stop raising their hands, moving their feet or hugging someone after recognizing the track that was being played.  We were excited and dark and noticed how the Alchemist handed the audience Astronomical Telegram, to begin the journey with that sound that characterizes it. With a very spectral sound and a display of punches that marked the intensity and seduction, Astronomical causes the endorphins of the audience to explode.  The public recognizes their intentions in each mix. For an hour, the artist delights more than seven hundred ravers who have come to the dance floor. Also, they seem unwilling to leave the floor until the guy delivers the decks.


With an energetic crowd and tensions high, Juli Monsalve appears on stage. Member of Intelligent Division she has taken the festival by the reigns. Being one of the two women invited to the festival, she seems to have no mercy with the public. After three minutes, between all the yelling, whistles and constant applause, the people welcome her with the best attitude. The audience number increases and the artist that represents girl power in the region makes it clear that she is giving them a selection of different tracks, surprising everyone with sweeping tracks as she always has an answer for the audience that seems to have determined that they will make the resident of the Mute Club feel good. With an atmosphere which is on fire, Deraout gets on next after Juli Monsalve to continue with the vibe that the artist had generated. He does nothing else but to get us vibrating, bringing his music to the great robotic structure that OFF Concerts has put together on stage, provoking a big smile on the face of

Kyle Geiger, who asks the audience for their applause, demonstrating great satisfaction after listening to Deraout, and having the possibility of hearing one of the great selectors of the Valley of Aburrá. The rain has died down and, to everyone ‘s surprise, people continue to come in. People begin to leave the tents to enjoy Kyle’s set. As the crowd starts to amass in order to be close to the American, his sounds shoot out of the great sound system that surrounded the festival. With great music, the Drumcode native puts on a set that goes for more than thirty minutes, accelerating the pace and becoming more and more danceable. Of course, people are still coming in to take some pictures and record the event. After seeing such a tremendous swamp where this all had been set up, Kyle seems amazed when his show comes to an end, giving way to Gotshell, Durcheinander, Luix Spectrum and Sonic. “If in my country it had rained so hard and the party was in a place like this, the people would have immediately left. You are very different,” said Kyle while filming the footsteps of the crowd in the mud, understanding that the audience had given everything to feel the music of these artists who came from Medellin, Bogota, Armenia, Manizales, Pereira, and in his case, the United States. As dawn set in with a fairly clear and penetrating sky, Cometas & Techno is saying goodbye, without reminding  us  first that techno and house aficionados have a safe space in Villa de Leyva, a place that will always respond in the best way with the audience, with an intense production and, above all else, good music. n


Dj MAG LA Edición Especial ADE 2017