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Special Edition


















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 Belén Casas

Event Production Roberto Fernández

We’ve started the Latin American journey with DJ Mag almost four years ago and, since then, things have been improving incredibly. We want you to check out what we’ve been doing in our printed issues and the way we have approached our scene, an ever-growing space that is still developing. We have kept our essence, grabbed some articles that represent us, and created this special issue exclusively for ADE. In its translation into English –our magazine is originally written in Spanish–, you’ll be able to see what is going on in our region and the way we’re contributing to the scene’s growth.


Jorge Mealla



Juani Vender

Carlos Gomez



Fernando Kriete

Enrique Ponce

El Salvador


José Javier Canterano

Rodrigo Nogues



DESIGN Director Alejandro Ramos Design María Laura Sánchez Layout Sergio Aguirre

THANKS TO... Ariana Ramos, Bad Boy Orange, Fran Balsa, Gonzalo Cirulli, Juan Arnau, Leo Jurjevich, Marcelo Arrascaite, Martin Carvell, Pedro Nonato, Rodrigo Nogues, Rodrigo Vieira, Thais Bello y Victor De La Serna


We’re very happy to be here visiting this amazing city, and we want you to feel the same the next time you come to our lands. We’ll be waiting for all of you!


J&B Traducciones www. Grosman Traducciones




We’re here to talk about ADE.



Our last experience at ADE.


Shaping a scene


A new law is on the way


Spreading knowledge



There are some artists of the region performing here these days.



Ten things that we’ll enjoy just because we’re here...



ADE concept is going around the world with global sessions.


Road to Ultra


A happy birthday


Flying high


Double or nothing


First row


Tomorrowland Brazil



ADE tips to spend a happy stay.


High Performance




Musical paradise


A love story

Anhauser delivers a majestic mix as a gift for you...




Ultra’s concept arrived to South America in full motion.



Brazilian Alok reveals his favorites.



Deep House








Tech House





Dj Mag Tech Awards


Production process


Synthesized altruism


It’s experimental


From the boot to the dancefloor

95 6



What happens in the región with the less comercial genres?






Welcome to the largest and most encompassing event in the industry!


ver the next five days, Amsterdam will become the worldwide hub of electronic music, as it gathers together an unthinkable number of people who contribute their various skills to what is known as “the scene.” For years, this event has been a rich learning experience for artists, producers, promoters, electronic music actors and lovers of the various subgenres, bringing them closer to an immense level of information covering all areas of today’s vast electronic world. The festival’s 21st edition won’t be the exception. Rather, it will further accentuate the event’s longrunning main strength: joining together an entire international scene in one city over five days. From Wednesday October 19th to Sunday 23rd, this edition of ADE (Amsterdam Dance Event) will, once again, be rife with avant-garde concepts and experimentation.

Featuring 2.000+ artists in 450+ events over five days, the Festival will eventually attract more than 365.000 visitors from more than 75 countries who will come to get blissfully lost in the Netherlands’s capital city, which offers not only music and innovations but also a great opportunity to relax and enjoy in one of Europe’s most attractive and rejuvenating cities, in a festival with various programs taking place in more than 90 venues throughout the city. In the last twenty years, due to its quality content, the Amsterdam Dance Event has become an international platform for the electronic music scene, offering three

important sections: ADE Festival, ADE Playground and ADE Conference. This encompassing concept, aiming to join together all the styles in the electronic genre without distinction between mainstream and underground, has turned it into the industry’s main focus, and it is often scheduled to occur at the end of the European summer season. ADE Festival is the perfect place to discover the latest trends in electronic music and learn about fresh new talents that are starting to find an audience in the circuit, and it provides an opportunity to listen to the works of the true pioneers in our sonic galaxy and to experience the performance of today’s superstars of the clubbing world. In addition to the intense and extensive line-up of the ADE Festival, the ADE Playground offers music enthusiasts a full program of varied options to take part in over the course of the event. These daytime experiences combine exhibitions, instore promotions, interesting pop-up stores led by prestigious record labels and the screening of films that, in general, contribute something new to spectators with a thirst for knowledge. ADE Conference is the business world platform, globally recognized as the most important of these events, offering a wide variety of conferences and job opportunities concerning music and technology, visual arts and VJing, the scene’s sustainability, the showcasing of new talents and the right education to get involved in a highly professional scene. For

several years, ADE Conference has proven to be an essential element of the electronic calendar, a place where networking and projects come true. The successful event program links fresh new talents with the actors in the industry’s top tiers, and young fledgling students with the superstars and CEOs of large industries. Year after year, it has been a soldout event due to its importance. This year won’t be the exception as again it will feature a prominent body of guests from the industry, who will expose their points of view and interact with attendees at several workshops, keynotes, interactive Q&A sessions, discussion panels and other kinds of highly enriching experiences, as well as conferences to discuss the latest developments in the music and technology industries and to network to develop contacts of upcoming relevance to delve into the scene in any way the person wants. Whether you are just a fan of electronic music who wants to go see your favourite 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-the-scenes 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


AMSTERDAM DANCE EVENT Industry gathering…


e eagerly arrive in Amsterdam the day before ADE begins, expecting to see a united city which proudly welcomes this moment of the year. And we were not wrong. They are well aware of the fact that what they do exceeds the standards, and they expect to continue doing so every year. It is freezing outside, but, luckily, we are properly bundled up for the occasion. You can see scarves and wool hats everywhere; also bicycles, one of the most popular forms of transport in this city. The streets, with their unpronounceable names and their twists and turns, pose a challenge to us, but we manage to arrive at our destination without too much problem, just by asking a few questions. There is still one day left before the beginning of ADE and everything is already dyed yellow. Both locals and visitors know music is the hero this week, and nothing will change that. We took Tuesday to recover from the long flight and to pick up our credentials at De Brakke Grond, one of ADE’s centers of information, which is a few blocks away from the place we are staying at. Now we are ready for what is ahead of us.

International Review

wednesday Wednesday breaks as cold as the day we got here. We take a look at the program and something going on at a place called Mini Galerie catches our eye. Placed on Kinkerstraat Street – not that you are supposed to know where it is –, and just a few meters away from a park full of trees, its entrance is so small, it is hard to find. We walk straight past it and, when we realize, we have to retrace our steps to see ADE’s yellow flags at the door. As soon as we enter the place, we understand the reason of its name. In the Mini Galerie there is an exhibition called “Uncovered. The Art of the Album Cover II,” an interesting showing aimed at going over the art of some album covers designed by great artists. We are delighted with this place and decide to spend a long while here. As we leave the place, we have an urge to get to know the city, so we decide to go across some canals in our way to the Amsterdam Museum, an astonishing building with an ancient facade and a completely renewed interior. There is an interesting exhibition going on here, which, at first sight, might seem unconnected to the real meaning of the festival. “Graffiti – New York meets the Dam” is an attraction that gathers documents and images related to the first graffiti that appeared in the streets of New York showing an intrinsic connection to the art of underground music, like hip hop and, of course, the dance culture. We walk around the halls, getting to know some of the pioneers of this cultural phenomenon and, while we are here, we take shelter from the rain that falls on the city, which seems unwilling to let up. It is amazing to see the extremely close relationship between these sub-cultures and the way electronic music was developed in its origins, emerging as a counter-culture and becoming, 40 years later, something that is accepted as part of the modern societies. Amsterdam seems to be willing to slap you in the face with its history all the time. Once we leave this exhibition, the museum catches us with its wonderful qualities, in an ancient building full of history that shows the DNA of a generous city. We decide to go back to the hotel for a while, and set out on an arduous walk along the canals that take us back to our rest place. Rain keeps pouring down incessantly and, slowly, we start getting used to the weather. That night, we go after an original show. One of the most peculiar presentations of the Amsterdam Dance Event program: “Rompecorazones Live”. This show, led by the Argentine Guti, the absolute head of the label Rompecorazones, is an exotic performance. Together with the DJ, producer and keyboardist, we can see other great musicians from different areas, who join this unique performance in an incredible location.


The chosen place is the Tobacco Theatre, a very intimate and refined place located, as its name suggests, in an old space that used to host tobacco auctions on a street full of theaters near the Red Light District. It is past 8 P.M. and we get in number 75 Nes Street to enjoy our first night show in Dutch lands. We are surprised by the interior of this facility. It is a small space and, facing the stage that is only a few centimeters high and takes up a whole wall, there are just three rows of a maximum of thirty chairs each. Behind the chairs, which are all taken by the time we arrive, there is a place to enjoy the show standing and, behind us and facing the stage, there is a bar that supplies beverages to everyone. The space has some details that catch our eye. Especially, a pretty antique camera that, far from filming something, appears in the middle of the place as an exhibition, providing a theatrical touch to the environment. After some minutes of noise, while we drink some beers and talk to the enthusiasts that are here to enjoy the performance, the artists appear on stage all together: Guti; Julien Quentin, a renowned classical pianist; the sisters Rosanne and Julia Philippens, two superb local violinists; Greg Paulus, a member of the duo No Regular Play, who came from New York to perform as a trumpeter; the Romanian duo Livio & Roby with their machines; and the Brazilian flutist L_cio. They all perform together, adding the classic elements to the electronic bases, with rhythms that rest between jazz and ambient. Approximately for an hour and fifteen minutes, this small orchestra attracts our interest and keeps us looking at a show without protagonists which wanders around different rhythms without cracks. The performance comes to a sudden end some minutes before 10 P.M. Before crossing the city in this rainy night, we wait some minutes, until Guti finishes greeting the people here, to ask him about his feelings.

“We are all musicians from different universes. Julien is a great classical pianist, the girls play the violin... They are all my friends, and instead of throwing a party in which we play one by one, I thought it would be much more interesting to play all together.� GUTI


International Review

thursday On Thursday, we wake up filled with excitement. And it is because we have an amazing day ahead of us. Not everyone is lucky enough to be invited to the private session Armin Van Buuren has prepared for just a few journalists on a small boat in front of the Dutch cultural center, Felix Meritis. Here, the artist invites us to be the first ones to enjoy his studio album “Embrace”, his brand new work that came out at the end of October on the enormous Armada Music label. When we arrive at the unpronounceable Keizersgratch Street, we can easily find the boat, as it has a white logo of the label on the roof. After a few questions, we get inside and find out that it is a small space that hosts no more than thirty or forty people, and that we are sitting about three meters far from the decks Armin will be using to play his music. The invited journalists from different media start showing up slowly and the expectations go in crescendo. We do not know what to expect yet; but we wait for the blonde artist in this cozy environment with first-class service, surrounded by colleagues that are as captivated as we are. Suddenly, a sound coming from the water causes quite a stir. We turn our heads to see a man in a blue suit with a jetpack – later, we would find out it is called a flyboard –, who starts making some moves over the canal where we are, gathering hundreds of people on the bridge. We are still totally confused, until we look towards the bridge and see Armin standing there, waiting to receive something from the man in the blue suit. It turns out to be the first copy of the album Embrace and, when he gets into the boat, and after greeting us one by one, the Dutch DJ places it in front of the decks for the people sitting there to see it. The beats of the album starts kicking in as soon as the boat begins its tour along the canal. Microphone in hand, Armin makes a short comment on each of the album’s tracks, as he plays them for us. He looks overjoyed. You can tell he is enjoying this event as much as we are. One song after the other, his comments on each one reveal something new; maybe information about the collaborator of a particular song, the reasons why he created some of the album’s tracks or a specific method of production, he disentangles the whole project before our eyes. Meanwhile, beers and snacks are replenished on the table, rain keeps pouring down on the Dutch city and we continue to feel taken aback at what is going on in this Amsterdam Dance Event. Less than two hours after setting off from the Felix Meritis Canal, we return, putting an end to a real premiere. After a few questions, we leave the boat with the feeling that we have just experienced something unique; a feeling that we still have to this day.

“We had never done anything like this. I thought it would be interesting to make a different show and to be able to tell you some things about my latest creation. The idea was to include different instruments and sounds in the album. I’m not saying I’m moving away from trance, because that’s not the case, but I want to expand myself and continue innovating. Many people say I’m moving away from trance music, but my intention is to expand the limits of the genre.” ARMIN VAN BUUREN


International Review

We go back to the hotel with only a few hours to rest, as at 6 P.M., the nightclub NOVA will host the DJ Mag Sessions. We are excited to get to see four important names of the techno scene. This kind of events, organized by our British brothers, have the peculiarity of being live streaming, making them attractive not only because they gather the people present in this Dutch city, but also, because they are available for the whole electronic community through a simple internet connection. Filled with excitement, at half past six, we set off to the small club located in an area full of restaurants and coffee shops, near the famous Melkweg. Once we get there, after climbing a staircase, we enter the room where the party is taking place. The dance floor is relatively small and we can get a clear sight of the DJ from the entrance, which is facing the booth. The one in charge of soundtracking this moment is the only lady in the line-up, Anna. The Brazilian brunette imposes her rigidity in the small space, while the local audience warms up this afternoon that is making way for the night. There are no screens; just a blue sign behind the DJ with the word Nova on it. This is certainly just about the music. The party starts hyping up when Alan Fitzpatrick takes control of the decks. The Brit man has an hour ahead to perform and uses it to give us a ride along different moods; some techno here, a drop there and a sinuous line that keeps us on edge, with Carl Craig’s remix of the track “Grown Man Cry” by Aprohead adding a special touch to the performance, which seems short and comes to an end before we can even realize. Now it is the turn of the man in charge of closing the night: the techno baron – a nickname given by his friend, John Peel. As you already know, he is Dave Clarke. Born in the United Kingdom, he is a prominent figure of the techno scene and his set adds a lot of power to the Dutch night. More and more people turn up on the dance floor, and the music increases both in energy and tension with the effects he keeps adding to the performance. Dave Clarke is taking risks and we acknowledge this and let ourselves go. Once again, just an hour seems too short and when the clock strikes ten, it all comes to an end. Our first experience in a DJ Mag Session is filled with techno and we love it. Exhausted, we set off to rest after visiting some places nearby club Nova.


International Review

friday On Friday we are completely used to the city’s wet and rainy weather, and we get ready to experience a long day. Our first stop: the Copagnietheater. There, at 1 P.M., the Brazilian Gui Boratto was supposed to give a talk in the context of ADE Sound Lab. The subject was Meet the Studio Maestro and he would deliver a nice presentation telling us about the way in which he works in the studio and how he applies his architect skills to production or to the interpretation of others’ tracks. Sadly, when we get there, we are told that the DJ and producer will not be present due to health issues. We were really looking forward to it! Luckily, ADE Sound Lab has something else to keep us entertained: Moog and Roland are exhibiting their equipment for the curious attendants. We spend several minutes testing Moog’s modular synths and the up-todate range of Aira equipment that Roland has relaunched. Ableton is present too. We absorb all the new things the industry’s most influential brands are presenting, testing them in situ. We end up taking Gui Boratto’s master class by testing the equipment ourselves. And we have a lot of fun interacting with the latest releases. But we still have a lot to do this Friday. It is after noon and we have some hours before the Amsterdam Music Festival (AMF) begins, where the results of DJ Mag Top 100 have been announced the last few years. From 5 P.M. to 1 A.M., the event features a bunch of great artists, such as Vicentone, the Nervo sisters, the young Martin Garrix, the twice world number one Hardwell, the Belgian duo Dimitri Vegas & Like Mike and Armin Van Buuren, whom we meet again after the intimate presentation in Armada’s boat the day before. The chosen location for the ceremony is the magnificent Amsterdam Arena, the football stadium of the renowned Dutch club Ajax. Located a few subway stations far from downtown Amsterdam, when we get there at 6 P.M., people are already crowding together by the different entrances in order to join the party. Invited by our British colleagues to a privileged area, we get ready to enjoy the event from one of the stadium skyboxes. The Top 100 results are revealed one by one in DJ Mag social networks, while the performances in the arena start warming up the field that, today, has been turned into a dance floor. We can see the stage at the right from where we stand. It is huge, with vertical screens that cover the seats behind it and sets of lights along and across the dance floor. The atmosphere could not be better. The free spaces are being constantly taken and, by the time the final announcement is about to be made, there are no clearings left. One by one, the artists continue playing and the top spots are revealed on the screen. The audience makes a deafening noise as each artist in the first ten places is mentioned. After a chain announcement in which N°3, Martin Garrix, presents N°2, Hardwell, and N°2 presents N°1, Dimitri Vegas & Like Mike celebrate the first place, becoming the first duo on the top of the list. They start getting ready for their performance, which is full of energy and of words from them to the audience. From time to time, they pause their set to make everyone sit down and sing along. The show in the stadium is truly magnificent. From the stage, with screens that must be over thirty meters high, fireworks set off and colorful lasers cross the Amsterdam Arena from end to end. The results have been revealed and there is nothing else to do but enjoy the performance from our comfortable skybox, drinking some cold Millers, while we think of our experience in this amazing European event that is slowly coming to an end. We are feeling sentimental and, as AMF first day concludes, we decide to return to downtown Amsterdam, exhausted after this long day.


saturday To nobody’s surprise, Saturday breaks as cloudy as the rest of the week in Amsterdam and a few drops fall from the grey sky. But it no longer affects us or, at least, we have understood there is nothing we can do about it. After a tour round downtown Amsterdam, visiting some museums and city landmarks, we head towards “The School of Life”, the place where Tommie Sunshine is heading an interesting talk: “Art as a Special Therapy”. There, the American artist spends an hour teaching us the different pieces of art that inspired him to create music and what his work represents. An amiable and interesting conversation in which the eccentric DJ and producer covers different subjects and give us a ride along some personal influences and tastes. For the closing event, on Saturday night, we decide to travel to one of the most remote locations of ADE Festival. The place is called Panama and features various performances that are worth seeing. Two rooms at the same time, presenting the best of the real progressive house and which main attraction is Hernan Cattaneo and Nick Warren’s back to back. Located on a street near the water, it is an old building that has been remodeled, just like most of the buildings in the center and the city surroundings. It has a beautiful facade with a lighted sign that reads Panama, helping us avoid getting lost. We get there at night and cannot help thinking it must be a wonderful place during the hours of daylight. When we arrive, the Dutch men Eelke Kleijn and Olivier Weiter are performing together in the main room, with a back to back that has already been going on for a while now. In the second room, we come across Mariano Mellino, the other Argentine DJ in the line-up, who has already performed and is enjoying his colleague Graziano Raffa’s set behind the DJ box. In this room, people gather round the booth, which is at the same level as the dance floor. Here, the DJs perform one after the other individually, unlike what goes on in the other room. We spend some time enjoying the show with Mariano, who walks us around the place. The main stage is a bit more complete. Undoubtedly, this room has already been used for events like this and we confirm there are people from all over the world here.


“An unbelievable experience. The room filled up early and everyone connected from the beginning of the set. This is my second time in ADE. I came as a visitor the first time and, this time, I was behind the decks. I am filled with mixed emotions. I feel grateful for this opportunity, living a dream, having fun and taking it seriously. It is a pleasure to be part of such an event.” MARIANO MELLINO After 2 A.M., with Cattaneo and Warren’s set in full swing in the first room, we go upstairs, to a free access balcony that surrounds the dance floor, from where you can overlook what goes on downstairs. The fact that the crowd is concentrated on the dance floor and there is nobody up here enjoying this extraordinary view surprises us. We decide to stay here, willing to revel in the progressive house veterans’ set. Behind the DJs, there is a small screen above them. The staging is not impressive, but nobody cares. The ADE has a special place reserved for this genre and we make the most of it. Warm and amiable sounds come from the speakers and we let ourselves go to the beat of the music that plays until the crack of dawn. From upstairs, we can enjoy it much better. And we will stay here until the end.

sunday On Sunday, the whole city seems to have a hangover. There are fewer bicycles on the streets and the hotel receptions are not as crowded as they were these days. Since Wednesday, all the protagonists of the electronic industry – whatever the genre – have been mixing in a sea of meetings, conferences and amiable talks, turning the city into a massive event that is useful for everybody. Everyone is resting now. ADE still has a few remaining events, but everyone seems to have satisfied their needs, and we have too. We have experienced an event with all its components. We have learned, enjoyed ourselves, and, most importantly, we have felt connected. u


LATIN SPIRIT Of course, we’re here to support our artists! You may not know it but there are a few Latin American presences gracing the decks during this edition of ADE. From Argentinean Flug to Mexican duo Tom & Collins, ADE has a variety of shows where you’d be able to catch them and assimilate those Latin vibes. Check them out!

DHYAN DROIK ANNA Ladies first! On her fourth consecutive year at ADE, the Brazilian techno mademoiselle will be sharing the booth with big names on Friday 21st. She’ll perform at the event “Terminal M x Tronic” at Q-Factory with Monika Kruse, Oliver Huntemann, Christian Smith, Stefano Noferini and her fellow countryman Wehbba. “The line up is incredible and the location is really nice. I played there last year and I had a great time.” “There are lots of music conferences but it’s during ADE that I really do any business. I find it’s the conference where people go to work, to discover new things and to learn. I met my manager for the first time at ADE. I’ve signed EPs during ADE and also met promoters there who later booked me for their events. Plus, it is the time of year when I’m able to meet all the friends I’ve made in the business from all over the world. It is the place to be this week!” EVENTS OF INTEREST: “I will try to attend DGTL X Mosaic, Awakenings pres. Drumcode -I always meet so many friends at Drumcode parties during ADE- and also Awakenings with Len Faki for Figure night.”


DANDY JACK Chilean Dandy Jack will play on Friday at the party that HYTE has organized at the Warehouse Elementenstraat along big names like Seth Troxler, Da Walta, Steve Rachmad and Ricardo Villalobos, another Chilean representing the Latin sound around the world. “I will present my work as a producer performing live my latest works released by my label ‘Ruta 5’.” “To me, the festival is like a musical fair where one can meet many agents of the electronic music business, producers, labels, promoters, and a lot of people full of great energy who go there to learn and to party.” EVENTS OF INTEREST: “I have to admit that besides the event where I will be performing, I won’t have any time to go to any conferences, talks or shows.”

This Mexican boy is bringing his live act to Amsterdam in full motion with three different shows where he’ll be performing: On October 19th in Funk’n Deep Meet and Greet party at Hunter’s Amsterdam, The Bar; on October 21st in the Black Kat Showcase at Cafe Het Dwarsliggertje; and on October 21st in the Adeepted showcase at Halveemaansteeg 21. “The satisfaction of representing Mexico, makes it an unforgettable experience. Something that one has to live in order to explain it with words.” “Last year, I was fortunate to participate playing in the Funk’n Deep showcase, where I shared the booth with great artists such as: Ant Brooks, D-Deck, Steve Mulder, Spektre and Richie Santana, among others. To me, it was something incredible, from the organization of the festival, the quality of the events, the people working at the festival and the crowd, to having the chance to meet artists that have been an influence for many years.” EVENTS OF INTEREST: “I would love to attend some conferences. Last year I saw there were a few very interesting. Something attractive about the conferences is that you never know who is sitting next to you… You can meet very important people from the electronic music business and only greeting them might open many doors. That’s how last year I got a gig in Belize.”

FLUG FERNANDO OLAYA This Colombian artist is completely in love with melodies and he is worth checking during your stay at ADE if you fancy some mind travelling. He’ll be performing on Friday at Recycle Lounge Gallery Club, being part of the joint showcase of Movement Recordings from Greece and Just Movement from the Netherlands, alongside artists like Pole Folder, Natural Flow, Stas Drive, Dmitri Molosh, Lonya, Nikko.Z, DaR&DoR and many others. “It’s a big pleasure playing there and meeting many friends and music fellows like DJs and producers from all over the world.” “Amsterdam Dance Event is one of the world’s most important festivals of electronic music. It attracts people from around the world and it’s simply amazing for music and art lovers. You can do a lot these days in Amsterdam! You can feel the culture, be part of the diversity, attend the events you like the most, go to underground or mainstream parties, attend film screenings, hardware presentations, art exhibitions…. It is definitely the place to be, where one is able to enjoy a unique experience.” EVENTS OF INTEREST: “I would love to attend DGTL x Mosaic, on October 20th, featuring Stephan Bodzin, Maceo Plex, Kink, Audion; and the b2b between Hernán Cattaneo and Nick Warren in Panama on Saturday. I would love to attend the big parties thrown by Circoloco, Kompakt, Hed Kandi, Lost & Found &Resident Advisor… there is a big variety of events that I will surely go to. Other great things are the talks and conferences. Richie Hawtin’s is one which particularly catches my attention; also the Ableton and Roland talks regarding new technologies. ADE is not just a festival; it is culture, art and education.”

Born in Buenos Aires, this Argentinean techno master has been going from strength to strength during the last few years. At this ADE edition, he’ll be performing at Villa Kakelbont meets Q-Factory, alongside Flashmob, Joran Van Pol, Kaiserdisco, DJ W!ld and Terranova, to name a few. “I had the luck to be at ADE the previous two editions, playing for HYTE and Driving Forces Showcase. ADE is probably the best electronic music conference around the world. And Amsterdam is one of my favorite places in the world. So to me this combination is amazing. You can easily find a considerable amount of great and well organized parties around the city. At the same time, it is perfect to meet friends, colleagues, managers and promoters. Believe me, it’s always a pleasure to come back.” EVENTS OF INTEREST: “There’s too much happening this week so it is hard to name just a few... I will attend as many techno events as I physically can handle. But just to name one in particular: Awakenings Closing Party seems to be a huge party.”

FRAN BORTOLOSSI Brazilian house music has its exposure through Fran Bortolossi, for sure. This year he’ll be performing at Loulou Rec x Bunny Tiger showcase at De Club Up, on Wednesday 19th, sharing the line up with his partners Kolombo, Sharam Jey and LouLou Players. “Last year I played on the same venue on a Wednesday, too. It was a really cool party and I met a lot of friends there, but unfortunately I didn’t stay more days after that. I got back to Brazil because Kolombo and me had a big tour in South America. This year I’m planning to stay more in the conference and also participate in other parties. I know it’s a great place to meet a lot of people. So it’s excellent to be there.” EVENTS OF INTEREST: “I’m planning to participate in the ADE Dance & Brands and also ADE PRO. And some other parties and showcases which probably I’m gonna decide there. It’s a really good opportunity to see some DJs I have never seen performing live yet.”

With a completely unique sound, this Venezuelan duo is always delivering quality music for big labels such as Watergate, Hot Creations and Last Night on Earth. Now, they’ll be representing Dubfire’s SCI TEC label on the space that the label will hold inside the Dockyard Festival at NDSM Werf on Saturday, sharing a huge line up with artists like Paco Osuna, Nicole Moudaber, Dubfire and Argentineans Jonas Kopp & Pfirter. “It’s a great line up. A lot of friends are performing. We are really looking forward to this year´s ADE!” “We haven’t properly attended the festival before. A couple of years ago we did a gig during ADE with our friends from Woodstock. It was something more intimate compared to Dockyard, of which we have heard a lot of good things…”


EVENTS OF INTEREST: “We won’t be able to attend other events because it’s a packed weekend for us. We have Morocco the day before, and the same night of our gig we are playing in Bilbao, so I guess we will wait till next year to attend some other parties.”


JONAS KOPP This Argentinean techno stalwart is also performing at the Dockyard Festival, representing the Pole Group agency, where he belongs nowadays. “I know the festival very well. I have been involved in the last four editions. It is very interesting because you find yourself spending your time during one week in a city like Amsterdam, that is very well organized and super well connected. During ADE’s week you can find many well-known people of the electronic music industry, from club owners to labels, managers, agents, DJs, producers, etc. Many labels host showcases in different and amazing venues. Last year, I participated in the spectacular Stroboscopic Artefacts showcase, doing a live in an amazing and very industrial venue named Transformatorhuis and the very next day I did a b2b set alongside the French DJ Deep in the Tresor showcase at the Radion club. Other times, I have also participated in a streaming for Soma Records in a cultural center.” EVENTS OF INTEREST: “I would love to go to the new De School club. I have heard many good comments about it. And then, I’ll see. My schedule is very tight those days so I have to make good decisions.”

KEVIN DI SERNA Argentinean Kevin Di Serna is delighting everybody within the progressive house scene with his absolutely amazing productions full of emotion, having his latest release on Guy J’s Lost & Found. Currently, he’s around ADE to perform in the Mid-Day-Fun event that the label will be holding on Sunday at the Club NL, with artists such as Chicola, Khen, Pedro Aguiar & Navar. “It is one of the most dynamic and diverse festivals in the world. I went with Pureink in 2014 and 2015 and both times I had a fantastic time. During one week the beautiful city of Amsterdam is full of super interesting proposals. Conferences of the music industry, music productions, presentations of new instruments and some of the most representative gigs of each genre. ADE is a festival to learn, to enjoy, to meet new artists and to connect with people from all over the world. I love that it is open to creativity and every year it improves itself. It’s amazing.” EVENTS OF INTEREST: “I´d like to attend The Art of Engineering with Dave Smith, Hivern Discs, All Day I dream, Afterlife and, of course, the Sudbeat & Soundgarden showcase to listen to the music, dance and watch my friends playing.”

This duo from Mexico City is enjoying an excellent present, already having a wonderful summer season, sharing decks with big names. They will be performing at Recycle Lounge Gallery Club on Friday 21st, sharing decks with a lot of names during the Movement & Just Movement Showcase and at the Sudbeat & Soundgarden Showcase in Panama on Saturday, along with some well-known names such as Hernán Cattaneo, Nick Warren, Henry Saiz and Marc Marzenit. “Every person who works in the industry understands the significance and magnitude of ADE. Trends, the best projects and the best showcases all in one of the most influential cities. It will be an unforgettable experience!”


EVENTS OF INTEREST: “I would love to attend every conference, or at least, those that attract most of our attention. It is very interesting that ADE should be really going into the electronic music culture and organizing more than just parties.”


MARIANO MELLINO Hailing from Argentina, he’s one of the biggest names that the local progressive house scene has delivered, signing tracks on labels such as Sudbeat and Global Underground and being consistently picked up by promoters of his country to open for the big names of the genre. He’s here for the second year in a row, performing at the Sudbeat & The Soundgarden Showcase doing a b2b with Argentinean Marcelo Vasami, and sharing stage with Hernán Cattaneo, Nick Warren and many others.“I’m excited and really looking forward to this edition representing Sudbeat alongside many great artists and friends.” “This will be my third visit to the festival and, sincerely, every time I go it surprises me and gives me greater knowledge. In addition to being musically amazing; I consider that the festival has an unique essence as it provides the possibility to get closer to your most referred artists and share good moments with them. It is a platform where everyone has the possibility to network and create new opportunities because during those days you’re always in contact with promoters, colleagues, magazines and everything related to the electronic music world from all over the globe.” EVENTS OF INTEREST: “I would love to go to a lot of shows but there are too many and I will be unable to attend all of them. This year I´m planning to attend Global Underground´s 20th anniversary party; most probably a David August´s show -one of my favorite artists-; and I will also be attending events where my friends are going to perform. I’m sure during the festival new options will come up, so I will let the festival surprise me one more time.”

Another artist that has been putting the Argentinean techno scene in a prominent position for some years now. As we said before, he’ll be performing at the Dockyard Festival, doing a nice back to back alongside his partner and friend Jonas Kopp at Pole Group’s stage. “I have been coming to ADE for 6 years now and I think it is one of the most expected moments in Europe. Amsterdam is the perfect city to carry out an event like ADE and the vibe and energy you can feel those days in the city are one of a kind.”


EVENTS OF INTEREST: “It is hard to name just one but the Tresor Night celebrating its 25th anniversary in H7 Warehouse will be worth seeing!”

RENATO RATIER Besides being one of the most influential artists in the region, Brazilian Renato Ratier is well known globally. DJ, producer, club & label owner and restaurant manager, he is an artist in more than a few ways. He won’t be only performing at the Meanwhile party in the W Hotel with Patrice Baumel and Tapesh on Thursday, he’ll also be part of the Creative Keynotes talks by Disruptive Minds that will be held at the Felix Meritis on Wednesday where he’ll focus on his famous club D-Edge, his strategic design and its concept. “The concept of D-Edge platform is expanding, so there will be plenty of surprises to be told. This panel is very important for me because apart from talking about our current platform and business, I will talk about two very important new projects: D-Edge Rio de Janeiro, which will open in November; and my new album Youniverse, which will be released right before ADE.” “I attended ADE a couple of times so far. Last time it was in 2014, when I was presenting my Black Belt album. It was truly a marvelous experience. I hope this year it will be equally exciting.” EVENTS OF INTEREST: “It will be a very tough choice which event to attend. I hope I will be able to attend as many as possible. I´d like to reconnect with partners, friends and colleagues from all around the world.”


S.P.Y Even though he’s been living abroad for a long time, he’s still Brazilian and we all know he’s one of the biggest DJs & producers of the drum & bass scene. He’ll debut at ADE, performing on Thursday night at Paradiso alongside Fred V & Grafix, High Contrast, Camo & Krooked, Metrik and the rest of the Hospital crew. “I’ve never been at ADE, this will be my first year and I’m really looking forward to it. It will be a great chance to catchup with everyone and check out some of the new tech. Roll on October.” EVENTS OF INTEREST: “Afterlife will be good, with Tale of Us, Ame and Dixon. I’m also going to check Four Tet and Floating Points, Noisia’s Outer Edges and DGTL x Mosaic with MaceoPlex and Kink. It’s going to be a great weekend.”

TOM & COLLINS Another duo from Mexico are having their space here at ADE. Tom & Collins won the first edition of the Miller Soundclash and, since that moment on, they have experienced a huge rise with their deep house and their charming presence. They will be playing at the Aftercluv Showcase at Desmet’s Studios. “Last year we were lecturers in a conference at ADE where we talked about the Mexican electronic music scene. Also we had the opportunity to play in two events at the festival. It’s something that definitely you have to do if you are in the electronic music world. We love the professionalism and the seriousness the industry agents show at ADE. Everyone is networking and there are possibilities everywhere. You can meet managers, bookers, promoters, vocalists and producers to work with, and the music culture of the parties they arrange is something off the charts. We are happy we are returning this year.” EVENTS OF INTEREST: “After having seen the line up, we found an activity to be really useful. They carry out a forum where top DJs and producers of every genre -from Laidback Luke to Magda- meet to listen to the music of the ones in charge of the forum, and they give their opinions and advice. We believe this is something great because you always need an opinion, no matter who you are and how advanced you are as a producer. This year we would like to be part of it.”

And that’s not everything. A few more are also in the program, like the already named Hernán Cattaneo and Ricardo Villalobos, who are already established in the market. Also, there are other options to choose: Dengue Dengue Dengue is bringing the Peruvian cumbia to the Enchufada Label Night on Saturday 22nd and Uruguayan Nicolas Lutz will also be performing on Saturday at the Slow Life ADE Special presented by Woodstock. And there are more…

THIS ISN’T HAPPENING IN LATIN AMERICA! Ten things that we’ll enjoy just because we are here… Yes, Latin America is expanding more than ever and we’re enjoying lots of new experiences on our lands. However, there are still some things that we don’t have here. Here you have some of the shows that we’ll enjoy knowing that it will be difficult to repeat the experience back home…

“P:ANORIG” FRANCESCO TRISTANO FT DERRICK MAY We won’t miss this at all! The co-creation of two musical pioneers that will take place on Saturday 22nd, from 6.30 p.m. Francesco Tristano brings his newest concept to ADE, “P:anorig”, where he will discover the nuance between classical music and techno. In joint effort with Derrick May, the producers challenge the nature of music and push it to the very edge. The centre of P:anorig is a piano shaped, artistic installation, which holds place for all the instruments of Tristano. Mau Morgó, whose key aspect of light is shadow, will visually translate the show through the language of minimalism. Prepare yourself to be blown away visually, musically and artistically. 18:30 - 21:00 | € 15 De Marktkantine | Jan van Galenstraat 6 - 10, Amsterdam

AWAKENINGS AT GASHOUDER OK, we may have the festival Awakenings gracing our lands in the near future but, for sure, we won’t have the Gashouder nor all this amazing artists headlining the different days of the techno festival. Gashouder is a venue and event space housed in an old industrial building. It’s a large, pillar-less chamber with an iron roof and a maximum capacity of 3,500 and it creates an amazing vibe for techno. It goes sold out every year so we hope you already have your tickets because if you don’t, you’ll have to wait until next year. On Wednesday it will be Len Faki with Figure Natch, along artists like Rodhad and Octave One; on Thursday, Swedish artist Adam Beyer will bring all his Drumcode crew; Friday will be headlined by Joris Voorn and his friends, including performances from Kölsch, Andhim &Apollonia, and Saturday will have another amazing line up with Joseph Capriati inviting Pan-Pot, Sven Vath & Luigi Madonna. Sunday will complete the program with the Awakenings ADE Closing Party, including Marcel Dettmann, Ben Sims, Oscar Mulero and more… Wed to Sat: 22:00 - 08:00 / Sunday: 18:00 – 06:00 | € 29,50 Gashouder | Klönneplein 1, Amsterdam


OLIVER HELDENS PRESENTS HELDEEP At the great Desmet Studio’s, the young Oliver Heldens will introduce us to his new record label Heldeep, a brand that he’s been curating in the last few months, also home of his recent alias HI-LO. Hard to see somewhere else, this will be a great opportunity to check his wide specter in an excellent environment. Oliver is inviting some of his closest DJ-friends and upcoming cool names he will be releasing on his label so it will be a nice way to imagine what will come later on Heldeep. Without the chance of buying tickets, this will be an invite-only party, so we hope you already have your invitation to see him on Wednesday 19th. 21:00 - 02:00 | € 22,50 Desmet Studio’s | Plantage Middenlaan 4 A, Amsterdam

FOUR TET AND FLOATING POINTS It is not the first time Kieran Hebden and Sam Shepherd perform together as Four Tet and Floating Points, but we’ve never even seen them in Latin America – not even with their own shows – so, this is pretty amazing for us. We’ll be there to see this amazing pair of musicians doing what they know. They will be performing together at the opening night of De School, where they’ll be hosting a lot of wonderful shows through the entire event. Super intelligent music to start this journey with a wonderful experience, watching Four Tet performing live and Floating Points with an expected DJ set. Half of the tickets will be sold at the door that night… 23:00 - 08:00 | € 18 De School | Doctor Jan van Breemenstraat 1, Amsterdam

OZ. PRESENTS: KOMPAKT POP UP STORE For its fourth consecutive year, Kompakt label is opening their Pop Up Store in Amsterdam’s red light district. Since their 20th anniversary in 2013, they’ve been doing it with an amazing success, offering exclusive and rare vinyls from Kompakt & their associated labels. On this small shop, they also present some intimate DJ sets from some of their biggest acts during the evening. You’ll have to discover them once you’re there as these are not confirmed until the same day. Last year, we were lucky enough to catch Blondish. From Thursday to Saturday, you can go and see if you catch someone playing! Thu to Sat: 14:00 - 20:00 | Free entrance Oz. | Oudezijds Achterburgwal 66, Amsterdam

DJ MAG TOP 100 DJS AWARDS This is not happening anywhere else! For years, the results of the biggest music pole have been unveiled within the ADE. Setting up the stage for a week filled with superstar DJs, the official opening of the Amsterdam Music Festival will take place at the Heineken Music Hall on Wednesday 19th. The night will be filled with glamour as the awards are presented for the Top 100 DJs in the world and of course there will be music during the DJ Mag night. Last year was a great spectacle so we cannot expect less. We want to know who’ll be the next number one! 22:00 - 05:00 | € 39,50 Heineken Music Hall | ArenA Boulevard 590, Amsterdam


“SCRIPTED ORKESTRA” HENRIK SCHWARZ AND METROPOLE ORKEST Music veteran and dance icon Henrik Schwarz joins forces with the internationally renowned Metropole Orkest for “Scripted Orkestra”. This unprecedented show will be taking place on Wednesday 19th at Melkweg Amsterdam. Henrik Schwarz has teamed up with Jules Buckley - director of the Metropole Orkest - to find a new way of bending and crossing genres, melting their geniuses into a one hour symbiosis between Henrik electronic beats and MO’s orchestral music. Taking place the first day of the event, it has already been pointed by the Amsterdam’s night mayor Mirik Milan as one of the most important acts of this year’s ADE. For sure, it’s something hard to find in any other part of the world. Well done, ADE! 19:30 - 23:45 | € 35 Melkweg | Lijnbaansgracht 234 A, Amsterdam

GLOBAL UNDERGROUND “TWENTY” You don’t always celebrate twenty years of existence, so if you’re going to do it, you´d better do it properly! The iconic Global Underground is throwing a party across two rooms at Q-Factory in Amsterdam. With an amazing sound system, it will be presenting the perfect line up for GU, combining past and present, including acts like James Lavelle, Darren Emerson, Dave Seaman, Sander Kleinenberg, Eelke Kleijn and Remy Unger b2b Roland Klinkenberg, among others. Andy Horsfield – label’s founder – himself is inviting all the Global Underground fans down to party and celebrate this momentous anniversary... Another unique party! 22:00 - 07:00 | € 25 Q-Factory | Atlantisplein 1, Amsterdam

FOOTBALL FOR CHARITY Well, of course we have football & charity in Latin America. The thing here is that we don’t have those teams. In partnership with Resident Advisor, De School is hosting a 5-a-side football tournament for charity at this year’s ADE. Taking place on Thursday 20th at Het Gymlokaal, eight teams will compete for the trophy, with RA, De School, Dekmantel, Rush Hour, Numbers, 10,000 Hours and an All Stars team – with Dixon – already confirmed. As well as the football itself, there will be a record fair, performances from various DJs and table tennis and table football tables. Resident Advisor will be streaming the event live via their Facebook page. Kick-off is at 10:30 AM, with the semi-finals scheduled around 1:30 p.m. Members of the public are invited to watch. 10:30 - 17:00 | €5 De School (Gym) | Doctor Jan van Breemenstraat 1, Amsterdam

ADE HACKATON In partnership with DGTL and Young Creators, ADE will host the first ever dance industry ADE Hackathon. As the electronic music scene is increasingly using data & technology, these three parties acknowledge that it is of importance to discover further opportunities in this domain. On Friday, smart developers, designers and entrepreneurs will be asked to think about the challenges that are faced by the dance and festival scene, but also to think about the opportunities that data and technology provide. A group of 100 selected bright minds will be invited to develop smart concepts, new apps and inspiration within a challenging time span of 24 hours. The event will be closed at DGTL KOMPAKT. 13:00 – 13:00| Just 100 participants NDSM | Tt. Neveritaweg 15, Amsterdam



ADE concept is going around the world with global sessions…


irst, it was Aruba. The multiplatform event was traveling across the ocean to connect dance culture worldwide. It was in partnership with the Electric Festival, where the main spectacle was providing the night events and the ADE was complementing everything with nice talks and panels, trying to fill in the blanks with knowledge, offering a unique event to meet some of the international industry’s biggest players and connect with some of the most influential DJs and producers, from mainstream to cutting edge. With an excellent proposal, ADE presented an intimate program with industry meetings, strategy sessions, top-notch Q&As, pop-up parties and more with a special focus on the exploding electronic music markets in the Latin American and Caribbean regions. After this first experiment, ADE went on another direction, landing in Mumbai this year, offering an extensive and diverse program, from April 7th to 10th. ADE Global Sessions Mumbai offered a comprehensive timetable, with day and night events, highlighting

the most exciting artists and agency rosters that the electronic music scene in India has to offer, alongside top-flight international talent, adding spectacular performances, industry meetings, strategy sessions, Q&As with business and thought leaders, master classes, the ADE Tech Lab and much more. This experience in India has been wonderful, solidifying the festival status as the main brand in terms of business and artistic meetings, acting as a gateway to the booming Asian electronic music market by presenting a host of influential representatives from India and Asia. This being said, there’s no doubt that hundreds of countries must be waiting for their opportunity to develop this with ADE, digging deep on their own scene, trying to find their strengths and weaknesses to improve as a whole.

Where should it go next?

If you have this issue in your hands, you’re at this years ADE so that’s why we want you to be careful with yourself and, as ADE says:

Celebrate safe. Here you have 10 tips from ADE to everyone spending a couple of days here:

USING ALCOHOL AND OTHER DRUGS IS NEVER WITHOUT RISKS You have the freedom to enjoy, but be kind to yourself and your body. Be cautious and smart about the substances that you take. Keep track of how much you take and how it affects you, may it be alcohol or drugs. The use of alcohol and drugs is never fully without risks and every substance works differently. The risk lies in what you take, where you take it, how much you take and how your body reacts to this. One person might be tipsy after three beers, while the other after ten. This is why you should know what you are taking and pace yourself. Don’t believe everything you see or hear, instead look for information on your own. Relaxing and having fun is great, but do it consciously. The best nights are those when you feel your best, this is also possible without drugs and alcohol. And, let’s not forget that hard drugs –even if it doesn’t seem like that in our community- are still illegal and most events have a zero tolerance policy.

I LOVE MY EARS A party without music is like soda without pop. Because you want to enjoy the music as long as possible, it is important to be careful with your ears. Here a three tips to prevent hearing loss: Listen as safely as possible; find a place where you can enjoy the party but still have enough distance from the speakers. Standing too close to the speakers can damage your hearing. Wear earplugs! When sound levels are higher than 80dB’s it is wise to use earplugs. Like this, you can still hear the music well, you can communicate easily with your friends and you protect your ears. Let your ears rest for a while. Look for a quiet place to give your ears a ‘pause’. When you do this, your ears will recuperate and you will be able to enjoy the music for a longer time.

THINK FOR YOURSELF, CARE ABOUT OTHERS At a good event, together you are one. The public creates the vibe and you share a unique experience together. Therefore, look out for both your friends and other party goers so everyone can enjoy the party. Don’t leave your friends alone, especially if you know that they have used something. It is always handy to agree upon a meeting point, may you lose each other. Did you use something? Be honest about it. Don’t try to convince others to do it with you and don’t let others pressure you into using something you don’t want to use. It would be a shame if that would ruin your party. Listen to your intuition! There is always a First Aid stand at an event and you can visit them for everything, even if it’s for a blister or a Band-Aid. Remember to always be nice to those helping you and ALWAYS be honest about what you have used. They are there to help you. And don’t forget that if you party together, you stay together. Be clear about who the designated driver is!

DON’T DRINK, DRUG AND DRIVE A few sad numbers: in the Netherlands each year there are give or take 250 traffic deaths and 3400 serious injuries due to alcohol. Every year 80 people die in traffic because of drug use. Especially youngsters, heavy drinkers and people who use a combination of alcohol and drugs have a bigger chance to get hurt in traffic then people who don’t. If you drank alcohol or have taken any drugs, you underestimate yourself in your driving skills. But you should realize that you are a danger to yourself and to other road users. That’s why we advise: don’t do it. Driving under influence is a felony and you could lose your license over it. But there’s another danger for drivers that is underestimated: exhaustion. If you are exhausted after going to the club, there is only one thing that will help: sleeping. Energy drinks or other stimulating substances don’t help you to stay awake. So be sure you have safe transportation to get home. Don’t get in the car with someone who isn’t sober. Get a taxi, get a hotel room, get your pregnant friend to pick you up or better yet: take public transport or arrange your trip with event travel. Plan your way home in advance! If you decide to take the car anyway, make good arrangements with your friends about who’s the designated driver and keep that person to this arrangement. Don’t distract him while driving and keep your hands above the seatbelt so you guys get home safely.


PACE YOURSELF: EAT, SLEEP, RAVE You are not a robot. Regardless of how long you would want to party, it’s not going to happen. Allow yourself to refuel. If you’re enjoying yourself you will obviously not want the party to stop, but sleeping is important and necessary. So, do not forget to catch up on those sleepless hours to get ready for the next party. Treat yourself to a good and powerful breakfast, you have earned it after a night of partying. During an event your body loses a lot of water. Drinking enough water is extremely important. BUT drinking too much water can be dangerous for your body. It is recommended not to drink more than 2 glasses or 1 bottle of water an hour. Take a break from dancing and eat every now and then, this way you will keep a high energy level. The bonus: you can party for longer.

DON’T PUSH YOUR LIMITS, BE RESPONSIBLE Look out for yourself. Think about what you want to do, at what time you would like to be there, how you will get home, if you want to bring something or not, and discuss it with your friends. For alcohol and drugs: ‘less is more’. It is better not to have taken enough than too much. That one too much can cause you to not feel well and to ruin the party, that would be a pity. Also, be aware that when you have taken too much, most of the time, the day/night is also ruined for the people you go out with. Party, live, dance, go wild, but within the limits that your body can handle and where you feel good.

THE FIRST AID TEAM IS YOUR FRIEND Are you not feeling good? Or have you noticed that one of your friends isn’t feeling well? Do not hesitate and go to the First Aid Team stand. You are always welcome. Don’t be afraid to get into trouble if you go to the First Aid Team and always be honest about what you’ve taken. If the team doesn’t know what you’ve been taking, they can’t help you. Therefore, always tell your friends as well what you have been using. If you have been using drugs, there are no legal consequences. Not for yourself and not for those who take you to the team. If you can’t find the First Aid Team or for some reason, you can’t get there, then you can always ask a security guard or a crewmember to call the team for you. Do not leave the person who isn’t feeling well alone at any time. You can also go to the First Aid Team if you want a Tylenol/Paracetamol , a band aid for blisters you got from dancing or a glass of water is you’re not feeling well. Everything you discuss with the First Aid Team and everything that has been done by the team is strictly confidential. Be kind to the First Aid Team. They’re there for you and they are your friend, but they are also professionals. Trust them in their work en have a little respect for the fact that these heroes work very hard just to help you.

ALWAYS HAVE SAFE SEX Partying is, besides dancing, also flirting. And the more drunk you get, the prettier the people become too. So the chance that you succeed in finding the love of your life – or just for one night – and take them home or to your tent is very big. It would be a shame if you were sitting at a STD clinic a few weeks later, because you got a little souvenir form that night. So, ladies and gentlemen, always bring condoms! Tell the other person your boundaries and do not let him or her talk you into doing things you don’t want to do. If the other person really likes you and your body, then he or she will respect your wishes. And for the gentlemen: you’re really no douchebag if you do it safe. And you’re safe to say that in nine months there isn’t a mini version of you crawling around. This way you can enjoy without having any regrets later.

TAKE YOUR TIME TO CHILL Of course it’s your plan to dance and party all night long, but sometimes your body needs to cool down. Especially in a place where it’s hot and moist, your body can’t lose its own heat and moisture, so you may get overheated. Make sure you take a moment to chill every once in a while. Chill, the word itself says it all: cool down and stop dancing. It is the best way to prevent your body to become overheated. It’s even better than drinking water. Go to a cooler place, like the chill out – or during an outdoor festival: a spot in the shades – where you can relax, cool down and recharge for the remainder of the night. If you don’t feel well don’t keep on dancing but look for a quiet place out of the crowd or visit the First Aid Team for advice. Of you take the time to chill every once in a while, your night will last a lot longer.

BE PREPARED FOR ANY TYPE OF WEATHER Welcome in the Netherlands, the country where it’s easy to see the four seasons in one day. One moment there is this tropical sun shining on our pretty little country, but that can be all washed away within the hour with a hailstorm. Always check the weather forecasts before going to a festival and make sure you are prepared for any kind of weather. Wear something that’s not too hot but also not too cold. The best thing to do is to put on some layers you can put on or take off if necessary. Don’t wear clothing that is too thick, it is important that your body can ventilate so that you won’t get overheated. Headgear isn’t always a good idea; it works good against the sun, but your head can get very hot at the same time. Don’t forget to put on some sunblock. If you’re attending a multi-day festival and your headed to your tent, be sure to dress warm, think socks and sweaters. Because if you have been drinking and go to bed, you don’t feel your body is cooling down. If you dress properly, you won’t get cold in the middle of the night. u



SHAPING A SCENE Julio Victoria represents electronic music extensively in Colombia. He is a DJ and producer who, in a long period of time, has managed to structure and delve deeper into electronic sounds, and this has led him to break down barriers both in Latin America and Europe. He has succeeded in bringing his sounds as well as other artists’ to a representative horizon on the basis of thoroughly strengthening the local scene and collaborating to highlight talents within the country.



“Yes. Week after week, there’s a rotation of artists of different styles and from different countries who reflect a fairly strong movement. In addition, there’s great interest from artists, clubs and people at large. Positive things are happening! For example, the first version of Baum Festival has been held. We now have Sónar in the capital city, and, in other cities, such as Medellin, there’s the Breakfest Festival that breaks the mold with its various proposals; or the Freedom Festival, which explores the whole techno and house spectrum. There’s a lot going on! I feel that the culture is growing a lot. Independent festivals also bring a lot of strength. This is all very interesting because it represents us: artists, DJs and producers. More than a general scene, it’s a country. It’s a very hot topic now. And, in addition, there’s artists’ rotation. I mean that during one same weekend, clubs house different great artists. In fact, interesting things happen all the time, and local DJs are constantly being highlighted and we are further trusting local artists. I am a local artist!”


“People are now understanding other types of sounds and, gradually, they are learning how the scene is evolving. There’s a large percentage of people who want to know what’s going on in the capital city.” HAVE YOU CONSIDERED CREATING YOUR OWN LABEL?

“Sure, I will do so, but it´s gonna happen over time. So far, I want to work in Julio Victoria’s sounds and projects. I know I can join some international labels in which I’m interested and which are in line with my sound.” LET’S GO A LITTLE BACK IN TIME. IF WE COMPARE THE ELECTRONIC MOVE EIGHT YEARS AGO WITH THAT OF THE PRESENT, WHAT DO YOU THINK HAVE BEEN THE MOST AND THE LEAST REWARDING ASPECTS?

“The scene has grown enormously and, from my point of view, there hasn’t been anything negative. I’ve always seen a progressive and very positive growth.”



“As I was telling you, there’s much knowledge and interest in learning about what’s going on in this scene and that is a proof that many good things are happening. In broad terms, a significant growth is looming.” NOW YOU’RE WORKING HARD ON YOUR LIVE ACT. WHAT HAS DRIVEN YOU TO GO FROM BEING A SELECTOR TO START CREATING SOUNDS LIVE?






“I am, and always will be, a selector. That’s what I like the most and what identifies me. Creating a DJ set allows me to continue playing, combining and experiencing music that will circulate every day among different artists and labels that I like. It’s a constant exercise which implies a lot of searching. And the live act is a project I’ve been carrying out for a long time. I like experimenting with musicians and instrumentalists. Now, my live shows are accompanied by Laura Valenzuela on the violin and Carlos Marquez on the guitar. They are very experienced artists with whom I’ve been working for long.” SO THE PROJECT CONSISTS OF JULIO VICTORIA ADDED TO ANY ARTIST WHO WOULD LIKE TO PARTICIPATE?

“Exactly. I invite artists who like the project and fit in well. Now, I’d like to work with a xylophone and a pianist. I think that helps reach more people. That’s the purpose of the live act! Adding live musicians and instrumentalists to my electronic base and line.” YOUR LIVE ACT ALSO INCLUDES YOUR OWN VISUALS. ARE YOU TRYING TO BUILD AN IDENTITY?

“Currently, we are working on the visuals, and we have in mind interesting ideas which we really like and are passionate about.” WELL, WE KNOW THAT YOUR LIVE ACT IS MADE UP OF VISUALS AND THAT IT INVOLVES TWO FACETS. ONE FOR PEOPLE TO LISTEN AND ANOTHER ONE FOR THE DANCE FLOOR. WHY IS THAT?

“I’m a club DJ and, why not?, a festival one, too. On the other hand, there is a more direct approach to cultural aspects. Recently, I presented my project at the National Museum of Colombia through Arttec, an experimental, sound and digital festival that focuses on visual




“My goal and my dream are to incorporate more musicians of the National Philharmonic. It may be a quartet, or a certain number of musicians of a philharmonic orchestra. It’s about looking for different artists since I want the live act to have various proposals.” IS THERE ANY MESSAGE YOU WANT TO CONVEY THROUGH YOUR LIVE ACT?


and contemporary arts. There, I presented a project I did with the different tonalities of Bogota’s bells, for which I recorded the samples and incorporated the music. On that occasion, I had the support of David Gonzalez on the piano and Carlos Marquez on the guitar. Later on, I presented Amazonas project at Mutek festival in Colombia, together with Mario Arroyave. It was a project which included a great diversity of sounds as there were sampled sounds of animals, the jungle and the river, from many perspectives of the Amazon, to be adapted to my own sound. Or it’s Julio Victoria’s sound on a journey across the Amazon, where Arroyave dives and records from different angles to achieve musical fusion.” AND HOW DID THE PEOPLE RECEIVE THE PROJECT?

“Very well. I feel that what we do is propose this sound by Julio Victoria in which I’ve been working, plus the work of Mario Arroyave –a visual artist with whom I’ve worked for several years. Together we experiment new things and complement each other.” AND WHAT’S THE ADDED VALUE OF A LIVE ACT IN COMPARISON TO THAT OF A DJ SET?

“The DJ set is what fascinates me the most. It’s a pretty interesting project because it’s your music curatorship. I also play unreleased music that will never come out, as well as my music which, at a given moment, will be released. It is like building. A connection with the audience which I really like. The live act is very interesting because it allows us to experiment with new things and to take more risks.”


“No, it’s simply another Julio Victoria’s project with the collaboration of musicians and friends of Julio, a DJ and producer with his DJ set, with whom he still wants to continue working for many years. The live act is a collaboration parallel project that allows us to continue experimenting and searching for what we like.” TELL US, HOW ARE THINGS GOING WITH GET PHYSICAL?

“´Impermant´ is a track that came out in the album “Body Language” by Francesco Tristano. It’s a track that has gained enough strength and which has been played by good DJs. Now, Get Physical wants to make a single, which will include remixes by some DJs in line with me. For the time being, I can’t tell the release date, but I can anticipate that it will include remixes by Francesco Tristano, Dave Pezzner and Alejandro Mosso.” WHAT NEW THINGS ARE COMING?

“Now, what’s coming is a project in an exciting new format for Santiago Ayerbe and me. The Embassy of Colombia in Vienna, Austria, has invited us to present a live show at the Museumsquartier Wien. Ayerbe, through his technique -the drawing- will reflect and represent sonorous Bogotá, and I will be developing the live music. Everything is a collaborative work we’ve been shaping for some time now.” n


A NEW LAW IS ON THE WAY After the Time Warp tragedy, Buenos Aires is working on new legislation to re-introduce massive events in the city...


he City Legislature is drafting a bill that will regulate massive entertainment events such as electronic parties, months after the banning of this type of events in April, in the wake of the tragedy that took place at the Costa Salguero complex, when five youngsters died at a party during the Buenos Aires edition of the international Time Warp festival. On Wednesday September 14th, committees from several areas such as Health, Safety, Economic Development, Justice and Budget got together to further work on the new proposed law that will allow the city to hold this type of events.

have to present a health catastrophe response protocol, and spread prevention information to reduce risky behaviours and make attendees liable for their actions.

The draft bill was drawn up by several lawmakers and parliamentary groups, with the addition of the initiatives contained in the legislative proposal presented by City Mayor Horacio Rodríguez Larreta after the serious incident of April 14th that claimed five lives.

The topics highlighted by Larreta in his proposal are, precisely, the issues that have been under scrutiny since April 15th, the day after the tragedy that shocked the clubbing world. “In the face of these new entertainment settings that could jeopardize the attendees’ health, it falls upon the State to meet its citizens’ healthcare and safety needs, generating better conditions for public entertainment,” said the Mayor regarding the issues to consider in the new bill that will regulate these practices.

“We’re working on legislation that accounts for all of the blocs’ perspectives and combines the different views. We have reached 90 percent agreement and will continue working over the next few days to reach total agreement,” was the explanation given by lawmakers Arenaza, Roldán Méndez and Presti to the remaining legislators, whereas others, such as Alejandro García and Gabriel Fuks, brought up specific topics that are still under discussion and that will be further examined in order to turn the draft into a formal, agreed-on proposal. On April 28th, the City Mayor presented a bill to guarantee proper hydration and medical care at these events. Also, event organizers will

In addition, provisions must be made regarding the number of private security and police personnel to receive complaints on the site of the event. And according to the bill under discussion, there is a probability that massive electronic parties must be held outdoors, among other regulations.

Finally, he added, “It is necessary to take the appropriate actions as regards the use and consumption of toxic substances in the setting of electronic music parties and festivals such as the event in question.” Surely, this is the time to focus on the reasons that led to the tragedy and to realize that education and awareness are key in the endless struggle for responsible consumption. n


SPREADING KNOWLEDGE Searching for answers to the question of how interesting and productive it can be to study electronic music systematically, we decided to enrol in one of the courses at Argentinian music school Arjaus.


eaded by Director Mariano Trocca, this academy sits in an entirely refurbished building in the Buenos Aires district of Belgrano, and provides an increasingly wide offer of subjects of study. As the only Spanishspeaking institution recognized as an Ableton Certified Training Center in South America is now going to be the only one that offers online courses. It is offering a variety of lessons that range from musical production with Ableton Live, Native Instruments Komplete and Waves that last about two years, another ones for DJs with Traktor, CDJs, Serato and vynil that goes one year long and joining those main grades, there are other courses that go from “Beginner DJ with Traktor” and “Ableton Live Effects and Processors Workshop” to newer courses such as “Track Reconstruction” and “English for DJs & producers.” To check things out, we set out to attend one


of the basic courses from start to finish, so we enrolled as students in the Beginner DJ with Traktor course, taught by DJ Matías Sundblad. A resident DJ at Pacha club (Buenos Aires) for several years, Matías’s credentials make him more than worthy of leading this course. The 16 classes split over two months are enough to acquire the right tools and be prepared to DJ in any type of venue that needs to be filled with our beloved music. We choose the afternoon session to start.

evening out the students’ level, with contents focused on the main characteristics of the electronic music world, with special emphasis on the differences between genres and the importance of sound consistency when it comes to selecting mixes – an essential element for any mix layout. Also, doubts were cleared up regarding certain terms such as bootleg, remix, rework and other English terms that we often find in this discipline and that are sometimes dimly understood.

In the first lesson we get little more than an overview of the course syllabus, plus a few typical —and necessary— minutes devoted to introducing one another, followed by an enquiry into why we had decided to take these classes. Appearing in different guises, the story seemed to be always the same: we want to learn! The next few lessons were great at

After going through the various settings that originated the backbone genres governing electronic music, such as house, techno and the styles that have emerged over the years –and increasingly now–, we delved into the subject of study in question, the Traktor software by German manufacturer Native Instruments.


Sitio Web: Facebook: Twitter: YouTube: Soundcloud:

It is a fairly simple tool that allows us to mix electronic music any way we want, if we have the basic knowledge to use it – that’s why we’re here! But before we use it, we must get familiar with the features’ location, therefore we take our first steps with the software together as a group. On the projector, Matías thoroughly explains the program’s features and the various settings that are most convenient: everything from analyzing the tracks for upload and selecting audio input and output preferences, to our choice of colour for waveforms (another term that we learnt here). Having learnt all this, it’s time for hands-on practice. Of course, we did this under the watchful, sharp eye of Matías, who has a perfect command of consoles and always finds a detail to improve on. This goes on class after class, and to be honest, we feel we’re getting used to this Djing thing. And we’re getting the hang of it!

As our hearing gets more attuned and the mixes get neater, effects come into play and everybody piles up more and more knowledge. This way, going through logical stages that allow us to go more deeply into this new world of mixing music, we gradually fulfil the course task. In the last few lessons we keep practicing, with every student bringing their own tracks to mix –this is a feature of the course–, and the information is centred on more technical aspects regarding the connections in consoles –not only the ones we use: we get an overview of all!– and, among other things, the sound layout and the power quantity suggested for filling a dance floor with music, as well as the various options to monitor our mixes in the booth. The end of the course is immortalized by a one-hour set, developed by the students individually and applying all we have learned over the two-month long, fourhours-a-week course. As Arjaus graduates, we feel confident that we have become beginner DJs who can spin with Traktor. After two months attending classes to play music and learn a bit more about electronic music, we look forward to coming back and venturing into some other terrain. They’ve got courses galore! n

GLOBAL ARJAUS Global Arjaus born with the aim of reaching all people on the planet who speak Spanish. It arises from the high demand for future music professionals who want to learn remotely, managing their time. For this expetional step, Arjaus has incorporated one of the leading online platforms in the world, sharing it with universities like Hardvard and Yale in the US. They want to be the leading Spanish-speaking academy of the entire world. Academic proposal replicates the experience that you can live on their classroom courses, with content being presented through video, reading material, projects and exercises and a close monitoring from the trainers. The progress of the students is reviewed on streaming, where students can ask, collaborate, share and discuss with their partners and trainers. The same that happens inside the Arjaus Academy where there’s a sense of community and belonging. The Hispanic community have a place to do what they want!




Influenced in their early years by electronic music bands such as Depeche Mode, Frankie Knuckles and Kraftwerk, this bother duo is treading strong in the local electronic scene with this new project that already has the support of great artists from the underground world. Their first release, “Apology,” came out in March under Hot Since 82’s label, Knee Deep In Sound. Since then, they have been skilful at seizing the moment, booking performances throughout Latin America, strengthening their position in the scene. Also, they created their own record label, Rules, boasting a roaster of renowned artists such as Philip Bader, Sven Sasnadi, Russ Yallop, Cera Alba and Kuo Climax. Soon after the label’s creation, they were supported by great artists such as Cristoph, DJ Chus, Uner, Los Suruba, Russ Yallop, Denney, Hector Couto, Joseph Capriati, Paco Osuna and Mark Knight, among others. To delight our ears while we steeped ourselves in electronic music and gear in Amsterdam, they gave us a mix recording of tracks, mostly their own. To download and pay attention. /anhausermusic /anhauserworld


s i d n u o r g r e d un




he fact is plain to see if we look at the increasing number of clubs from our part of the world joining the Top 100 Clubs list. Ever since 2010, the number of Latino clubs in the ranking has greatly increased, with clubs from various countries making the list, such as Lost Beach Club in Ecuadorian town Montañita, Baum in the city of Bogota, Colombia or the mythical La Feria, in Chile’s capital city, Santiago.

ARRIVALS All these clubs are supporting the least commercial music styles, cementing their reputation through high quality offers that have long stopped reflecting popularity rankings. The dance crowd seems to be willing to support these initiatives, and as a result, synergy becomes a driving force that facilitates the development of offerings and the promoters’ willingness to make improvements. The results are clear to see: even though they get the votes to be ranked on the popularity lists, there are clubs that achieve success by devoting themselves exclusively to these styles. The clearest examples, which can be attested by the European artists that tend to make up the lineup at these events, are Crobar in Buenos Aires, Argentina, and Warung Beach Club in Curitiba, in southern Brazil. The first of these premiered its “Crobar Be Techno” program on July 27, 2012 with a set by Swedish DJ Christian Smith, and has since been on the radar of the whole world. Every Friday the club receives great artists from international underground: renowned stars such as Carl Cox, Nicole Moudaber, John Digweed and James Zabiela; DJs that return year after year such as Marc Houle, Magda, Marco Bailey, Umek and Kolombo, as well as innovative acts that guarantee a promising future for the local scenes, such as Spanish party elrow or Nina Kraviz’s showcase of her label, trpn, with her colleagues Exos and Bjarki in tow. In the case of Warung, their offering is just as varied, always focusing on underground sounds. Recognized as one of the Top 100 Clubs for years –currently ranked 21st–, it has a long-running reputation and it regularly books artists such as Hernán Cattaneo, Guy J, Richie Hawtin, Blondish, Marco Carola and Joris Voorn, among others, plus it has held other events such as showcases by Diynamic, with Solomun and the whole crew, and joint parties uniting their three dancefloors, with musical vanguard as their goal. These successful new trends are key to the local scenes, and taking their example, some clubs are now starting to feature the finest bookings, giving room to underground electronic music without engaging stars, just by developing offers featuring these genres.

“Latin America is beautiful. Whenever I play there, the shows end up being stand-outs. I get the feeling that, to you guys, it’s like a religion.”.” HOT SINCE 82 TAKEN FROM DJ MAG LATINOAMÉRICA ISSUE N°9

What is more, the more obscure styles have achieved a level of mass popularity with events such as the Baum Festival, developed by the Colombian club, which attracted an unthinkable number of people in the city of Bogotá. The festival has had two editions, featuring important artists such as Dubfire, Danny Tenaglia, Kevin Saunderson and Ellen Allien, with a clear message. Another event is Mandarine Park, in Buenos Aires, featuring outdoor acts for more than 10,000 people. Here, for instance, Adam Beyer did his Drumcode Showcase with Alan Fitzpatrick, Ida Engberg, Sasha Carassi and Nick Curly playing on a large stage. The venue also hosted the celebrated “10 Hours Of Techno” festival, featuring underground stalwarts such as Ben Klock, Marc Houle and Sam Paganini. Other Argentinian cities also place their bets on this genre, such as Rosario with its indoor venue El Metropolitano, where Eelke Kleijn did an astounding showcase of his “Outside The Box” with Darin Epsilon, Cid Inc and locals Marcelo Vasami and Kevin Di Serna, set to perform at ADE this year. Perhaps the clearest proof of underground’s mass popularity in Latin America is the arrival of Resistance Worldwide in countries such as Peru and Paraguay in recent weeks, following the debut in the region at Ultra Buenos Aires in 2015. This stage devoted to underground sounds, originally a part of the Ultra Music Festival and powered by the astounding designers of Arcadia Spectacular, had an all-out debut in the regional editions. On the next few pages we’ll tell you the details of this first experience.



5 LATIN AMERICAN CITIES 1. BUENOS AIRES “Definitely, the number 1. The energy in Buenos Aires is unreal, considering the parties over there. Together with Nueva York it is probably the city where I get asked to perform the most. Apparently there’s a ton of people interested. It’s a big thing over there. I’ve played seven or eight times and it’s always been great.”

2. CIUDAD DE MÉXICO “People really enjoy the parties and I always have a good time there.”

3. LIMA “I’ve had good experiences there. It has to do with a great audience. I always get a warm and friendly vibe.”

4. SANTIAGO DE CHILE “This is a very special place. I only played there one or twice. I remember once we were supposed to play at a large party with Richie but it was cancelled and we played in a small club. I ended up staying there all week and I was very impressed by the city, the air, the food and the culture.”

5. MEDELLÍN “It used to be one of the strongest cities for techno music in South America. Specially in my early years, it was the place I would visit the most. I haven’t been there in quite a while but I look forward to going back someday.”

“Most people who open the doors to the magic of underground discover a world full of mystery and emotion.” GUY MANTZUR TAKEN FROM DJ MAG LATINOAMÉRICA ISSUE N°10

DEPARTURES All the things we’ve been going on about would be in vain if we couldn’t be proud of the growth of the scene brought about by our own talents. But indeed we can. The Latin American scene is becoming a highly fertile ground: after many years of exiling artists who were forced to leave their homeland to accomplish their dreams of living off music, the region now supplies the turntables of worldwide DJs with recordings produced in Latin America. Examples are Chilean Matias Aguayo leading projects such as his Cómeme label, rife with Latin artists such as Sano, Ana Helder and Dany F; Raresh performing at Hund festival; the latest release by Argentinian Jorge Savoretti, his first after signing for renowned label Visionquest; Elio Riso mixing the latest compilation by Stefano Noferini’s label Deeperfect; Hernán Cattaneo and his smart sets around the world; Barem founding his record label, Fun, away from his public image so closely linked to the Enter world and to Richie Hawtin; Venezuelan duo Fur Coat launching music under Crosstown Rebels; Brazilian Renato Ratier running great curatorships in local clubs such as D-Edge and Warung; Colombian Mario Ochoa doing amazingly well with his label Avenue Records; the resounding success of Peruvians Dengue Dengue Dengue with the indigenous sounds that intersperse their music; or Paraguayan trio LPZ, touring across Europe with their hybrid house, with hip hop and drum & bass overtones… We could go on but I think you get the point. The scene that emerged in the Latin American region has grown to the point that now it accommodates the younger talents, and DJs and producers have their own space for creativity and are seen and recognized both locally and globally, without the need to get in on the fads or to travel to the Northern hemisphere to be considered successful. The outlook for the future is bright for underground in our region. u





ogic would dictate that it debuted in the original location, but it didn’t. The pilot test of what is now known as Resistance took place in Latin America. More precisely, it was part of the Buenos Aires edition of Ultra festival, on February 20th and 21st, 2015. The first of those dates, on Friday 20th, served as an experiment to test the strength of a resistance that was treading strong in the circuit. That day, the Argentinian city welcomed artists Marco Carola, Modeselektor, Nic Fanciulli, Reboot, Heidi, Leon and Elio Riso. With a resounding success, it lived up to expectations with a world-class production and an audience that was well prepared for an event of this magnitude. Only one month after taking that first step it was time to bring the resistance to the

extraordinary Ultra Music Festival in Miami. At the end of March, producers of the event, which has been held in the Florida state city since 1999, played for high stakes by changing the Underground Stage name to Resistance and giving it exciting visuals, with a stage that looked like a spaceship, where the DJs, all devoted to the least commercial genres of the electronic circuit, set out to take fans for a ride, away from the trendy music playing a few meters away on the mainstage and the secondary stages. Designed by Arcadia, an art collective that produces large scale events combining daring set designs and pyrotechnics and best known for their work at British festival Glastonbury, Resistance ended up being considered “the best kept secret at Ultra” and setting a precedent that was impossible to ignore.

There were unforgettable live appearances from artists such as Maceo Plex, Dixon, DJ Tennis, Sasha and Claude Von Stroke, and Green Velvet by the name of Get Real, blasting out of an utterly intimate setting and offering a concept that was completely different from that on the gigantic structure where the trendy DJs played the most commercial sounds a few meters away. Since then, Resistance has been synonymous with high quality both in terms of the music and an astounding production, with surprises everywhere. The following year, again in Miami, it surprised the audience again, with a truly edgy proposal, stepping up the entertainment level to what was already known as the underground stage. The stage, an installation in the shape of a spider, served also as a platform that provided


Resistance for me is natural addition to the Ultra family. The guys were always at the forefront of the underground scene and have been from the beginning; you can see from the lineups they’ve been putting on for years at the main Miami festival. This is their outlet to host something different, and work with artists that wouldn’t usually get to play on their main stage in this day and age. Pair that with South America, which is arguably the biggest and best market for underground music, and I think you’ve got a match made in heaven. I’m super excited to be playing for Ultra/Resistance in Paraguay and Rio, and I’ve been lucky enough to be a big part of the concept from the beginning, so I know the production is going to be on point. I’ve worked very closely with the guys for a long time, and they really know how to put on a show, and curate lineups that are bold, exciting and musically diverse.”

an integral experience for the audience, including music, actors, acrobats and a great deal of fire. Once more, the music was up to par, with appearances from artists from all subgenres of underground house and techno leaving their mark on the ravers. Another goal reached. Ever since this defining experience, Resistance has continued its legacy, becoming a feature of the Ultra Worldwide festival in its various locations, with increasingly distinctive visuals. It gradually caught the attention of ravers, who proved to be more and more attuned to the trends of these genres and willing to let this stage steal the limelight over the mainstage with its fireworks. The idea that Resistance was a show in its own right is now a reality and, once again, the first experience took place in Latino land. Ultra


Brazil had its Resistance stage: with resounding names from the worldwide underground elite, it was on a par with the large stages that attracted the largest audiences, with DJs encouraging the people to sing along to the songs. With Carl Cox as headliner, the lineup included important artists such as Tale Of Us, Hot Since 82, Anna, Nic Fanciuli, Art Department and Jon Rundell, among many others. The event served to prove that Ultra Brazil is a genuine opportunity to enjoy unlikely performances and take a ride through the sensory journeys proposed by these genres and their live sessions. Something else it provided was the creation of a new experience: today, Resistance is an event in itself. Peru and Paraguay bore witness to this. The new events were held on different days from their respective editions of Road To

I’ve been playing with Ultra many shows in Europe, in the States and I just finished a stretch in Asia, but this is going to be my second one with South America. I did one in Buenos Aires, but to do one now in Peru is very exciting - especially to be playing with my dear friend Carl Cox! I love that the RESISTANCE stages at Ultra’s events give underground music a big platform where fans who may not be familiar with the deeper sounds can discover new music and artists, and our dedicated fans have the chance to see many of their favorite artists all in one place. Seeing as they are able to have the stand alone RESISTANCE event in Peru shows there is definitely a demand for techno and house in South America and I can’t wait to rock it!”

Ultra, with premier lineups that served to test the ticket-selling power of underground music in the region, seeing as these artists were the only attraction on the bill, unlike a multiplestage festival scenario. As satellites of the amazing rave held in Brazil, the Peru and Paraguay editions of Resistance showcased a world-class production, on a par with the US edition during March. The events included sets by Matador, Nic Fanciuli, James Zabiela, Steve Lawler and Nicole Moudaber, in addition to the king, Carl Cox. Peruvians and Paraguayans were proud to be part of this new step taken by the resistance in Latin America, showing to the world that in these lands, underground is a trigger for electronic craziness. Where will the future take the Resistance? u



ROAD TO ULTRA Peru has seen its first edition of Road To Ultra. A total success that made people dance from beginning to end.


he expectation was growing by the minute. Years had passed until Ultra was finally present in the country. From all over Peru, people came to the Costa Verde site. The Road To Ultra edition had been born. It was time to experience the event itself. Gone were all the expectations that had plagued social networks during the last weeks. Peru was ready to enjoy. On October 7, the day of the event, we were all ready to witness the Ultra experience at the Costa Verde esplanade, located in the district of Magdalena, in Lima, a coastal area in the west of Peru, bordering the Pacific Ocean. 54

By the time we arrived at about 4 p.m., the fog was present and the gray day didn’t seem willing to clear. The line to enter the premises caught our attention. Thousands of attendees had already reached the place in search of a good location, while Thomas Young, the only local talent in the lineup, was delivering his opening performance, surely surprised by the amount of people arriving so early. After entering and settling, we went for a walk to get to know the premises. The audience was already clustered in front of the great structure and we were entertained by Pic Schmitz’s show, after Thomas Young had left

the turntables to him. To the sound of EDM, the Brazilian made the crowd put their hands up, discovering the orange bracelets they were all wearing. It was a nice picture. Everyone was immersed in the party, and would be until the end. We kept dancing to Schimtz’s music until the artist decided to greet the public. “Thank you, Peru. Muito obrigado!,” he said as he played “Sweet Scape” by Alesso and people materialized the first standing ovation of the day. Ultra had officially arrived in Peru and it filled us with excitement! And there were some eleven hours of music ahead of us... Moments before 6 p.m., the Argentine duo

On the floor

LIMA, PERU Heatbeat began their performance and nobody moved from their place. They started with that sound that combines trance and modern big room. A style that had become their preferred sound. On the left, we could see a small cliff that blocked our view. On the right, there was the sea, which we couldn’t enjoy much due to the fog. Time passed and it started to get dark at Costa Verde. The lights began to play their role, while Heatbeat offered “Rocker Monster” for an increasingly joyful and energetic dance floor. Peruvians enjoyed the presentation of the South American youngsters who gave away classics like “Born Slippy” by Underworld, and dared to dance the new hit by Above & Beyond, “We Are All We Need”. By the time they had finished their presentation, it was dark and the party was at its fullest. At 7.30 p.m., it was the turn of GTA, the American youngsters from Latin origin, who surprised everyone with a retouched version of “La Bomba”, which has an EDM drop that gets everyone dancing. The set they developed was pure dynamism and they played the successful “Cheerleader” and, after a few minutes, an energetic version that combined the famous “Suavemente” by Elvis Crespo with a Diplo-style drop. This pre-set work incorporated songs from other fields to catch the public’s attention and provide them with something different. The set didn’t give a break and when the “Sun & Moon” drop appeared -Above & Beyond playing again-, Julio asked: “How are you feeling, Peru?”. The shouting was deafening. No doubt Peru felt good. It was still the turn of the duos when, at around 9 p.m., Dzeko & Torres took the lead at Lima’s night. “Seek Bromance” was the first track that we recognized but the drop was different and turned towards other fields. That main-stage modern progressive house was invading Costa Verde to the rhythm of Tiesto-sponsored guys and the drop took off with “Lean On” by Major Lazer with the singing in unison of a Peruvian audience that had already been dancing for a few hours. The music turned down its volume

and the Dzeko & Torres guys asked everyone to sit down when “Get Low!” started to play. People were excited and the show continued with their hits. “Stole The Show” by KYGO, an EDM version of “Paradise” by Coldplay, and even some future house were present at Dzeko & Torres’ set. Dutchman Fedde Le Grand began his performance at 22.30 and by that time the audience was already behind the front of house. The site became a sea of people and excitement seemed to multiply with every drop. A remake of “Sweet Dreams” appeared at the beginning of his presentation, followed by another reinterpretation of “Rhythm Of The Night” by Corona. Fedde had come with all the classics! It was “Summer” by Calvin Harris which generated absolute commotion in the crowd and the beats continued to agitate a dance floor that had long been waiting

for that. Fedde continued along the path of known tracks, with productions like “Coco,” “Rather Be” by Clean Bandit, and “Blame” by Calvin Harris. The closing piece got everyone to sing: “Wonderwall” by Coldplay. Fifteen minutes after midnight, it was the turn of one of the long-awaited figures, German Paul Van Dyk. Somewhat distant from the regular EDM that floods the large stages, the historic DJ brought all his trance with him. His presentation revolved around the genre he himself helped to cement during the nineties. The show had been on for about fifty minutes and Paul Van Dyk showed us how to burst a dance floor with pure trance. The crowd perfectly understood what he was doing, and they enjoyed themselves in a space prepared to let go, which had been joined by fireworks and a fog that didn’t seem ready to leave, making the lights from the main stage expand,


leaving their trace along their path. Paul didn’t rest and when he came to an end, the audience seemed to have more energy than before. Damian, the host of the event, did his thing with the microphone and everyone started chanting the name of the next DJ. When Afrojack went up the stage, the screaming was deafening and there were more than 16,000 people witnessing the event. The Dutch boy who is only 28 years old began with an intro that everyone accepted with applause. Keyboards were heard and bass sounds were present, too. Intrigue surrounded all and rage took over the speakers. “What’s up?, what’s up?,” he asked and threw his hit “Ten Feet Tall”. With dynamic transitions he reached “We Are Your Friends”, which ended unleashing utter madness together with smoke and fire that came out of the front of the gigantic stage. Everything seemed to be pure dynamism and, in a few minutes, he gave us “Booyah” by Showtek, “Red Lights” by Tiesto, and “Turn Out The Speakers”, his collaboration with Martin Garrix. Time passed, and by the moment we realized, the leading artist of the event had come to an end. People were enjoying the show at its max when it was the turn of the last artist of the night. Dash Berlin put his hands on the turntables in what would be the last turn of the night, and there wouldn’t be much more to tell. The first Peruvian Road To Ultra was coming to an end and we didn’t want to miss the closing by the Dutch DJ. We got lost in the crowd and enjoyed the final scene, confident that next year we would enjoy such an event again. n 56

On the Floor

A HAPPY BIRTHDAY Creamfields Buenos Aires celebrated its 15-year history and we joined the festivities...


ust as every year, a new edition of Creamfields took place in Buenos Aires in mid-November. The local edition was celebrating fifteen years, a most important milestone in the history of any kind of event, anywhere in the world. Once again, it left behind the huge “Autódromo Juan y Oscar Gálvez” racing circuit – the place it used to host the event – after some drawbacks connected to last year’s organization. The new premises had already been used in the past – in 2013, to later on occupy the racing circuit again – but it seemed they had found a better way to distribute it. Instead of holding seven stages – like in the 2013 edition – this one held only five. Both the Nation Arena and Arena 1 ceased to be part of the festival, at least for this edition, which took place on Saturday November 14. That is, there was no place for trance neither for the stage that revolved around the sounds for big stages we now call EDM. We arrived on the premises of Avenida España after 8 p.m., in the middle of a city immersed in a night that was beginning to wake up by the new edition of the long-standing festival. Puerto Madero, the most fashionable neighborhood of Buenos Aires, saw its streets revolutionized with the arrival of thousands of fans who were not going to miss the party. After a 20-minute walk, we were on the festival premises, and it relaxed us to think that we were, once again, enjoying an edition of Creamfields. This time celebrating together with the British festival its first fifteen years of history as an Argentine franchise. The main stage took the center of the premises, while the others were located in semicircles around its boundaries. First we visited the Enter Arena to enjoy Art Department’s set in his new role as a solo artist. Jonny White was already musicalizing the great structure that had been cured by the party that Richie Hawtin always brings to Creamfields


Buenos Aires and which, like last year, offered a minimalist spirit displaying only one round screen behind the booth. Art Department’s depth was increasing and people settled slowly. The audience on this stage is most loyal, so many of those present there would stay until the end, also in the hands of Richie. We could not follow that premise and after the clock struck 9 we moved to the main stage to enjoy one of the local talents who was transmitting his great sounds from the main structure of the event: Barem. It was a great opportunity for the Argentine, who has recently launched his own record label called Fun, to show his funny side to an audience that usually congregates before large structures. And he did! And we danced to his set, which determined the end of the underground sounds on that dance floor, since it was the turn of the Dutch duo, Bassjackers. We decided to continue towards Cocoon Arena, where Ilario Alicante was starting his presentation in another one of the historical stages offered by the festival. The Italian appeared again in a Creamfields edition and this time he seemed to have captured the audience’s attention. This year the Cocoon stage was similar - if not the same – to the rest. Unlike last year, when it had offered a different setting, it was rectangular in shape and it began several meters at the back of the DJ booth. We stayed there a long time while the DJ did his thing because we knew that Alicante was going to be followed by another of the great hosts who has been present in the festival for years. Solomun was playing from midnight until 2 a.m. and we had planned to watch him. We did so and enjoyed his presentation where he shoot out songs like “Rollercoaster” by Victor Ruiz, “EpiK” - the collaboration of Argentines Kintar and Brigado Crew - and a surprising edition of the super classic


On the Floor

“Riders On The Storm” by The doors which triggered one of the moments of the night, in the middle of a performance full of groove. Time flied at Creamfields and at 2, just as Solomun was finishing, the Enter Arena called our attention again with the presence of Maceo Plex. The eclectic DJ gathered people in and around the stage and, from afar, with muddy feet after the walk between stages – it rained heavily before the event- we let ourselves be carried away by his music. Full of original productions, with a special mention for “Solitary Daze”, his collaboration with Gabriel Ananda, the American artist engaged the audience as only he knows how. Before the end, we listened to Luciano in the Cream Arena. We were surprised by the space we had to dance. Unlike the two stages where we had already been, this one, the furthest from the main stage, did not break any record as regards the size of the audience. Of course, we did not care. In fact, we had room to dance the lively set by Luciano. Playing the classic “The Bells” by Jeff Mills and other exemplary productions like “Battery Park” by Andre Hommen, he made us dance to the percussion of that Latin signature he imprints on his acts. At 4, when the round of applause to Luciano ceased, we moved to the main stage to wait for the great closing show. But before that, we witnessed the last minutes of the set given by Nervo, the protagonists of the main stage. Again, we were surprised by the crowd and we could not help thinking that, in previous years, at four o’clock it was impossible to get 15 meters from the main stage booth. But we did, and there we stayed. Waiting for the final act. Which arrived minutes before 5 a.m. After an extensive introduction in which Underworld’s “Born Slippy” got us goose bumps, the final back to back set by Hernán Cattaneo and Paul Oakenfold came true. Slowly, the sun came out, lighting up the stage and stealing the strength of the lights coming from it. The classics appeared and we listened to different versions of songs like “Personal Jesus”, “Forget The World”, “Insomnia” and “Rapture”, “Silence” or “Closer To Me”, among others. As minutes went by, it seemed Oakenfold had gathered the courage to take risks and delivered some productions that, far from Cattaneo’s sound, seemed appropriate to give the final touch to a main stage. The presentation boasted a mixture of very peculiar sounds. Not much remained of the fifteen-year birthday of Creamfields. The main stage closed with the Argentine artist, the emblem of the event, and his mentor, all in one place. Celebrating. n


On the Floor


FLYING HIGH Hardwell visited South America with its world tour I Am Hardwell: United We Are. We lived the experience closely...



n a previous interview, an hour before climbing on stage to present the I AM HARDWELL World Tour, Hardwell - with his child-like face - approaches the place where we are waiting and kindly greets everyone. “Hi, I’m Robert. Nice to meet you,” he says. In 2015, this young man native from Breda, was in Asunción taking part in the Illusion Music Festival and, although his fans enjoyed that show, they were expecting to enjoy this one in its full extent. His arrival in South America was confirmed some months ago, as part of his upcoming tour that has been developing since 2013, and which has him as the main protagonist. “Many things happened last year, but I had a great time doing everything I did,” he summarizes. “I released the album ‘United We Are’, because it’s always important to keep producing! And, since then, I have been going on this tour,” he says with a face that reflects absolute satisfaction for the road travelled. This 28-year-old young man believes that there comes a time when if one is very successful he should give something in return. And this thought is somehow materialized in his foundation; a clear example of Robert’s desire to give something back... “Once, I was in India and it started to rain heavily. I saw some children on the street who were seeking shelter, and they broke

my heart. It was then that I decided to give something back to India and I didn’t stop until I achieved my objective. Precisely, that was the place where we held the first show of the Foundation, last December,” he says and he assures there will be more United We Are Foundation shows in 2016, one of the greatest shows he has done in his life. “I can’t wait to take it to more countries,” he says and, here, we have made room for it… As everyone must know, Hardwell reached the first place in the Top 100 DJs list in 2013 for the first time, becoming the youngest artist to win the scepter and to keep it for two years. As we have a little chat with him, who arrives some time before his show, the night starts falling and people begin to gather on the premises. It is I Am Hardwell’s first visit in the region, together with Miller Genuine Draft, as the most important summer event in Asunción. The day before, he was in Lima where he thrilled the Peruvian audience, marking the arrival of his tour around South America. Thus, on December 30th, we expect to see him in the summer city of San Bernardino, located just forty minutes away from Asunción. The show presents the ideal combination of several elements, among which there are his own wishes and an own

production that works perfectly. On the three dates, a whole Dutch team accompanies him and supports the local production, even bringing infrastructure elements for the product’s completion. To set the mood, having earned a place as the support act, Kill The Buzz is responsible for livening up the audience with sounds that make the atmosphere pick up. Some remixes of classic tracks by Michael Jackson help everyone start connecting. By 1.30 a.m. -3 a.m. in Argentina’s show- it is the turn of the great protagonist. Hardwell’s set in this show lasts three hours and aims to take people on a journey difficult to be achieved in the typical an-hour-and-a-half presentations at festivals. During the show, the tracks emerging from the console follow a perfect script, as the pyrotechnic effects match the lights and images reproduced on the screens. All this, framed within the stunning wing-shaped roof which has been raised, and which, throughout the tour, is reproduced on the three premises where the presentations take place. Matching the triangular-shaped roof, images of triangles start to appear and combine on the background screen: they come together, they are colored, filled in, and discolored


On the Floor again, to finally disintegrate before reappearing. Just after the show in San Bernardino has begun, Robert greets the crowd: “Hello, Paraguay! How are you? Put your hands up!” With this trigger, the show has officially started and everyone becomes accomplices of the artist. The best part has come and people keep dancing. The show is varied and it includes the usual tracks as well as the newest ones. Classic and current hits converge. Basically, it is the history of his career in three hours. As could not have been otherwise, it all starts with the name that gives life to the studio album. “United We Are” serves as an introduction to the trip and, from there, madness is unleashed. Hits like “Mad World,” “Dare You,” “Young Again,” and even his recent collaboration with Afrojack, “Hollywood,” find a place in the show, coinciding with the hits he has been playing throughout his career:”Secrets” by Tiesto and KSHMR, “Bad” by David Guetta and Showtek, and his remixed version of “A Sky Full of Stars” which blare out of the baffles, increasing the atmosphere and leading the audience to collective delirium. To the cry of “Come on!,” Hardwell -carrying the Paraguayan flag - climbs onto the console and frenzies up an audience that has already surrendered to the party. At 4.30 a.m., when a light drizzle begins to be felt and the fireworks can be seen on the dark sky, the DJ says goodbye until his next visit, amid the shouts and applause from his Paraguayan fans. We follow him to Buenos Aires where, a week later, we enjoyed his show again... n


“Since we started the world tour, South America has been very important to me. The support I had from these countries through the social media whenever I held a show or a festival has always been amazing. There are many fans here. We had to bring this show here. This time, we chose Paraguay, Peru and Argentina. And it’s amazing. I enjoy being in South America. And, as I said, we have a full house, so it’s great.”

WHAT IS I AM HARDWELL? “Well, I Am Hardwell is more of a concert, it’s not like my regular shows as a DJ. I play for three hours, and during those three hours, my own stage can be enjoyed. It’s like a pyramid. There are many visuals, lights ... It’s more like a concert. Like my own festival.”

WHAT IS THE OBJECTIVE BEHIND THE FESTIVAL? “As I said, it’s like my own concert. I want to take people on a journey. A three-hour musical journey. Of course, including Hardwell’s music. The thing is that when I play at a festival, I only have between 60 and 90 minutes of show. And with I Am Hardwell, in three hours, I can play old stuff, and newer things, too. A bit of everything.”

THE FIRST I AM HARDWELL SHOW WAS IN 2013. WHAT DO YOU REMEMBER OF THAT EXPERIENCE? “We are now on the second I Am Hardwell: ‘United We Are’ tour. It’s my album’s world tour. The first I Am Hardwell show was my first international tour. What I remember of that first show, what first comes to my mind, is that it was my father’s birthday. It was on April 27th, 2013, at the Heineken Music Hall in Amsterdam. The start was amazing. We were all very anxious because nobody knew if we would have a full house. And we did. Back then, nobody expected such a tour. We had Amsterdam in mind, and suddenly we ended up playing around the world. It was a great trip. And I’m very happy with everything we did with the I Am Hardwell show, which included major shows worldwide. I have memories of Germany, the Madison Square Garden in New York... There are many places I could name! It was definitely something I’ll remember for the rest of my life.”

AFTER THIS, WHAT DO YOU WANT TO CONTINUE DOING? “I want to keep doing I Am Hardwell shows. We continue working on ‘United We Are’ but we will definitely work on a new concept, and we will continue travelling around the world because that’s what I like the most. I love to travel the world. Especially with my show. It’s what I enjoy the most.” ”I want to keep doing I Am Hardwell shows. We continue working on ‘United We Are’ but we will definitely work on a new concept, and we will continue travelling around the world because that’s what I like the most. I love to travel the world. Especially with my show. It’s what I enjoy the most.”


On the floor


DOUBLE OR NOTHING The native Swiss of Chilean blood is one of the most beloved and respected artists on the international circuit but, when he comes to Chile, his status as a figure multiplies. He came in February to give two presentations in the Andean country, and we followed him...



he party of th summer,” many said, as they left the venue on February 13th. It was clearly how the attendees had experienced the night jointly organized by Club La Feria and Club del Sol Sunshine. The day offered a bright sun and at night the sky was clear and with a summery aura. The Chilean region of Valparaiso was preparing to welcome many participants on the eve of Valentine’s Day at the Dunares Resort & Club, Mantagua. It is surprising what Lucien Nicolet’s visit to our country generates. From the most instructed generations as regards electronic music to those who are beginning the endless road of electronic beats, everyone knows who he is and what kind of party he is going to deliver. Of course, everybody remembers his beginnings in Chilean lands, at the legendary Club La Feria, where he was to have a second presentation, two days later, in the privacy of an event for 300 people. A more intimate and exclusive session. But it still was Saturday and the atmosphere of joy and expectation was building up with warm ups in back to back format by Pablo Inzunza, Felipe Pöll, André Butano, Felipe 64

Venegas, Alejandro Vivanco and Gustavo Allendes. All local heroes selected to share the booth with the headliner of the night. If there was something that characterized this event, it certainly was the authenticity of the Chilean scene: It was not an international night; it was an occasion to concentrate the best of our artists. More than 3,000 people came to dance and celebrate together the arrival of love. About two o’clock, Luciano was preparing to take command in the booth. A sudden expectation, a set of lights synchronized with the people’s applause and a unique reception that no other artist is given in our country -only comparable with what Ricardo Villalobos generates-, were clear indications of the three hours ahead of us with music from the creator of Cadenza Records. Smart sounds and clever mixes, as no one else does, took us all to a musical journey that we would hardly forget. Luciano’s ability to move from one style to another -a selection of tracks ranging from pure tech house, techno and taking off with tribal drums and almost heavenly vocals-, generated a pure party. And there were several moments during the night that marked the course of his presentation.

Starting with the latest tracks by Circus Recordings, such as “Waiting for the Rhum” by Bimas, through mythical productions like the classic “Enfants” by Villalobos, the Swiss-born already had everyone eating out of his hand. As the meeting grew in power, energetic percussions appeared, such as in the version he played of the track “Dope” by DJ and producer Butch, or others like the remix that Fourtet created from the track “Opus” by Eric Prydz, which became one of the most discussed and played songs during last summer in Ibiza. In this way, the typical sounds by Luciano wandered around the place, without rest, one after the other. The minutes passed and the session had increasingly dominant percussive elements. The tribal sound came from Andre Toma and his “Rhythm In The Jungle”, and slowly the session decreased, declaring a thrilling ending that offered full techno with “Run Baby Run” by Paul Ritch. The 180 minutes were passing by and Luciano showed his international star status and the ability that awarded him the position as the best in his style. But it was not a goodbye. He was simply saying “see you soon”.


Two nights after the epic day, we went back to the country’s capital city, Santiago de Chile. It was time for Luciano to return home, to one of the places where it all began. A club with more than 16 years of history in the Chilean electronic scene, considered the most important in the country and, why not ?, among the five best in South America. Club La Feria delivers more than 150 parties a year and yet everyone agrees that the night Luciano appears –just as every year– continues to be the most important one. By 9 p.m., La Feria was receiving the first attendees who did not want to miss the party. Anxious, they wanted to get one of the exclusive fifty places available at the door to enjoy the event. Around two hundred tickets had been sold at presale –which sold out almost instantly– and people were left to hope they would be able to get a place. Perhaps, that is the best of La Feria. The privacy offered by the venue makes things super interesting. Its 300 people capacity has worked wonders for performances by artists such as John Digweed, Guy J, Danny Tenaglia, Pan-Pot, Chris Liebing, Juan Atkins, Kevin Saunderson, Nick Warren, Josh Wink and Ricardo Villalobos, among others; and there wasn’t any doubt that on that Monday February 15th, Luciano would do the same. The experience of such an intimate session is not always possible in Latin American countries, and we weren’t the only ones who had attended the massive Saturday event and who were allowing the artist to make us dance again, two days later. By 11 p.m., Antonio Hales -a personal friend of Luciano´s- handed the dance floor over to André Butano, preceding what would be the presentation of the star of the night. Meanwhile, from the Mistral Room –a premium cocktail bar,

ideal to recharge batteries before heading onto the dance floor– Oliverio, the Argentine half of the Soundexille duo, enlivened the atmosphere with fainter sounds in a relaxed environment. After midnight, Luciano gave us everything we had come for. Going back into the booth that had seen him grow, after more than fifteen years, isn’t something that happens every day, and he was happy. The reunion between the artist and his audience was embodied in a powerful and sharp sound released from the amazing Funktion One sound system – positively one of the best in South America. Wandering along more classic fields, a wise

On the floor

decision if we consider the history behind such an event, he offered tracks such as “Radio Bembal” by Akaquela, and the expected remix Andrea Oliva once did of his track “Rise Of Angel”, marking the peak of excitement of the night, with soft piano chords that added to the peaceful melody in that constant tech house. For those lucky ones who enjoyed both evenings –and for those who didn’t, too– this memory will remain in their ears and retina for long. 2016 has already seen one of its most intense weekends in Chile. This time, by the hand of Captain Luciano. n


On the floor

FIRST ROW With Hot Since 82 as headliner, elrow debuted its crazy party in South America with an amazing show at Crobar Buenos Aires...



e’ve been stating this for a while: South America is slowly becoming a space for experimentation. Granted, it’s not really an experiment… Elrow has been entertaining people for a few years, but not here. Its large parties with sundry themes are synonymous with high quality and we know this about them thanks to the Internet’s great power, and to globalization. The event’s founding family, the Arnaus, have run the Florida 135 club since 1942. “Row means line in English. My father always said that if you follow your believes in a straight line and avoid detours, you eventually get whatever you want,” said Juan Arnau Jr, in charge of the party’s expansion beyond Spain. “We decided that we wanted to show what we do to other nations and cultures. We believe that sometimes, in the nightlife, we have forgotten that the important thing is to have a good time,” he added. The fact is that last April 22nd, the most colourful event in the world, with all the hallmarks of a carnival fiesta, landed gracefully at Argentina’s most spotlighted disco: Crobar Buenos Aires. The chosen theme was Bollywood, the sobriquet for the film industry based in India, with its distinctive aesthetic. Early that night, the colourful buntings hanging all around the venue greeted the excited clubbers who were coming in just after midnight to not miss a thing of the action in Buenos Aires’s nightlife. It was a highly anticipated event in the country, not only because it would be the introduction of this international brand in Argentina but also because the event’s main headliner, British DJ Daley Padley, alias Hot Since 82, was returning to Argentina for a first-time performance at Crobar. 66

Local brother duo Festa Bros kicked things off, performing for the intrigued clubbers coming in to check out what the party was about. The finest house music set the ideal tone to experience a night to remember. Garlands, buntings, bouncing inflatables all around…. In a space more lit than usual, by 2.30 am the stoked audience was immersed in sheer craziness, fully attuned to the festive environment proposed by elrow.


On the floor

Then it was Marc Maya’s turn. The Spanish party resident DJ got the audience to dance, and so did the belly-dancers who shimmied on raised platforms, with their flowing costumes and golden sparkles catching everyone’s eye. “We try to get the audience involved in the party, you know?”, explained the Spaniard before his set, and did he ever. He seemed to blend in with the colourful clubbers, who by now had reached a boiling point. The brick walls were almost hidden behind all the decoration and Crobar was already in full swing when headliner Hot Since 82 took over the booth to take control of the club. This marked his return to Buenos Aires after a few months, to perform for one of his favourite audiences. “People kept telling me, ‘you’ve got to go to Crobar.’ And here I am at last,” he said, visibly touched. Standing in the DJ booth, all that emotion found an outlet in the form of a true tidal wave of sound. Things took on a serious note with the spinning of tracks such as “Veins” and “Damage,” with its signature rolling tech house. Pele & Shawnecy’s track “Sixtynine” was one of the highlights of the night, bathed in lights coming through fabrics with gold zari work and the magic of Bollywood imprinted in the whole experience.

The night came to an end after Hot Since 82’s set, and people walked out joyfully. We had not only seen Hot Since 82’s performance but also we had experienced the debut of the carnival-inspired brand, an ideal party to throw in Latin America. No doubt elrow will touch base in this region again. The question is when and where. n


On the floor


We spoke with Solomun and Gui Boratto so that they could tell us about their experiences from within. What was the festival like from their own stages?

there were many people camping on site. It was very well organized, there weren´t many problems to access the different spaces. The parking lot and the camping area were perfectly organized. The climate was perfect: sunny and dry. Outstanding for a festival of such magnitude. As soon as we arrived, JUNIOR_C began to play. It was 2.30 p.m. Then it was Shadow Movement’s turn. The young duo from Curitiba got down to business at around 3.30. By 4.30, Elekfantz, one of the stage headliners, began to play as the place filled with an incredible atmosphere. They played their famous hits `Diggin’ OnYou´ and `She Knows´. Everyone began to sing along and I got goose bumps! Finally the sun went down and our beloved L_ucio played his amazing flute. By 7 p.m., it was time for me to talk to the people with my music.


This year, Tomorrowland Brazil took place on April 21-23, in the same location as last year, Fazenda Maeda in Itu, about an hour from San Pablo. Many DJs played during the three-day show, where more than 150 thousand fans from around the world were present. There were artists like David Guetta, Chris Liebing, Afrojack, Tropkillaz, Adriatique, Solomun, Elekfantz, Kolombo and I, among many others. As you can see, it was a most eclectic festival, from the biggest mainstream acts to underground artists. I was very happy to have my own stage. An open area for around 10 thousand people. I arrived very early with my wife to avoid missing the performances of artists from my label. There were so many people on the dance floor... especially because it was the third day of festival and


I played a great deal of new material but I also included songs like ‘Beautiful Life’ and ‘Azzurra’. I had an amazing time. The vibe was absolutely fabulous. After my set, I went for a walk around the festival. First, I went to DJ Marky & Friends stage to greet him. Then I walked to Diynamic’s tent to greet H.O.S.H. Along the journey, I could see other tents with happy people peacefully enjoying themselves and respecting all artists. I was very happy myself. I invited Kolombo to close our stage, but there were so many people that the organization team asked me to continue for one more hour after him. So I asked JUNIOR_C to take charge of the ending. It didn’t take us long to get back to the van - our official transportation - and head for San Pablo. I say this because usually when these big festivals finish the traffic gets crazy. This was not the case. In 10 minutes we were on our way to San Pablo. It was an amazing experience. People keep talking about what happened that day. Great music and even greater people. A superb atmosphere. I hope the same will happen next year.”


On the floor But despite that, it is always great to be there. The level of production is amazing and the organization team does things very well. The problem with having your own stage is that you cannot watch the scene from the visitor’s point of view. I can say that it was great to see the faces of people while I was playing and some others I got to see later on Youtube. I must say that the stage with giant photo frames was amazing. I think we had already played on that stage last year but this year there were many more people.


Tomorrowland festival is always a very intense experience. Almost everyone from the label travelled, so it felt like a school trip. The night before our presentation in Tomorrowland we played at Warung Beach Club, so the trip had already recorded great peaks.

Everyone really enjoyed themselves while I was giving my show. And so did I. The atmosphere was really good and we could corroborate that our sound offered a great performance in Tomorrowland, which was great. Unfortunately, once I finished my performance I could not stay to wander around the place. I had to leave at the end of my set because I had to play at the Anzuclub afterparty. In fact, all that I can tell you is that everything was really positive, and I dare say that, year after year, it gets better. Brazil is a perfect place for conducting large events like this one. They love parties and are very emotional people. A perfect combination to carry out festivals, I think. In addition, it is an excellent place for fans coming from South America.” n


On the Floor

HIGH PERFORMANCE Miller Soundclash finale exceeded all expectations.


s we enter the Marquee Day Club at midday, we are hit by an intense heat wall. And the cause is not just the high temperature of the desert. Today is Miller Soundclash Grand Finale, the culmination of several months of hard work and the opportunity for nine talented DJs of becoming internationally renowned and performing on the greatest stages of the circuit. In the club, Las Vegas’ lovers lean back on their beach chairs or blend into the spaces around the cabanas and the pool deck that surround the place. The early soundtrack is played by Augusto Yepes, who returns to Vegas as the current Miller Soundclash champion. Yepes knows how to work with the audience, choosing some deep house with ideal grooves for a sunny day, and showing the skills that led him to victory ten months ago. When Augusto’s set comes to an end, Soundclash favorites, Sphe and Naves, go on stage. “Are you ready for Miller Soundclash Grand Finale?,” says Sphe on the microphone. The audience replies supportively.

Now it is the turn of Argentinean Tim Gim. This Buenos Aires resident’s love for house music is immediately obvious. The set flows with a pleasant accuracy, while Gim raises his hands to rock the dance floor before him. Now the whole place is deeply into the party. Benches are being used as platforms as the audience welcomes Oscar Bohorquez at the top of their voice. In the liveliest performance until now, the DJ Oscar B rushes the tempo with a varied set that includes some bigroom classics and cheerful vibes, while he bounces around the booth. The Turk Jaffer comes next. Despite considering himself a beginner DJ, he works the booth and the dance floor as a real master. His performance, filled with overwhelming and frontal tech-house, is not the typical session that does wonders for Vegas, but the quality of his set keeps everyone dancing in a carefree way. The risk he is taking by choosing such underground sounds, following the spirit of playing in Vegas, ends up being an excellent bet.

Sr. Saco, from Dominican Republic, is the first finalist to get on stage. Starting with pure deep house full of groove, Saco changes everything in the middle of the set with a remix of DJ Kool’s hip-hop classic Let Me Clear My Throat, and the audience shouts approval from the pools.

When Jaffer leaves the decks, the club is on fire. Demo Santana, from Panama, shows up as the ideal DJ for the occasion. His cheerful bigroom selection makes the pool deck of the Cosmopolitan hotel explode. It is clear Santana feels at home and puts on an unbelievable show to which the audience responds immediately. 70

LAS VEGAS, USA George Marino, the Honduran representative, keeps the EDM vibe with a strong set, characterized by epic rises and heavy drops. When the end is getting close and there are only three DJs left to play, the cabanas are jam-packed. Water splashes from the pools, in which the enthusiasts are dancing. Ike Azcué, DJ Mag Wild Card winner, follows. The Mexican DJ and producer starts his performance with his own single Never Stop Loving You, before getting down to a series of mash ups with strong vocals. He finishes his set with the intro of Welcome to the Jungle, the classic by the legendary Guns N´ Roses, while he plays air guitar standing on the booth. It is hard to be the next one after Azcué’s performance, but the penultimate finalist, Scorsi, has done his homework. This native Brazilian plays a varied selection with touches of progressive house, bigroom and even some bits of trap.

On the Floor The day comes to an end too quickly. With only 20 minutes per DJ to impress the judges, Miller Soundclash finalists have to compress their skills in a short time, which results in an incredibly intense experience.

The last DJ is Audioiko, from Paraguay. This DJ has already become a kind of legend in his homeland festivals and he looks super chilled. The occasion does not make him lose it and he works the dance floor with an energetic musical selection, rocking the audience with the microphone.

Finally, the winner turns out to be Jaffer and it is announced the following day, during dinner at the Hyde, the stunning space at The Bellagio hotel. The Turk DJ receives the prize from the Nervo sisters, who are in charge of awarding the winner. Although the competition saw excellent performances from all the participants, Jaffer’s set impressed everyone. While the judges go away to deliberate the results, the 2014 champions and, since then, Miller’s regular artists, Tom & Collins, take control of the music. The Mexican duo has come a long way since they tasted victory two years ago. A series of singles and a tighter and tighter schedule of events have propelled their career to the big leagues. They are here today as headliners, and the audience welcomes them as such, focusing their attention on them as soon as they take the decks. Their always interesting mix of intense house music is the ideal soundtrack for the show the Marquee represents and for Vegas weather, while Millers and bikinis become increasingly commonplace.

The DJ, who has been playing for only two years until the date, has shown the skills and experience of a veteran. Betting on the techhouse sound that he loves, he has taken a risk with a genre that is not very common in this North American city and, with an interesting use of vocals and familiar musical hooks, he won over the audience and the jury in the Marquee Day Club. After the announcement, he has to carry out his first duty and play in the Hakkasan Las Vegas nightclub. Once again, his performance delights the audience and shows his mixing skills. Now he will sign a contract with the label AfterCluv Dancelab and his career will certainly rocket like never before. We will surely hear about him in the future. n

Miller Soundclash winner Jaffer during his performance at the Marquee.


On the floor

MUSICAL PARADISE Warung Day Festival took place in Curitiba. We visited the picturesque city to witness a production of the highest level and we left satisfied... Words: HERNÁN PANDELO


he adventure began in the most interesting way. Before arriving in Brazil, we had our first surprise. Frank Wiedemann, Mike Bierbach, Lorenz Brunner and Italians Matteo Milleri and Carmine Conte were preparing to take our same flight headed for the Brazilian southern city. You don’t know who we are talking about? Perhaps, it will be easier if we tell you the names they have chosen to pursue their careers: Ame, Recondite, Tale Of Us and Rødhåd. The artists had played at Time Warp Argentina the day before and would be completing the weekend performing at Warung Day Festival. The two-hour flight was unproblematic and at mid-afternoon we reached the hotel that the Warung team had provided us with. The festival started at 1 p.m. and it intended to last twelve hours, until dawn. We moved as quickly as possible to get to the 5.30 p.m. van. The site was just a few minutes from there, after some slopes that left us somewhat disoriented. The Pedreira Paulo Leminsky, a municipal space used to carry out this type of event, was already working at the rhythm of electronic beats. We went through the entrance that had been assigned to artists, which didn’t allow us to gauge the dimension of the place. It was a kind of cannon, a rocky fault that formed a huge hole with rocky walls more than 30 meters high. On the ground, which we watched from above as we went down in the glass elevator used by the artists, we could see three huge tents plus a smaller one in a corner, next to the boundaries of the premises. Once inside and filled with curiosity, we went for a walk. The first destination, minutes before 6 p.m., was the smallest of the tents. Elekfantz was ending their presentation with “She Knows”, a classic by the Brazilian duo which made the entire stage sing. We started to mingle with the audience and began to feel welcomed by their warmth. Minutes later, after the end of Elekfantz –and after discovering a lake behind that place under the name of Garden Stage–, we went to the main stage where Renato Ratier was warming up the location before his audience. His presentation was full of energy, which was excellent to put us in the mood. Two dragon heads were on each side of the DJ, the owner of D-Edge club and Creative Director of Warung –two of the major clubber institutions in Brazil–, while the audience relished the rigid beats coming from the front of the 72

great structure. Each space had its own attractions, and this turned out to be the most crowded, of course. There we enjoyed Renato for a long while without attempting to control our emotions until minutes before the end of his set. From there we moved to the last stage we had to see: the Pedreira Stage. This one displayed the entire aesthetic that represents the Warung nightclub. The iconic stage of the nightclub, with a style directly brought from Bali –the owners brought the materials from there–, had been recreated in this space with its triangle-shaped wooden dome and the floor of the same material. There, L_cio and Zopelar were closing their set, surprising everyone with excellent sounds thanks to the transverse flute of the former that added to the excitement of the beats that kept us dancing. After that nice experience, it was Ame’s turn. With their pleasant melodies, they helped those present to relax. For a bit more than an hour, their live show seemed to combine heavenly arrangements with the purest underground techno, like only they can do. During some drops, which repeated throughout the set, we could hear the demolishing bass sounds of the largest stage where Recondite was also playing live and keeping thousands of spectators on the edge with his ethereal compositions. Curious to see what could happen, we approached about nine o’clock to listen to him.


On the floor

We arrived late at Warung Stage –the main stage– and we could listen to a round of applause. It was Rødhåd’s turn. His sound was more industrial and repetitive, different from the most melodic beats taking place at the stage that emulated the legendary dome of Warung. Here, everything seemed more visceral, and although we were only a few meters away, it seemed colder. People were curious and congregated in front of the huge main stage which had, in parallel, another similar-sized tent that accommodated the bars. It was all very well organized, and thanks to the system by which one paid at a certain place but received the beverages at another, we didn’t have to wait long in line. Some drinks later, we returned to the Pedreira Stage, where we were to wait for Hot Since 82 to close. Volkoder was doing his thing and filling this stage (which we loved from end to end) with groove. The closing by this local artist received a huge round of applause from locals who encouraged their fellow countryman, as we thought how interesting it was to have added a Brazilian artist at that time of the event, in the middle of two big international names. Continuity was established about ten minutes after the start of Hot Since 82. Groove seemed to be the common denominator in that stage that was already in its final stretch. With Tale Of Us closing the other big stage and Dashdot doing their thing at the small Garden Stage, we were left to decide. We were unconvinced of taking a last round, and Hot Since remained the most tempting with devastating transitions, some vocals –not too many–, and pure electronic magic. The lights and the sound made the wooden floor vibrate and helped us choose that stage for the end. The festival came to an end and people began to leave. By that time, we already knew the entrance most of the attendees had used to reach the festival. Again, we were surprised by the natural space where the evening had unfolded. We had enjoyed that space and happily went back to the hotel. The party, fully seasoned, had exceeded our expectations big time. Warung’s production had gotten it right and we had been left with no other choice but to enjoy it. n


On the floor

A LOVE STORY Aruba Love Festival is the dream of anyone who loves the good life. One of the best beaches in the world is the venue of this event made of pure love. DJ Mag Latin America was present at the third edition and had a really good time...


he festival started on Friday 29th, but because of the complexity of the flights to the island, we arrived one day ahead of schedule despite a number of stops that are impossible to avoid. From a very cold winter in Buenos Aires, we set off to the always warm Aruba. It was our first time there, and we were excited to step on Caribbean ground for the first time. Even if we didn’t know exactly what things would be like, we were anxious to live the experience. And it didn’t take us long to feel it. As soon as we got off the plane, we could sense the warmth of the place and its people. We were welcomed by Omar, the creator and director of the event himself, who together with his brother, developed this project with an amazing love and dedication. ‘We all do a bit of everything,’ he tells us as he drives us on his Porsche to the hotel. He is a resident of the island but he doesn’t speak Spanish very well, so our conversation is mainly in English. The kindness with which he welcomes us is amazing. We discover that his team is as simple as himself when we arrive at Studio 106, the radio station that Omar created recently and airs on the 106.7 dial throughout the island. Of


course in his car we listen to this radio station and the words ‘house’ and ‘Love Festival’ are repeated frequently. The welcome is fabulous and we are anxious to enjoy what these people will offer us. It gets dark and there’s no point in trying to see the beach now. A quick tour of the studio on the incredible Eagle beach shows us the arrangement of the stages and some local people still working to get everything ready for the following day. The history of Love Festival does not date back too far but it is strong in emotions. The first edition took place in 2014, counting and focusing on that word: love. Since then everything has increased. Things went well and the following year the organizers decided to raise the stakes. But they didn’t expect what happened. Thousands of people attended the party, which was a huge success and became the best festival on the island, above other proposals which apparently had everyone fascinated with expensive line-ups and popular celebrities. The reason? We don’t know for sure. Maybe it’s the philosophy with which these men do things.

This year, Love Festival, for what we’ve seen, has the city in a state of suspense. For the first time, the event has the support of the local government, which is being used to the full. There are signs promoting the festival everywhere, and everyone seems to know what the event is about. We learn this by walking along the streets. Love Festival is about to start. On Friday, Omar takes us for a final tour of the place before the opening at midday. It is extremely hot and the blue sky impresses us as we drive to Eagle Beach, the venue of the party. It’s one of the most important beaches in Latin America and many tourism web sites have ranked it among the top categories. ‘Is it a private beach?’ we ask Omar. His expression changes as if we had said a bad word. ‘There are no private beaches here, and I hope there will never be any in the world’ he answers. When we arrive at the place (my goodness!) we understand why Eagle Beach is ranked so high. It is a beautiful beach of clear white sand and an incredibly blue sea. Although a fence separates the water from the dance floor, we remain a while with our feet in the water, relaxing some minutes and looking at such a wonderful view. There are three stages and they are called ‘Power’, ‘Love’ and ‘Techno’,

On the floor

ORANJESTAD, ARUBA placed in that order if you look at them from the sea. After inspecting some details of the event arrangement, we go back to the hotel to get some rest before we start to live the event itself. Rudolf, Omar’s right-hand man, is waiting for us at the hotel entrance hall when it’s already some minutes past seven. He is in charge of taking some of the artists to the venue, and this time he’s taking us, too. He’s very friendly and we are all amazed at his ability to speak six languages, even Adrian Hour and Saeed Younan, two artists who are sharing the ride with us. The conversation between them flows until we reach the stage mounted on Eagle Beach. It’s dark already and the trees are decorated with rose lights which create a pleasant environment. We come in like any normal guest, after the artists receive their wristbands and, once inside, we dance a little at the Love Stage to the music of Oscar Booy, until we leave the place to make ourselves comfortable at the room that the artists have to relax, behind the techno stage, where the Venezuelan DJ Bryan Sanchez is already playing his music. Slowly the place starts to fill up, and the beats get interesting in the hands of this young man -who spends his life between Venezuela and Miami-, with distorted vocals and a lot of tension. On the Love Stage, Fisë have begun their show and we go and see what they are doing. We get onto the structure which is located in front of the main stage to enjoy the energy of this duo. They are Sebastian Morxx and Maksym, two DJs from Colombia and Canada, respectively. They met in Panama and came to the island

with friendly songs that emanate from the Love Stage to catch the attention of guests in a very clever performance. They earn our respect when they extend their mix for several minutes because Chris Lake is late, who then follows with more big room sounds and some future house music when his turn comes. The people’s enthusiasm rises at Eagle Beach and, to our surprise, he plays a version of Tiga’s ‘Let’s Go Dancing’, which gives us chills. We then walk to the Techno Stage to experience the sensations that Alex Young generates. The vibrant performance of this Colombian DJ who lives in Mexico puts things in their right place. His music has what people have come for under the structure of the Techno Stage, and we stay there for a while, behind the booth, talking endlessly with other guests. People are happy and we allow ourselves to be happy, too. The night ends there, with Adrian Hour leading the show with techno beats that produce energy and melody at the right times. People have been waiting for him, and we are pleased to see that one of the most anticipated headliners is someone from here, very close, now that we understand Omar and his team’s closeness to the festival and the electronic scene, not only of Aruba but of the whole region. The next morning breaks sunny and the temperature is 29o C, similar to the first day. It’s windy and that helps, although in the sun it’s really hot. After lunch, we meet with a group of DJs, organizers and reporters waiting to leave to the private island of the Renaissance Aruba Resort. Yes, you heard right. Minutes later, a small boat with a capacity of 30 people takes us through a channel from the ocean directly to the hotel entrance hall, to

an incredible portion of heaven only 5 minutes from there. An intimate and careful experience where guests have everything they need to enjoy, including massages and flamingoes walking near them. We can’t complain. When the sun starts to go down, we walk back to the hotel to recharge our batteries and live the second day to the fullest. Aruba has already captivated us with that strange mixture of simplicity and splendor. The Miami style palm trees on the streets, the luxury of the hotel reminding us of Las Vegas, and the incredible modesty and kindness of the people are factors that make us want to learn more about the details of a society that is full of mixtures. The site where Aruba Love Festival is carried out already has more people than the day before when we arrive. We go to the Power Stage to see some action by Daniville and Oscar Booy, who are entertaining guests with a little of EDM, the stage with the most commercial beats. The tent is completely closed and we can feel the ‘heat’, as they call it here. Almost in a state of frenzy, the youngest group comes here to listen to more radio music and enjoy the top songs of the moment. By nine o’clock, the main stage welcomes Le Bonx. He may be unknown to many, and actually also to us, but when we see him on the stage we understand who he is. He’s Omar’s brother and he’s about to play his music on the main structure, during the prime time. We love what he does! It seems as if he were trying to educate people, and he plays: ‘Let’s dance’ by David Bowie and the sensual remix that Nicole


On the floor

Saeed finish the night as only they know how, and the audience answers with a lot of dancing and applause. When the event ends the second day, some continue celebrating at an after-party with DJ Joe Grossman on the turntables. The third day we get a little nostalgic. We know that our stay in Aruba is coming to an end. We go for a walk, we enjoy the beach and we try to absorb every second of energy in this beautiful island before we go back to enjoy the closing event. Today is Sunday, and everything is scheduled to end earlier, at midnight to be exact. When we get there, David Tort is already playing at Eagle Beach’s main structure. With his Spanish essence, he has everyone in suspense with precise rhythms and some classic songs such as ‘Touch me’, which draws our attention, while the screen shows images of his logo burning. His performance seems to us dynamic and full of good moments, and so we stay there, lost for a while in his mixtures. Now it’s the turn of the Power Stage, with the most hyperkinetic sounds. The Mexican DJ Broz Rodriguez is about to start his show and we get into the only closed stage in the place to enjoy his music. His infusion of Latin sounds and modern trends of the electronic world makes the youngest guests dance. We hear portions of reggaeton mixed with some accelerated percussion and some of his original works, such as his recent remix that, as he told us, he signed to launch at Panda Funk, an idea of Deorro. By 10.30 that stage is scheduled to close but when we leave for the Techno Stage, it seems that a new DJ has taken control of the turntables. We leave him behind, in search of the sounds of Andre Hommen, who is in charge of closing the party with his warm mixtures of flying techno. We get lost in his beats and there we stay until the end of the party, which is one hour behind schedule, although nobody complains. It’s the police that put an end to the show and start organizing everything so that the following morning the beach can be enjoyed again by tourists looking for the blue sea and white sands of Eagle Beach. The after party is held at the hotel, so there we stay. Moudaber created of Alcatraz’ ‘Giv Me Luv’, for the anniversary of Yoshitoshi Recordings. People let themselves be seduced and Le Bonx dances in the booth with his cowboy hat and barefoot. When he finishes, we go back to the technooriented stage, where Saeed Younan is introducing his tribe. ‘Join The Tribe’ is the brand of this artist born in Iraq, who has lived in Washington DC for decades. Next to him are 76

his friends Patrick M and Donnie Lowe, and we stay there to enjoy the music they offer. While Donnie Lowe plays some tech house and the guests answer to his proposals, we talk to Patrick M, Alex Young and Adrian Hour behind the booth in a relaxed conversation, while the organizers are always checking up on us and asking if we need anything. The classic ‘Music is the answer’ wakes up our emotions and we join the tribe without much thought. Patrick M and

Aruba Love Festival is a great experience. From the place where the event takes place to the warmth of the people who organize it, everything is made with the purest love and there’s no doubt that with that same enthusiasm they will be able to turn Aruba into an electronic music center for Latin American people in the years to come. We hope so, and we hope we’ll be able to see the project grow every year, closely following this love story… n



Little Helpers 237 Little Helpers

This issue’s standout is the result of one of today’s best conceptual labels teaming up with an artist that keeps excelling himself. The exquisite, millimetric work on the groove offered by James’s releases is showcased in these fantastic five original tracks, ideal for those who enjoy warm ups and the purest deep. Our favourite is “237-1” because it’s one of those tracks that set the dancefloor alight with style. A must!

Brigado Crew


Glasgow Underground

Crosstown Rebels

Fly To Us

Pay close attention to this great Argentine duo that doesn’t cease to grow. Featured in the roster of Sudam Records, owned by Kintar –another local talent–, their great recordings have led them to the turntables of the greatest artists in the scene. “Fly To Us,” included in the “Glasgow Underground Ibiza 2016” compilation, has been in the charts of the most prestigious electronic industry stores. Let’s keep track of them!

Low Pressure EP Kermesse Music

Via his own platform and in collaboration with up-andcoming Valdovinos, talented Argentine producer Facundo Mohrr delivers two energetic original tracks, ideal to delight the dancefloor crowd. The interplay between the stabs, the vocals and a giant line of basses are the flagships in “Low Pressure.” In “Neón” the pads, the arpeggios and a powerful synth take things to a more mental territory. Great work!

9.0 Edu Imbernon Bitter Fate Fayer

Its magical synth melodies and the beautiful male vocals give it an emotional, atmospheric nuance, ideal to create a special moment during a set. The bonus: a great remix by Fur Coat, the Venezuelan duo who have shown they know how to get the dance crowd going. Straight to the best charts! 78

The British owners of prestigious Gruuv label, who have released their music on the world’s leading labels for quite a while, return to megalabel Crosstown Rebels with two giant tracks. “Turya” is a true treasure for those who enjoy sounds that combine elements of deep and tech, crowned by suggestive female vocals that give it a mysterious side. Attention: the EP’s complimentary track, “Event Horizon,” is explosive too!

8.0 Till Von Sein Suol

Facundo Mohrr & Valdovinos



Blacker Than Ever EP


Peter Makto & Gregory S


Hailing from Berlin, one of the most authentic, innovative artists brings us this exquisite three-track EP. “Dappat Se Gat” is a delicate ambient deep with subtle, mysterious bells that get you dreaming. In the hypnotic “Itiswhatitis,” the story is told by powerful in crescendo synths that lean on simple, minimalistic yet effective drums. Completing the EP is the percussive and upbeat “U n U” where cowbells and the familiar vocals are the standout.

8.0 Agustín Dutari & Mauro Mosciaro Rock The Groove EP Fino Y Gordo

For its fifth release, the young yet promising Spanish label has chosen these two Argentinians that are gaining momentum. The collaboration between Agustín and Mauro yields two high quality tracks, with strong house vibes, restless percussions and a classily accomplished musical atmosphere, ideal for a sunset by the ocean. Groove, piano and vocals in perfect synch… That will do!


Trojan House Records

The Hungarian duo that is building a solid reputation in the scene with remarkable quality talked to us about their upcoming releases, featuring remixes by Larry Cadge, Samu Rodriguez and wonderful Argentinian Danny Torres... What are your favourite plug-ins/vsts? “Definitely, Spectrasonic’s. Both Trillian and Omnisphere, from the same family, are outstanding. We’ve tried a lot of virtual instruments but none like these two.” Hardware, software or both? “Both! Working with a software is so convenient, it allows you to create amazing things while you’re on a plane or train. But of course, nothing compares with the pure sound of a machine. Besides, our Moog Slim Phatty is so unpredictable, it keeps surprising us all the time. We believe it has a soul of its own!” Tell us about your “Truesounds Music” platform. “It’s like a big family! We’re an open-minded company and our mission is to generate a good connection with the people around us through music. We started twelve years ago and today we’re one of the largest in Hungary. We promote young talents, we produce our own events and we even have merchandising. We’re surrounded by a lot of people that share our values of love, friendship and good vibes.”


01. Peter Makto & Gregory S

Truth Seeker (Original) - Truesounds Music



02. Hyenah

The Idea (Frankey & Sandrino Remix) - Freerange Records

Nadja Lind

Angelo Ferreri

03. Markus Homm

Plastic City

Moulton Music

04. Peter Makto & Gregory S


As the owner of two labels –Lucidflow and Sofasessions– and a restless spirit, this skilful German DJ and producer accomplished a goal reserved for a few: to be published by one of the most prominent platforms in the genre, one that many would dub the number 1. This release consists in three original tracks of the highest quality, with an admirable command of ambients and an elegant Balearic scent that invites us to close our eyes and enjoy the journey.

Children In Love

A new delivery by this great label based in San Francisco that fuses deep house with soul, funk, disco and the most classical house. This time, Italian Angelo Ferreri is in charge of delighting the listener, demonstrating all his high quality in three fresh, classy songs. It’s hard to choose one but an honourable mention goes to the EP’s homonymous track: a sweeping groove to get you dancing non-stop, with beautiful musical arrangements to delight your ears.

Anker (Mario Aureo Remix) - Bondage Music Venera (Original) - Trojan House Records

05. ILO

Prayer (Original Mix) - Rebirth

06. Chaim

Members (Original Mix) - Culprit

07. Mihai Popoviciu, David Delgado Continously (Original) - MOAN

08. Audiofly & Maher Daniel

Cluster of Stars - Souvenir Music

09. Mantu & Thomas Gandey

Far From Perfect - With Compliments

10. Peter Makto & Gregory S Firefly - Trojan House Records


QUICKIES + Q&A Toxic Friends


Sheriff Inédito


This rocketing duo from Argentina is melting guitars and bass with synths and drum machines, creating the perfect combination between electro and rock. It must be heard. Which artists are influencing your sound right now? “We grew up listening to bands like The Clash, The Specials, Parliament Funkadelic, Madness, Cypress Hill, Ramones and Skatalites. Regarding contemporary artists we like Justice, Chromeo, Breakbot, Kavinsky, Jungle, Thundercat, Boys Noize and A-Trak, among others. We are fans of labels like Ed Banger Records, Fool’s Gold y OWSLA and besides that we are always looking for new artists, producers and bands. Once or twice a week, we share data about new music that we discovered on the internet.” Why did you name the song “Sheriff”? “When we recorded the guitars for this song, we decided to focus on a western style sound, with analogic delays, an enormous hall reverb y a very clean guitar sound. Personally, it reminded us to a sheriff walking down some arid zone of the United States, with boots, spurs and a cowboy hat.” Which instruments did you use for this song? “We tend to use the best of the modern world with some old school stuff that we love. For this track, we used a Korg Ms20 that we use a lot on our live shows and a Fender Mustang guitar that Ezequiel always plays in our live shows.”


01. Bora


Martin Garrix & Bebe Rexha

BORA & Rodrigo Howell

STMPD Records

Bonerizing Records

In The Name Of Love The dutch producer Martin Garrix made his appearance in the scene about three years ago with the super hit “Animals” that stormed all the charts internationaly and went beyond the dance music boundaries. From there on, he’s been releasing hit after hit. Now, he’s released a single together with the pop singer Bebe Rexha, named “In The Name Of Love”, a track with an emotive vocal and an uplifting and uptempo drop, something different to what we’re usualy accustomed from his sound.

8.0 Kryder & HIIO


In this section, we always try to introduce and present the local artists that we think that are growing. Boris Sovieraj, also known as BORA, is an Argentinian producer that has been venturing into a wide variety of genres and rhythms, from EDM to jungle terror, including some trap and dirty dutch, among others. Now, his last track, “Umaga”, is an aggressive and restless track where percussions and ragga vocals play the main role.


HIIO is back with a single where they show everybody their South American housey roots. “La Luna” is a collaboration with the British DJ and producer Kryder, a big fan of the groove and boss of the Sosumi record label. The track that has Spanish vocals is full of latin vibes and, together with some very well defined percussions, give us a tremendous desire to dance.

Deorro’s label Panda Funk is constantly signing new and fresh talents around the entire globe, adding them to a very independent and powerful platform. Within this constant quest of talents they found Dark Heart, a producer from Los Angeles that delivers “Hydro”, with trap elements, extremely agressive and with a melodic breakdown. If you are a trap fan, you should listen.

”Mawkundhu” – Ones To Watch Records (Mixmash)


04. Botnek

Hardwell ft. Craig David

05. Usica

Revealed Recordings

“Bad Bitch” – Dim Mak Records “Misericordia” – Brooklyn Fire

06. Ookay

“Buck” – Dim Mak Records

07. Ookay

“Thief (Bailo & Subtronic Remix)” - Descarga gratuita

08. Firebeatz & Chocolate Puma ft. Bishøp

“Lullababy (Wiwek Remix)” – Spinnin’ Records

09. Skrillex & Rick Ross

“Purple Lamborghini” - Atlantic Records

10. Astronomar

“Shoulder Boy” – Main Course

When we talk about The Chainsmokers we instantly know that we are talking about commercial dance music with high quality and that, surely, it will be a hit. This duo from Ney York keeps breaking every chart around the world with every song they make. In this case, their new single “Closer” has more than 250 million views on Youtube and has already reached the first place on Billboard. One of the things that make this track so particular is the addition of male and female voices.

Dark Heart

02. Bora & Rodrigo Howell

“Batman” – Buygore Records

Closer Disruptor Records

Panda Funk

Spinnin’ Records

“Umaga” – Bonerizing Records



La Luna

03. Bailo X D-John X Rodrigo Howell


No Holding Back

We were pretty much surprised when we heard the last single released by Hardwell because we associated his name directly with big room but, in this case, is completely the opposite. Associated with the British R&B singer Craig David, he made this song with some clear influences from genres like deep house on his bassline and garage house in everything regarding percussions and groove. This is something very different to what we’ve heard from him before.


8.0 Calvin Harris My Way

Sony / Columbia

In the last few months, Calvin Harris switched his style a little bit leaving the epic tracks behind and following a more chilled notso-banger style. He lowered the bpm and fusioned his comercial style with deep and tropical house and adapted to today’s market standard. “My Way” is a simple and powerful song, with deep lyrics that are sung by him.

Under The Sky The Bearded Man

The Argentinian duo Purasangre makes its debut on Armada -more precisely, on its sub label The Bearded Man- with a new song made for melodic and emotional lovers of deep house. Switching between groove and melody, Kevin & Mauro used pianos, guitars and other acoustic elements to combine them with the electronic world and create a very interesting mixture. It also delivers a warm vocal adding emotion and a whistle that remains in your head for hours.

7.0 Arty & Andrew Bayer Follow the Light Anjunabeats

Two masters of the emotive big room that Anjuna is used to deliver. It has a strong bassline with some industrial tension that makes everything theatrical. It goes down in an epic way and drop all the sound that has become a stamp on Anjuna’s vaultde Above & Beyond.




Outer Edges LP Vision

This is when reviews abandon all solemnity... It so happens that this album is epic! After “Split The Atom,” this LP brings us a more evolved, mature Noisia, without departing from the path of drum & bass or from the aggressive sound that is their trademark. The influential Hungarian trio’s engineering transcends all genre borders and applies Noisia’s vision to various forms: dubstep in “Voodo,” big beat in “Collider,” glitch hop in “Surfaceless” plus drum & bass explosions such as “Get Deaded” and “Tentacles.” A must.

8.0 Varios Artistas Mueva Lectus #1 Mueva Records

Ambitious Argentine project Mueva drops its first compilation album, which gathers together the most salient acts in the new local current of alternative styles, becoming a true referent of bass music from Latin America’s scene. Under the direction of prodigious Omar Varela –one half of Datphoria– and Xovox, “Mueva Lectus #1” puts a large number of artists on the radar: Mykka, Knno, MM, Yume, Halpe, Asan, Elegant Pumpkin, Madrats, Said, Weakness, Zixtone, Nogger and Script are all featured. This is essential to know more about the sound that’s highlighting around our lands...


liquid drum & bass with pop and ambient influences, grand backing vocals and acoustic riffs. With highly effective radio-oriented tracks such as “Altitude” with Amy J Price vocals, the springy “Like The Sun,” 80’s-flavoured funky tracks “Stay Here” and “Rainbow Road”, heavenly “Nearly There,” “Living In The Past” and “Our Story” with vocals by Bloc Party’s Kele, Fred V & Grafix fill your lungs with fresh air and envelop your ears in good vibes.

8.0 De-Evolution Pt 2 Vision

From the New Zealand outback comes the second instalment of three-part series “De-Evolution” by The Upbeats under the label run by Noisia, the trio they teamed up with late last year for the smash hit “Dead Limit EP.” Among the best producers in the scene, the Upbeats explore +160bpm sounds through a complex neurofunk with organic sensitivity. Standouts are “Mediums” with its laser ray symphony, the radiant “Say Go” featuring Mara Tk, and “Babylon” featuring Foreign Beggars’ Orifice Vulgatron.


8.0 North Base

Teddy Killerz


This trio made up of Silver, Splice and Prophecy doesn’t stop. They arrive in Audioporn with hit record “I Found You,” with remixes by the boss of –the exquisite– Shimon label and explosive Freestylers.


A mechanism from hell controls the city of beats. Individuals rejected by the system were captured and now await their execution by this mincer with colossal metallic teeth. This dystopian scenario is the setting for this new EP by Italian Maztek, who offers the necessary weapons to fight the oppressing monotony on the dancefloor. It’s neurofunk sonic technology at the service of the active minorities within the alternative dance scene. It’s time to fight back!

Under The Neon/ Hollywood Viper Recordings

A time machine trip to the 80’s. They offer positive vibes and a convertible car in “Under The Neon,” then move on to the flying-kicks scene in “Hollywood.” You trashed up the club on me, Van Damme!

Playaz Recordings With the support of artists such as DJ Hype and Hazard, Portuguese duo Bass Brothers have been making noise since 2011 and this EP finds them in great shape, with an original, well-polished minimalistic jump up sound. Compact, on-target and groovy, it hits the mark with “WTF,” with striking submarine basses; the laboratorydeveloped, techno-funk-driven “Kravitz;” the ragga-tinged “Dunno A Dread,” the soulful “I’m Out” to spice things up, with Kyara’s vocals, and some team work featuring Jam Thieves in the ruinous “Pusher.”

02. Audio

Liquid V

8.0 Nostalgia

Bonus Stage EP Multi Function

With a reputation in the dubstep scene and releases under labels such as Dim Mak, Rottun and Play Me, Nostalgia ventures into accelerated rhythms and delivers this powerful EP including the hit Bonus Stage. Rewind!


This is a remarkable project by Teddy Killerz, gathering together the most menacing minds in the drum & bass ecosystem to deliver this lethal EP. Of special note is “Outer Space” featuring June Miller in a devastating symphony with rave-style reese, and the robotic trance pumping of “Bugs” featuring Audio. “Louder” is a penetrating, metallic half-tempo written with Icicle and DJ Craze. In collaboration with Annix, they raise the bar in the psychotic jump up “Leap Of Faith.”

Club Sessions Vol 6

Mexico DFbased label Alux brings us “The Promise.”Progressive rhythm and an 80’s synth rock & roll atmosphere with mysterious Albert Mann in vocals. Includes a remix by Argentine Abstract People.


01. Audio

Various Artists



Bass Brothers


The Promise feat Albert Mann


Grinder EP

The Killer Squad EP RAM Records

8.0 Enemy Masta

I Found You




The second album by this English duo continues on the path of their staple style:



The Upbeats

Fred V & Grafix Hospital

Iconic Liquid V hoists the flag of good vibes on the dancefloor with volume 6 of renowned “Club Sessions” with V Recordings’ original selector Bryan Gee at the control knobs. These are 23 liquid drum & bass gems featuring artists such as Paul T & Edward Oberon, Random Movement, Bailey & MC Tali, Command Strange, L-Side, Need For Mirrors and Intelligent Manners, plus a wide range of Brazilian artists such as Simplification, L-Side and Duoscience with their beautiful “Night Traffic.”


“Motormouth” - RAM Records “Rogue” - RAM Records

03. Misanthrop

“I Need More (Audio Remix)” - Blackout Music

04. Audio

“Sovereign” - RAM Records

05. June Miller

“Spin Test” - RAM Records

06. Phace

“So Excited” - Neosignal Recordings

07. Emperor

“Control VIP” - Critical Music

08. L33

“Drop it Down Low” - Eatbrain

09. Calyx & TeeBee

“Get it Twisted” - RAM Records

10. Audio & Prolix

“Creatures ft. Nuklear” - RAM Records



Mark Sherry & Alex Di Stefano

bringing us “Doom Device” as part of the Mental Asylum collective. It’s a highly energetic track whose sounds bear the mark of both men’s distinctive production styles.

Everyone Is Looking For Us


Future Sound Of Egypt delivers one of its latest releases, “Relentless,” by none other than two stalwarts of this beautiful genre: Sean Tyas and Darren Porter. Simply put, we are before one of the candidates to number one on the chart. It’s a great delivery both by the label and the artists. No doubt, this is one of the partnerships that will generate buzz during the year.

We have before us another one of the most important releases this month, published by –who else?– Outburst. The explosive duo who runs this label is made up of legendary Mark Sherry and Italian talent Alex Di Stefano. Their latest effort is an incredibly powerful track, the kind that blows the dancefloor rooftop whey it plays.

8.0 Maria Healy The Story

Pure Trance

Pure Trance is another flagship label in the genre, and when it comes to innovative releases, their offering gets a definite thumbs up. The latest single by Dublin native Maria Healy, “The Story,” engages trance fans once more with a new “old school” style track.




John O’Callaghan & Clare Stagg

Lies Cost Nothing (Will Atkinson Remix) Subculture

As one would expect, with each new release, Subculture shows why it is one of the leading labels of the worldwide electronic music scene. In this case it’s time for its mentor, the great John O’Callaghan, to shine. He and lead singer Clare Stagg give us “Lies Cost Nothing” which, in this case, is remixed by English talent Will Atkinson. It’s yet another great release by the label…

10 James Rigby Anodise Kearnage

Another label that keeps surprising us is Kearnage, run by Irish DJ and producer Bryan Kearney. Here, one of its latest releases comes from Manchesterborn James Rigby. The single “Anodise” brings us a classical melody of uplifting trance, creating that atmosphere of joy that only a few can accomplish. It will go straight to the highest positions on the genre’s Top 10 chart. 82


When it comes to trance, RAM is certainly one of the referents in the genre. On this occasion, his new single “Elijah” gets the remix treatment by another great trance icon, Sean Tyas. The result: a track that’s worthy of the style. It’s an excellent partnership brought to us by Grotesque.


R.E.L.O.A.D. Demente

Liquid Energy Digital

Matias Ezquerro & Walter Arzamendia, under the alias R.E.L.O.A.D., present their latest single, “Demente”, under Liquid Energy Digital. The track has a very singular sound, characteristic of this Argentine duo that’s currently on the rise. They excel themselves with every new release and, of course, we look forward to any new material by them.

“Ederlepsy” has what it takes to become one of the genre’s major releases this year. This new single by the duo made up of French-born Stryker and Argentinian psy icon Javier Bussola is generating buzz in the worldwide dance scene.

Published by Iboga Records, Israeli-born Vini Vici brings us their latest effort, “Namaste”. One more proof of the consistency that this duo is showing lately.

9.0 Liquid Soul & Neodyne

Cherub (Original Mix) Smack (Waio Remix) Iboga Records VII Once more, it is

Simon Patterson It’s the return of a great classic by Simon Patterson – this time, remixed by Waio! It’s not only one of the major releases of the year but it’s already playing in clubs as well as in mass events. A great delivery by VII.

the Iboga label that delivers the good stuff. The collaboration by Liquid Soul and Neodyne has engendered the single “Cherub.” An excellent result of the synergy generated by the pair.


01. Javier Bussola & Stryker

Greg Downey

Ederlepsy – United Beats Records




Once again, Subculture delivers top-level material – in this case by Irish talent Greg Downey, who brings us Rushin, his latest effort. It’s a very agreeable track that won’t let up since the moment it starts playing...

9.0 Indecent Noise & Ram Doom Device Mental Asylum


Ederlepsy (Original Movement & Off Mix) Limits Remix) United Beats Records Iboga Records


9.0 Elijah (Sean Tyas Remix)


Stryker & Javier Vini Vici Bussola Namaste (Static

Outburst Records



Indeed, this is the month of duos. Here’s another one that’ll make waves. It’s Indecent Noise & Ram,

02. GMS & Pixel

Heading East - CDR

Giuseppe Ottaviani

03. Talamasca feat Ivan Castro

Black Hole Recordings

04. Neelix feat Caroline Harrison

Slow Emotion

As an opener for ‘ALMA’, Giuseppe’s third artist album, ‘Slow Motion’ is at the very least an original one. The concept is a thumpingly drummed, upliftingly riffed, properly blood-pumping trancer, albeit one played out at 110bpm. It’s one of those ideas you can’t believe hasn’t been tried before. It won’t explode your average trancefloor, but in the context of what’s looking like a more multifarious album from the Italian, it’s an intriguing sign-in.

Marijuana Reaction - CDR

Makeup - Spin Twist Records

05. Stryker & Talamasca feat. Lucid Boom Fucking boom - Dacru records

06. 1200 Mics & Sesto Sento The Beat Final - CDR

07. Painkiller & Greg Hilight Zoombai - Nutek Records

08. Sesto Sento & GMS

Blast a Rasta - MainStage Records

09. Mad Maxx & Javier Bussola Mahakala - CDR

10. Vertical Mode & Oforia Billy Boy - CDR


7.5 9.5

Oliver Schories Corso

SOSO Music


Tale (Russ Yallop Remix) Rules Music

Released on its own Rules Music label, the duo Anhauser delivers this single with a remix of renowned artist from Hot Creations Rus Yallop. This track has atmospheric sounds along some nice vocals and the modern touch that this DJ & producer always introduce to his songs. This is a track to have in mind! It has already been supported by some of the biggest artists. Rules is a promising label.

8.0 Luca Donzelli

Disco Techno Revolution Moon Harbour

As usually, from the label of Mathias Tanzmann we receive this piece full of amazing grooves and drums. Here you have an EP with four tracks from the Italian DJ & producer Luca Donzelli with very interesting and super dark vocals. It also delivers some nice synths with resonances and tension like a good tech house track should have.


Without receiving so much data from this label often, we found this absolutely avant-garde piece that opens the door to the big leagues. An EP with style containing two tracks from the german Oliver Schories, headmaster of the label, plus a nice remix from Florian Kruse. This has a mixture of dark sounds with an amazing atmosphere, creating an interesting groove with a nice progression of synths. Lower bpm but surprisingly efective.

9.0 Supernova

Always Changing This Italian duo is on the way of changing to a new style which is something more modern and bareable. With a nice hook to the dancefloor, you can still find the distinct groove of Supernova on all of it. Emotional melodies mixed with arpeggios that lift everything up and some pads that sound very good. Nice combination.

8.0 Format:B Whippp

Formatik Records

If we are talking about the 90s, here we have all the sounds of an era within this track. “Whippp” have some nice vocals, keyboards and demolishing drums. This is a nice release from the german duo on its own platform.

Tim Green

Ever Changing Saved Records

Saved has created a compilation and added tracks from big artists like Chaim, Sergio Fernandez, Alex Tepper and Tim Green. The latest artist had included a track with great arpeggio and a crushing synth. For us, this is the best track of the compilation! Its been a while since we’ve heard music from Tim. This goes straight to the dancefloor through Saved Records.

8.0 Tuff London Sending Love Toolroom Trax

The keyboard is similar to the mythical “Big Fun” but updated to this era, with a quieter bpm. This is showing as a pretty effective song with vocals also helping to remember about those times. Another track from Toolroom Trax that does nothing but keeps confirming that this label is always pure gold. From festivals to clubs, Tuff London will be sending love all around the world.

6.0 Steffen Deux Ask Yourself Do Not Sleep

This German producer keeps editing astonishing music for big labels such as 8Bit and Air London Records. This time he delivers an EP with three tracks for Darius Syrossian’s label, following the institution

Rich Wakley In The Place


Safe Music

You’ll be playing at Sankeys Manchester twice this year. Are you excited about these incredible gigs? Is this a place you like? “Sankeys is a clubbing institution that has been around for years. I have experienced Sankeys clubs in Manchester, Ibiza and New York. They have all had a common focus, providing the freshest music and artists but with a real emphasis on the underground with an intimate, warehouse feel to their venues.” What can you say about your upcoming releases? “I have plenty of releases in the pipeline over the coming months on labels such as Avotre, Smiley Fingers, Suah, Safe Music and Criminal Hype. I also have some remixes forthcoming on Roush, Twisted Fusion, Baumhaus as well as an amazing opportunity to remix one of Sante’s tracks for his next ‘House Lessons’ album on Avotre.” You’re working on a compilation for Twisted Fusion. Can you describe what you plan for this mix? “Well, it’s a long way off so we haven’t locked down any of the tracks just yet. The is to demonstrate where I am musically, with a few of my own tracks, collaborations and remixes.”


01. Diego Krause “Split” - Organic

02. Nick Beringer

“Robby Banks” - Taverna Tracks

03. Samu.l

“Doppelgaenger” – Inmotion Music

9.0 Paredi Saraceni Truesoul

Mother Recordings

A balanced sound that generates a tech track for the dancefloor. Directly from Mother Recordings, here we have an EP from Berlin’s duo Mat.Joe, an ascending act that is showing some good style. Reminiscent from the sound of the 90s, vocals and drums make it perfect to destroy any dancefloor. Both original of the EP are truly effective.





This rising producer has a new EP for the prestigious label Safe Music and its awesome!

Stereo Productions



patterns in terms of groove and vocals. Always effective! He used some recognizable hooks for everyone’s ear. The bass he added creates a nice rhythm for the main track.

If we are talking about a label from Adam Beyer, we won’t hesitate. This one is presenting a new name with an avantgarde sound. It has his housey feeling but with a lot of power. This is the tech house sound that is reigning in the clubs around the world, going towards a much harder side, closer to techno. When hats are up, everything is more than OK!

04. Mennie & Julien Sandre “Redub” - Housewax

05. Tommy Vicari Jr

“57 Hertz (DJ Honesty Remix)” – Cabinet Records

06. Rhymos

“Faction” – Kenja Records

07. Luca Donzelli

“Funky Citizens” – Mindshake Records

08 Seb Zito

“Hollywell” – Fuse London

09 Gerd

“The Cube” - Royal Oak

10. Lemmy Ashton

“Breaker Breaker” - TNC



QUICKIES 7.0 8.0


Christian Wunsh

Planetary Assault Systems

Random Mutations

Polegroup As the name says, these are four original tracks with loops that are constantly mutating, taking us in a one-way tunnel. Analogic sounds, opaque drums, bright hi hats and obsessive sequences.


Planetary Funk 22 Light Years Part II

Mote Evolver Luks Slatar is again releasing music ander his famouse alias delivering an original mix with plain techno. There’s also a remix from Josh Wink, who’s added a version with breaks, filters and claps that made their own way through delays and reverbs.

Josh Wink


Sui Generiz Modern and full of groove. The Parisian artist brings us two tracks that are made entirely for the dancefloor. “Melancolie” is a minimal piece while “Time Code” mix some genres with a dark background.

8.0 Jeremy Wang

Range Finder

Planet Rythm Genuine acid techno. “Prototypes” stands out on this EP, delivering a nice deep techno with bells and atmospheric pads.

JUSTIN JAMES 01. Justin James “Vaguely Obscure” - Sci+Tec 02. Justin James “Versus” - Sci+Tec

Nicke, Kevin Rangel & R.Ma

Shoelaces EP

Boysnoize Records

This is an ideal offer for DJs that enjoy mixing in a multitrack format. Break tools with a rebasing TB 303 sound, as expected taking in acount is coming from Josh Wink. Vocal versions, instrumental versions and easy pieces that offer very good mixing oportunities. The label celebrated its first 10 years in may! For the remixes, California resident made a mix focusing on his style while Mono Junk delivered a super minimal techo acid bomb.



7.0 Varios Artistas

Sopot EP

Baile Musik

This EP is quite dark and minimal, but also organic and fresh. It has interesting grooves that do not follow the typical quadrature. It delivers some tool tracks and others that can work entirely alones, being amazing tunes to rock a dancefloor. Baile Musik is a label that release EPs very often with a solid groove offer. Available on digital stores!


05. Dustin Zahn “Miss You (Truncate Remix)” - Drumcode 06. Josh Wink “Shoeloaces” - Boysnoize Records 07. Green Velvet “Flash (Latmun Remix)” - Relief 08. The Deals “Ignition” - Night Light Records 09. D-Unity “Holy Name (Alberto Ruiz & Carlos Perez Remix)” - Unity Records 10. Johnny Tricka “Day Tripper” - Sci+Tec

Modularz Four smart and stylish mid tempo tracks with an exquisite audio. The first piece is playing dub patterns to take us on a hypnotic journey, working perfect on long mixes. Nowadays, she is one of the techno artists with greater demand and projection in the entire world and she’s showing that with this release through Modularz and his constant work for Polegroup and her own platform Grey Report. A mature EP from a mature artist. Made in Colombia!



Black Swan Recordings


Nowadays, there’s no techno chart that doesnt include a track from Julian Jeweil. This EP has one track of each artist: Side A1 is called “Orbit” and is a tune that we can describe as the main expresion of the techno sound that is getting the biggest support from DJs, promoters and festivals on the entire world. Dast’s track has a vast and comfy atmosphere, builded through long pads. The third and last track is from Luca Angelli and its called “Turbo”. This track goes for something more classic with repetitive pitched vocals.

This EP is a fine set of tools coming from some of the guys of the techno and tech house new rhythmic school. A characteristic EP from the US label run by Schubert. “The Pot” and “Below You” from producer Tiziano Sterpa are the tunes that we highlight. Tools with groove and without any mystery, full of efective sounds. The release is available since a couple of months ago and it is already being played by a large amount of DJs all around the world.

7.0 8.0 Re:Axis TEN




Varios Artistas

03. Matador “Strings for Life (David Sidley Remix)” - Rukus 04. Raul Facio “Hipster Priest” - refused.


Re:Axis appears with something fresh in the studio after a few months, releasing his LP on its own label Monocline. Ambient textures and heavy techno tracks in a solid techno album that is made to take you from different genre variants, whether you listen to it in a club or by the street with your headphones. It has some melodic bells and dub chords and you can find some dance floor killers like “Natural Healing” or some mental pieces like “Coming in Peace”.

8.0 Cicuendez

My New Room Draft

This EP should start from back to front because his third track is the one taking all the attention. It’s called “Basement” and it’s the perfect example of a simple, cold, wide & modern track. Is one of those tracks that makes you think ‘I’d love to have five tracks like this!’. And maybe, you won’t have them. Beyond this one, the title track is also very interesting. “My New Room” repeats the formula with some dub dyes.

Fumihiko Takei Amateras EP


Myself Music

This is the debut of this Japanese artist on the platform that has been releasing music from artists like Maksim Dark, Tony Dee or Rosper. It also features a remix from the Portuguese producer Nuno Lisboa. It is a diverse EP, with multiple intentions. Each track has its own idea and does not have much to do with the other tracks that have on the sides. It goes from melodic techno to something more raw, including german vocals. It has no recipes! Unpredictable.

Moog Conspiracy Pulse EP

Elektrotribe Records

With this LP, Romain Favre -the man behind Moog Conspiracycelebrates ten years of his record label. It was released through a showcase in Sisyphos where we were able to listen to all of this tracks. 100% techno. Romain is french but we can definitely describe this as pure german techno: raw, hypnotic and perfect in its technique. Bells and claps stand out in structures coming from jams.



Celebrating a double-decade of dancefloor innovation in 2016, the notorious DJ Mag Tech Awards are back! Once again, they team up with a trusty panel of high-profile industry judges to decide which key bits of kit from over the past 12 months are deserving of your votes this year. .. Words: MICK WILSON (Adapted)


J Mag is celebrating 20 years of its prodigious Tech Awards. From humble beginnings, they have been at the forefront of the technological revolution, and have charted the rise of technology in dance music culture. This year they are really seeing a shake-up as to how DJs and producers are using the technology at hand to go about their day-to-day working lives. Hardware is making a comeback as evermore manufacturers revisit their products from yesteryear and bring them up to date with today’s technology. This merger of new-meets-old is driving a whole new attitude when it comes to creativity within music technology. Looking at this year’s shortlisted nominations, we could actually be taking a look at the list from 20 years ago! Turntables have made a surprise-but-welcome return to the fray, as well as a wealth of other ‘classic’ hardware equipment. Who would have thought all those years back — when the digital revolution was smashing a hole in traditional DJ and production arenas — that we would be revolving full circle and embracing days gone by with technology? Within the pages of DJ Mag Tech they have always followed these developments, reviewing and highlighting the changes that we see month by month. The Tech section of the magazine is in rude health as manufacturers continue to move forward and develop new and amazing ways for the electronic community to explore creativity, and the Tech Awards are the culmination of this — a chance to reward this innovation, as they have been doing since 1996. One thing that has always been a constant is the wealth of innovations from not only the major players, but the small independent manufacturers as well, helping to shape and define the way DJs, producers, musicians and artists approach their musical endeavours. DJ Mag’s Tech Awards is a celebration of the kit and equipment that makes this all possible. Applauding the inventiveness of everyone who is involved in pushing the electronic dance music scene further; the backroom heroes that make the jobs of the DJs, producers and artists far easier than ever before, ensuring that the creative process isn’t hindered by unhelpful technical strife that halts creativeness and ultimately the delivery of their art. As it’s the 20th Anniversary of the DJ Mag Tech Awards, they thought it would be good to do something a little different. In the spirit of looking to the past to move forward, DJ Mag have live streamed the first six categories of the awards at this year’s BPM | Pro DJ Technology Convention (September 11th – 13th), judged by a fine selection of DJs and producers, our DJ Mag Tech Award judges, with the winners announced on the day. The remaining nine categories were up for a public vote, as per previous years. Voting closed at the end of September and results will be announced in November’s issue of the magazine.

The Tech Awards Panel Meet the judges! This year DJ Mag live streamed the first six categories at BPM | Pro. This is the panel of expert judgesthat put the kit through its paces and helped announcing the first winners...


Doorly is a busy touring DJ/producer who understands the importance of innovation and technology within the dance music scene. “It’s actually mental how fast technology is moving right now, the line between being a producer, a live performer and a DJ has never been so blurred. The possibilities we have at our fingertips are infinite and ridiculously exciting. With so much going on out there I’m really grateful to have the DJ Mag Tech Awards as part of our scene, a genuinely completely un-biased look at the best equipment out there.


Drum & bass maestro Dr Meaker is no stranger to the technological side of dance music, always happy to approach new technology in order to push the boundaries of his music further. “The DJ Mag Tech awards are important for the scene as they connect the dots… They help to bridge the gap between the musicians and artists and connect them with the companies that provide the tools and the technology... It’s a cool way to get everyone in one room and creates a great environment for feedback and new ideas.”


Producer and label owner Emika is not one to shy away from using technology as a creative part of her art. She’s willing to explore all technological options in order to satisfy the vagaries of her sound... “The DJ Mag Tech Awards show current trends and interests of DJs, producers and the music tech companies themselves. It’s a context for the vital exchange of information between music lovers. It is a chance for everyone to take stock of where things are at and imagine where they are going next.”


One of the most sought-after names on the DJ and production circuit, with remixes, collaborations and original material fueling the movement. Kryder openly embraces technology — be it in the studio or behind the decks... “The awards are important for both artists and DJs respectively as the scene is constantly changing, and technology is at the forefront of pushing things forward. It’s a great place to get inspired and also to share your experiences with the next generation.”


(DJ Mag Tech Editor) DJ Mag Tech Editor Mick Wilson is at the forefront of the technological movement within the electronic dance music scene... “The DJ Mag Tech Awards is an important facet of dance music culture. Whilst ultimately it’s all about the music, we mustn’t forget to champion the technology that is helping to drive the scene forward — bringing with it new sounds and fresh innovative approaches to how we work, enjoy and interact with the technical offerings at our disposal.”



PRODUCTION PROCESS With over ten years in the production of music, Matheo Velez, owner of the label Deep Disco Music and member of E Label Music, explains what we have to bear in mind when we produce in the studio...



Electronic music is not the only source of inspiration when it comes to creating sounds in the electronic universe. You should also be able to appreciate the different elements offered by other music genres.

There are times when you are willing to sit down and make music, but after testing various sounds and synths, you realize nothing seems to work as you expect. You should never force your inspiration. Go to rest, look for inspiration somewhere else and try again later or the following day.

SET UP A FINE HOME STUDIO When we are making music, it is essential to be aware of the problems our work space can cause regarding the collision of frequencies. Nowadays, home studios are the most widely used among electronic music producers, so we have to settle in and adapt the space as well as possible. For example, using bass traps, acoustic panels and other methods that may help us effectively reduce these problems.

A GOOD MIXING One of the most important things when making music is mixing, as it helps us achieve the perfect balance among frequencies, volume levels and the location of each sound in the stereo panorama. Using and working with the reverb effects can be useful to give that sought-after space to our track, with some delays, echoes and panning, but without using them too much. Applying compression processes can also work when we want to give each sound a desirable presence. 88

DO SOMETHING UNIQUE You should never plagiarize other artists or producers. The fact that they may serve us as inspiration does not mean we have to make the same music they do. Creating our own style and doing what our heart and soul tell us – in the right moment – are the best things we can achieve as producers, without imitating other musical styles.

EQUALIZATION It is important to equalize everything to balance the sound in a mix and to correct problems in the recordings, to modify or shape sounds or to produce a unique sound.

MASTERING Mastering is the process that helps you put the final mixing touches to your tracks, in order to give them an acceptable level and to highlight the most attractive sound aspects through some production processes.



Gonzalo Solimano with Ernesto Romeo

Unlock: Art Lab is an initiative that was born out of passion. Gonzalo Solimano talks about the ins and outs of a wish turned into a project...


e invited Gonzalo to DJ Mag Latin America’s main office to talk about his most precious project. An idea that started as a record company, with artists such as Barem, Guti and Alexis Cabrera, before it became an international success. Today, this initiative is present in several countries. It has been in the local scene for over twelve years and always associated with the most artistic side of the world of electronic music in Argentina. Far from being improvised, the show is not only broad but it also addresses many of the questions that affect the industry and, although it might be included in any of our sections, it has a technological side that cannot be ignored. ‘When we started with Unlock, things were different from what they are now.’ ‘The underground proposals did not have the strength they have today. They were more

reserved and were presented only in certain places,’ he explains. They started first with indie parties (that began to gain popularity thanks to their quality and their success in the local scene in general) and a record label. Sometime later, production became the strength of Unlock and many brands used the company’s services to carry out their activities and projects. Prosperity then followed, giving way to experimentation. ‘Today the company continues to operate. We edit vinyl records that we sell to New York, Tokyo, Berlin, London, Barcelona… Our records are everywhere!,’ he says proudly. Unlock wants to grow on all fronts, but in the field of technology, one of the concepts that they are developing now is Unlock Art Lab. ‘This is Ernesto Romeo, an icon of the world of synthesis,’ Gonzalo tells us.

He shows us pictures of the last event at Palermo Racetrack where, before a party featuring celebrities such as Sonja Moonear and Christian Burkhardt, they organized a workshop at the oval room which gathered some of the highest profile names in the world of synthesis locally. Gonzalo’s enthusiasm grows as he explains to us the history of synthesis and the start of some of the main trends that took place in the United States, led by Robert Moog. He is willing to tell us and he wants us to know, and we understand why he’s carrying out this project: passion. ‘The immediacy of modern life has produced lots of artists and there are lots of new record companies. Digital technology has created channels for everyone to expose their music and there are many things going on’, he says. ‘Amidst all these changes, many artists want to deviate from standards, but to do



Christian Burkhardt

One of the latest releases of the company was the first of a series of special vinyl records that will combine different artistic aspects. It will be accompanied by other music collaborations which will be disclosed throughout the year and, finally, they will all be edited together in a CD, with a cover designed by artist Gisela Faure, which, divided into the four releases, will be completely seen in the fourth and last release, which fans will be able to own in a poster inside the CD. The first one of the series was released in May, with music of local talents such as Franco Cinelli, Fosky, Leonel Castillo and Jorge Savoretti.


that they need to get back to basics. Today, producing loops and pre-arranged stuff is something that you see all the time. There is so much of this that people wish to stand out and create their own personal sounds. And, now, the modular synthesis is experiencing an incredible phenomenon. The need to get back to basics is because of that, to make it more personal,’ he explains. This philosophy has led him to create this project. ‘Unlock was always thought to be a local project. After many years, I realized that I was always looking for everything abroad. We are the grandchildren of immigrants, and we have this idea that the best is always abroad. But for me it’s not like that. It is something that we have to fight for and that has to do with our education. If we don’t generate a space for young people to train and exchange information here, we’ll never stop looking abroad’. So Gonzalo and his team at Unlock have this premise: to create a space for this analog trend, which has been emerging in recent

Bruno De Vincenti

years as a need in the digital world. Unlock: Art Lab is a platform for artistic contents. It gathers visual artists, audiovisual artists, DJs, producers, bands and all types of artistic forms with the aim of creating a group where everyone is going in the same direction. ‘Art Lab looks for ways to carry out a project and Unlock, as the producer, supports that project and brings it to life. So an artist comes with an idea and we help him turn it into reality. We also encourage projects between artists’. Every Unlock party offers a workshop, during the day, where people can learn about the activities we carry out. ‘What we do is gather a group of leaders in the field of music to open up and communicate how they work, etc.,’ he explains. The idea is to transmit knowledge through a proposal that is very altruistic and aims at disseminating different techniques only to educate anyone who wishes to be part of this world. A true art laboratory where everyone is welcome to come and take a look. n

TECH In the Studio with Jimmy Van M y Diego Tuñón Words: HERNÁN PANDELO Pictures: DELFINA VINCENTI

IT’S EXPERIMENTAL Jimmy Van M and Diego Tuñón opened the doors of the studio where they have begun to work together...


or this new edition of “In the Studio…”, we chatted with two music figures belonging in different worlds who, not long ago, began a series of ambitious projects related to the electronic world, the production of quality music, and the management and support of new talents. With a combination of Jimmy’s experience in the world of electronic music and Diego’s musical concepts and knowledge of the region -his being a member of one of the most influential Latin American bands in recent years-, they are carrying out two projects in parallel with subtle differences and an objective which is more than clear: to innovate in the electronic world by bringing some freshness...

How did you meet and why did you decide to work together? What has led you to develop a project like this? “I have always been interested in developing ideas for electronic music and Delta Heavy was a long time ago... It’s time to do something new. Diego has been very successful with Babasónicos for years and, once we got to know each other, it became clear that our inspiration and dedication to create are similar. It was one of those situations where everything just turned out right. In 2015, we met at Frank’s, a bar in Buenos Aires where my friend Diego Romero was playing. Shortly afterwards, we got in touch and got together to improvise a bit. In fact, it wasn’t long until our ideas started flowing. We discussed our projects a bit more and we could form ourselves a better idea of where we were

coming from. At that time, Mater was already a project and Diego told me about Xperimental which, by then, was thought of as an online platform for Latin America. After learning a bit more about his experience with Babasónicos and my projects in connection with Delta Heavy Tour, Diego’s thoughts about supporting Latin talent mutated within the framework we defined for Xperimental. It was then that we took the idea to the studio with some producers and performers. We are at that phase now. We have ideas to bring these live presentations to several places. We will consider that once we have developed Xperimental and Mater projects a little more.” What things do you have in common or how do you complement each other?



“We come from very different fields. I’ve been very involved in the electronic music scene and Diego has been with his successful band, Babasónicos. However, our personalities are quite similar, so we converge when it comes to musical tastes. When we listen to our work, we are often thrilled by the same sounds, the same textures and the same vibes. In addition, we also aim to do a job of the best possible quality.” Are you going to remix some of your recently released tracks? “Originally, the plan was not to release a lot of our music on these platforms, but we needed a remix for Mater’s first release so we decided to do it. It was a great experience from the beginning so we decided to continue making music for our platforms.” Which artists are going to be involved in this first phase? “For both labels, we decided to go in search of artists in whom we see talent and 92

growth potential. With the first release of Xperimental, we decided to do so at a local level, as we have many artists in these lands. Some of them are Ulysses, Vlad Slacker and Hakinen. For Mater, we’ll be releasing works by talents from outside Latin America. The first three releases include artists like Peet, Revy, Exercise One and Pedro Aguiar. Diego and I work on both labels to bring them a little closer.” Taking into account the jobs you have done together at the studio, what’s the set up you use? “At the moment, Diego and I have been recording in Babasónicos’ studio, which is a professional recording studio. Not all studios have the proper place to work but luckily theirs does. In this way, we can get inspired. It has the necessary tools to capture those moments of inspiration. I think you’ll be able to see this properly in the pictures.”

Have you also produced any original tracks? “We’ve been talking a lot about that lately, but we have not yet started to produce any original track. Our idea is to put together a Vocal EP, based on the European summer. As we still haven’t taken our ideas to the studio, we are not sure about the direction we’ll take regarding the style, but one thing is certain: we both understand that the job with vocals has to be well done in order to avoid too typical or predictable sets. We’ll take our time and we hope it comes out right.” What’s the process you follow when you enter the studio? “The process is quite fluid. Diego is an experienced musician, with great knowledge about recording, so it has been easy for us to step into creative land and record. For example, with our remix for Peet - at Mater’s EP debut -, we went into the studio with the purpose of staying true to the


tracks’ original samples. The whole process of building the skeleton took us about five hours. Then, a few more hours for the remix and that was it. Revi’s remixed version – Mater’s second release – took us a little longer because we added some original material as a complement. We worked on it four hours a day, during three days. We stopped for one week before finishing it in one last session. The faster we understand each other’s creative processes, the faster we can have new ideas. We are very excited about what may come this year.” What’s a typical day at the studio like? “Days are really varied. Some are pure experimentation. We try new ideas, effects; we use the equipment in an unconventional manner. Sometimes we can spend the whole day looking for the right hit or bass line. Some other days we just focus on arrangements and remixes. There is no regular approach when we enter the studio. I think a great part is based on our desire to give a structure to the music. When this does not happen, we have more freedom and can roam various fields. Deadlines may help to get results, though sometimes you wish you had had more time...” How do you start a new project? “Generally, original tracks take longer than remixes. With remixes, one has a selection of musical parts of the original version to use as a base. The process is a little more suggestive because there are some of the main elements to be reinterpreted. In original tracks, everything has to be created from scratch. In addition, we don’t use pre-existing loops or samples, unless it is something like a snare, a hi hat or a bass drum. There is a wide range of possibilities and we don’t confine ourselves to an existing element.” What software do you use for production? “Diego uses Pro Tools mainly. I use Ableton live. They are different applications that fit our personal approaches. Pro Tools is used to record live sounds like synths, drums, and percussion. It provides high quality recordings. Ableton is more prepared for experimentation, as you can keep trying other ideas.” What can we expect from Mater and Xperimental in the future? “We have just launched our first release with Mater and we are very happy. It has received great feedback. In March, we had our second release which included great remixed versions by Exercise One, Pedro Aguiar, and Diego and me. Xperimental had its first release in September. We will also be launching the Xperimental Mater Radio Show. Follow closely the news about that! Both labels will deliver quality music. That’s what takes us to release music; that’s why we do things consistently. We focus on building a team of artists that offers something genuine. It has been a beautiful process so far. We hope things will continue to develop this year.” n



NEXO: FROM THE BOOTH TO THE DANCE FLOOR Nexo, the French company, installed sound systems in Buenos Aires City clubs Crobar and The Bow. We talked with them to learn a little bit more...


he revolution of sound systems was present in the City of Buenos Aires, and we got into the details of two unprecedented installations that took place with little time difference. For over thirty years, NEXO’s sound systems have been synonymous with innovation and advanced design in the main European markets and, for about 8 years now, the Paris-based company, founded in 1979 by Eric Vincenot and Michael Johnson, became a business unit strategically managed by the giant Yamaha Corporation. In early 2016, it reached two of the city’s most important booths with the STM sound system, a powerful and curious proposal from the French company that has already passed the first tests with merits. After both installations, we got in touch with Martin Onorato, who was responsible for

carrying out the plans in the clubs. The main feature of the system installed has to do with the ease with which the different cabinets are grouped together. That nice functionality ends up being ideal for the STM system to work in night clubs and has to do with the possibility of assembling a modular line array that can be modified to fit each engineer’s preferences. In the best Lego style, cabinets can be stacked. And the choices are endless since they are the same width, thus they can be moved better and be accommodated in a unified manner. Martin says that even the subwoofers could be flown above. In fact, Crobar’s idea is to hang the entire line of cabinets, while in The Bow it has been installed at ground level. The STM line features different modules

and there are several possible combinations according to the results of the production software -a system in which the data loaded determines the spaces to cover- and to tastes. That is, whether being flown above or groundstacked, it is essential to understand the proportions related to how many cabinets of each of the frequencies should be installed per line array. “In The Bow, the equipment has the subwoofers on the ground, and twice as many bass cabinets compared to the amount of midrange and treble cabinets. It is a configuration called Double Bass”, he explains, noting the versatility within the STM sound line from a brand that, for years, has been part of the sound of great places like Buenos Aires Gran Rex theater or festivals such as EDC Mexico.








This Nexo STM system is the most powerful modular system launched by the brand so far, and has three types of cabinets to play different frequencies. Mids and highs are reproduced with the STM-M46 module, low-mid (bass) frequencies with STM-B112 modules, and low frequencies with STM-S118 subwoofers. As Martin explained, The Bow has a Double Bass system comprising two towers with the following modules: 4 STM-M46 per side, 8 STM-B112 per side and 6 STM-S118. It is the most powerful equipment in the market and is supplied with eight 4,000 watts 4-channel NEXO NXAmp 4X4 amplifiers with built-in digital processor. It really is powerful, it reaches peaks of up to 145 db, something really crazy. And just by visiting some of these clubs, you will understand what this is all about. Even artists like Martin Garrix or David Guetta choose them, something that clearly illustrates the level of such beasts... n 96



‘It’s very rewarding and, at the same time, a huge challenge’, says Alok with modesty. This artist from the city of Goiana was the only Brazilian to be present at the 2015 edition of the Tomorrowland Festival held in Belgium. ‘It’s been a very busy year, with a full schedule. When I’m not travelling –which I do a lot more, lately–, I stay at my studio producing new tracks for new releases and for the album I’m working on now’, he explains.


Son of DJ parents, Alok Petrillo could not escape his destiny of turntables and, from a very early age, he started experiencing with electronic music. ‘Things became more and more serious in my career and I ended up dropping out of university to venture into this musical journey full-time’, he says. With a great present and an even better future, he revealed to us his lucky 7s. Text: HERNÁN PANDELO




‘Cool Down’, by Red Seal. I remember when I was little, I used to be carried away by the musical journey to which this song took me and my twin brother. Maybe it’s just a mere coincidence but today my brother and I are working on a bootleg of this song. I guess a bootleg of such a great track is always something very inspiring.”

‘I’m listening to ‘II’, by Moderat. This band is playing a lot lately in my iPod. The whole album is an incredible production and composition. The vocals and the elements that appear in the song are mixed in a manner that is so different. It has some electronic music arrangements that always catch my attention. It blows my mind and I believe that everyone should listen to it sometime.’

‘Isis Castle’, by Dazzo, a track by a producer who is also a friend of mine. It is so powerful and it has so much to say that it was even played by an orchestra with several musicians. Dazzo wrote this song for his girlfriend in a very romantic and significant moment in their lives. It’s always a highlight in the presentations of many DJs and I’m sure that their story is not over yet.” u




‘The Fat of The Land’, by The Prodigy, one of the most legendary bands and the pioneers of electronic music. This record was like the starting point that led me to where I am today, and toward my love for electronic music. Surely, The Prodigy was one of the most powerful bands I used to listen to when I was young.” WHAT’S THE MOST CHEESIEST RECORD IN YOUR COLLECTION?

‘It really depends. Music tastes are very complex in the mind of human beings. There are people who cannot stand certain music genres and styles. The term cheesiest may apply to several genres and subgenres because, I guess, each style has a cheesy track or artist. In my opinion, people have different ways of putting their feelings into music and, just as some are more sensitive or emotional, others may think that it sounds too melodic, nostalgic or noisy, depending on what is happening in their minds and their preferences.’ WHAT’S THE TRACK THAT’S GUARANTEED TO MAKE YOU CRY?

‘There are tracks that have a very powerful effect on us. ‘Wilkie’, by Roman Flugel, for some reason has the power to make me cry. It is incredible how music can take us to other places and bring memories to our minds. We could never live without music, in my opinion.’


‘That would be “Enjoy the Silence”, which we did as Alok & Gabe. It’s a track with a great story. It was one of Gabe’s most acclaimed bootlegs when I was eleven years old… I was already a DJ then, and the track was special for me and for our entire generation. To be in the recording studio with Gabe making a more modern version of that song was a wonderful experience for me. The track has a great impact on the dance floor and I believe it is a real bomb.’

Dj MAG LA Edicion Especial ADE  
Dj MAG LA Edicion Especial ADE