MANAGEMENT
MAY OUTEIRAL
FRONT PAGE, ART DIRECTION AND LAYOUT
NEREA CARRIÓN
EDITORS
MAY OUTEIRAL
JUANJO BLANCO
JUAN ÁLVAREZ
GABRIELA CORTÉS
JONATHAN GUTIERREZ
COLLABORATOR
BEEPDMUSIC
LM PR
JUANJO BLANCO
JONATHAN GUTIERREZ
URBANREBEL PR
The first time I heard her play was at her house, with just a vinyl turntable and a Traktor X1 machine. She managed to choose and mix songs I never would have imagined could sound so good together. Paulina Gallardo, 29, has always shown talent for music, and even production. She started at 17, when she lived in Argentina, where the electronic scene drenched the youth with parties that lasted until dawn. She decided to pursue a career as a DJ by taking classes, and today, in Santiago de Chile, she has earned her place.
Her methodical way of selecting each track makes a difference in every one of her DJ sets – I’ve been following her for a couple of years. She worked as an assistant at one of the most important clubs in Chile, La Feria, where she gained more knowledge alongside Ornella. She’s also the owner of Journeys parties, a space where she supports emerging DJs.
When did you start getting into the electronic scene?
I got into it when I was around 16 or 17 years old. I had just moved to Córdoba, Argentina, with my parents. There, I started going out, and there was a really strong electronic music scene. I began listening to local artists.
I started going to electronic parties with my classmates. I would fake my ID to get in and began selling tickets. The first party I went to was Sticky. I remember Danny Howells and Nick Warren. They were the artists that impacted me the most at the beginning. Popof as well.
In this interview, I’ll tell you more about her:
And when did the desire to DJ come about?
I had to choose a career. I had always been interested in computers and technology, so I started studying Audiovisual Communication. At that time, my mom moved back to Chile.
I stayed living alone in Córdoba. But one day, my older sister sent me a flyer for DJ courses at an academy in Córdoba. So, I signed up, and during the day, I went to university, and in the afternoons, I practiced DJing. But I started dedicating all my time to music. My dad bought me a machine, and I started practicing nonstop.
I started getting my first events, and at that moment, I called my mom to tell her that I didn’t want to continue studying my degree.
As for any artist, family support is crucial. Making the call to my mom to say I would drop out was a moment that pushed me to follow my dream. Doing what I love is one of my main motivations for deciding what to do on my path. My mom supported me from the beginning, recommending that I enter a sound technician program, which allowed me to improve my music productions.
What were the first electronic sounds that convinced you?
When I was younger, I really liked pop music. My classmates in Bariloche listened to a lot of American music, so I started listening to music in English, and I began to enjoy the electronic music scene more at first than the music itself.
going out, the darker sounds of techno were my first reference, as well as minimal techno like Victor Ruiz and Sam Paganini, which was what was popular at that time in Argentina. That was Paulina from 16 to 21 years old.
How was it to carve your path in Chile?
I was in Argentina until I was 24 years old. When I returned to Chile, I started from scratch, but I met Ornella, who became an important person for me, like a mentor. She worked at La Feria and began to pass on some of her knowledge to me. I started working as her assistant and began to play. After a few years there, since I didn’t have any contacts, I started meeting more people and became enchanted with more progressive and melodic sounds. During the pandemic, I created my first house production.
My best gig was when I was able to do the warm-up for Whebba, a Brazilian artist, in Córdoba, right after a day when Richie Hawtin was playing. It was a gig where I played from around 10:30 PM to 2 AM, where I was able to develop an incredible set—starting with deep house and finishing with techno. Many of my friends came to support me because I was already living here in Chile, and they called me to play.
Then, of course, La Feria Club in Chile has always been a beautiful place to play. The first time I played there was a threehour debut before Paralelo 86. I have that set recorded as well.
I think it was very nice
musically. Also, La Jauz is my favorite place to perform. I can always develop my music there; they always take great care of me, and I’m always seen.
At the end of this year, I will release HUMMUS EP for the Blue Label label from Buenos Aires. My first production was an invitation from a DJ from Portugal who wanted a Deep House remix made by Paulina.
What do you think about the electronic scene in Chile?
I believe it is still a work in progress. Recently, it has grown a lot due to social media and the events happening here in Chile. I think Chile has a very strong techno audience, but I believe the scene still has a lot of room to grow, it lacks community, and it lacks respect in that regard. There’s a matter of connections, and we need to highlight many producers and emerging artists who are truly producing. Within that, I also consider myself an emerging producer. One criticism I could make is that the reality is that it’s often more about how many people you can bring than truly assessing the talent of the artists.
I believe there are many artists and many people wanting to hear new artists, and they are also tired of the same thing.
In my events, Journeys, or in the events I produce as a curator for the lineups, I have
to invite new talents that I believe have what it takes and that it’s not just about how many people they can draw.
Do you think there is a “monopoly” on parties?
There’s a sort of favoritism within the production companies; they don’t invite those who have talent. But if you notice, the lineups are always the same, and it’s always the same circle, which makes it very difficult to break in if you’re not friends with the owner of the party. There’s also a lot of bartering, like saying “I’ll invite you to my party, and you’ll invite me to yours later,” and it has happened to me where they’ve said, “Okay, invite me to your party, and I’ll invite you later.” I have opened doors for many DJs in some places and didn’t receive the same support back.
Over the years, Paulina has become a great friend whom I admire and follow when she plays at parties. I have noticed from the first moment she starts preparing for a party that her methodology leads to perfect DJ sets.
Explain your methodology for selecting music...
For all my gigs, the first thing I do is download new music and go to the place where I will be playing. If not, I look it up on Instagram, research it, see the venue’s photos, and see what type of people attend. I assess the context of the place and the city. Second, I listen to a track before downloading it, and I imagine myself in the venue. I close my eyes and envision being there and how that track would sound. Let’s say, all of this is my studio; I don’t know how that track would sound in that place.
Once I find that the tracks fit together, I try to adjust to the DJ who will be playing before me. I also pay attention to the timing.
Then I open Rekordbox, listen to them one by one again, and check if they really fit into the playlist I’m building. Once I have all that, I do a second filter to see if I add any older tracks I’ve played before that could work. I organize them by key and BPM, and once I have the playlist set up, I listen to it.
it would be, or the audience is not what I expected, and I have to play a little higher or a little lower. That’s when I start to improvise. But fortunately, I know how to do it.
There’s a lot of improvisation and feeling that goes in between; I don’t like to be too rigid. I like things to unfold as I feel them. For example, I really enjoy using tracks with vocals; I feel those also fit in at appropriate moments where I can awaken people or convey something that flourishes within me and that I can pass on to them.
Any message you would leave for those starting to be DJs...
The only advice I could give that has worked for me is to be curious, attentive, watchful, listen... go to parties, go to afters, meet the people who work there, get to know your peers, greet them.
Say, “We could get to know each other, make music, create community, be friends.” It’s about searching and being in the right moment. If you have a chance to speak to someone who could bring you an opportunity, take it. It’s not luck. Well, sometimes it is, but it’s also about searching.
It might happen that I end up playing the playlist, and it’s not what I thought
Let’s stop competing against each other; instead, let’s start supporting one another, especially in the female aspect. I would like us to validate ourselves more as artists and produce more.
‘Wild Arrows’ is a very popular track, the lyrics are incredibly cool and sung by Jose Caraballo, a great singer from Venezuela which makes the song more powerful. The song is a moment at the party where you see a really beautiful person on the dance floor and the feelings it conveys.
- SEBASTIAN CUESTA -
The Producer Sebastian Cuesta presents his latest material ‘Wild Arrows’ ft. José Caraballo, an emotional piece with Melodic Techno notes, released on September 27th, through Dirty Talk Recordings.
Known for his infectious sounds, Colombian Sebastian Cuesta releases his new single ‘Wild Arrows’ ft. José Caraballo, combining catchy vocal fragments with masterful arrangements and an addictive bassline, the beats strike the perfect balance between emotion and power; adding another track to his selection of unique releases and his live sets with an immersive experience that fuses the groove and intensity of Afro, Melodic and Tribal elements.
With Colombian vibe, the producer has a Radio Show called Harmonic Session, he presents a careful selection of Afro House and Melodic Techno sounds, two genres with the aim of transmitting feelings of joy and evoking happy memories in each of his sessions.
Sebastian Cuesta is a DJ and Producer from Bogotá, Colombia, with roots in Afro House, Melodic Techno and Progressive House. Since he was a child, music has been the soundtrack of his life and he continues to explore new and vibrant musical adventures, establishing himself as an excellent producer with several tracks that have made his mark on success across borders.
His enormous talent has already led him to perform in several iconic places such as the Salt Mines in Colombia and the Club Octava, ranked among the 100 best by the renowned electronic music magazine DJ Mag. In addition, he recently went on an electrifying tour of Mexico, with performances in Puebla and Mexico City that did not leave the audience indifferent.
Sebastian has released numerous tracks under several international record labels such as ‘Ethernal’ (Argentina) with his catchy song ‘So Easy’ and on ‘Bedroom Muzik’ (USA) with the song ‘About Me’. He has also collaborated with prestigious labels such as Natura Viva, Balkan Nomads and Cr2.
Saga a.k.a.
Sebastian Alcántara is a DJ/Producer from Lima, Peru. A musician since his childhood, Saga learned to play the guitar and piano from a very young age.
Influenced by rock, metal, and rap, his musical journey led him to hidden and powerful fusion compositions rooted in his musical taste.
This must-hear artist brings us his compositions and eclectic tunes, characterized by great grooves, enveloping basslines, deep synths, and a musical style strongly marked by House music.
How did your early experiences with guitar and piano influence the futuristic and dark style you’ve developed as an electronic music producer?
From my first encounters with guitar and piano, I always aimed to create something beyond the conventional, exploring the textures and emotions that sounds could convey. These instruments taught me to think in layers, about how chords and melodies can generate complex atmospheres. That approach led me to bring those ideas into the electronic world, where synthesizers and effects became extensions of that exploration.
The darkness in my music comes from that same curiosity, wanting to create atmospheres that captivate the listener, immersing them in a sonic journey. Additionally, learning piano has been a crucial tool for much of the creative process when composing in this genre.
Your background in rap and rock is fascinating. How do you fuse those influences with house and other electronic genres in your productions?
Rap and rock gave me a solid rhythmic foundation, a sense of groove and energy that I always try to bring into my tracks. In my productions, I often use many elements from hip-hop, like crunchy drums and heavy basslines, which create a hypnotic progression in house.
Rock, on the other hand, taught me how to use tension, something I incorporate through subtle transitions and dynamic changes in my tracks. It’s a natural fusion, where both influences flow effortlessly
Speaking of your early sets, do you remember a track that defined your love for the deep grooves and basslines that characterize your style today?
One track that has always held a special place for me is “Touch Me” by Haris and Dino Dvornik. It has that unmistakable groove where the bassline and rhythmic elements blend perfectly to create a hypnotic atmosphere. Every time I hear it, I’m fascinated by how timeless groove can be. It also taught me a key mantra: less is more.
What do you aim to convey with that hypnotic atmosphere you create in your sets? Is it a reflection of any personal or emotional experience?
Definitely, it reflects my own emotional and personal journey, how I feel during the gig. The atmosphere in my sets aims to transport listeners while generating enough energy to keep them in a mental space where time seems to stop, and music is the only thing that connects them. While dancing is essential, I also try to create harmony that helps people disconnect from the routine.
If you could go back to those long hours on the dance floor that defined your connection with electronic music, what advice would you give yourself at that moment?
I would tell myself to keep exploring without limits. Those nights of dancing are just the beginning; music has the power to take you to fascinating places and emotions. Curiosity and openness are your best allies. Allow yourself to feel and experiment with every subgenre.
In your productions, do you prefer to keep a structured process, or do you let inspiration and improvisation guide the way? Any rituals before entering the studio?
I like to think of the studio as a space where structure and improvisation coexist. Sometimes I start with a clear idea, inspired by something I saw or heard, but I let improvisation lead me to express that vision. I don’t overthink my tracks; if it flows, great, if not, it wasn’t the right time.
I don’t have any particular rituals, but I like to create basslines standing up, to feel if the bass is deep and groovy. If I’m already dancing, it’s ready.
Your use of classic hip-hop vocals in your tracks is quite distinctive. What draws you to this genre to incorporate it into your cutting-edge approach to electronic music?
Hip-hop is a culture that continues to be part of my life. Classic vocals add a visceral feeling that contrasts well with the more polished textures of house.
When I use vocals from rap anthems, it feels extraordinary how a story can be decontextualized and create an entirely new atmosphere. It’s a way of paying homage to my roots while continuing to push the boundaries of my own sound.
With the evolution of your sound over the years, how do you think your vision of house has transformed, and where do you see the scene heading?
I now focus more on refining my cuts,
aiming for a more minimalist and detailed sound. At first, I would fill my tracks with many elements, but over time I learned that less is more. Space is as important as sound, and it’s that balance that creates something harmonious. As for the scene, I think house and its deeper variations are gaining more ground. I see many artists searching for a more sophisticated sound.
For me, the scene is moving toward a direction where quality and immersion matter, though there are still some who prioritize business over music. However, I know that people are tuning their ears, seeking higher quality for both the dance floor and their personal experience.
As someone who started in rap, both as a beatmaker and lyricist, have you ever thought about
returning to that more lyrical side in your current projects?
I still carry hip-hop with me. I’m still making beats and writing tracks, often getting together with friends from my neighborhood to make music. Rap will be with me until the end of time.
The idea is always there. However, now I’m more focused on minimal production and devote more time to that. But it’s very likely you’ll see some projects or collaborations in my beloved hip-hop.
How do you balance your musical roots with the need to constantly innovate within the electronic scene?
I think the key is to stay true to your roots without getting boxed in. There’s always a line that connects who I am with who I want to become. Innovation doesn’t mean leaving your roots behind; on the contrary, it’s using those foundations to build something new. In the end, it’s me versus myself. I just aim to be better and surpass myself in all aspects, musically and in life.
Ertan Koculu and TRXPS come together to deliver an electrifying new track, “Angel Dust”, that redefines the essence of Progressive House. This collaboration showcases a harmonious blend of intricate melodies and driving beats, creating an uplifting atmosphere that draws listeners in. With ethereal vocals and mesmerizing synths, “Angel Dust” takes you on a euphoric journey, perfect for late-night dance floors or intimate listening sessions. Experience the magic as these two talented DJs weave a soundscape that elevates the spirit and ignites the imagination, making this track a standout addition to any set.
The Planetarium of the Casa de las Ciencias, Domus, Fundación Luis Seoane x Son Estrella Galicia, and Sala O Tunel will host the sound and visual proposals for the tenth edition of the festival, which will take place from December 2 to 7.
Ten years of strengthening the most stimulating aspect of electronic music, ten years of betting on the most avant-garde sound, and ten years of tirelessly working to offer a different way of building a music event. Fanzine Fest has earned its place as an essential event, establishing the city of A Coruña as a reference point in club culture. To demonstrate this, it will celebrate its tenth edition from December 2 to 7 at the Casa de las Ciencias, Domus, Fundación Luis Seoane x Son Estrella Galicia, and Sala O Tunel.
For such a special anniversary, Fanzine Fest will feature international figures like Convextion, Tasha, Headless Horseman, Umwelt, and Ben Pest. An eclectic lineup that will present a heterogeneous and current vision of musical avant-garde, while not neglecting the local and Galician scene. This year’s lineup includes names like Death Whistle, Synth Alien, Baldo, Phasic 18, Cintia Martís, Boneco, Huma & Urok, EME-SX, Lefrenk, DJ Sith, Robot City, Aural Space, Roi, The Panic Room, and Fake Robotique.
The event will also feature pieces from the audiovisual projects section FPS-BPM, curated once again by Juan Lesta and Maria Nunez, along with open workshops for all audiences organized by Fundación Luis Seoane x Son Estrella Galicia.
Fanzine Fest will kick off its programming on...
At the Planetarium of the Casa de las Ciencias, the new AV live set by the galician duo Synth Alien & Baldo, specially prepared for the occasion, will mark the inaugural day. The activity will move to Domus, where a new edition of FPS-BPM will take place, featuring authors presenting their music videos and audiovisual creations.
At the Casa del Hombre, two very special concerts will be held: one featuring the Asturian artist Okkre, a significant reference in the national scene, who will debut a visual collaboration by The Panic Room. Okkre will present NOISEA, a piece inspired by the therapeutic impact of the noise frequencies generated by urban beaches on the residents of those cities.
The second act of the day will be performed by Death Whistle. The artist from Viveiro, on his fourth visit to Fanzine Fest, will present ‘Alter’: An alteration of time that sometimes traverses luminous spaces filled with air and spirituality, and at other times moves through dark, broken, and unsettling landscapes.
The “Fundación Luis Seoane x Son Estrella Galicia” will take the reins of the festival and will serve as the official venue for three days. During this time, there will be a series of DJ sets and live performances by artists from the local, national, and international scenes.
On the first day, the presence of the Basque artist Judy will be highlighted for the first time in Galicia, along with one of the essential names in the national Electro scene, the Madrid-based The Zenobit3. They will be joined by three representatives of the local scene: Lefrenk, Phasic 18, and EME-SX.
The second day will be a marathon, starting in the morning and concluding at midnight. The schedule includes workshops, talks, and 9 musical shows, 4 of which will feature Galician artists: Roi, Boneco, DJ Sith, and Robot City. A highlight of the day will be the presence of one of the leading figures in the scene in recent years: the French artist Umwelt, an experienced DJ and producer from the rave and underground techno scenes of the 90s.
The lineup for the day will be completed by the young Madrilenian Luska, the León-based Hüugen, the Londoner of Coruña origin Lex G, and the Colombian based in Galicia, WG83.
The third act will kick off in the morning with a lineup led by the live performance of British artist Ben Pest. Accompanying him will be the Portuguese duo Ruuar, the Málaga-based Raphlex, and representing the Galician scene will be Cintia Martís, Fake Robotique, and Aural Space.
On Saturday night, the festival will conclude with a grand finale at Sala O Tunel. The lineup highlights the presence of renowned American producer Convextion, along with Headless Horseman, who will visit Galicia for the first time, and British DJ Tasha.
But they won’t be the only highlights of the day. The lineup will also include Cantabrian artist Robert Cosmic, Andalusian act Irrational Languaje, the León-based duo JX2, and Galician artists Huma & Urok. The visuals will be provided by the Coruña-based Baldo and The Panic Room, along with León’s Mucrovisión.
Ertan Koculu and NP Project (RU) join forces to deliver an exhilarating remix of DJ NVMVSTE’s “This Is Special”, infused with the vibrant energy of Indie Dance. This remix reimagines the original, layering infectious grooves and shimmering synths that breathe new life into the track. With a captivating blend of melodic hooks and driving beats, it invites listeners to dance and revel in the moment. The duo expertly crafts an atmosphere that feels both nostalgic and fresh, making “This Is Special” a standout anthem for late-night adventures and sun-soaked gatherings alike. Dive into this dynamic remix and experience the magic as it transforms the familiar into something extraordinary!
With over 30 years in the industry and being a pillar of the Ibiza scene, how have you managed to stay relevant in a world where musical trends are constantly changing?
Honestly, by adapting to them while staying true to my sound. It’s important to stay in tune with new musical trends and adapt them to your own style. Music changes too fast, and you always have to stay on top of things!
Your ‘Pandora’ party has been a constant success at Lío Ibiza. What inspired you to create this concept, and what elements make it different from other experiences on the island?
It’s a party with a special atmosphere, where people have fun and dance all night with their hands up. That’s what makes Pandora special and something you don’t see in many clubs on the island.
You’ve mentioned in several interviews that you focus more on music than visual spectacle during your sets. How has the audience responded to this more intimate and minimalistic approach?
Very well! We create a connection between the DJ and the audience, making everything more authentic and allowing people to experience it in a special way. In the end, music reaches your heart, and that’s what we aim for.
Throughout your career, you’ve worked with some of the biggest names in electronic music. How have these collaborations influenced your artistic evolution?
I’ve learned a lot from all my professional collaborations. In the end, each of us has a different perspective, whether it’s in the
studio or during a DJ set. We all learn from each other. For me, it’s been a very gratifying evolution and learning experience.
I’ve been fortunate to work with Roger Sanchez, Carl Cox, George Morel, DJ Sneak, David Morales, Junior Sanchez, Paco Osuna, Alvaro Smart, Joeski... I’ve learned so much from all of them.
Ibiza has changed a lot since the “golden days.” What aspects of the current scene do you think are positive, and what do you miss from the more classic era of the island?
I think that today’s true clubbers are more informed about where to go to listen to a DJ. In the world of electronic music, there’s much more information now, which I think is positive.
What I miss the most is that people used to dance much more than they do now. The problem nowadays is called mobile phones and social media, which have destroyed dancing on the dance floor.
You currently lead the Pandora party with a 22-week residency. What challenges do you face in keeping the party fresh for such a long period?
First of all, having an incredible team behind everything is essential, and they make it all work. That’s important! We always keep the freshness alive because every Saturday is a new experience in every sense. The biggest challenge is ensuring that the audience enjoys themselves, and we know how to do that very well!
In addition to your residencies in Ibiza, you also have a radio show on Los40 Dance. How do you balance your time between live performances and curating music for the media?
Honestly, I set a work schedule for each week, and I take advantage of that time to get into my studio and work on the radio shows, productions, etc.
Technology has transformed electronic music in many ways. As a DJ who has experienced this evolution, how have you adapted your approach to new technological advances?
It’s quite simple, by adapting to them and doing research. Nowadays, it’s vital to stay updated with new technologies and then apply them to your work. You always have to evolve; otherwise, you’ll fall behind.
The pandemic brought significant challenges for live music. How did this period affect you, and how did you use it to strengthen your artistic approach?
This period was quite tough for the industry, especially here in the Balearic Islands, as we were the last to reopen nightlife.
Honestly, during the pandemic, I focused on studio work. I was lucky enough to do a few gigs in Dubai during that time, which helped me get by. But frankly, it was a shame that electronic music artists didn’t receive financial aid.
Still, we stayed strong and pushed through!
Looking ahead, what can we expect from DJ Oliver in terms of new releases or projects?
Honestly, I don’t focus too much on the future. I try to live day by day. Right now, I’m focused on my party, and once the season ends here in Ibiza, we’ll start doing several Pandora Ibiza tours.
Are there any particular musical directions or collaborations you are exploring?
After five years of hard work, we’ve created our brand, and now it’s time to launch Pandora Showcase and throw parties around Spain and Europe.
Sofía Cristo knew from a very young age that music would be her life and was determined to dedicate herself to it wholeheartedly.
In 1999, she began her journey as a DJ, spinning at the trendy clubs in the capital, such as Sala Arena, Sala Paladium, and Club Social.
Chameleonic and indomitable, Sofía connects with the audience as soon as she steps into the booth, turning an ordinary night into an unforgettable party.
This media-savvy and veteran DJ of the national scene, with over 20
years of experience, has managed to evolve musically in line with the times while staying true to her essence and setting aside stereotypes.
She has toured throughout Spain, playing at the most emblematic venues and nightclubs in each city, in addition to her summer concerts and participation in numerous festivals.
Currently, her musical style ranges between Remember and Commercial, although she remains connected to Electro House, Beatroom, and Future House.
What inspired you to start your career as a DJ, and what were your first steps in the music scene?
Music has always been my way of connecting with every stage of my life, with special moments.
From a very young age, I knew I wanted to dedicate myself to something related to music, but I didn’t know which profession.
I grew up and slowly started listening to electronic music with friends, following artists I liked. One of my best friends was a DJ and said to me, “Why don’t you try DJing?”
The first time I touched some vinyl, I felt like I was caressing the music, and that’s when my passion and obsession for DJing began, dedicating myself to it 100% at just 17 years old.
What does it mean to have performed in iconic clubs in Madrid, such as Sala Arena and Club Social?
Performing anywhere in Madrid, whether in the capital or other locations, is an honor and a pleasure because I feel very much like a Madrileña, and it’s my hometown. It has always been said that no one is a prophet in their own land, but the truth is that I feel very loved and respected in my city, both musically and among people in the industry. I consider myself very fortunate.
What challenges have you faced in staying relevant in the electronic music industry for over two decades?
I have faced several challenges on a musical level, including the handicap of being a woman and coming from the family I do. However, all of this has helped me work hard, fight, and show how far I’ve come. After 24 years of DJing, I have managed to be on a stage like Tomorrowland. Working under pressure in very difficult circumstances pushes me to work much harder, with more passion, enthusiasm, and tenacity.
Can you tell us more about your recent collaboration with Bjones on the “Everytime We Touch” cover by Cascada?
It has been an honor to have a new collaboration with Bjones on “Everytime We Touch” through her label Arryba Music.
We are doing a remix, a cover of Cascada that has marked both of our lives. It’s a song that everyone knows on dance floors, everyone sings it, dances to it, and it gives them goosebumps.
Additionally, working with Bea (Bjones) is an absolute delight because she has a very beautiful and delicate musical taste. From the very first moment, we
connected as if we had known each other for a lifetime. We were able to fit our ideas together and merge them to create such a beautiful piece of work. How do you select the tracks and remixes you decide to include in your sets?
The musical selection for my sets is very delicate, and it’s important to know very well what kind of crowd you are facing, to have a sense of the booth, and to truly understand what the promoter wants.
However, that doesn’t always mean it aligns with what the people want. I try to know in advance where I will be performing since I adapt musically to always make a good selection without losing my essence.
I think one of the things that characterizes me is that I work with a great team, and we do a lot of studio work. Therefore, when we make music selections, they are usually our original tracks or remixes we create in the studio with love, featuring the most prominent artists of the moment.
It’s always a matter of essence, musical taste, and making people dance. I usually come well-prepared, with a plan B for whatever might happen, but the best plan is always to bring your own studio sound.
What has your experience been like performing at major festivals and events like the ‘De Vuelta en Vuelta’ party in Vall d’Uixó?
DJing at any festival is extremely important to me, and I try to give it my all. If I get invited back, that’s even better. Right now, what excites me the most and where my focus is directed is Tomorrowland. I want to deliver a perfect set, make my country, Spain, extremely proud of me, and leave a mark in Belgium so that I can return. I plan to give it everything I’ve got and prepare something incredible.
What aspects of your DJ career have brought you the most personal and professional satisfaction?
I believe that, as an artist, the most important thing is to connect with the audience, to know what they need at all times. The greatest satisfaction for an artist is to see and feel that people go home happy, that it wasn’t just another night out. I try to make sure they remember that night for the music and the feelings it evoked while they were with friends, their partner, etc.
I also have the privilege of doing what I truly love. I’ve fulfilled my dream of working in something I’m passionate about, waking up every day and feeling lucky to have a job that fulfills me in every sense.
How do you prepare for your live performances, and what elements do you consider essential to offer an unforgettable experience to the audience?
To provide an unforgettable experience for the audience, you have to be very clear that you can’t just DJ for yourself; you have to DJ for them.
This motivates my inspiration for music and my team’s work because I not only have to play music I like but also seek and achieve a sound that I enjoy, without losing my essence. I shape it in the production studio to ensure that sound fits with those songs, allowing people to enjoy it.
What future projects do you have in mind to continue innovating and evolving in your musical career?
Our current projects are focused on Tomorrowland and especially on continuing to collaborate with important artists like Ladilla Rusa, as we have our track with them coming out soon, as well as IZAL, Mónica Naranjo, Marlena, and many more.
The basic project of my life is to never stop working, creating, and making music so that I can keep DJing and that festivals continue wanting me to participate! That’s my life project.
Dive into the enchanting world of Kimmy Baxter’s latest release, “The Jungle Of Dreams In My Head”. This Progressive House track seamlessly blends lush melodies with deep, pulsating rhythms, creating an immersive auditory experience. From the very first note, listeners are transported to a vibrant soundscape where ethereal synths intertwine with hypnotic basslines, evoking the feeling of wandering through a surreal jungle of sound. As the track unfolds, intricate layers build upon one another, drawing you deeper into a dreamlike state. The dynamic drops and uplifting crescendos keep the energy flowing, making it perfect for both the dance floor and introspective moments. Kimmy’s signature style shines through, balancing euphoric highs with reflective passages that resonate long after the last beat fades.
Get ready to lose yourself in “The Jungle Of Dreams In My Head”, where every listen is a new adventure in sound.
One of the sensations of the Portuguese scene and two emerging talents present an energetic and vibrant track on one of the most prominent labels in the hard techno world.
Ornella Luz is currently one of the best artists in the electronic music scene in Portugal. The Portuguese DJ and producer kicked off her career in 2019 and from there she hasn’t stopped rising. She describes herself as a ‘Hard Techno Dealer’, and where she feels most comfortable is with fast and aggressive beats, especially the schranz sound that is so present lately in the scene. Although, it is very versatile and handles well with all the rhythms that surround the hard techno we know today, proof of this is this track produced in neorave style.
Her last production “Rave Rage” is a track that maintains the essence of the artist at the level of intensity. Although, it is by no means a track that bets on a single sound. The combination with the Portuguese duo Dimension 9 and the capacity of going over boundaries of the artist give us a really complete production that fits perfectly with Rave Alert sound.
Beginning and ending with the same beat, accelerated and linear, a kick with an acid touch. As soon as the beat starts other kicks of other kinds are added as well as different types of vocals. In this way, in the first minute of the track have already appeared a bass, synthesizers and metallic beats that converge in the first drop. A drop that is not recreated much since, the accelerated rhythm ends hiddin it just when it is at the highest point. The track is still fast but, in the middle it changes influences.
The heaviest hard techno is replaced by a neorave sound with touches even of psy that come together again in the same drop but with a different previous construction. Finally, a quiet oriental vocal gives way to the kick we heard at the beginning for the track to die abruptly.
Undoubtedly, “Rage Rave” by Ornella with Dimension 9, is a sensory journey through hard and psy techno and is perfect to mix at the beginning of energetic sessions or to close other more melodic ones.
Regarding Ornella as a prodecer we could talk about ‘Anurb’, ‘Wrong reality’ o ‘Airplane Mode’ . Tracks that have been support by the biggest artist of the scene such as I Hate Models, Charlie Sparks, Le Ann Roberts o Farrago in venues like Monegros, TerminalVFest o Gotec Club. Moreover, we have her biggest hit. ‘C U in Hell’ a track published Vermillontrax, Farrago´s label and which has been heard at Exhale events as well as in Tomorrowland.
