A Sit Down With DJ Underworld


It’s been 20 years since the future that legendary electronic group Underworld faced was shining its brightest. The long journey of Karl Hyde and Rick Smith began in the early ’80s, with the pair achieving minor success in the new-wave band Freur. Then, with a pared-down lineup and a new name, the duo went on to have an abortive late-’80s run playing synth-rock as Underworld.


 "I knew if I tried drugs they’d take me so far over the edge I might never be able to come back."


Did you guys get into the club culture at all, or did you feel like you were already misplaced from it by the time you got there?

Well, when we were making that second record, we went to see Adrian Sherwood. And it blew us away, mostly because of what Adrian did with the sound system… you know, turning off the highs and the mids and the lows, and kind of playing with the sound. He was using the sound system like an instrument. Shortly after that, we were taken to our first rave, and that completely sealed it for us. Because there we were seeing an audience that wasn’t looking at the stage. There were no lights on the DJ, none at all, they were all on the audience. The audience was the main act. And then in other rooms, there were bumper-car rides, and different videos being played… it was like the ultimate Pink Floyd gig. And it just felt like we were completely on one side of it. I wanted to be part of it.

What songs are you excited to play live?

All of them. I really am because they all pose very interesting questions, they all demand very different headspaces. So going out and playing any track from this record is going to be a challenge and it’s going to be a challenge in terms of playing in a different headspace and I like that.

Since the band is quite a bit different now, did you consider changing the name?

Yeah, a few people said that, but we couldn’t think why. Because there was nothing wrong with the name and we certainly weren’t ashamed of our past. There’s no reason to disassociate ourselves from the work that we’d done. Besides that, logically there were a lot of people what knew about us and we’d spent a long time communicating with them. So it seemed logical to keep the name.

Do you have an idea of where this new sound of Underworld fits into the electronic dance music world or you don’t care?

No, I don’t think about it because that’s baggage to think about that. What was very prevalent in Underworld’s mentality in those early days, dubnobass and Second Toughest, whenever somebody put a label on us we moved somewhere else and that felt right. Then we made “Born Slippy” and a lot of people said, “All you need to do now is write a bunch more ‘Born Slippy’s’ and you’ll be made for life.” And we just kind of looked at them and went, “We’re just going to do something else if you don’t mind.” What we have is a journey into the unknown, I have no idea where this is going and that is what makes me want to be in Underworld.

What was the story with your live painting?

Well, the guy who helped me put it together was John Warwicker from Tomato. Rick and I have worked with him over the past 30 years.

What's your new label and what's the idea behind that?

I started a project that wasn't techno, it was more my 'whatever goes' side. It's a band called The White Lamp, which is me and vocalist Pete Josef. The first track came out on Futureboogie and I didn't put my name to it. We've hit nearly 2 million YouTube hits now, including the Ron Basejam remix. Our second release was on Sonar Kollektiv and again nobody knew it was us. I just wanted to put some stuff out without my name and see how it went and it did really well. Our third release came out on Hotflush, Scuba's label. We put it out on some really cool labels to do the groundwork, get the name out there, but the fourth single, which is ready to go, is going to be on a White Lamp label. We have a release early in 2017, Ron Basejam's done a mix for it again and Maxxi Soundsystem.

In concert, you always have a video camera with which you project the audience onto the stage. What happens with that video? Do you save it? I heard you’re having a contest where fans can submit clips that could be played in their cities.

We’re still talking about how it. I didn’t know that information was out. So, well done! I like being pushed. Are you living in my garden shed? Yes, we’re planning on using fan-made videos during the show. We’ve been putting some backstage footage online as well, everything from audience shots to some obscure stuff, which we wonder about putting out. Occasionally, you get an exhibitionist, so you have to cut away. Unless it’s an exhibitionist the audience wants to see more of.

Do you listen to music when making art?

No, I can’t. It would distract me. I listen to talk and sports radio a lot instead.

A Sit Down With DJ Little Louie Vega


A godfather of global dance music, Louie Vega has painted an award-winning career from a palette mixed with everything from salsa and afro-beat to jazz, hip-hop and soul. What distinguishes the Grammy winner and 4-time nominee as one of the best living house music deejays is his ability to evolve alongside the times, distill the current musical landscape through his unique taste and put his own timeless spin on it.


"Dedicated is what we are. The people do this to us – all over the world there are many who seek this music and come to get enlightened through the DJ."


About your Djing… What trax have been tearing it up for you in club-land?

Two tracks tearing up on the dancefloor are:

1) “Ain’t That Funkin’ Kinda Hard On You” (Louie Vega Remix) 
2) “Dance” (Dance Ritual Mix) 3 Winans Brothers & The Clark Sisters 
see I play lots of music as well not released for a few months. These are coming out in April and may 2015 look out for them, they are monster songs / tracks.

Could you describe your creative process on the basis of a piece or album that's particularly dear to you, please? Where do ideas come from, what do you start with and how do you go about shaping these ideas?

When I work on an album I usually start with tracks I’ve created to give it a base, a cluster of grooves. I then start working with lyricists to get the first few songs. then I choose the artist. Sometimes the artist is already on board and I may have something in mind for them, or I will speak to them and see what they want to talk about. If I’m working with another lyricist I will convey that to the lyricist along with my ideas. Or in some cases the artist writes lyrics so it can work that that way as well. I’ll come with a track and hand over to the artist then they will either feel the track or may want more and I will go back in and add more to compliment what the artist wanted, then they will start with lyrics. I will check the first phase of lyrics starting with the title. It has to hit me regarding the title, then if we are good move on and let's get the lyrics in place. I may have melody on a piano, or Rhodes already which guides the lyricist to follow my melody, or the lyricist / artist may have a melody already then I will compliment it later in my production. That’s just a few of many ways it can come about.

Where do you continue to seek musical inspiration?

My inspiration comes from many places all over the world, especially in New York. It can be a performance from an artist, my record collection, a night at Roots, even hanging out with family and friends. My mind is always moving with many musical ideas and collaborations that come to mind.

Tell us about your studio, please. What were criteria when setting it up and how does this environment influence the creative process? How important, relatively speaking, are factors like mood, ergonomics, haptics and technology for you?

My studio is called Daddy’s Workshop, in New Yersey. It is located in the lower part of my home.
Love working there, the mood is magic, there are lots of vinyl records everywhere in cubes, and there are pictures of many I’ve worked with over the years. There is a DJ set-up on one side of the room, which resembles that of one of the NYC super clubs back in the day, and there is a studio set-up on the other side. They are face to face with each other. from the scent of the room to the lighting the mood is just perfect for making music, and when anyone comes over, the feeling is just right for them to perform at best. Everyone who has been there loves it and magical recording sessions have happened for over 10 years.

If we could go back to one record in your history and relive that process which would it be?

The Nuyorican Soul project. Especially the photoshoot for the album. Everyone was in a New York restaurant, hanging out just having fun, getting to know one another since at sessions we mostly worked with the icons separately. All the artists on the Nuyorican Soul project in the same room, photographer Dah Len working his magic to create those historical pictures – it summed up what Kenny and I loved to do: bring together lots of talent, get the best out of them and create art! That’s when we realised what we had done: not just made a monumental album, but unified musical forces. I’m proud to say I’ve achieved that with ‘Starring... XXVIII’ too.

Tell us about Vega Records. What artists are you currently producing and are excited about?

Vega Records is developing nicely. We have a new album out now by Luisito Quintero titled Percussion Maddness. Anane just finished recording her new album Selections with her new single “Walking on Thin Ice” released next month. And Mr. V’s new album Welcome Home will be released this fall, which we licensed to Defected Records. His first single will be “Da Bump”. A video is being produced as we speak. Singles from all artists above will be released this coming fall and winter.

Have you been touring more than usual?

With the DJing thing being so huge now, I’m playing a lot in so many places. But it’s very important to get inspiration from all these different energies you get in different countries. This album is very multicultural—African, Latin, jazz and soul—and it’s wonderful to travel to all these places, because it feeds into the music.

You're still a very busy man.

Yes, I do DJ. I do a lot of DJ gigs and I also have a band. It's called E.O.L. Soulfrito and I have a bigger band called Elements of Life. With E.O.L. Soulfrito, we actually just came back from Cuba. We played at the jazz festival on January 18 in a beautiful theater, and it was for the Two Beats, One Soul project. It's a new project, an album that I'm on and a documentary that's coming out by Vivian Chew and Ray Chew. A lot of great artists are on this project; there's Eric Benét, Sergio George, Jean Rodriguez, Jon B., all the Cuban musicians... I ended up doing four songs. So we went out to Cuba to perform the songs. They asked me to come in and produce two songs, and a few weeks ago we just went out and performed in this beautiful theater called Teatro Mella. You know, I got to see the whole scene in Cuba, it was amazing. I played in a club called F.A.C. — Fábrica del Arte Cubano — wow, it was really wonderful. I had a great time. I think we might be touring that project in the U.S.

A Sit Down With DJ Butch


His musical influences came from his brother, when he used to record techno mixes from the radio as he was out partying all night long. He absorbed every influence that entered his ear. If there would be one word how to describe Butch, it would indeed be ‘diverse’. ‘Techno heads love him, house heads love him, as well as the deep and dirty and the light & bright. Few artists flow through genres and emotional landscapes with such ease and fluidity as Bulent, challenging preconceptions of the dance-floor and the expected outcome in the process.


"I work every day of the week and I think this continuity has worked very well for me."


How would you explain the rapidity of your success at the beginning of your career? Indeed, since your first track there was a buzz around you. You tracks could be found in the playlists of prominent names such as Richie Hawtin, Dubfire, Villalobos, Luciano and many others.

That´s not easy to answer…I think I had the luck to meet the right people at the right time that supported me during years and I was always working really hard in the studio. I´m still doing that…there are weeks when i´m in the studio until deep in the night for 5 days in a row. Apart from that i´m always trying to produce music that works on the dancefloor but without being too obvious and DJs appreciate that.

You dove into dance music when you were a teen and haven’t swam out of it for over 20 years already. Have you ever thought, what would you be in a parallel world if you hadn’t got that record player when you were 12?

In a parallel universe I am now in prison and in another parallel universe I am a visual artist of some sort, maybe a painter or making videos.

You’ve had a phenomenal amount of releases since 2007 and now you’re back with a new EP “The Persistence of Memory.” With such an impressive back catalogue, where do you continue to find inspiration for what you create? And with such an obvious wealth of ideas, how do you manage the issue of quality verses quantity? 

To be honest, I’m thinking all the time about music and I can’t switch off. It’s a good thing but it’s also a problem. It’s bad for your social life because I’m pretty focused. I have produced a large quantity of music, and I do a lot of music, but I’m not fast. I spend so much time in the studio. I wake up at 7 a.m., I’m in there by 9 a.m., and I don’t leave again till seven at night. I can make a track in one week minimum, and sometimes it takes up to three. Quantity comes from a lot of work and focus, some people can do a track in two hours, but I can’t.

How would you describe your influences and how have they changed over the years?

Musically, we were influenced very early by different Genres from hip hop to rock. The fact that we also produce our own music in addition to the DJing, each set is unmistakable and many songs get put a new stamp on. The Main product of us are Mashups, which we always create for our Yearmixes and Promomixes, own songs and remixes. The reason for that is because we love EDM tracks with hard drops but at the same moment we want the crowd to identify with the song and want them to sing with it. Due to that that we mix a well-known charthit with a banging EDM drop. So the people can sing, identify with it and at the drop totally go crazy. Sometimes we also use 90s tracks to call some nostalgic feelings.

After many years and a honorable career you certainly noticed some changes in the electronic music scene, like fashions and transition phases. Where do you think we are now, musically and artistically speaking? Do you like the modern scene? Pick a past decade when you would like to be DJing.

I wish I could DJ a Soul Train episode of the 70s, that would be fucking awesome! There are so many parallel trends happening right now, I can find 1000 things I dislike about music nowadays and 1000 things that I love right now.

With reference to your release schedule over the past five years, on average how many hours a week would you spend on production in your studio?  Do you get the opportunity to practice your Dj’ing, or does production always take precedence?

I started Dj’ing when I was 12 and practiced nearly every day until I was 18.  I was into Turntablizm then, which really takes loads of practice.  I actually took part in and also won many Turntablizm competitions.  I actually stumbled over this old video from 2004, where I’m scratching my arse off so to speak.  You can check it out on YouTube, actually below.  Behind the turntables I really feel at home, just really like riding a bike for me, but I don’t do in my spare time.  I don’t have any turntables at home anymore, they’re in the studio/office now.  I buy new songs and play them for the first time at the weekend.  I like it like that.  Often I get to hear things in the songs that way for the first time just as the club-goer does, and it gets us on the same wave-length, cos I’m just as excited to hear what’s coming up as they are.  I honestly think I’m a better DJ than producer, because that’s not only where I come from, but also what I produce for. But producing definitely takes up my tour-free time.

Any particular artist or style that created your obsession within electronic music?

I couldn’t name a specific artist, there are too many to single one or two out. All music influences me but I guess the music from Wildstyle and Beat Street sets the underlying tone. This is where Hip Hop and Electronic Music are still one, where dance music has a real edge and a  mean beat and is about skills and danceability. Still, as I say, I really love all kinds of music!

You are being referred to as one of the most versatile producers in electronic music. What makes you desire exploring diverse genres in electronic music?

Genre names are only that: names. I don’t go about making friends depending on their names. I have friends called Yusuf, Sebastian, Ho, Carmen, Seth, Rimah, Thomas, because I don’t care about the name, but about the person. The same goes for the music. I don’t like a song because it is House music. I like many songs, which can be placed in the genre of House music. That doesn’t mean I might not also like a song, which people categorize as Experimental Glitch Techno, whatever that may be. I don’t care what that means, I care about the feeling I get, when I hear the song. That’s how I work on my music as well. I don’t think: I want to make a Techno tune. I just make a tune. It’s other people’s job to call it Techno, my job is just to make what I make.

A Sit Down With DJ Josh Wink


Josh Wink is one of the pioneering DJs in the American rave scene during the early 1990s. He played records all over the world, but as his career has progressed, he has stayed true to his roots, never selling out and always maintaining his integrity, always coming home to his beloved Philadelphia.



"For a DJ set I really need to get the feeling and vibe of the crowd. This helps clear my mind and get focused on the moment. I don’t really prepare for shows, I love the spontaneous flow of creative ideas and energy as I do my thing."



Having been involved with music for so long, how does it feel to still be around and still relevant after two decades?

I am happy and blessed to be doing what I loved then, today, and still have the passion for what I do now. Both as an artist, DJ and record label guy. It feels great to have made music 20 years ago that people are still playing, and to compose music now, which people are currently playing!

How much does DJing inform your production? Like do you take tracks on the road with you and feedback the response they get in the club to their final forms?

When I make dance-music It’s KEY for me to be able to ‘Test” out the tracks on a dancefloor and get ideas of how people react to the music. Then I go back in the studio and tweak away from these ideas. I record all my sets, so I listen to what I do live and then put these live, spontaneous ideas into the final product.

Is there a way that you feel your style, or the way that you go about producing music, has really changed over the past 20+ years?

I’m one to be able to kind of control what I do. I mean, controlling my destiny rather than hearing others and having them influence the way I sound. A colleague of mine, from the UK actually, was with me at the opening of a club. There’s a club in Ibiza called ‘Space’, and ‘Space’ opened up a nightclub in Brazil and I was part of the opening party there two years ago with ‘Carl Cox’ and myself, ‘Mark Knight’, and ‘Yousef’, and ‘Nic Fanciulli’, and a bunch of other people. And, a couple of people were listening to me DJ, and this is at the time when a track of mine wasn’t out yet, it was called ‘Balls’, which was released two years ago, and he came up to me and said, “What is this track? I’ve been listening to you DJ the whole night and this is the only one that I want to know what it is. I don’t know what it is but I have a feeling it’s you”. I said, “It is me, how can you tell?” He said, “Well you have a sound when you produce music. Whether it’s House or Techno, it’s some organic ‘Josh Wink’ sound, I can’t explain it, but I know it’s you”. 

How would you describe your style from when you started out and how it’s progressed over the years?

It’s kind of stay true to the integrity for what got me into this music, which is based on: Chicago, Acid House and Detroit-Style Techno. It changed very much as progress in terms of the benefits of having better electronics in my studio and the production and the engineering. It’s (pretty much) stayed true, I don’t find myself feeling the need to be caught up in trends or whatever’s popular and I just “stick to my guns”. That make’s me happy and I can live with myself… it’s a very important thing and I haven’t felt that I have strayed because I only wanted bookings or something like that. In terms of DJ’ing and also making music as well.

What do you personally consider to be the incisive moments in your artistic career?

Meeting the person described above. If I didn’t meet him, I wouldn’t be doing this interview with you now. Biggest moment. Hearing acid house music from Chicago in 1986. Meeting King Britt in 1988 when production & friendship started.

How have you managed to maintain your own release schedule and run a label since 1990?

It's hard! I'm not as prolific as I want to be. As I'd like to be in the studio more- making music. But, it's important to balance the travel and the production. I look forward to getting in the lab and making more! I love what I do! I love being creative in the studio and I desire more! But it's work to keep the balance and notice the importance of both travel, production and label releases! I have a Matty B, a great person, who makes things possible for me to travel, while he manages and runs the label!

You are from the generation that coincided with the rave explosion. What was it like in Philadelphia during the 90s?

Innocent! That`s what I can say! As most cities in the USA. It was a great time for music and culture. Racially mixed, age mixed. In clubs, and in any venue you could find and use. It was a great time.

Do you have a preference for playing more intimate club shows or this grand scale events?

I like them all. But I prefer more intimate settings like ‘Fluid’. I appreciate what I do and I appreciate the purpose for what each one does. I know what to do at the big events and I know what to do at the small events but I’ve always been a more personal guy. You know ‘Fluid’ used to be a club called ‘Zero’ and I was associated with that place since 1990. It’s pretty amazing, when I used to do my night there, I had Richie  there, I had Carl [Cox] there, I had ‘Adam Beyer’ there, I had ‘Loco Dice’ there, I had ‘Marco Carola’ there. I mean all of my friends just kind of came through, the list goes on and on. You get 130 people in there and it’s just jam packed and we’d charge $12 at the door. People would come up just thanking me and saying “how amazing” and “how did you work this out?”. There’s something unique about it. 

Your most recent single is called 'Resist'. In a socio/politico sense, just what do you think we should be resisting?

The resist movement, in terms of our cultural development as human beings, has always been around. We've been resisting as a human culture for years and years and years. It's gotten to a point now where it's just a peaceful way to express your political views, when the organisation who's running the political scheme is not doing something you like. So, you use your inalienable rights to peacefully protest and resist what may be happening rather than just taking the teaspoon of sugar with the medicine just to make it go down, become complacent, “things are just the way they are, I can't do anything about it”. So, I think it's important.

A Sit Down With DJ Dinka


The queen of Progressive House; the pioneer of ­summery beach anthems; a multi talent on the modern dance ­music horizon.
"Tamara Hunkeler", known as "Dinka", has a love for the uplifting side of EDM. Tamara brought a breath of fresh air into the house music scene and quickly gained a fan base for her music all around the globe.


"I always attempt to create a musical journey for every listener, and therefore melodies are the most efficient message to join forces and bring out the most touchy songs to the people!"


You were born in Switzerland." It is really a beautiful country where many artists were born and grew up. Do you think if you were born somewhere else - would you be making music?

Of course, my homeland is very inspiring to me - I think you already know how beautiful nature is here. However, I believe that each of us finds our own way, analyzing the opportunities that are open to us. If I were born in another country - maybe I would not have the choice that introduced me in Switzerland, and it may very well be that I would find myself in something else. Who knows…

The name ‘Dinka’, is related to the African culture, coming from the name of an African tribal group in Southern Sudan. How did you come across the name and why did you decide to keep your stage name that?

I’ve been amazed by their story of fighting for their culture. And it seemed to be the right start to connect continents. I want people to be aware of everything happening on this planet. And on a second level to accept and share similarities rather than go crazy about differences.

Tell me about Helvetic Nerds? 

Helvetic Nerds is a DJ group from Switzerland, Helvetic takes the name from Helvetika, and we consider ourselves nerd, be the word Helvetic Nerds. Our members include Chriss Reece, Daniel Portman, Leventia, Passenger10 etc. We often gather and make songs together. 

Your creativity is concentrated mainly around the style of progressive house, your music is very melodic and multifaceted. Have you tried yourself in other styles, or is progressive house the love of your whole life?

When I was younger, I listened mostly to trance. But in general, I like completely different music, but progressive house stands out clearly among all genres and directions.

The EDM scene in India has been growing at a immense pace, are you looking to collaborate with any Indian artists in the future?

I’m always interested in international collaborations you know. I’m working on a project with an Irish singer at the time, but as I mentioned maybe there will be an opportunity in the future.

You have close to 26,000 fans on ­Facebook now and about 5,000 on Twitter. How important do you think social media is for upcoming producers and artists? Does a DJ getting booked for shows depend on the popularity gained through social media?

Yes and yes, it is important.
What`s on your mind as you`re looking onto a huge crowd down to your original tracks?

When I’m looking at a crowd, I think of all the sleepless nights I had to actually get this far, and how these are the moments that make it all worthwhile.

Some of your works include live instrumental parts, for example, in the track "On the Beach" there is a chic guitar solo. Is it really a record of live sound, or is it a masterpiece of sound engineering?

I always use live instruments, because no synthesizer is able to convey the atmosphere and sensuality that is inherent in the sound of the same piano or guitar. If you do not put your soul into the music, creating it in the studio, then the listener is unlikely to "hook" it.

You have traveled much throughout your career, and still do today. What has been your most inspirational trip and why?

Definitely Japan. It was and still is my favorite Asian country. The way people handle life regarding treating each other, regarding handling every day business is impressive and inspiring.

A Sit Down With DJ Flying Lotus


Writing about Flying Lotus for XLR8R's readership is like introducing the Pope to a Catholic church—everyone already knows just about anything that could be said on the guy's behalf, and they would much rather see what he has to say, anyway.


"When I’m making music I really want to create a mood. When I make albums, sometimes it’s not necessarily about the sound."


How did you come up with the name Flying Lotus?

It comes from lucid dreaming. When I know I’m dreaming, the first thing I want to do is go flying around. If I were a superhero, that’s the only power I’d want. I’d just want to be able to see the world from that different point of view. It gets deeper as we go, but fuck it. That’s a story for another time.

You are the grand nephew of Alice Coltrane, a great jazz composer and wife of jazz legend John Coltrane. Do you think growing up with that kind of pedigree helped shape your creative endeavors? Have you always known you’d be deeply involved with music?

It had a big effect on me. If anything, I just knew you can do anything. If you pursued art in a way that was genuine, passionate, and you really pushed it, you could make something. I have examples of that in my family. That holds people back a lot of times. They don’t have examples to go by. So it seems way less tangible and more of a dream that you can make it in art. But, if you have these people around you, I think it becomes a little bit more of a reality.

What were your first live shows like—were you playing in places that had Top 40 DJs on other nights, or rock clubs?

I started out playing underground parties, illegal parties, and eventually I started getting into some decent clubs, and from those clubs came festivals, and so forth.

You’ve worked with some amazing artists. George Clinton, Thom Yorke, Kendrick Lamar, etc. You even worked on a song with Michael McDonald for Thundercat’s latest album Drunk. Are there any artists you really wish you could do songs with even if they are not in the same genre, per se, as you?

I really would love to do a track with Beyoncé. I don’t know how it would sound. She invited me over before Lemonade came out. She played me the album just as it is now. I was hoping it wasn’t done yet.

Tell us what you remember about the earliest tracks you made.

They were really inspired by Dr. Dre, like West Coast-sounding, dark hip-hop with minor chords and shit.

Do you usually work that way with directors?

It all depends on who you’re dealing with. I think, with some people, you have to trust them. The reason why you choose the people is because you trust them. So, I think that, to some degree, I want to step away from the shit, but at the same time, I want them to know what it means to me.

What made you want to start working with rappers again?

Phases, man. New people. It's so inspiring hearing all these new sounds and seeing all these new people pop up from around the world who are really dope. There are these people who were in the crowd when I started and now they're on stage. Years ago you only had guys like Kanye and Jay-Z and it was like, "What could they possibly tell me?" And, "How can we relate anymore?" That’s not inspiring to me. But now it feels right again.

Why should people seek out your music?

I think I’m bridging a gap. I bring elements of both ambient and hip-hop in my sound. I’m trying to merge these worlds, because they’re not different. It’s all bass music to me.

What's the hardest part of starting a new record?

Having a theme—knowing what to say, what needs to be said from you at that time and place and space and where the industry is at, music is at, my interests are at. Just getting your head wrapped around that, and then being able to say, "Okay, you know what, this is where I want to go."

Who are you listening to in particular that's inspired you?

Jeremiah Jae. I've been familiar with his music for some time now and he moved from Chicago to L.A. and having him here has been motivating and inspiring. Whenever I think about not doing anything, we meet up and he’s working on like a million things. His presence is motivating.

A Sit Down With DJ Scndl


Coming from down under, SCNDL are conquering the world with their energetic beats.  As part of the Melbourne Bounce revolution, the duo of Tom Grant and Adam Amuso brings unique elements such as trap, dubstep, and melodic breaks to the ubiquitous bassline.   Their string of massive remixes (Flo Rida, MAKJ, TJR, TI) and collaborations bang dancefloors around the world.


"The actual elements in our tracks aren’t really reliant on any one genre for inspiration we love a lot of different genres and try to incorporate as many into our tracks as possible – hence the Dubstep and other obscure influences you may hear in them."


You are one of the most renowned figures of the up-and-coming Melbourne Bounce sound, signed on Ministry Of Sound Australia and ranked #11 at the inthemix Australia Top 50 of 2015. How did each of you get in touch with electronic dance music in the first place, how did you get into DJing and music production, how did you meet and what made you team up?

We both listened to a lot of Hardstyle when we were younger and that was probably our first experience with dance music, we fell in love with it then and it’s been a journey ever since! We met at an after party, we were both DJing separately, got drunk and decided we’d give writing music together a crack, so we spent countless hours watching YouTube tutorials on music production and I guess the rest is history!

What is the story behind alias and how did you two meet each other?

We met at an after party about two and a half years ago, got drunk together and the rest is history. I wish I could tell you some fancy story behind the name but to be honest we just thought the word "scandal" sounded cool and decided to take out the vowels. Vowels are pretty mainstream. 

Where do you see the music going in Australia and as you tour?

I think the way that the music industry is at the moment is that everything is kind of joined together. Dubstep is kind of coming back now with a bit more happy vibe and bounce has moved from very minimal roots with just a baseline and a couple synths to now incorporating elements of EDM and Dubstep. I think that the music is going to keep adding little influences from this and that. I don’t think there are really any rules of where it is going to go and it is going to keep going the way it has. It has changed so much since we started doing bounce and really everything has pretty much changed since we started doing this.

You play and produce Electro House & Melbourne Bounce. How would you describe your own music in just a few words?

High energy dance music! We love incorporating as many influences from other genre’s as we can, we focus heavily on the melodic elements and we write the music we love!

What is each other’s most annoying habit whilst on tour?

We’ve never been away for this long together so I guess you’ll have to check back with us in a month! Haha I’m sure we’ll have a few more habits to criticize then.

What were the best and the worst gigs you ever played and what were the funniest things ever occurred during any of your performances?

We’ve definitely had our fair share of both of these haha! We once had this show in the middle of the Australian desert, when we landed there was nothing for MILES… The gig was more like a hall birthday party than a club haha. On the flipside of that, we played to 10,000 people in Canada a few months ago across 2 massive festivals! That was one of the most unreal experiences we’ve ever had, the love they had for our music was very humbling!

If you could collaborate with anyone who would it be and why?

Showtek for SURE! They're the best in the business in our eyes and they have really shaped our sound and our drive in this industry. 

Another tune that is getting the EDM community wetting themselves at the moment is your Remix of TJR & Vinai ‘Bounce Generation’. Martin Garrix and W&W are all over it, the tune is out on Spinnin next week, talk us through your approach to this mix…

We definitely approached this remix with the intent to put our own spin on it, and because the original is SUCH a great record we needed to find what it was missing, so we started with a new breakdown and from there everything just worked…we’re so proud of the mix and humbled Spinnin are releasing it!

If you could go back and talk to yourself when you were 18 years old what advice would you give yourself?

Go to the after party and meet Adam. Just do exactly what you are doing right now and everything is alright, you aren’t doing too bad don’t be too hard on yourself.

A Sit Down With DJ Bjorn Akesson


His remixes are in high demand by top DJs ranging from W&W, Darren Tate and RAM to Orjan Nilsen. All his releases have been widely supported by all the top DJ’s including Armin van Buuren, Andy Moor, Tiesto and Markus Schulz and featured heavily on all their CD compilations, over 50 to date.


 "It’s important to be a role model as a DJ when many people look up to you. Living a healthy life is something I will always stand for."

Have you attended music school to learn how to produce, or are you totally self-taught?

Completely self-taught, although I’ve learned a lot by speaking to other producers online. This has been mostly from the technical aspect; I don’t know anything about music theory or chords etc. I just feel them.

Is there too much envy in the DJ scene?

There is, but at a certain level I think it’s good. In many cases it results in DJ/producers working even harder to reach new heights.

What/who does inspire you when you make your own music?

Inspiration is everywhere, all around us, wether it’s an emotional experience, an amazing view or a person. Not really sure where it comes from in the end.  Other than that I take my inspiration from all genres and types of music there is. If you listen to the same type of tracks all the time it will be harder for you as a musicmaker to get fresh ideas and create something different.
Can you describe your actual studio set up at the moment? Your favourite piece of hardware & software?

Just using software at the moment, Cubase 7 with a lot of plugins. I love working with Sylenth1 and V-Station amongst others. And of course, I have a pair of studio monitors plus a midi controller.

Who’s your favorite up and coming artist?

Nhato, he’s a hidden gem and I’m not sure why he hasn’t broken through yet.

What’s the worst thing that ever happened surrounding one of your gigs?

The occasional misspressed button, making the track start from the very beginning in the middle of a track.

Is there a song of yours which your particularly love more than the others and why?

That’s really hard to say to be honest as they are all different and special in their own way.
However one of my favourite is Robot Religion, a track that not many of the big DJ’s played but has been a huge hit in my own DJ sets and for my fans.
Can you remember the most unusual track that you dropped in your set and the crowd was caught by surprise but they liked it very much? Do you like to surprise your crowd, or do you prefer to go the tried and trusted way?

I always want to surprise the crowd, and if I can play something totally unexpected I will. I’ve dropped dubstep and drum n' bass tracks a few times, sometimes it works very well, sometimes not so well. It’s just one track in a set though, so I don’t see the harm in doing that.

You make some of the most innovative trance tracks out there today, how do you keep creating new ideas and avoiding that mainstream “pop” sound that’s so prevalent?

Thank you! Well I wouldn’t mind if it sounded like mainstream “pop” as long as I like it, believe in it and isn’t a copy of something else. I always try to make my own thing and really avoid to copy something else because that is not really inspiring. So to answer the question directly, I don’t intend to keep it to sound in a certain way, the track builds itself and develops naturally.

And if you had one piece of advice for any artist trying to make it, what would you tell them?

Be yourself, create your own sound, don’t go a direction you don’t feel. Work hard and don’t give up. It’s a very tough industry and the competition is fierce. It’s unfair and you don’t always get the treatment you deserve, but if you really believe in yourself then you will make it!

A Sit Down With DJ Icona Pop


As far as pop music is concerned, Sweden has been, and always will be, the land of danceable tunes. And while our parents had Abba, in all their majestic, pop-rock-cum-disco glory, us millennials have been blessed with the infectious, synth-pop offerings of Icona Pop. The Swedish duo, comprised of Caroline Hjelt and Aino Jawo, first got us grooving with their rapturous breakout hit, "I Love It" back in 2012, and since then they've hardly pressed pause.


"Every time we create something, we just keep it in our little Icona Pop bubble. We make decisions that we are proud of and create the music that we feel like. We would never put out a song that we were not super proud of."


Your latest single "First Time," was the first song you guys wrote together. How did you go about about reprising it?

We always wanted to show it people. So we took it into the studio and did a rework that reflects where we are now in our lives.There's a little sadness to it as well because it's remembering how it used to be. But things change, and things go forward. Instead of being sad, let's relive it in our memories. Let's make new first times now that we're a little bit more mature than the first time we got drunk. Hopefully we are.

Can you recall the first time you heard one of your songs on American radio?

We were driving down the strip. We had a show there and this promoter was like, “I heard your song on this Sirius Radio station.” And he put it on and it was our song. We were like, “Oh my god, it’s really happening!”

Who are your musical influences?

We listen to kind of everything from reggae and classical music to pop music. I think we're more about sounds rather than just listening to the certain artists. We were very inspired by Prince from the beginning and then Chemical Brothers, The Knife, Patti Smith, Rihana and Beyonce. Then we have the very good stuff from the '90s, the one-hit wonders. They have a very special place in our hearts. It's hard to say one artist or one song but yeah, I think it's very spread.
Which women in musician inspire you?

All the of female bands,, so the Spice Girls were a huge influence, but we love PJ Harvey, Patti Smith, Tina Turner, Beyoncé, Rihanna, and Robyn. There are so many women who we are so proud of.

Where was your favourite gig and why?

Tricky so many good ones. But we’ll never forget the gig we had at Roskilde Festival this summer. It was magic.

Y’all gig so much, at the end of the night which hurts more – your ears from the sound or eyes from all the cameras and flashes?

Definitely our ears, we can just wear shades for all the flashes.

What do you wear on stage?

It depends, our last tour outfits were made by an amazing designer called ann Anne Sofie Madsen. We felt like pop warriors.

Definitely, you look sickening. If you could go back to when you were 18 years old which was just two years ago I guess, what advice would you give yourself?

I would definitely tell myself not to be so harsh on myself. At that age you want to do so much and you don’t know anything and you just try to fit in and understand. I would say that things will be okay.

Have you experimented with sounds other than club synths for the album?

From the beginning, we've always been club kids - we love dancing. We love the whole club scene. But of course it won't be 15 tracks all like 'I Love It'. I promise you. It will be kind of a spread album with some slower songs and some totally different rhythms. Although we are two girls that love to dance, we also go through a lot of other stuff and emotions as well.

A Sit Down With DJ Groove Armada


From their roots in raw house music and 90s raves, there's little that Groove Armada haven't turned their hand to over the course of their two decade career. Aside from their own instantly recognisable productions, Cato and Findlay have clocked up a famed Late Night Tales compilation; played a key part in establishing one of London’s biggest music festivals, Lovebox; played iconic live shows at some of the world's best venues, and released eight studio albums which collectively have sold millions of copies and garnered both Grammy and Brit nominations.


"I always find it hard getting on conceptually with self-indulgent DJs. The role of the DJ is to entertain, first and foremost, rather than educate."


You'll be representing our capital city. Talk us through your relationship with London, what were your early clubbing experiences there?  

My first London clubland experiences were at raves in industrial estates around the M25. When I moved down here, I was in Clapham North and Club UK was the scene of some of the best and wildest nights inside a licensed venue that I’ve ever seen. My first big DJ gig was at a night called Rude in SW1. It was me and Mark and Adrian Luvdup. By the time GA started, we were playing at TummyTouch parties in what where then the disused warehouses of Shoreditch. We were at the opening of Ministry and of Fabric, which makes the return of our Fabric residency all the more special. 

What are your thoughts on the dance scene at the moment? 

I thinks its in really good shape, for me in terms of DJ’ing its in a great place right now, because we’re coming out of the end of a long minimal curve and into a more house music end of minimal. So it’s a sort of stripped down minimal bass line, which always appeals, and a bit more of the rocking house music feel on top. There’s loads of that stuff out there right now.

How do you feel about Lovebox now? How has it changed? How does it fit into the current festival landscape?

I think what they’ve got now is a really professionally run dance event in London. It’s very different from what we’d imagined it to be. For us, the line-ups I love were when we had Roxy Music, Dizzee Rascal and Grace Jones on the same line up. Now if you look at the line-up it’s much more of a who’s who of contemporary dance music. They’re doing that really, really well and I think it’s been really successful. That’s better in a way but it feels like a very different animal. It’s been run in a very slick fashion.

The track from the 80s that is still relevant to today’s music

‘Touch Me’ by Fonda Rae was so ahead of its time, it sounds contemporary even now.

How do you find London's clubbing scene is at the moment? How have you seen the parties develop over the years? 

It goes in waves. From small raves in disused buildings, to the golden club era of Turnmills, Bagleys, The End, SW1, Ministry, Fabric, Heaven... and back down again now to the smaller basement vibe. Musically there have been years when house has been pushed to room 2 by the new style on the block. But house is timeless and always comes back. 

Over the years, the sound Groove Armada has evolved a lot—do you feel most comfortable in the house scene?

I’m not too sure. On all the vast variety of music that has been made over all the different albums over the years, I think it sounds great—I think we’ve acquitted ourselves well in all of the fields that we’ve gone into. But the way that the cycle has gone, we are now back in a world where this type of house groove is so engrained in us, and we have always spent a lot of time on dance floors and after-parties, so it just feels natural.

Are there any funny stories you can tell us before you two became Groove Armada as you are today? 

I just remember running clubs and losing a lot of money! We used to run a club night called Captain Sensual At The Helm Of The Groove Armadaand we booked Dave Seaman and lost our shirts on him, so that was good. It was the same time as Euro '96, and we booked Dave Seaman to come and play on the same day England beat Spain, and the headline coming out on Sunday morning was Seaman sinks Armada which made me chuckle. So we got sunk by David Seaman, us and the Spaniards on the same day!

Looking at your career now, is there anything you haven’t done that you still want to? Any goals or future collaborations you’d love to do?

We’ve been lucky because we’ve done a lot of amazing things. We’ve toured a lot of amazing places. We’ve done Glastonbury, the Sunday night closing slots and all that. It’s been amazing. We were on the road with a pretty unique gang of people in terms of road crews and musicians who’ve never changed. It was the same team. It was a sort of weird communist commune type of thing – basically a 15-year long stag do.

Can you just explain the reasons why you wanted to return to your house roots?

Around the Black Light touring bit, there was a sense that we were always playing on the main stage of a dance tent; we were always doing the same slots, coming on after Laidback Luke or Calvin Harris, and it wasn’t really the scene that we wanted to be part of. At the end, we did the two nights in Brixton and it just felt like that was the right time to close that chapter—it was a great way to end, right at the top. The music was all sounding great, but that big electronic scene was not where our heads were at. Instead, we felt the need to go back to what we had always done—and we decided to go that way, playing nice house sets, having a good time, rather than pushing this large EDM–size stone.

A Sit Down With DJ Fritz Kalkbrenner


Fritz Kalkbrenner does not follow any standard. With 'Ways Over Water ', the German confirms his great talent and affirms his penchant for a sunny House, far removed from the sometimes gloomy atmosphere of 'Berlin Calling ', the film that revealed it in 2008 alongside his brother Paul. We all remember ' Sky and Sand', this sounding soundtrack, illuminated by the soulful voice of this thirty-year-old Berlin. Since then, two albums have confirmed Fritz in musical aspirations more soulful than techno.



 "Nowadays more and more artists turn out to be that kind of special that when you look for a label or a box to put them I then they only have a box where just pretty much they fit it."



Besides music, what are your hobbies?

I collect mechanical watches from the late sixties and seventies. I know that sounds like a freaky hobby, but it's really my passion and I’m really into the mechanics and aesthetics they have.

There is a real work on the instruments used and the melodies present on this album. Have you spent a lot of time in the studio?

There were two stages in production. While on tour, I had already started putting some ideas on paper. Then, in the spring, I started to really pose in the studio to work on the album. For 2 to 3 months, I concentrated and worked in the studio hours and hours to finalize each title, record vocals and instruments. 

Where do you get inspiration for your tracks? 

I would not say now that it is a single experience, emotion or situation, but often it is a hodgepodge of all. This then accumulates to a large, heavy weight, which is located deep down in the stomach area his home. And when you sit in the studio, it is expressed again and translated into music. 

Mr. Kalkbrenner, when did you actually discover techno for yourself?

Techno was present in my youth nationwide. And since the fall of the Berlin Wall also an expression of the newfound freedom that was possible through the entire shops, the vacant buildings that served as party places.

What is more fulfilling for you: tinkering with tracks in the studio or playing in front of fans - and if the latter: when and where do we celebrate "Drown" live with you? 

I think that's hard to say. It always follows the claim that you always want what you do not have right now. When I am in the studio, I think that I do not want to do anything better than going on tour, and when the tour comes to an end, you just want to hide in the studio. So, there is always a mutual give and take and I would not give preference to anything here. Both are great aspects of the same work. When exactly the new album will be presented live, is not yet finalized, but of course there will be a nice festival season, during which I will play many of the new numbers.

Craziest or best live souvenir?

Last year I played support on Paul’s tour, and in Leipzig suddenly some women's high heels flew onto the stage! I nearly got injured quite badly. There were three pairs of them on the stage. First I thought that they were intentional attacks, but after the show we met those ladies and they said that that was their way to show their appreciation!

Are you tired of traveling as a live act? 

The title of my new album is less about being on the road and being sick as a live musician. A journey can also go over a certain period of life, looking at what has been done so far. And if the balance is not right, you're actually doomed to decline. Especially in club music, things like excess and reason are facing each other. As far as my tours are concerned, that's still a lot of fun for me. 

Are you tired of traveling as a live act? 

The title of my new album is less about being on the road and being sick as a live musician. A journey can also go over a certain period of life, looking at what has been done so far. And if the balance is not right, you're actually doomed to decline. Especially in club music, things like excess and reason are facing each other. As far as my tours are concerned, that's still a lot of fun for me. 

What has changed for you since "Sky and Sand"?

Of course a lot. But if an artist's attention is paid to a number, that can also turn into a love-hate relationship, which went in waves with me. The bottom line is that it worked like a door opener with a heightened interest in the wider audience for my music. Alone from last year, I went out with 130 shows, which is really much.

A Sit Down With DJ Marco Bailey


Marco Bailey is often referred to as the Belgian techno god, or at least, as the Belgian techno legend. Both statuses are well-deserved in more than 30 years of devotion to the scene.
His MB Electronics imprint is one of the most respected techno labels and Marco himself travels hard. He still found time to start a line on Ibiza, called Materia.


 "A good set does not consist of the pieces that you find in the charts. A DJ should be able to make his audience dance with his own personal selection."


You’ve been working as a DJ/Producer for longer than most in the scene. What do you think about the current state of EDM and “Press Play” DJs? What do you think is better about the scene today? What do you miss about the scene from 10 & 20 years ago?

Yes there’s a couple things I HATE, sorry, and of course lots I love. I love to see smiles on people, their faces when i play “my music” without being a jukebox or playing Top 10 music. I love to travel to South America, i love Argentinian people, i love Peru, Love Chile, Love Brazil, love Colombia; all the people have fire in the blood, this i love so much!! I love the USA also recently a lot! I love Asia especially playing in Japan! In USA Techno is getting strong again & this makes me also smile. But what i hate so much is is this STUPID ridiculous ‘DJ TOP 100 DJ Mag’ crap. Are they not a shame to publish a Top 100 with DJs inside who paid for votes? The worst of all can’t even mix 3 records together without making a mistake; only possible when they can use the shit sync buttons in Traktor or play just the bottom on the laptop of a Ableton session. What the Fuck is this?? Almost half of these shit Top 100 are EDM DJs who play easy-cheesy, almost kid’s music tunes. Ok, I respect vocal music, I have lots of respect for tracks of Guetta or Tiesto because they have amazing artists behind it, with great songs. Honestly even while its totally NOT my sound I respect it a lot, because it’s well and nice produced! But there is other shit going on at the moment, DJs who cover complete songs or tracks from the 90’s, totally sampled from second one to the end, and get number one in Beatport and come in DJ Top 100 in the first 10??? Is this NORMAL, do they feel proud ???? Guys of DJ Mag are you not making a complete trash-bag from our whole scene? I would obviously just shame myself seriously! I know that popularity talks, and I realize it’s the choice of the big public that supports this crap on the big festivals etc, but I think people who are the source like the big magazines (like DJ Mag) and the big festival promotors, they should teach the crowd something else instead of feed them time after time more crap or junk food, and try to re-EDUCATE them with real and pure things!Look at ‘I Love Techno’ festival in Belgium for example, it started with 1500 people and has growth to 38,000 people with ONLY underground pure sound! May that be a small example in some way already.

What do you think the audience inspires?

Exactly the point between their expectations and something new. Sometimes it can be like a fight that you have to be willing to fight. But you are not a god. If the visitors are not on your wavelength, you can not change that with the crowbar.

During the production you make techno, you run techno and you also get promotions every day. Do you never get enough of techno?

Of course I sometimes need something else. Especially in terms of promos, the work really can not keep up. Previously you needed a serious amount to build a studio, but now you can do everything with software and anyone can put something together in his room. At the moment I am really completely covered in the promos. This is regrettable somewhere. I am sure that a lot of good music is not noticed because there is an oversupply.

What equipment do you use to play at your shows?

At the moment I play with SDC card and of course mix by myself not the sync buttons! Lol + I use nowadays the ‘REMIX 1000? from Pioneer, an amazing EFX machine, it’s actually the old 909 inside an EFX tool! Wicked tool!

You have a new residency at Privilege’s Vista Club. What made you launch it and what’s your concept behind it?

I’ve been doing parties in Belgium since 1997. I’ve invited the likes of Carl Cox, Sven Väth, Chris Liebing, Adam Beyer, Marco Carola, Ben Sims, Claude Young, Surgeon, The Advent, Fumiya Tanaka and more to my events over the years, but it was not under the name Materia. Two years ago I started with the Materia events in Belgium, but I also wanted to expand the event to other countries.To date, we’ve had Materia events in Paris, Vienna, Madrid, Amsterdam and Liège, and now I’m excited to bring it to Ibiza. I think ibiza is still very important in our electronic music scene, with everyone gathering there in the summer — that’s the reason why I wanted to bring Materia to Ibiza. When I got the offer to do something in Ibiza, I got very excited, because for me it’s still the central point for our scene to connect with all party people from all over the world, from Japan to Mexico, they all come once to Ibiza.

Why was Vista Club the right venue for MATERIA’s debut season?

Vista is a small venue, but it has great sound, the best view of the island when the sun rise comes and also I think it was just the right size for the first season for MATERIA, as we never know how tickets will sell for an event which has a heavy focus on music that not everyone is always into, as mentioned before, it is heavier, underground and special in its own way.

Is the pressure now on producers to keep it interesting then?

Yes, it’s down to producers, and it’s down to everything else too, you know. I think people really need to start going out again. 20 years ago there was no internet, or Facebook. Now people are sitting in front of a computer on a Saturday night so when it gets to midnight or 1am they’re too tired.

You have already accomplished a lot in your career: you released several full-length albums, you released on some of the biggest labels out there, you have hosted a club in Ibiza, you have your own label, ... Is not it difficult to think bigger?

I'm just trying to do everything better, not necessarily bigger, but especially better. I am now working with Materia to do the parties I did in Ibiza all over the world. For example also in South America, or in February I do a  Materia event in Chicago. Constantly searching for new challenges, that's what I like. It is certainly not always easy, I am only there without sponsors or big donors. It is today that you need a lot of money if you want to do big things.

So you really love places like Ibiza, Japan and South America.. Have you ever considered moving to another country?

As a matter of fact, I have a plan to move to Ibiza eventually. I love the Island. But there is no rush.. say five or six years would be realistic. Of course there is the language issue where everyone on the Island mostly speaks Spanish.. Also, Brussels has a really great airport with fast connections to a lot of different places. Ibiza’s airport has its limitations in that sense. But yes, eventually I will make the move.

Do you think Ibiza is about too much VIP and glamour culture? Does that not work when it comes to techno?

I think for techno you need a bigger dancefloor and a smaller table yes , but the ones who go for the bigger table and the smaller dance floor playing mostly more cheesy so i prefer a bigger dance floor.

A Sit Down With DJ Uberjak`d


 UBERJAK'D is ranked #24 at the inthemix Top 50 of 2015 in Australia, has mixed Ministry of Sound’s flagship compilation "The Annual 2014" and remixed for Example, Deorro, Fatboy Slim & Riva Starr, TJR & VINAI and New World Sound. He has released tracks on prestigious records labels such as Steve Aoki's Dim Mak, Spinnin' Records, Ministry of Sound and Laidback Luke's Mixmash.


"I feel blessed to be able to do what I love and have so many fans that make it possible. It's been said before but you are nothing without your fans."


Do you consider yourself a 'big room' producer?

Not only, even if my music is indeed more and more carved for big rooms since one year. 

Who or what would you say is your biggest musical influence?

I sort of don't have like any one person or any particular sound. You can be inspired by like anything like you can just be walking down and street and have this feeling of like being inspired by like a tree you saw. I think it's important to be inspired by other things not just another person's music, especially in your own genre just to keep things creative. At the moment I think there's so much copycat syndrome in the industry. I guess it will always be like that and you can never get away from it but I think it's important to always get inspiration for your music.

How do you respond to people saying DJs aren’t really playing live music?

I guess people that don’t understand it will say that, but DJing is an art. It’s like showing a million dollar piece of artwork to some bogan down at Centrelink (for those non-Aussies, that’s a welfare office and a redneck); they will probably not understand it and say it’s just a piece of card with some paint on it. But to the educated, it’s a masterpiece and they can appreciate the art and what the artists was trying to make them feel, I think DJing is a lot like this. In saying that, there are good and bad artists, just like DJs.

Awesome. You've been fortunate enough to work with major labels including the likes of Dim Mak, Ministry of Sound Australia, and Mixmash. What can you say about your speedy growth as an artist?

For me, it's almost like when you haven't seen someone in over a year and you think "Wow, you've really changed!" It's not like you wake up one morning and suddenly feel really different. I'm just going to keep working hard and hopefully will keep growing as well.

Since when do you envisage a DJ career?

I started mixing 4 years ago and I produced my first song 5 years ago. It was a remix of Pretty Green Eyes.

What were the best and the worst gigs you ever played and what were the funniest things ever occurred during any of your performances?

Actually most random thing just lasts week for the final show of my tour of Australia with savage and Jaysounds at the met in Brisbane, this dude from the crowd gave me a jar of mocconna coffee, def most random thing that has happened at a gig recently!

How does it feel to be one of the stars of Melbourne Bounce during its international growth and acceptance as a sub genre?

It’s really humbling to be a part of something that`s so big, but i guess that`s because i love the sound so much, i remember hearing my first Melbourne track, and from that moment on i was hooked.

A lot of DJs like to collab outside of their genres, who are some artists you’d like to work with?

I was working with Reid Stefan a few days ago and we just came up with some weird, boppy shit. He does real breakbeat stuff and with my sound it was just the weirdest fusion of genres I had ever done before. It was cool and I think something’s actually going to come from it so stay tuned.

What are the most notable differences between American and Australian crowds?

TBH not that much, we all like to party that`s why i think we get along so well! obviously the 21 drinking age is one difference, i remember playing this show in phoenix where ones side of the club was 18-21 then 21 and older on the other, both split by this fence, it was really weird at first but it showed one of the big differences in the 2 scenes.

How do you rate the club scene in Australia right now? Are there too many government restrictions?

Ugh, don’t even get me started on the lock outs; I have been going out to clubs almost every weekend for four years and I am still in one piece. It’s not the clubs that are the problem, it’s the streets. Apart from that, the club scene is great; Australia is getting a great reputation worldwide for its sound, so it’s a great time to be an Aussie.

A Sit Down With DJ Oxia


Oxia is one France’s most respected DJs and producers, with a career spanning over twenty years and intensive touring on all continents. With an impressive list of remixes and releases on famous imprints (8bit, Hot Creations, Saved, Knee Deep in Sound…) in addition to his own label, Diversions Music, and a string of collaborations with high-profile artists such as Agoria or Miss Kittin. The year 2017 is particularly promising, as illustrated with the re-release success, ‘Domino remixes’, of his worldwide classic smash hit on Agoria’s label, Sapiens and by his recent remix of Moby’s classic ‘Why does my Heart Feel so bad’.


"We don’t necessarily have a long-term vision; we just feel like releasing music we like, in which we believe…"


You are considered today as one of the big names in the international electronic scene. What are your wildest fantasies still unfulfilled? Festivals or collaborations you dream of? 

If we are talking about fantasies, then it would be to collaborate with artists with whom I will certainly never work. Like Radiohead, Prince or jazz artists for example, so not necessarily electronic music artists, because I like a lot of other music. But there are many artists in electronic music with whom I would like to collaborate, it would be a bit long to mention them all, and also several festivals in which I would like to play, such as Coachella or Burning Man for example.

What are some early memories of your career that you look back on fondly?

I’m always moved when I think of our first release in ’95. We were two in the beginning and it was really enormous to release a record and see your name on the vinyl, and getting played by all those DJ’s you admire. Of course there are many other souvenirs that followed: my first album “24 Heures” (2004), Carl Cox asking me to release tracks on Intec.

Apart from music, what makes you vibrate? What do you find sweet in life? 

My life is mostly music-driven, it takes me a lot of time, but I also like movies a lot, many movies upset, moved, made me laugh or even inspired. I also like spending time with my friends, even if we do nothing special, we have great conversations, and we laugh a lot especially.

What are your thoughts on Marco Carola as an artist? Has he influenced your career or work at all?

I’ve known Marco for a very long time now, both personally and as an artist, and I’ve always been a fan of his work, especially as a producer. I’ve played many of his productions, which were numerous during the 2000’s and even afterwards, and so in a certain manner, he probably did influence me unconsciously. He’s such a fantastic DJ. He’s technically so good, and he gets the dance floor. This said, I still cannot understand how he manages to play such long sets! My longest lasted for seven hours, while he can go on for more than 20, that’s crazy!

Your song to sleep...

There is not really or it would be something that I do not like, which bores me, so it could be anything. It's not very flattering for an artist to say that his music makes you sleep, even if sometimes it happens to me when I'm super tired and listening to things super quiet.

The eternal dilemma of the underground or popularity...

At the time, it was also the price to pay. Either it was underground with all the problems we had at the beginning, the evenings when the cops landed; either it became more popular and we lost that side, which also makes its charm. I am not at all of those who say "it was better before ", it was different. We lived something in the 90s. It was the beginning, and something super strong. Today it's just different and it's not necessarily a good month. We're always there, so that means we're always enjoying ourselves.
Regarding your musical evolution, you seem to have a little neglected the techno sounds Detroit way to the advantage of melodies, keyboards, and a groove a bit melancholy. These are your own inspirations that made you want to evolve like that or perhaps the desire to stand out from an electronic scene increasingly saturated and without surprises?

Yes indeed since my 24 Hours albumwhich was very influenced by Detroit techno , it has changed a bit, evolved over time. Obviously this is always part of my influences, but it is much less present. It is that with the years one changes, one evolves, one listens to other things, and the side big techno me a little tired, and I am thus little by little income with what I listened at the beginning, of the house. I think  Tides Of Mind  is really a mix of my old influences, funk , soul and more recent things, obvious in electronic music. But not only, because I listen a lot of jazz , classical music, of folk , and all that influences me inevitably, even if it is not always obvious when one listens to my music. When I produce a track, I do not say "I'm going to do this or that style", I'm guided by my inspiration of the moment. After all we want to stand out a little from each other, but also it is not always obvious. So I think it's best to stay honest and do what you feel.


What is your process when making a track? Do you have a specific scenario or vibe in mind?

That depends. It’s often at feeling. Generally I have an idea in my head, I start with a beat, I go search for sounds, and mostly by looking for certain sounds I come across others and they give me other ideas. It happens very often I remake a whole track because I suddenly came across a specific sound, or I continue making a different track around something I came across during my search. The process is different each time!

About your new release, the ‘Secret Point’ EP. A collection of three new tracks, all with their own flavour. Can you tell us a little bit about the EP?

‘Secret Point’ offers three tracks which are all quite different. Nicolas and I had done this on our first release, ‘Connivence’ EP, too and we thought that bringing diverse tracks, not all belonging to the same “genre”, could be a kind of signature of the label. I don’t know if we’ll keep doing this in the future because we’d like to sign new artists too, so we may have to tone it down a bit. As I was previously saying, I like to diversify what I do and not stay stuck in one genre; I wanted this EP to reflect this approach. I felt like making a melodic track that still has a groovy beat, and this resulted in ‘Secret’. But I also wanted to come up with something more techno than what I’ve done these last years – a bit like what I used to do in the early 2000’s – and ‘Consequence’was born. ‘Point of View’, the third track of the EP, is very groovy and housier than the other two. I guess I did give this EP a bit more thought than usual, in order to respect the label’s spirit, to follow its philosophy.

A Sit Down With DJ Alok


Born to legendary psytrance DJ parents, Alok got his start in the industry at the tender age of 10 and two years later, was considered a professional among the elders. For his latest singles, “Me and You” and the Narcos-inspired “Fuego,” Alok manages to mix and match high tempos with alternative sounds.


"I always try to do something real. I never sold myself to something I thought people could accept better. I just did something I really believed in, nothing really commercial."


You just released the 5-track EP 'Alok Presents Brazilian Bass', featuring various artists. How did you create this?

The idea and concept of the EP came about after I realized how much potential was happening around me with the guys who I have proudly been working with. The results couldn’t be better and the EP is just mind blowing.  Sander Van Doorn is a living legend within the electronic music scene.  It's an honor to have him on board the EP and a bigger honor to have him joining us inside the Brazilian Bass movement.

Are there any American acts that you would like to work with?

I love Eric Prydz, Justin Beiber and Marshmellow as well. It’s crazy because I was following him when he had one thousand followers, and after eight months, he had 2 million! 

Do you plan on changing at all for your American audience?

Yea I mean I don’t know what I’m going to play tonight to be honest. I still haven’t even thought about it. But definitely it has to be different from Brazil, I think here, a lot of music that works well in Brazil wouldn’t work here. Over here people are more in to what’s happening at the moment, Brazil you can play old stuff and they like it.

When did you first realise you wanted to make music?

I first came to this realization when I was still 12 years old. The music was already able to drive me deep into places and thoughts. Music has always been really profound for me.

What was the production process for the Spinnin’ track “Hear Me Now,” how did that work?

I did it with two friends of mine Bruno Martini and Zeeba. We had a really nice energy in the studio and things went out quickly. Nowadays I’ve been making music on my laptop for about six months, I’ve always been on the road and I moved to a new place in Sao Paolo and I’m building up a new studio in my house.

How would you describe your sound?

My sound has been changing over the last year or so. If you listen to my tracks now and listen to the tracks one year or more back you will be able to realize that not only my music has changed but also has emerged into something more meaningful and expressive. That’s because the vocals and words have become crucial in my productions.

Which track would be your favourite from your work and what inspired you to produce that track?

There are a few favorites but I can only tell that some of them haven’t even been heard yet LOL I would say that never let me go , an upcoming track with IRO on the vocals called love is a temple and another unreleased track with Zeeba and Iro called Ocean that has a really profound and serious meaning to me. 

What aspects of your culture affect the music?

I think the groove. Brazilian people love “the fat.” You can see that in the Brazilian music as well—the popular Brazilian music. Yeah, I think it’s the groove.

How was the collaboration with Bruno Martini and Zeeba?

Let me start by saying that It is always special to work with both Bruno Martini and Zeeba. We seem to have a great chemistry in the studio and the results always end up talking for themselves. We basically worked in a similar methodology again and the production came up quite well and satisfactory for all of us.

A Sit Down With DJ Dirtyloud


Fllowing the footsteps of Felguk, Eduardo & Markus, aka Dirtyloud, have been unleashing a brazilian onslaught of Electro with a wobbly slant, much to the delight of our, and Tim Healey at surfer Rosa`s ears.


"Work hard, never give up and be honest."


How did you get into making music?

It was a natural progression from playing others music, as we understood what rocked dancefloors and we wanted to make tunes that did that too!

Describe the best moment from your career til now.

The best moments we can easily say were playing in Red Rocks in Denver and in Pretoria – South Africa, by far the best energy and crowd reaction.
Tell us about the Brazilian EDM scene. What music styles are popular in Brazil, and is the scene as a whole shrinking or growing?

Here in Brazil trance used to be huge, but is no longer popular. Nowadays you can see more low bpm artists performing at parties, and people want more of it.

Is there one type of sound in EDM you are really excited about?

Drum n Bass from now and we always loved Electro House.

When did you first feel that you had finally discovered your own specific sound?

It was a combination of doing our first track as Dirtyloud and the response we received for it, and then it was when we completed the Apes From Space remix we felt we had cemented the Dirtyloud sound.
Everyone wants to be a DJ these days. Do you think it`s getting out of hand?

Absolutely not. Of course nowadays it’s harder to get your own space as a DJ, but we now have the democratization of distribution, so you can reach your public easier than in the past. Good production is another thing that really adds value to your project, because you become exclusive. Also, if people want to see you perform in their country or city, they can contact you through social networks and the internet–much simpler.

Are there other DJs from the scene that really annoy you?

No way, we know tons of people all around the world and pretty much everyone are our friends.

What other producers are you inspired by?

The electronic music scene is always changing, and we try to make our own style, like a signature. When we started Dirtyloud we were inspired by artists such as Vandalism, David Amo & Julio Navas, Jon Gurd, Dirty South, Spencer & Hill, Dabruck & Klein, Deadmau5 and fellow Brazilians, Felguk. Nowadays we don't feel as influenced by other producers we just do our sound, but we really respect and admire Skrillex, Nero, Pendulum, Rusko, Dada Life and Tommy Trash.

Whats on your mind as you're looking onto a huge crowd going crazy to your very own tracks?

I can’t think of anything, I can only feel; and let me tell you, it’s a good feeling.

Is there a final thing you would like to say to our readers?

We wanna see you guys if possible at our gigs on this tour! We appreciate your support and look out for more new music coming soon.

A Sit Down With DJ Bombs Away


Bombs Away are a musical duo like no other in the Australian music scene; their longstanding career has earned them two platinum records for Super Soaker and Party Bass, gold for Big Booty Bitches, ARIA nominations, countless ARIA club chart top 10s, a #1 on the US viral charts, and have reached over a billion people with their music and videos online. However, it is now that Bombs Away are set to take the biggest step in their career to date, with the release of the first single Like You feat. Elle Vee, from their forthcoming debut album Fragments due early next year.

"Like You is a labor of love that has been a long time coming, we've included some familiar elements that will be recognisable to existing Bombs fans, but we've been working really hard to bring something that's been inspiring us lately to life."


What is your favorite part about being a Producer/DJ?

Making Music and writing songs is a way that helps us release expression. To be able to share that music with everyone and to get back positive responses is an incredible feeling. Like getting a message from someone on Facebook that tells us how our music helped them get out of a dark place in their life just inspires us and lets us know we are going in the right direction.

You guys have had huge success on your previous tours, both in Australia and overseas, what’s your favourite on tour memory so far?

When Creamfields, Future Music Festival, and Stereosonic were around those moments were always some of the best, but in general, we just like going to new places! We actually really love the regional shows we do around Australia, they always get really wild! We’re always on the road with friends so it’s just like one big party the whole time!

Moving forward what goals do you want to accomplish in the future?

Our goal is to shake up the EDM scene and to always give fans a great experience at our shows. We are starting to play bigger shows at larger festivals and that feeling is great. Next, we would love to start playing overseas and play some shows in Europe. We would also love to keep playing festivals in America like Coachella and EDC. Other than that we want to keep making great music and keep spreading the good vibes.

Have you guys ever had any issues traveling so much with your name?

Well, we used to have jerseys that said “Bombs Away,” and security would be all over us until we explained that we're not, like...crazy bad guys. But yeah, it's a thing that we're coming across a bit. As soon as people see that it's not like that, it's okay. But when they read it, it's different.

Do you prefer performing live or recording? 

Definitely performing live, there's no better feeling than having everyone party along with us!

Which is your favourite song to perform live and why?

"Move On Up"has been one of the most in depth songs to play so far when it comes to vocal range. 'Supersoaker' is always a party starter but I'm really looking forward to playing 'Like You' out live and hearing Elle's vocals shine! 

Any exciting new projects coming up that you can share with us?

Right now the album has taken so much of our life writing and producing, that it’s great finally being able to tour it and see people react to the songs in real life, it’s amazing so that’s our project right now, experiencing how the FRAGMENTS album and all the singles go.

What would be your dream collaboration?

I think with collaborations it's about just getting along with someone, ya know? There are some pretty cool people that we've worked with in the past, like...I'd say Potbelleez, but we've already done them. We actually have a track we're working on with them, it's gonna be huge! You have to take a lot of things into account. That's a good question, a really good question!

What/who was your inspiration to go into the music industry? 

Probably bands like Blink and Greenday, Offspring etc!


A Sit Down With DJ Dodge&Fuski


As of late, Dodge & Fuski have meandered from their dubstep roots and have begun to dabble with production at a slower BPM.  Kicking things off back in September with their single ‘Vice’, Dodge & Fuski sprung out of the gate and up the charts with their new glitched-out tempo. Since the release of ‘Vice’, the duo have kept their sound firmly planted at 100BPM and justifiably so; their next release, a glitch-hop remix of Pegboard Nerds ‘High Roller’ followed suit and climbed its way to #1 on Beatport.


"Having a cool vocal to work with always helps me come up with ideas for intros and drops."


How do you feel the sound of this latest EP speaks toward the D&F sound looking forward to the future?

It’s very representative of what I want to carry on doing. I’m gonna start working on an album this year and I’m aiming for about 50-60% 100bpm, some other hip-hop tempo tracks (85-110bpm) and probably the odd bit of Dubstep for old times sake on it. To be honest trying to predict what the next big thing is going to be is like gambling on the stock market so I’m just going to do what I like making and see how it goes!

How did you both learn to produce?

I’ve been making tracks for about 12 years and the game has changed a lot since then. When I started, there were no preset packs or YouTube tutorials so everything was a lot slower moving. I went to college, but honestly the people who were teaching me on the production side weren’t up to much. I mostly just learned sound engineering techniques on mixing consoles back then—how to mic up drums and stuff like that—so it’s been mostly a case of being self-taught on training my ears.

You’ve been getting a lot of heat for not playing at various places. Are you guy’s planning to tour again in the near future? If so do you think you’ll cover more states and or countries?

Everyone gets that – people in the internet have this weird notion that acts decide where they get booked. If we had control over that we’d be on nonstop tours around the Caribbean, so that is entirely in the hands of the promoters who decide to book us!

Is there a right way and a wrong way to go about constructing your own tunes?

I don’t think there’s a right or wrong way for anything. The end product is what really matters, but that said there’s a lot more satisfaction in making as much of the core elements as possible. I use preset packs as a way to get new approaches into what I do but I almost always modify them entirely from their original format. It’s just interesting to always have a different starting point.

You were making “riddim” long before it had a name. But once it had a name, it seemed like everyone wanted to jump on the train. Your EDCLV 2014 set was a huge inspiration on how to do dubstep right at a festival. What do you say to producers just now getting into the game and wanting to jump on the wagon?

I actually have been producing music for 17 years. I had a D’n’B moniker “Infiltrata” that I was producing under for about 8 years before I even played my first SMOG or heard of Dubstep. But back to the “riddim” side of things, I was heavily influenced by Mala, Jakes, Caspa, Rusko, and Skream when I was first getting into to Dubstep, but it wasnt until people like Subfiltronik, Megalodon and Badklaat, brought the old school style back recently, with a more ferocious intensity that I found myself digging for more artists that were creating the music in the same vein. From those guys I discovered an entire movement of “riddim” or “swamp” happening in my own backyard for years without me knowing. Shouts out to the Savage Society crew, Lower Levels crew, Dubloadz, Trollphace, Essence Audio, Sub.Mission crew, SMOG crew and Future Events for truly inspiring me as an artist.

In the past you mentioned that your forthcoming EP would feature a remix from one of Circus Records’ most exciting producers. Now that the cat is out of the bag, can you speak to the inspiration behind having The McMash Clan remix the title track of the EP?

When I heard their debut EP I immediately wanted to get them involved somehow. They’ve got a really original sound which has bags of energy and a proper festival vibe. A friend of mine Culprate has taught them a lot of mixdown tricks and it definitely shows in their music, it’s really creatively arranged and brilliantly executed.

What has been your biggest learning experience this past year?

Probably not to try and keep up with constantly changing trends at the expense of quality. That’s not really a past-year specific experience but it’s a lesson often forgotten in this industry.

What’s the most important advice you can give?

That is a very open-ended question that requires a very long answer. I guess that’s the purpose of the seminars!

Its clear lately that the EDM scene is changing rapidly along with the styles and tastes of electronic music lovers. What are you guys doing to keep up? Do you ever see yourselves (god forbid) parting from dubstep?

I made music under a few different aliases which gives me a lot of room to experiment without having to break away from the scene each act is associated with. In terms of D&F, in my mind it’s always going to be at its core a bass music act of some description.

A Sit Down With DJ Andy Moor


Grammy-nominated Andy Moor is an icon in the electronic dance music industry. Undeniably one of the most respected producers in the genre whose substantial talents and work ethos have earned him a catalogue of accolades. Recently nominated for the 2009 DJ Awards, Andy is currently rapidly scaling the DJ Mag’s Top 100 @ 15th. Named Best Trance Producer and Best Trance Track at the 2004 Trance Awards, Best Dance Record at the 2006 International Dance Music Awards, Andy received his Grammy nod with a magical remix of Delerium-Angelicus in 2008.


 "I think that it is going to be hard to be the next big thing in this genre, due to the way that other genre's now seem to dominate things. You need to do more than make + play good trance music to be the next big thing in my opinion, its a shame, but its reality."


Tell us a bit more about Andy Moor, before every big name DJ in the world knew your name?

When I was young I was encouraged to play musical instruments, and started playing the piano, the recorder was compulsory at school, and then the Bassoon, so I developed an understanding of music theory from a young age. But my real passion was this electronic music that I was hearing, like Jean Michelle Jarre etc. I was desperate to know how to make those synth sounds and as I grew older was frustrated by an M1 keyboard at school that nobody knew how to use, so I started to sequence that from an atari.

Many consider you a pioneer of the progressive side of Trance. Who would you give credit to motivating you into producing this amazing subgenre of Trance?

I was into Trance as a kid, and then when I got into production I was friends with all progressive people, so naturally I went this way. Eventually the progressive I loved went more minimal and that just wasn't for me so I went towards the Trance end (receiving much mockery from the prog guys along the way). So I would have to give credit to whoever made progressive go more minimal. Now though prog is getting more complex and interesting again, and trance now has a wider variety of sub styles so I'm always debating which way to take each track.

You’re bio contains an impressive list of accolades – including Grammy nominations, Best Trance Producer and Best Dance Record, amongst others. How does one go about making something new without those facts dangling over your neck?

I don’t worry about those facts. I always think about the future, and the past doesn’t affect my decisions. I try and stay true to the sound that I love – that is the only important thing.

You’ve always been focussed on pushing the rhythmic aspect of your own music towards other cultures, assimilating beats…

Yeah absolutely! I think rhythm is the first thing you need to get together as a musician or a band… If you have good tunes but a shit drummer your not going to get far…and there are many bands where I like the music but the beats can really let it down. So many drummers seem to immediately choose for old heavy rock beats even today,.and it baffles me. Also if you can play a good rhythm on a guitar then the melody will find its way…

What do you personally consider to be the incisive moments in your artistic work and/or career?

Forming the band Volunteer Slavery & Dog Faced Hermans in Edinburgh in 1986 and in 1988 seeing The Ex live for the first time in a pub in Sheffield in 1988 and joining the Ex in 1990. Playing with Tom Cora and The Ex was also a great shifting moment for all of us. Equally when we started a  project with Ethiopian saxophonist Getachew Mekuria. Hearing and seeing Big Flame, Sonic Youth, Don Cherry, Art Ensemble of Chicago, the Birthday Party, Han Bennink, Konono No 1,  DJ Rupture, John Butcher, Anne-James, Chaton. All of these concerts changed me fundamentally - on a musical level anyway. Discovering Ethiopian, Ugandan and Algerian music and Rebetika from Greece were also big moments in my musical life and working with Yannis Kyriakides was a big change in direction for me.

Can you offer insight into some of your musical inspirations?

I get inspired by all sorts of music, and also by situations that are non music based. I’m instantly attracted to music that is deep and has meaning. I am also heavily inspired by the production of some music, good and bad production are like day and night to me, so extremely good production on any type of audio inspires me a great deal.

Your remixes are some of the most sought after in the world, what is your approach as far as remixing is concerned?

The main thing I do is analyze the original track, find which parts I want to use as they are, and then find other interesting ways to be creative with it, such as how to manipulate various parts in other ways. Also if there is a theme to the track, then find a creative way in which to be creative with the theme yet keeping it recognisable.

How was your experience collaborating with other artists in this album? And who would you like to collaborate with in the near future?

It was fantastic to work with the artists on the album. They are all really easy to work with, and they all motivated me dramatically whilst working on the music. It is always a positive experience for me to work with others, vibing off them and receiving a differing opinion to my own.

What's the weirdest thing you've ever experienced?

Being abducted by Aliens! That was weird…. No, really the weirdest thing is actually having a normal life at home then having to adapt every week to being on stage with thousands of people looking at you. I'll never get used to that.

What's your favourite food?

I'm a proper foodie and love all food. If I had to choose, it would be South East Asian food.

A Sit Down With DJ Paco Osuna


With a career spanning more than 20 years, Paco Osuna is one of the most renowned artists in the industry. As a DJ he is lively, intelligent and sophisticated, with a deep awareness when it comes to sound aesthetics. For Paco, all sessions are important and it is a requirement of his to invent and renew every time he steps onto the stage. Musical monotony has never been an option. He has also been recognised with several of the most important awards in Spain: Best Artist, Best Techno DJ and Dj of the year (Vicious Music Awards, from 2011 to 2014); Best Producer and Best Remix: Plastikman-Ethnics (DJ Mag Sp 2011).


"I feel very proud of my country and its music scene, and if this derives to the idea that my style is associated with Spanish sound, that’s great."


You’re probably the largest Spanish ambassador for techno. Do you a Spanish techno “sound” has developed, like the “Berghain sound” or New York sound? 

I have never felt attracted to label things, so I don’t like to define my music as Spanish Sound. I feel identified with the music I play. The quantity and variety of music nowadays is so that the best option is to take a little bit of everything you like and build your own sound.

How have you evolved as a DJ from when you first started? 

I've changed like I changed my life. Just like 20 years ago, we were watching TV with a VCR -- music is the same. You have to follow the new sounds and get ready for what is coming to you. Otherwise people will forget about you. You cannot play the same music you were playing 10 to 15 years ago. My original sound was more techno, but with the new movement that's happening right now with all the new music like minimal, house, and tech-house, you can listen to my sets and hear a hard techno track and then a deep house track. But one thing about me is that all the tracks I play have to have a funky bass sound. That is something I must have -- always. 

Technology has made it possible to stretch ideas without limiting one’s imagination.  Tell us about your new hybrid DJ/Live set up and how it allows you to translate your ideas to produce dynamic sets?

I don`t know, my dj sets always depend on the crowd and the atmosphere. Sometimes I do sets where I focus more on the music than on the effects and sometimes I do sets creating crazy effects all the time.  It depends on the crowd but I always try to use the technology for the maximum possibilities, because for that it was created and I like not to be obvious and to surprise people with new things.

The Techno scene has been in a grow spurt the last few years, the digital movement has developed new ways to perform through products as Traktor, Ableton, Serato etc. What do you think about this development? How do you manage to ‘stand out from the crowd’?

Well, I think the technology is in our hands for use. But sometimes, in the case of the vinyls, I miss going to the shops each week a lot to find new records. At the same time I love to play a track right after it’s finished, so I totally recommend and support the new technologies.

And what if we talked about people who contributed more to the formation of your musical personality?

Without doubt the first was Raul Orellana, the one who made me want to play, he made me fall in love with this profession. Subsequently, as a DJ, there are two people who have deeply marked my style, one was obviously Richie Hawtin and the other Marco Carola. Actually, I think they make up fifty-fifty of the influence I've had. Then, without a doubt, Hawtin is the one that most of all taught me to personalize, to make mine what I played. From him I learned how to use fifty effects on a single loop and make it different every time, he really led me to evolve in production, as a person and also as a DJ. It has always been one step ahead of everyone, and it is not something that is said so much to say, it is not a sentence made, it is the truth! Whenever I play with him I learn, always. I do not copy, but I learn, that is different. And every time I learn something, the next time I learn another..

You started by playing at Amnesia back in the 90s. What was it like performing there during that decade? Has anything changed since then?

Many things have changed in Ibiza. The techno scene in those days was at a minimum, you could count with the fingers of one hand the clubs and promoters supporting techno. Nowadays the music and the scene has evolved and is bigger, there are a lot of styles on the island but I believe the techno is now the sound with the greatest presence. The 90s in Ibiza were about trance, house or Balearic sounds. Today Ibiza is totally techno within its different variants, more soft, more housey, or harder, but the main sound is techno.

Are there any Dutch producers you would like to work with?

Of course with many of them, starting from Speedy J and Steve Rachmad, or more recently Kabale Und Liebe, Daniel Sanchez, Olene Kadar, etc… love his sounds. 

Do you get the chance to relax and have time off in Ibiza much? What do you like to do with time off there? 

It really doesn't happen so often, but for two weeks every season I like stay with my girlfriend and my dogs, catch up with friends and make my famous paella!

How was your first gig there - did it live up to expectations?

It was awesome! Actually I never put expectations because then I don’t expect anything, and everything I live is positive. But the truth is that I was a little nervous to come back to the Main Room of Amnesia after so many years, nervous because I wanted to give my best for Marco and to the Music On team for their trust in me. The result couldn’t be better, the first 30-40 minutes I was testing and observing the public reaction not just in the dance floor but also in the tables and I connected with them so quickly – it was a big party!

Does the dance music scene in Barcelona have its own unique flavor and vibe? Or is it miming the action over in Ibiza and the Balearic islands? What are your favorite things about being a DJ in Barcelona?

The scene in Barcelona is always unique and different, at least from the rest of the cities in Spain. The sound there is more underground, and has its own personality. I cannot compare it to any other city. The thing I like most about DJing in Barcelona is that I feel free to play what I want -- anything from deep to mainstream.

Copyright 2012-2016
Chuo-ku, Osaka, Japan
Terms & Privacy