Events Insert - The Ibiza Sun

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Events Insert - The Ibiza Sun

SunDance

YOUR WEEKLY JOURNEY INTO THE HEART OF THE IBIZA DANCE SCENE... Issue 18

The emergence of Edu Imbernon

on the electronic dance music

scene hasn’t gone unnoticed. In

2010, Beatport named him as one

of their up-and-coming stars, while

he also picked up several prizes at

the Spanish Dance Music awards,

including Best New Producer 2010,

and Best Track 2010 and 2011. After

releasing “El baile Alemán”, produced

alongside his buddy Coyu,

Imbernon came to the attention of

worldwide audiences and has since

gone on to have tracks signed by

Get Physical, Young Turks, Skint,

Cr2, and Noir Music. In a short space

of time, Imbernon has really made

his mark, which is why we wanted to

interrogate him here in Ibiza.

Can you remember the first time you DJd in

Ibiza and tell us a little about the experience

Yes, it was at Delano beach club 4 years ago.

The gig was amazing, lots of friends came to see

me play. Then, the 2nd time was 3 years ago at

Space and was like a dream!

Where and when are playing in Ibiza this year

I will be back to Kehakuma/Enter at Space, and

for the first time I’ll also be doing 4 dates at Blue

Marlin and 1 night at Amnesia. I’m so happy with

this summer season.

Do you live out on the island all summer

Yes I do. Last year was my first summer season

here and I totally loved it! I’m also thinking

about staying during the winter here; lots of

friends are staying and they say it is the best,

especially for some studio time.

When you’re traveling around the world, from

country to country, from gig to gig, what’s the

once piece of equipment you’re always sure to

carry with you

How would your describe your live DJ sound

as opposed to your production sound

Both are very energetic; I try to build a story,

have special moments and intense moments. I

love to make people dance!

Did you suspect that “El Baile Alemán” was

going to be such a massive tune

Not at all, we – Coyu and me – did it just to do

something during the mornings when he came

to Berlin to produce with Ronald Cristoph. Its

success was a huge surprise.

How did your life change in the weeks and

months after the release of “El Baile Alemán”

It changed 100%, from living in Berlin and having

one gig a month, to travelling the world and

living my dream.

Which DJs have had the most influence on

your career to date

I would say I’m a big fan of Maya Jane Coles in

the last year, but I think Gregor Tresher was the

one that influenced my most 3 or 4 years ago.

September 12th - 2012

edu imbernon’s top 5 tunes

1 My Favorite Robot -

The Waiting Rain

2 Konrad Black - Devastator

3 Animal Trainer -

Our Music

of the summer...

4 Julio Bashmore - Au Seve

5 Rodriguez Jr. - Satellite

You’ve remixed tracks for The XX and X-

press2, but which track would you refuse to

remix because it cannot be enhanced

I guess classics like Octave One, Blackwater, or

Kollektive Turmstrasse, Freiflug. Tunes like that

cannot be bettered!

Do you have any advice for up and coming

DJs/Producers

Try to go as many parties you can, and checkout

your favorite DJs. At the beginning of your

career, especially, those influences are so important,

and a special night can change your point

of view about dance music.

Have you any new releases looming up on

the horizon

Some new stuff for Get Physical, More Music,

my own label Eklektisch, and a few more surprises

and the end of the summer!

My laptop! And lately the power adaptor of

the Traktor Audio 10 soundcard, it sucks that

their new soundcard needs a power source, I’ve

already lost ten!

What’s it like to hold sway over the Funktion-

One sound-system @ Space

It’s amazing, for me Space is the best club in

the world and possibly the best sound-system.

Every time I play there is special, actually I can’t

wait for the next event!

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sundance@theibizasun.com page one september 12th


interview: darius syrossian page two september 12th

Darius Syrossian is a long-serving, fully

subscribed slave to TRUE. HOUSE. MU-

SIC. Since moving to UK shores as a 14 year

old, his fascination with electronic music

has never waned. Taking formative influences

from Detroit and Chicago masters

like Kenny Dope, Danny Tenaglia, Derrick

May, DJ Sneak and Carl Craig, a pure and

unadulterated house sound has always

been Darius’ pre-occupation in place of

passing fads or zeitgeist defining trends.

Over the last 12-months, he’s played just

about every continent on the planet; now

a fully fledged Ibiza resident for Steve

Lawler at Sankeys, it made sense to connect

with Darius in order better asses his

brand of no-nonsense wisdom.

Can you remember the first time you DJd in

Ibiza and tell us a little about the experience

It was at Space in the red box room a few years

ago when I was duo with Nyra. We played backto-back

like we always did, but the room wasn’t

that full before we played and within 15 minutes

into our set it was rammed, and the atmosphere

was great!

When and where have you been performing

in Ibiza this year

I am Resident at Sankeys Ibiza for VIVa Warriors.

Steve Lawler and myself are residents every

Wednesday throughout the summer, plus various

guests. The first few parties have been unreal

and it’s getting better with every one; the last

one we did was amazing, the atmosphere and

the crowd were top notch. Of course, I also play

elsewhere, for example, on the opening week

I played Space Terrace which was great, but

Sankeys is one of my favourite clubs in Ibiza

it is underground and has a great sound system,

none of that ice cannons and fancy champagne

nonsense, I can’t stand that in clubs that are supposed

to be about house music…

There are a number of big tech-house nights

at Sankeys this season – what is the overriding

allure of the venue for these kinds of gigs

House music is about a dark space and a good

sound system, a place where you can get lost

in your own world and not care. It’s not about

tables and bottle service and about people

standing at the bar and flashing the cash, and

bright lights and glam stuff… forget all that

crap; give me a dark place and a great sound

system and loads of like minded people losing

it to the music. That’s what Sankeys Ibiza and

Sankeys Manchester is are all about…

Are you based out on the White Isle all summer

and where do you spend your winters

I am based in Ibiza all summer, but I leave the

island every weekend to DJ as I have gigs elsewhere

in Europe and America. In the wintertime,

I’m normally based in Leeds, where I live with

my house-mate and my cat in a stone cottage

just outside the city. I have my studio there and

that’s where I spend my time making my tracks.

How does your production sound differ from

your live sound

It’s very much the same as I use only hardware

to produce. I don’t use laptops to make music;

loads of old school hardware and music kit from

Roland, Korg, and lots of other pieces of kit that

I have collected over the years.

When you were in the studio producing “I

Am The Creator of Jack” did you have a suspicion

that you were in the process of making

such a big tune

No, but then I have had arguably more successful

tracks than that and again I didn’t realize

at the time. Freaky D was an experiment and I

nearly didn’t put it out. I mean, it is a risk making

a house track that slows down to hip hop

in the middle and then slams back to a house

tempo again. But the reaction I have had over

that track has been incredible and had so many

offers from it from so many big labels – so it was

a risk that paid off! Of course, I liked the track,

but you never know what reaction it’s going to

get once you put it out there.

What’s the most important thing you’ve

learnt about yourself in the last 12 months,

for good or ill

That I’m quite determined. I’ve had to put up

with quite a lot to get to where I am, it’s not as

easy as some people think, and it’s a lot of hard

work, not just the music, there is a lot more

to it that some people don’t see. But I haven’t

let anything hold me back and have been full

steam ahead with all my projects; DJing, producing,

remixing, touring, all of it.

SEX SHOP

IBIZA

Open 10:30 - 01:30

darius syrossian’s top 5 tunes

1 Cozzy D - Cupid

2 Freaks - Black Shoes

(Darius Syrossian remix)

3 Nathan Barato -

Back up Queen

4 Hector Couto -

Ready or Not

5 Tom Demac - Dirty Honey

In a production sense, what’s the latest studio

trick you’ve learnt to pull off

How to get snares to do what I want; how to

make bass as low and as much of a sub-bass

as I want. But it’s not just about sounds, it’s

also about sequencing and how to put a track

together and lay it out.

What’s the best mix compilation released

across any genre since 2010

of the 2012 season...

Ha ha! Well, I can’t say my VIVa Warriors CD

compilation that I have done with Steve Lawler…

but there have been a few, too many to

mention. I’m a music junkie, and listen to music

all the time. Deetron’s Balance was great; Heidi’s

Jackathon; Motor City Drum Ensemble did a

great comp for DJ-Kicks not long back.

Stocki's Erotic World

C. Carlos V. 12 Bajo

07800 Ibiza Town

tel: (+34) 971 312 005

e-mail: sadornil@msn.com

www.theibizasun.com/sundance page two september 12th


interview: darius syrossian page three september 12th

Tell us about the hidden processes involved

in making your recent VIVa compilation mix

All tracks had to be exclusive to the compilation,

which instantly made the mix ten million

times harder than just going out there and

picking already released great tracks. So I had

to find unreleased tracks and I wanted it to be

about my sound, not just tracks that are going

to sound good at home or on the CD player in

the car. I wanted it to be my vibe, but also to take

the listener on a journey, and I have had great

feedback from people saying they love how it

starts with feeling and groove, then steps it up

and gets heavy, then gets deeper and melodic

at the end. It was an organic process and I did

the mix all in one take with decks, no laptops or

computers involved.

Have you been out partying this season; if so,

which nights have impressed you most

Ha ha, totally, I am not one of these DJ’s that

doesn’t dance. I am always on the dancefloor. At

the opening of DC-10 I spent the whole time on

the dancefloor and I was totally losing it in the

crowd with everyone else. Also, I’m playing for

Solomon’s Dynamic night at Sankeys, I remember

popping down to say hi, but ended up on

the dancefloor for 5 hours and danced all night!

Would like to say anything else

I have to say - and I have already said this on my

facebook a couple of times - I take my hat off to

the younger generation of 18, 19, 20 years olds,

at the moment, because I can see that these kids

are really feeling house music, and I mean real

underground house music. It’s good to see and

really refreshing for the scene.

review: freddie mercury birthday party @ pikes

review: w.a.r! @ ibiza rocks hotel

Last Sunday at Pikes Hotel, and

there were more moustachioed

women on show than performed

for the Soviet Union in the 1980

Olympic Games. But whereas

the Soviet shot-putters were

sporting their own lip beards, the

girls at Pikes, in contrast, were

wearing replica mustachios to

celebrate the birthday of Ibiza

legend Freddie Mercury.

Indeed, the annual Freddie

Mercury birthday bash at Pikes

has become part of modern day

Ibiza folk law. As well as allowing

fans a chance to raise their

hands and offer a high salute to

Mercury, it’s also a great opportunity

for workers, insiders and

perennial hangers-on to let their

hair down after the August heat

and hustle has cooled to a manageable

temper.

Ibiza Rocks resident Colin Peters

was first up to the DJ dais.

Costumed in a bright white jump

suit and afro wig, Peters wore his

replica moustache with pride, before

passing the DJ baton to Tiga.

Initially, the Canadian appeared

ill at ease with the hairy situation

and – scandal – he wasn’t

wearing his mustachio. But so

what After all, he dropped the

new DJ Hell remix of N.E.R.D. ‘Let

Me Hypnotize You’, which meant

his anti-hirsute policy was quickly

forgotten beneath the heavy

stomp of the dancefloor.

3am, and it was time for 2manydjs

to board the mini-stage – and

they really were in their element

at Pikes – starting things off with

a techy tinted remix of Madonna’s

‘Into the Groove’, followed

by a bass enhanced mix of Donna

Summer’s ‘I Feel Love’. Rather

than mixing in and out of one

hundred and one different tracks

in five minutes, the tunes were

allowed time to breathe, which

in turn caused the atmosphere

to swell to almost tangible proportions.

Then, as if to further compound

the furry nature of the

night, the local fuzz arrived to

protest about the decibel level.

Of course, nobody wanted to

scuffle with the law and the volume

was quickly turned down,

but not until Rock the Kasbar versus

Reel 2 Reel was allowed to air,

bringing the hammer down on

the boozy al fresco action, and

sending us scampering inside

to safety, where we found Ibiza

Rocks utility man Grainger waiting

for us in the Marrakech Suite,

whipped up and ready to empty

a plethora of intelligent house

beats through the system.

This season, it’s been very

interesting to study the Friday

evening scene at the Ibiza

Rocks Hotel. Their new W.A.R!

nights started off meekly, and

then just as the event got up a

head of steam, the Euro football

champs put the show on

ice again.

Nevertheless, since the earliest

days of June, with each passing

week, W.A.R! has been growing

noticeably in stature. The

crowds have increased to near

capacity and the atmosphere

has improved week on week as

the party continues to develop

its own unique identity.

Last week, however, W.A.R

took its biggest leap yet – because

as we intermingled with

the rammed courtyard crowd,

who were jumping and dancing

and prancing all around us

waving glowsticks and chugging

from paper cups filled with

energy infused vodka, we were

suddenly hit by a bolt of neon

wisdom from above: “Good

God,” we exclaimed, “the atmosphere

here tonight is better

than it was for the gig on

Wednesday.”

But why Once again, popular

W.A.R resident Mak was responsible

for getting the party

started. His ability to fuse bass

and 4/4 sounds without flinching

set the party off on an underground

pitch, with “Party

Non-Stop” by Pirupa, and his

own Mak & Pasteman rework

of Tyga’s “Rock City” the stand

out tracks of the first few hours.

Next, as the sun began to

fall away to the east behind

the white washed walls of the

Rocks Hotel, Manchester sited

bass-pop team Citizen took to

the stage to play a live DJ set.

Three of the five band members

had made the Balearic trip,

while the group’s drummer and

bass player were left behind in

Britland, leaving Ant Hickman

to take care of the sonic output,

while MC Marc ‘Skeez’

Bernstein and vocalist Suzy

Alexander (above) chanted

and crooned in front of the

decks. Yes, the Citizen sound

is commercially pitched, with

glaring N-Dubz references, but

their finest tracks – “Mona Lisa”

and “Too Long” – have such a

melancholy edge and Suzy’s

vocals are so emotively etched

that their performance felt as

overtly dark and spine tingling

as it did accessible, and a perfect

fit for the occasion.

DJ Fresh was next on stage,

headlining in front of an audience

that had now grown to

flood the al fresco dance-floor –

2,000 bobbing heads perhaps

But whatever the exact figure, it

was certainly the biggest W.A.R

groundswell of the season so

far.

So there you have it – the masses

are starting to get a serious

hunger for W.A.R! But what

does W.A.R taste like A little

like marmite, perhaps – you

either love it or hate it. Nevertheless,

whatever the current

slant of your palate, ultimately,

September 7th will be remembered

as the day W.A.R outgunned

its more illustrious gig

night parent and matured into

a fearsome party entity in its

own right.

www.theibizasun.com/sundance page three september 12th


feature: best bass-lines page four september 12th

part two

Donna Summer

I Feel Love

1977

So here it is folks – the first techno record of

all time. Giorgio Moroder’s pulsating classic was

the first dance record to fully embody techno

music in its contemporary form. The sleek, rolling

bass-line gallops along at a romping pace,

fuelled entirely by electronically powered Moog

machines. “I Feel Love” is taken from Donna

Summer’s concept album “I Remember Yesterday”,

which was intended to represent the past,

present and future sound of dance music. “I Feel

Love” was meant to symbolize the future. And

it did… in a sense… although whether or not

this track actually went on to shape the future

of dance music, rather than being a mere early

characterisation of it, is definitely a point for

debate, but only if you have the time to spare

on such matters.

Chic

Good Times

1979

Not only is this bass-line über funky and instantly

recognisable, it also helped to shape the

curvatures of an entire musical genre. Indeed,

there are few songs that have been copied and

sampled as much as Bernard Edwards’ eccentric

masterpiece. The strutting “Good Times” bassline

has been used as the underpinning for a

thousand tunes; John Deacon was under the

Chic influence when he penned “Another One

Bites the Dust”, and, perhaps most importantly,

the Sugarhill Gang used the instrumental track

on their seminal rap record, “Rapper’s Delight”,

a foundational tune that allowed rap musicians

to begin building their sonic empires.

In the late 70s and early 80s, dance music bass-lines were still heavily

influenced by disco sounds, with rolling synthesised arpeggios being the

archetypal order of the day. As the years passed toward the millennium,

dance music branched off into many different genres and sub-genres. Techno

producers experimented with minimal bass-lines, hardcore composers

preferred bouncy rhythm sections, while house music bass-lines were narrower

disco adaptations. But no matter what genre of dance music tickles

your particular fancy, to persuade a crowd of human beings to rise up to

their feet and start dancing, you’re going to need a bass-line that oozes

groove and funk and stomps along at a ferocious pace. Here some more

pre-millennium examples of how to attract and then entertain a crowd.

New Order

Blue Monday (12” Version)

1983

The daddy of all new wave dance tracks, New

Order’s “Blue Monday” remains the biggest selling

12-inch single of all time. The track draws

heavily on Giorgio Moroder’s sequenced disco

sound, adding live guitar elements to the distintive

rolling bass-line to create a more typical

UK or indie edged sound. When it was first released,

“Blue Monday” was way ahead of it time,

which is why, this techy, synth-pop crossover is

still being played today, in all the best house and

techno clubs across the planet.

M/A/R/R/S

Pump Up The Volume (12” mix)

1987

“Pump Up The Volume” may be stuffed with

over 250 samples and clanging with synthesized

cowbells, but this techno dance classic will be

best remembered for the mean, inhuman bassline

that runs, like cold reptile blood, through

the very heart of the track. The only disappointment

here is that M|A|R|R|S only made one track.

Pump Up The Volume went to number one in

the UK charts and stayed there for 3 weeks,

working to draw mainstream attention to house

music in an age when the genre was generally

thought of as being a minority sport for dropouts

and unaffiliated scumbags.

Inner City

Big Fun

1988

A crossover tune that falls somewhere between

acid house, Detroit techno and oldskool,

“Big Fun” is a quality record that has it

all. Kevin Saunderson is the mastermind here,

producing and composing a thumping, acid

tinted bass-line that is still being played today,

twenty-five-years after its first release. “Big Fun”

which features a plethora of reassuringly soulful

disco vocals from Paris Grey, was released a

few months before “Good Life”, which sports a

leaner, less aggressive bass track.

Technotronic

Pump Up The Jam

1990

Raging with squelching acid stabs and electrified

pulsations, the Milk & Sugar Remix of

Pump Up The Jam is the best reworking of a

real, bona-fide Euro-Dance classic. If you don’t

have a taste for overt acid sounds, the original

cut remains raw and instantly recognisable, with

a hammering bass drum, snapping percussion

and reverberating synths. The Red Zone Mix has

aged well, but lacks punch, while Todd Terry’s

Dome Mix is worth a listen if you’re a house music

traditionalist. But don’t suffer the sonic girth

restrictions brought forth by an immeasurable

plethora of narrow minded radio edits.

september 13th amnesia cream €45 23:59

september 14th privilege supermartxe €25 23:59

september 15th ushuaia pooldisco €30 16:30

september 18th space carl cox €40 20:00

San Antonio

West End

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