September 26th - The Ibiza Sun

theibizasun.com

September 26th - The Ibiza Sun

SunDance

YOUR WEEKLY JOURNEY INTO THE HEART OF THE IBIZA DANCE SCENE... Issue 20

September 26th - 2012

One of techno music’s unsung

heroes, Alexi Delano

was born in Chile, cultivated

in Sweden, and these days he

lives in New York City. Promoting

a true underground

sound balanced somewhere

between deep house minimalism

and dark vivacious

techno, Delano has more

than two decades worth of

production experience to his

name and has released tracks

on ‘Items And Things’, ‘Poker

Flat’, and on Richie Hawtin’s

‘Plus 8’ imprint. Obviously,

when we had the opportunity

to interview Alexi after his

set at Music-on at Amnesia,

we jumped at the chance.

Please name your top 5 tunes of the season

here at Music-On @ Amnesia

To name a top 5 is impossible – I don’t like to do

it. The same way your mood changes everyday,

the music changes on a daily basis, too. What

you liked yesterday, or what you ate yesterday,

doesn’t mean that you’re going to eat it or like

it the next day. That is why a chart for me is

impossible – I can’t tell you my top 5; I could tell

you my top 55! Or 105! But I can’t tell you a top 5.

Describe the dance scene twenty years ago

Back then, the music was more inspiring; it was

pushing more boundaries than it is now. These

days, it is so simple to make music, but twenty

years ago you needed to have a whole studio,

and you needed to work for that studio, you

needed to work to get a keyboard; now all you

need is a computer. Of course, you still need

the essence of creativity, the essence of expression;

you still need that, so implicitly, so it’s not

necessarily simple.

Do you think that advancing technology has

actually made DJing and production too easy

At the end of the day it doesn’t matter what

medium you use, it’s the way you use it. It’s the

way that you interact with the technology that is

important. I do think that the scene has stagnated.

There is no clear progression, now it’s just

like, what’s minimal What’s house However,

technology has its advantages - kids in Romania,

kids in Chile, they don’t have the upbringing

or the money to buy the equipment, but now

with computers, they can actually go and create

something beautiful, and get it out there, which

they couldn’t before.

Has record shopping become easier in the

digital age

I come from an era of record shops. I used to be

a buyer and seller working in a record shop, selling

music to people like Adam Beyer. Nevertheless,

I’ve lost the art of buying a record. I’ve lost

it, because I don’t go to record stores anymore.

It’s a sad feeling – a lack of interaction with your

trade – it’s like losing the history of yourself and

it affects you. It affects me, knowing that I’ve

lost the art of buying records, because it’s an art

form. You go out and you buy records and you

spend hours searching. You look at the cover,

you remember the cover, you remember the

name, now it’s a bunch of flickers on a screen.

Record shopping was about the anticipation of

going into town, to the record shop, for a record

you ordered in 2 months ago, and then you finally

get it in your hand - I guess it was about

the whole journey. A voyage.

In terms of music piracy – how has your vocation

changed since the advent of the internet

It is a very complex issue, but in the days of

vinyl, I would be selling 15,000 records, now

I’m selling 500. Of course, it hurts; sales have

fallen. However, it’s a progression and we need

to adapt and accept that that’s the way it is. You

put out a record, or make it an audio file so it can

be downloaded. When I put out a record on a

major underground label, the next day I can go

online and download my own music, before it’s

been released. There’s nothing I can do about

it. Look at movies. We download movies if we

can, and I feel ok with it, so if somebody wants

to download my music, I can’t really complain,

because I’m the one downloading a movie! So,

like I say, you have to adapt to the times.

If you know your music is going to be stolen,

do you put less effort into future tracks

Of course, I need to get paid for making music.

But the thing is, why do I make music I make

music for people to listen to. I’m not sat in my

basement studio making music for me to listen

to. No, it’s for the world to get it, to grab it, so go

ahead, download it, I can’t complain, because

it’s made to share.

In a production sense, are you always on a

mission to make the one perfect tune

If you are a writer looking to produce one tune

then I feel sorry for you, because you will never

find that perfect one. When I was younger, and

releasing on vinyl I used to think like that, but

now I just write. When I was in South Africa,

recently, a guy came up to me and said: ‘I’ve got

your records’. South Africa! From my basement

in New York, to South Africa! That made my day.

You’re living in the US, tell us about the

house/EDM scene in the US right now

I wasn’t really aware of the Swedish House Mafia

until recently. But I came to realise that they

were selling out mega sized stadiums like Madison

Square Gardens. That’s when I realised, holy

sh*t, there is this thing called EDM. Of course,

I’m not really related to that scene; however, in

the US it is definitely taking over hip hop. Hopefully

it will turn the American music scene into

something electronic driven, rather than being

hip hop and country led.

Should EDM be considered a bridge between

commercial and underground dance music

Yes, it’s a bridge. However, we shoudn’t look

down upon what they are doing. We need

them, and the underground is still here, after all.

As BPMs slow down, how has this affected

you as a DJ

Nothing really affects me as a writer. The inspiration

comes from within me. If I do need

inspiration I listen to classical, I listen to jazz, not

electronic music. When I speak to friends that

are of my generation, we don’t really listen to

electronic music when we have our day off. We

aren’t necessarily inspired by electronic music;

we get inspired by other things, because we’re

writers. If you’re going to go and get inspired

by electronic music, then you’re copying. We’ve

been around for a long time, and ultimately we

write to inspire others.

sundance@theibizasun.com page 1 september 26th


interview: marc kinchen page 2 september 26th

Marc “MK” Kinchen is a true house icon and legend - you

might not know his name, but you will know his music. As

an artist, producer, DJ and songwriter, MK has been pusing

the boundaries of dance music for decades. He was only a

teenager growing up in Detroit when one of Techno’s true

originators, Kevin Saunderson, began mentoring him, passing

him the keys to the infamous Detroit KMS Studios and

teaching him how to use the arsenal of sonic gear stacked

in front of him. Within a year, MK was producing his own

tunes and had started his own label. His early production

work caused such a stir that Marc packed a bag, went to

NY and scored a record deal with Virgin. Since then he’s

remixed tracks for Blondie, Pitbull, Janet Jackson, Moby,

Luther Vandross, Brandy, Pet Shop Boys, Masters At Work,

Jamie Jones, and Inner City - all of which means we were

very lucky to have the opportunity to sit down with Marc at

Carnival at Sankeys a few weeks ago to quiz him about his

life as one of the worlds foremost dance music musicians.

Can you remember the first time you DJd in

Ibiza and tell us a little about the experience

It was only a few months ago at Space with

Maya Jane Coles – it was an amazing event –

really fun. I also played at Pacha recently, too.

How do the sound systems compare

Yeah, both sound-systems are pretty dope.

Pacha was more commercial than what I am

used to. I usually play in underground clubs, so

you know playing a club like that, it wasn’t really

what I’m used to – but it was a cool event and a

massive learning experience. Space was really

fun, maybe because I was playing with Maya,

and I like Maya a lot.

Do you know her

Yeah, in fact, we talked about doing a record

together, so we’ll probably do something in the

near future.

How do you play live - are you driven by the

audience, or do you let them guide you

I don’t play like other people. I definitely play

more vocals than anybody I’ve heard. I almost

play music in the same way I produce it, you

know; I’m a Producer more than anything, so

when I’m making a track I’m working on a certain

section, I know what I need to add or what

needs to come next - I kinda work the same

when I’m DJing.

You began producing before DJing - perhaps

thats why you sound different to the other

guys, because you’re coming from a layout

point of view

when it’s a different song coming in. I mean,

some DJs may say it is a lack of mixing skill, but

to me, I’m not trying to impress everybody by

being a skilful DJ; I mean, I want people to have a

good time, so I want to play music that they can

dance to and be happy listening to. Whatever it

is, however I have to play it, that’s my approach,

and I approach it like a producer.

Back in the day, when you weren’t DJing,

how did you test your productions

I didn’t; I couldn’t. At home I have a hard drive

full of unreleased music, because every time I

did a remix, I made at least 4 versions of it. So

who knows… but I’m thinking of going back

and revisiting some of the stuff on that old hard

drive. These days, now I’m DJing, I can play records

out, then go home and tweak it. I’ve just

done a Michael Jackson remix, and I played it

out like, what 3 times, and I tweak it every time.

And I’ve also produced a record with Lee Foss,

and Lee and I have both tweaked it 3 or 4 times.

Why did you decide to re-engage the scene

I’ve never really been part of the whole DJ circuit.

I’ve only ever played what I wanted to

hear. I didn’t buy DJ magazine, I didn’t hang

around with a lot of DJs, so I never really knew

what people thought of my music. Every once

in a while someone was like, hey that was pretty

dope. Then when the internet came out, I was

amazed that so many people liked my music.

You grew up in Detroit in the early 90s - why

did you depart to New York

Well, I’d just put out Burning, and I never really

fitted in with all the other Detroit guys – Kevin,

Derrick and Juan – even though I liked their music.

I was more suited to Chicago and New York

at that time, because I was playing more of a

deeper sound, that was the main part of it.

Now you’re in New York in the mid-nineties,

and the house scene is overcome by hip-hop…

I think I stopped producing before the dance

scene even started to fade away in the US – I

was getting bored of the scene, probably because

I wasn’t DJing – so I didn’t see the scene

fall away and hip-hop take over. Nevertheless,

the remixes didn’t stop coming in. I was getting

two or three remixes per week – one after

another –and I would be playing video games

and remixing at the same time.

It was that easy

Yeah, some of the A&Rs that hired me, they

didn’t really know who I was, but they liked what

I was doing and just kept hiring me. Back then

I was earning $20,000 per remix.

So why relocate to LA to work for Will Smith

I didn’t know how long it was gonna last, you

know, the remixes. Back then I was in my twenties

and I though: I what am I gonna do when

I’m 30 You have to remember that the dance

scene was still really new and nobody knew

what was coming next. Was I gonna be a 50

year old house producer Did I even have a

real career So I thought I should probably do

something that was a little bigger. I wanted

to get into more production of my own stuff.

With remixes all you get paid is a flat fee and

then it’s done. You know the perfect example

is Nightcrawlers; I got a flat fee for that, and

then recently, when someone else sampled it,

Nightcrawlers got paid a fee again, but I don’t

take a cut. It’s cool, there are no hard feelings,

I understand it – in fact, I’m going to be meeting

up with John (Reid) next month in LA – but

anyhow, that’s one of the reasons I started moving

away from remixing other peoples records.

Yeah, I’m coming from a producer’s point of

view, but so far everybody has really liked my

shows, and it’s probably because it’s so different

from what they are used to hearing. You know,

there’s a lot of DJs who play, but you almost

can’t tell when the next record comes in; in my

sets you can hear when every record comes in.

SEX SHOP

IBIZA

Stocki's Erotic World

C. Carlos V. 12 Bajo

07800 Ibiza Town

Why, are you slamming things in!

No! It’s just because they’re totally different

songs, and usually, like I said, I’m playing tracks

laced with vocals, so most of the time you know

Open 10:30 - 01:30

tel: (+34) 971 312 005

e-mail: sadornil@msn.com

www.theibizasun.com/sundance page 2 september 26th


interview: marc kinchen page 3 review: w.a.r. @ ibiza rocks

Tell us about the dance music boom in the US,

and is it really dance music

No, it’s mainly just the Guetta sound, but it’s

definitely the start of something. But whatever

it is, let’s just kinda try to go with it. People like

music for different reasons – if you try to work

out why certain people like certain music, it can

kind of back you up in a corner. At the end of the

day, I’m not wasting my time debating it – after

all, I’m a producer, I’m not a fighter!

How is Oakenfold doing in Vegas

Is he in Vegas I didn’t know that! I’m not sure

about Vegas, but in LA the scene is really tiny,

I’ve probably done 2 shows in LA, and I live

there!

Back here in Europe, we’ve all seen pictures

of Detroit looking like a ghost town - are those

pictures a true representation of reality

Yeah - it’s the economy, and the Mayor was

corrupt… just a bunch of bad stuff was going on

there. Well, I try to never go back, even though

my Mom’s there, but I really don’t go back there

too often. There’s nothing there, honestly, like,

nothing there. I mean like, Derrick is still there…

but I would never, ever, ever go back there, even

if somebody gave me a free million dollar house,

I wouldn’t go back.

Have you thought about living in Europe

I’ve thought about getting a place to share

with somebody. Lee has a place here and in

LA, so we were actually talking about getting a

place. I may do it, because every time I look up

I’m booked here twice a month, so perhaps I will

end up getting a place in Europe.

Tell us about your approach to production

When my friend producers try to make vocal

tracks, I already know their approach is different

to mine. I’m always looking for something; I’m

looking for something to be inspired by. Other

producers chop vocals to try and get a certain

sound, and that is something I don’t do. Instead,

I try to build a melody by cutting vocals into

different arrangements.

What’s the last piece of hardware you added

to your studio

You know what, back in the day I used to spend

more time trouble shooting than actually working

on production. Literally, like six hours trying

to figure out why my keyboard wasn’t working.

However, now with all the plug ins, I’m like, perfect!

But… I just bought a Mini Moog Voyager,

and I’m having the same problems, because

I bought this analogue synthesiser, Moog reissued

it, but you have to wire it – midi, audio,

everything. Now I’m having the same problems

I had 10 years ago!

Rejoice fellow human beings, salvation is finally

here! War is now officially over! Well, actually

that’s not quite true. Here at SunDance,

we were confused by an email which read: See

The End of W.A.R, in 2012. At first we though it

meant an end to global savagery and injustice,

but it was actually an electronic invite calling

SunDance to the closing party of Ibiza Rocks’

new W.A.R. party.

As for the club night rather than the dirty deed,

any lasting summary of W.A.R. needs to take

into account the previous Friday night shindig,

which was an atmospheric premonition of how

Friday nights at the Rocks Hotel can be. Last

week, Mak, Doorly and Artwork (above) each

played a mixture of house, electro and bass

sounds, whilst toying with the crowd throughout

the gig. Mak tossed branded t-shirts into

the audience, Artwork lined-up vodka shots,

and Doorly smashed bottles of JD on the stage,

while all three performers seemed genuinely at

ease on the mic.

If W.A.R. can find themselves a fulltime MC,

or a witty compeer, over the wintertime, and if

they can replicate the camaraderie shown on

stage a few weeks ago and again on closing

night, based on current musical tastes, it’s only

a matter of time before the Friday night parties

at the Rocks Hotel start to outmuscle the older,

more mature Wednesday night gigs.

review: music on @ amnesia

The 2012 Ibiza summer dance

season has been awash with

Newbie Nights, especially techy

nights, with Marco Carola’s Music-

On event being one of the largest

innovations to set-up-shop here

on the island this year.

Back in May, lots of us were talking

about the coming techno

wars – with Richie Hawtin moving

to Space, Luciano extending

out from Pacha and into Ushuaia,

Carola setting up his own night at

Amnesia, and Sven Vath’s Cocoon

night still running strong on Mondays.

However, in recent weeks,

rather than engaging in conflict,

the aforementioned DJs have

been building bridges. Luciano

and Hawtin fused their events

last Thursday; Hawtin paid a visit

to Music-On on Friday; while Luciano

popped in to Cocoon to see

Vath on Monday.

Indeed, in good times, it’s easy

to be civil, and despite each night

needing a tweak here and a twist

there, Enter, Cadenza Vagabundos,

Music On, and Cocoon have

all had successful seasons, largely

at the expense of the two San Antonio

super-clubs.

If Music On has suffered at all

then it’s only because of Marco

Carola’s god-like popularity,

which often leaves the Main

Room a little thin on the ground

in terms of punters. Nevertheless,

last week, Main Room bookings

Alexi Delano, Carlo Lio, and Jeff

Mills did their very best to compete

with Carola. Lio played a

mixture of deep pulsing house

and chugging minimal grooves,

while Delano offered-up a balanced

mixture of melancholy

house and techno stomp.

Techno originator Jeff Mills took

to the stage at 4:30am, and immediately

upped the tempo. His

blending skills were as good as

anything we’ve seen this season

and the pace was full-throttle,

continuously rising above 130 on

the BPM scale. Carola kept things

going on the packed Terrace until

late, with the Gaiser remix of ‘Triton’

by Marc Romboy the standout

tune of the last hour.

www.theibizasun.com/sundance page 3 september 26th


feature: broken beats page 4 september 26th

the origin of

broken beats

Break-Beat Originator

The Winstons

Amen Brother

1969

Gregory Cylvester Coleman changed the

course of dance music history in a mere 5.2

seconds with this short and snappy breakbeat

drum solo performance, called The Amen

Break. In later years, his solo section would act

as the the skeleton upon which a number of

dance music genres were able to flesh-out their

sounds. In fact, if it weren’t for Gregory Cylvester

Coleman and The Amen Break, most hiphop,

jungle, hardcore techno, break-beat, and

drum and bass producers would be wholly redundant

creatures. In summary: Amen Brother

is one of the most important dance music tunes

of all time, and yet, weirdly enough, it isn’t even

a dance music record.

The Most Sampled Track Ever

James Brown

Funky Drummer

1970

Recycled, tweaked and twisted time and time

again by a plethora of hip-hop, trip-hop, rock,

pop, and break-beat producers, Clyde Stubblefield’s

unaccompanied 8-bar, 18-second long,

break-beat solo drum performance is considered

the most sampled piece of music of all

time. If you want to listen to Stubblefield’s percussive

foresight in contemporary action, then

seek out “Fight the Power” by Public Enemy,

“Oodles of O’s” by Beastie Boys, and “Shadrach”

by De La Soul.

First Jungle Record

Lennie de Ice

We are IE

1991

This Lennie de Ice masterpiece remains one

of the few olden jungalist national anthems to

hold any contemporary import and for this reason

it is still being played today despite being

over 30 years old. We are IE is regularly alluded

‘Broken Beats’ act as the skeletal

framework for numerous

different dance music genres

to flesh out upon. Whether you

happen to be listening to drum

n bass, dubstep, trip-hop,

hardcore, breakbeat, jungle,

or hip-hop, you are listening

to the sound of broken beats.

In comparison to a typical 4/4

house music track, the percussion

will usually be staggered,

while the snares will be interposed

in direct relation to the

beats. Artists and performers

like Massive Attack, Roni Size,

Goldie, Kraftwerk, Depeche

Mode, New Order, Autheche,

and Zed Bias have used Broken

Beats both to create and

advance their chosen musical

genres. But where did the Broken

Beat originate and who is

responsible for advancing the

sound most In an age of bass

music, these are the questions

that need to be answered, for

better or worse.

to as being the world’s first jungle record. Driven

along on a wave of amen styled broken beats

and sporting a heavy ragga sub-bass bass-line,

We are IE is one of the earliest examples of jungle

music taking on pure form. After its release

it became a wild blueprint for an entirely new

generation of early 90s electronic dance music

producers who’d grown tired of hardcore and

didn’t want to listen to techno.

Drum and Bass Originator

LTJ Bukem

Demon’s Theme

1991

LTJ Bukem’s fearsome offering is the first drum

and bass track of all time. No it isn’t. Yes it is.

No it isn’t. Evidently, the exactitudes of the issue

remain somewhat blurred and many late night

debates have been fuelled by this issue. But

more often than not, “Demons Theme” is chosen

by most thinking men as the genres most

influential offering. Demons Theme, which was

available on white label as far back as 1991, roars

throughout with throbbing sub-bass, and yet it

still manages to take the listener on a kind of celestial,

ambient journey into a broken future…

to the year 1995, in fact, when drum and bass

had sonically matured, but had not yet reached

its commercial peak.

Trip-hop and Sampling Innovator

DJ Shadow

In/Flux

1993

Mixmag writer Andy Pemberton coined the

term trip-hop when he was busy reviewing a

track called In/Flux, by a then unknown American

DJ called Shadow. The record is lengthy

12-minute-long, sample laden, downtempo auditory

vista that sounds a little like break-beat

and a little like hip-hop, but isn’t quite either.

Two years later, Shadow released his debut studio

album, Endtroducing....., a haunting, globally

celebrated piece of music built using only

sampled sounds. Along with Massive Attack’s

similarly lonely offerings, those bleak, smokingjacket

trip-hop tunes defined the decade.

First Dubstep Record

Horsepower Productions

When You Hold Me

2000

Can anyone tell us exactly what the first ever

Dubstep recording was Everyone seems to

have an answer, but each answer is different to

the last. And so it is that the origins of dubstep

continue to provide a never-ending source for

debate, as do the exact sonic fundamentals that

work to characterise the genre. Nevertheless,

what we do know is this: ten years ago, artists

like EL-B, Ghost, and Zed Bias began producing

and releasing tunes that changed the way

dancefloor audiences danced to broken beats.

These early dubstep tunes drew influence from

jungle, UK garage, dub, and break-beat music,

but were arranged in such a way that you

couldn’t classify them into any of those pre-existing

genres. An early milestone, released just

after the millennium, was a track called “When

You Hold Me”, by Horsepower. It may not be the

first ever Dubstep recording, but it is certainly in

the running for that oh so auspicious title.

SEPTEMBER 27TH SPACE KEHAKUMA €35 22:00

SEPTEMBER 29TH GALA NIGHT ZOO PROJECT CLOSING €35 17:00

SEPTEMBER 30TH SPACE WE LOVE CLOSING €20 19:00

OCTOBER 1ST AMNESIA COCOON CLOSING €50 23:59

www.theibizasun.com/sundance page 4 september 26th

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