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...

For a long time now, Slovenia has been known for

its great underground parties, but the local scene is

such a boutique of different sounds and dimension

that any artist who cares to rise to a professional

level has to engage the worldwide scene. UMEK

took this step in the mid-90s, and is now one of the

most important riders on the global techno circuit.

In 2007, he started up 1605 Music Therapy, a production

imprint that spawns new releases and new

talents almost every week. But most importantly, if

it wasn’t for UMEK, there wouldn’t be a dance scene

in Slovenia. For these reasons and many more, we

arranged an interview with the sonically blessed man

who chose to peek out from behind the Iron Curtain.

When did you first DJ in Ibiza

I can’t remember when and where I lost my

white isle cherry! It must have been eleven,

twelve years ago. However, the one night that I

do remember is a party Marco Bailey organized

after the first Carl Cox season in Space.

Where are you performing in Ibiza this year

This summer I’ll be playing six gigs at Space

all together. That’s four exclusive performances

for Carl Cox and another two with Toolroom

Knights, before and after the Revolution event

series.

What’s the most important thing you’ve

learnt about yourself this season

Nothing life changing. That already happened

a couple of years ago, when Carl invited me to

perform with him for the first time and then I

really felt that magical spirit of Ibiza for the first

time. This year I only confirmed my earlier belief

that I really enjoy warming up for Carl in the

main room. I enjoy playing at Space wherever

they put me, but the energy and the vibe in the

main room are really something special. So, at

least for now, I prefer the main room.

Can you describe the sights and sounds of

your hometown and tell us how you grew up

producing and DJing dance music

Well, Slovenia is a pocket-sized country stuck

between Italy, Austria, Hungary and Croatia.

Only 2 million people live there and you can

drive trough the whole country in a couple

of hours, but we have an amazing variety of

scenery on this small plot of land squeezed in

between the Alps, Adriatic sea, Balkans and Pannonia.

We live on the crossroads of Germanic,

Mediterranean and East European cultural influences;

we’re well connected to the world, most

of the people speak two to three languages at

least and at young people enjoy modern pop

culture. Ljubljana is one of the smallest capital

cities in the world, and there’s a lot of nature all

around. Living here, culture-wise, is the same

as living in western cities, it’s just that here you

can reach the nearby woods, planes and lakes

in a couple of minutes.

And that’s a little insight in how it was growing

up in Ljubljana after the fall of iron curtain: as for

me, I’ve always had an ear for electronic music. I

grew up in the 80s and I remember listening to

the then popular bands such as Falco, Human

League, Modern Talking and some local acts

such as Denis & Denis and Videosex, who were

using a lot of electronic elements in their mainstream

productions (I don’t listen to the lyrics.

Even now I still hear voices in songs mostly as

another instrument, the melody, the color, the

hook). But then, in the early 90s, the iron curtain

fell down and the whole generation suddenly

became exposed to so many new sounds and

cultural movements. It was just the right time;

I discovered this new electronic music coming

mostly from the Germany. I was a rebellious

teenager and I found my calling in rave culture.

As a kid, I went to raves in Munich, but I decided

quite soon to get involved as a DJ and producer.

I quit school, my basketball training and focused

on my only goal.

In terms of artists, there are a few who really

influenced me. Todd Terry’s Can You Party was

the record that got me into house and electronic

dance music. Westbam were the leader of

the German techno movement in the early 90’s,

and I decided to focus only on techno because

of Surgeon and the rest of Birmingham crew.

As a DJ I found a lot of inspiration watching Jeff

Mills doing his thing, while Carl Cox was the #1

master of building energy on the dance floor. It

was really amazing watching these guys mixing

records on three decks at the same time.

Issue 16

August 29th - 2012

01. Tomaz & Filterheads -

Sunshine (UMEK Remix)

02. Olderic - Slot Shot

When you are building a tune, what comes

first, beats or bass, and why

I usually start with the beats then I add bass

and some more beats and rhythms. I used to

do it like that for a couple of years, but lately

I’m trying some new approaches. Recently, I’ve

started with riff and melody and I add bass on

top of that. I am a very productive artist, workaholic

even, so I need to try new things all of the

time to avoid falling into routine and boredom

Is evil tangible

umek’s top 5 techno

tunes of ibiza 2012...

(Original Mix)

03. David Amo, Julio Navas,

Prok & Fitch - Campana

(Original Mix)

04. Roter & Lewis - Don’t

You Get (Original Mix)

05. Andrea Casula -

Funky Groove (Original

This is a very original question, but I have no

idea what to answer!

MAIN ROOM

ABOVE & BEYOND

SANDER VAN DOORN

JOHN O’CALLAGHAN

MIXMAG TERRACE

CALVIN HARRIS

VERY SPECIAL GUEST:

ALESSO

BURNS

JAMES DUTTON

sundance@theibizasun.com page one august 29th

Mix)

30 TH AUGUST 06 TH SEPTEMBER

EVERY THURSDAY 14 TH JUNE – 20 TH SEPTEMBER

MAIN ROOM

PAUL VAN DYK

EDDIE HALLIWELL

ADAM SHERIDAN

MIXMAG TERRACE PRESENTS SUPER YOU&ME

LAIDBACK LUKE

EXAMPLE FEATURING DJ WIRE

OLIVER TWIZT

JAMES DUTTON

CREAMIBIZA.COM


interview: umek page two august 29th

What techno record, released in the last three

years, has changed the way techno producers

think about making records

I have no idea. My herding instincts are very

poor and I don’t feel a need to be part of the

flock. I produce and play music that I like. I’ve

noticed many times that I’m not playing the

greatest hits that everyone else is caning. Not

that I intentionally ignore big tunes, I just follow

my own taste in music and play what I like and I

don’t just play certain records as I probably have

a dozen better ones that I want to present to my

audience. That’s also why I usually don’t know

the right answer to questions like: which is the

tune of the year in Miami or Ibiza. It’s probably

something I don’t even play or like.

Can you tell us about your 1605 label

1605 is a numeric inscription of my birth date,

which symbolically declares the 1605 project is

the “fruit of my loins” and I have total personal

control over it. Looking back now, I can say it was

worth taking that risky step into the unknown,

as the label has already become a serious player

on the scene. The policy of 1605 is very simple:

we stand for quality music, we only release what

we like and I only support music that I like and

play. We focus a bit more on eastern bloc artists

that are overlooked in the western controlled

media and music industry. We release music

that we find good, fresh, inventive, regardless

of the name signed under the production, so

it’s no surprise that we release a lot of stuff from

totally anonymous artists.

These days, techno beats are slower and more

maximal than they were six years ago – why,

and has it changed the way you DJ/produce

I agree techno nowadays is slower and more

maximal and I see this as a natural progression

after the minimal tsunami we experienced a

couple of years ago. At some point, people got

bored of minimalistic music and moved forward

– this always happens after a certain trend

dominates the scene. Techno and its subgenres

are bound to progress and evolve all the time,

so I expect they will continue to shape-shift in

the future. I can’t understand those techno DJs

that stick to certain sound and tools and refuse

to move forward with technologies and progress,

whilst dissing the ones who move things

forward. Techno, in essence, is futuristic, future

oriented and technology progress driven music.

Jeff Mills once defined techno as the sound

people have never heard before. Techno is progressing

because of artists’ creativity as well as

new technologies and tools for production and

performance. That’s why I can’t understand old

school DJs that stick to the sound of the 80s

and 90s and act like old rockers who believe

there was no quality rock music after the early

Rolling Stones songs and they live in a world

of nostalgia that is totally out of sync with the

original techno philosophy defined by Mills and

the others. Regardless of whether or not I like it,

I believe every musical genre produces some

outstanding tunes and exceptional artists, as

well as a lot of ballast. But quality always wins

and if the audience starts following some trend

there must be something about it. You should

not fight against that hoping that it will soon

be over; it’s better to try and figure out what’s

good in it and if there’s something you can creatively

incorporate in your own style. That was

the main challenge for me when I decided to

refresh my sound. It wasn’t easy and it took me

years to get the results I wanted, but that’s how

new subgenres and niche sounds get born. And

I could not create my new sound only with my

creative output. I also needed to change the

technology I was using. I completely digitalized

my studio and I moved to a DJ-setup based on

two laptops and a hi-tech mixer, which allowed

me to take my performances to another level

and that’s also the key to how my sound became

so maximal – because I use so many more

tracks, cuts, samples, live editing, effects and

manipulation in my set, the sound has become

richer. I could never do that with decks or CDs

and a classic mixer. Don’t get me wrong, I don’t

mind if other artists still use classic tools for their

performances – it’s the final product of their

work what really counts, regardless of the tools

they are using. It’s just that I could not progress

if I was stuck with the old technologies. Now, I

can do much more and that’s what I’m always

on the lookout for novelties. I don’t mind making

mistakes, but I want to try and see what I can

achieve if I do things differently, because I want

to progress and take my music further.

Do you have any new releases looming up on

the horizon

Always! We’ve just released a new remix pack

of classic tech-house anthems “Sunshine” from

Tomaz & Filterheadz on my 1605 label. Next,

one of my own tracks: “It’s Simple But It Works

Like Fcuk”; I’m releasing “100% Sure” on Stefano

Noferini’s Deeperfect label in couple of weeks,

and there’s a very interesting remix of “All Night”

by Parov Stelar coming out soon on Etage Noir

Records. This was a challenge, as they come

from totally different poles of the EDM specter.

They are a full retro swing-house oriented live

band with a DJ, so it was an interesting clash

of two worlds. I’m also working on a new track

with Uto Karem right now. Oh and I did a session

with Mark Knight that was on a standby for the

last couple of weeks due to our tight schedules.

If there’s anything else you’d like to say or

promote, now is the time!

A little exclusive piece of information for your

readers: I’ll release new DJ-compilation on

Toolroom Records in early 2013. For more fresh

news tune in my weekly radio show, Behind The

Iron Curtain, with Umek, which is available on

hundreds of web, terrestrial and satellite radios

worldwide.

Mucho thanks for your time...

De nada. :)

review: carnival @ sankeys

What do Pirupa, DJ Sneak, and

Marc Kinchen have in common

The answer is that they all

played at Carnival at Sankeys

on Saturday night, to a mostly

British crowd of young house

addicts who stomped and

jumped and dived around both

dancefloors until just before

7am in the morning.

Sneak stormed onto the

Basement room decks at 3am,

initially serving up a chugging

mix of jacking house beats,

including SunDance favourite

‘Pushing On’ by Jem Atkins,

which caused the crowd to

quickly descend into a state

of frenzy. We weren’t at all

surprised at the reaction caused

by Sneak’s advent; after all,

the Puerto Rican has been one

of the success stories of the

2012 Ibiza summer season,

his furious beats and his loud,

candid defence of house music

seemingly winning him many

new admirers.

Then it was time for Mark

Kinchen to take to the Basement

stage. After Sneak’s all-out beat

barrage, Kinchen immediately

reduced the BPM by few

notches, causing the crowd to

take a breath and regroup. Then,

after a few tracks, they began to

understand what Kinchen was

trying to say with his music, and

the stomping began all over

again, but this time to a slightly

slower, garage and vocal infused

assortment of new and old

house beats, which included a

few of MK’s own showstoppers,

including his classic ‘Burning’.

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www.theibizasun.com/sundance page two august 29th


interview: mak page three august 29th

Born, artistically at least, amongst

the urban clubbing sprawl and

booming underground soundsystems

of Leeds, England, Mak is

now considered something of an

Ibiza regular. Back home in Britland,

Mak holds up wintertime

residencies at Metropolis and Wax

On, whilst here in Ibiza you’ll find

him performing summertime slots

at Amnesia and Ibiza Rocks. With

the release of his new W.A.R. compilation

mix looming large on the

horizon, it seemed like the right

time to interrogate Mak, always

with a view to publishing his savvy

retort here in SunDance.

What do you remember most about your

Ibiza 2011 experience and how does this year

compare to last

I feel like I am more established on the Island

now. Being part of Ibiza Rocks really feels like

you’re in good hands!

Where have you been performing this year

in Ibiza

I’m playing the new Ibiza Rocks presents We

Are Rockstars events at the Hotel every Friday,

and I’ve also been asked to perform at the Together

party at Amnesia.

Does the W.A.R. audience differ from the Together

Amnesia crowd and do you have to

alter your sets accordingly

Yes definitely. The W.A.R events have much

more of a festival atmosphere and the way the

crowd builds is much quicker. Additionally, the

stage and acts make it more engaging for the

audience. At Amnesia, with it being a club, you

have to work the dance floor into a groove and

then build them into the heavier stuff.

You also fly under the production moniker

‘Last Magpie’. How did you come up with the

name and do you have any plans to DJ under

that name

It’s an idea of stealing sound from all manner

of different genres and tying them into my take

on a blend of house and garage. My EP for Hypercolour

is out soon and I have another EP for

Losing Suki out later in the year.

How will a ‘Last Magpie’ production make

me feel in comparison to a Mak production

Last Magpie is a more personal thing. We have

no deadlines and no specific agenda. The Mak

stuff and the work I do with Pasteman under

our “Mak & Pasteman” moniker is more set to a

specific agenda. The remix work, as well, is done

to a schedule and we always have a specific idea

of what kind of track we are writing with an idea

of what the labels might be wanting from us.

You’re all set to release your inaugural W.A.R.

mix CD – what does it sound like and can you

explain the processes involved with producing

a mass-market mix CD

It’s so different from the usual DJ mixes. I suggested

some of the tracks, but there are limitations

on exactly what tracks you can score due

to licensing reasons. Sonically, the CD is very

broad and covers pretty much all of the music

you will hear at W.A.R this summer.

How does Mallorca Rocks differ from Ibiza

Rocks in terms of crowd, vibe and atmosphere

Both gigs are different, chiefly because both

of the Islands are very different. In Mallorca,

there’s not much else going on, whereas here

in Ibiza you are spoiled for choice. Essentially,

the musical output is the same and by the time

the headline acts hits the stage the crowd are

always hyped and going crazy.

What piece of technology released in the last

ten years has changed the scene most

The PC and MacBooks with the software developments

have made making music massively

accessible, but we all know that. Specifically, the

UAD card is a great way of getting true HD audio

processing at a rate that a decent producer can

afford. They emulate high end classic analogue

equipment like the Fatso compressor by empirical

labs or the class 2LA limiter. It basically

means within a small studio and limited budget

you can give your music a polished professional

feel that was only available to engineers working

in an expensive high end studio. However,

that’s not to say that if I had the cash I wouldn’t

rack up the real deal!

Do you believe in luck, or do we manifest our

own

I feel you can manifest your own destiny, but

you won’t manifest anything of import by sitting

on your ass and by not taking life’s opportunities

when they arise. Unfortunately, most

people seem to be living in fear of losing things,

like a steady job and a home, whereas I’ve always

gone wherever the opportunities take me.

I guess, ultimately, you have to know what you

want to do in life and then chase it down.

mak’s top 5 tunes

of the ibiza 2012 season...

1. Jay Z

Ni**az In Paris

2. Jessie Ware

Running (Disclosure Remix)

3. Tyga

Rack City

(Mak & Pasteman Rework)

4. Finnebassen

If You Only Knew

5. Julio Bashmore

Au Seve

Of all the cities and time-zones you’ve

passed through as a working DJ, which locale

have you had the strongest desire to hang

around and peruse

Croatia was a highlight of my career. A stunning

place that doesn’t have the restrictions

Ibiza has and isn’t so in your face with all the PR.

I hope it stays that way. There are a lot of things

I love about Ibiza, but some of it really grinds

on me at times. Just being outside at night with

good music is amazing compared to being stuck

inside a club, which is one of the strong points of

Ibiza Rocks. In Croatia, you can dance outside all

night, and they don’t care if you dance on tables,

going crazy. The drinks are cheap as well!!!

Do you have any new releases looming up

on the horizon

Yes. I’ve just finishing an EP with Pasteman for

Redlights label LobsterBoy. Well exited about

that. Also, we have a Mak Vs Pasteman EP. A

bit of fun. We both had a couple of tracks we

had done on our own, but thought we would

release them together. They’re all bass/garage

orientated and have our M&P sound to them.

www.theibizasun.com/sundance page three august 29th


eview: happy mondays @ ibiza rocks hotel page four august 29th

Cult 80s hippy-pop-dance

crossover band Happy

Mondays took to the Ibiza

Rocks stage last week,

buoyed by the original

line-up that made them so

legendary in all the best

and worst pre-millennium

acid-house circles. The

only minor casualty of the

years, it seems, is Happy

Mondays comedian Bez,

who was unable to perform

his usual dancing role

on the Rocks Hotel stage

because of a debilitating

groin injury. However,

thankfully Bez still managed

a strut or two, whilst also

acting as a kind of nutty

compeer, introducing his

fellow band members to the

nostalgically buoyed crowd.

But so much for history –

what were the Mondays

Bar Name:

Savannah

Location: Sunset strip, San Antonio

Cocktail Creator: Afy - “I made my

first mojito at Henry’s in London!”

If Mojitos didn’t exist: “Try our

English Fizz, made with Cucumber,

Mint, Elderflower Liqueur, Hendricks

Gin and Soda.”

Find me: “Watching Luciano at Ushuaia!”

Price: €8

Height & Girth of Glass: 13 x 9cm

Sugar: brown

Rum: Havana Special

Mixer: Soda water

Verdict: Afy uses Havana Special because

Havana 3 is too intense and

Havana 7 has too much kick. Consequently,

his brown sugar mojito is a

dark masterpiece of a beverage.

end and the Makers, who,

along with old-skool DJ

Simon Guirao, warmed

up the Rocks stage for the

Mondays. The Reverend’s

live recital of ‘Open Your

Window’ was one of the

best live performances

we’ve seen this season. The

track is all about a rolling

bass-line which growls

and snarls like a wild dog

with a penchant for potato

vodka and cheap energy

drinks, and if the Rocks

sound engineers were

feeling mindless the tune

could easily have sounded

inebriated. But it didn’t. The

audio boys set the thing free

and it sounded awesome,

charging around the

courtyard like a crazed sonic

butterfly, murmuring things

like ‘Che’ and ‘Nietzche’.

the great

mojito hunt...

Unfortunately, you won’t be able to pick

up a copy of Steve Bug’s new artist album,

Noir, for another month. Nevertheless, we

managed to score a copy last week and

can listen to the thing whenever we want,

which is good news for us, because here at

SunDance HQ we’ve always had an innate

penchant for dark, melancholy electronic

music, especially when it’s presented as

tastefully as Bug’s Noir.

Bug’s 1st track, ‘Tell Me Why’, is a moody

techno plodder, driven along at a fair pace by

a plethora of twitching, trademark Poker Flat

beats. It’s a decent enough dance-floor tune,

but it isn’t mature enough to prophesise the

sonic variety to come.

Next up is ‘Poison Of Choice’, a smokingroom-paced

affair that is insanely sinister

and twisted, sounding like a contemporary

homage to Massive Attack – and then, out

of the half-gloom, an electric guitar riff drifts

across the surface of the record, daring to lift

the technological mood for a moment.

Track 5, now, and the beats are suddenly

broken up again as Bug takes us on a

luscious journey up ‘The Spiritual Staircase’…

or down ‘The Spiritual Staircase’, perhaps,

depending on your devout lean. The tune is

laced with squelching, morphing Schponglelike

stabs and warped vocals and is a

genuinely beautiful piece of music.

‘Those Groves’, the 7th track, and Bug is once

again dealing with beautiful sounds, layering

ethereal pads over a rolling bass-line and

steady peak-time beats After a tempo drop

and another blast of psychedelica in the form

of pitch bent lead lines, the track pulls away

again, causing all educated heads to nod and

then to rush knowingly.

As for the rest of the album, check-out the

stomping, cowbell laced ‘Somewhere In

The Night’. But as for this review: we’re fast

running out of space to convey our views. So

let’s summarise: here at SunDance we’re sent

around ten new mix and artist albums every

week – and in our opinion, Noir is one of the

top five long-players we’ve heard this season.

august 29th eden pornographic €20 23:59

august 30th amnesia cream €45 23:59

september 1st ushuaia pooldisco €30 16:30

september 3rd space ibiza calling €35 22:00

like in a musical sense

Before they appeared on

stage the concern amongst

the near-capacity crowd

was, of course, that their

routine would appear

fried after all these years.

Thankfully, however, Shaun

Ryder (above) was on-it,

harmonising with female

backing singer Rowetta

Satchell (also above), who

added a much needed

injection of Eros to the

party. Perhaps the biggest

surprise of all was that a

ridiculously heavily clad

Ryder, wearing huge black

boots and a hit-man styled

leather jacket, was able to

maintain his cool, regardless

of the weight of his garb

and the sweltering heat of

the evening.

But let’s not overlook Reverwritten

& produced by johnny lee. to arrange press and to advertise contact sundance@theibizasun.com

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