SS25 TUESDAYS HÏ IBIZA CLUB ROOM FULL INTERVIEW PAG 16/21 PACO OSUNA IBZ F&B JUN17 SEP30 NOW HERE NOW HERE NOW HERE NOW HERE JULY FREE #033
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06 HI CHASE, THANK YOU VERY MUCH FOR THIS INTERVIEW, HOW HAS 2025 STARTED? 2025 kicked off with a bang, nonstop gigs from the first weekend of January. I’ve played some incredible venues lately, especially in Europe. The energy has been next level. In between shows, I’ve locked in some solid studio time as well. I’ve been working on a bunch of new material, some of it’s already made it into my sets and the reaction’s been mad. It’s been that perfect balance of touring and creating, which always keeps things exciting. THIS SUMMER IS GOING TO BE VERY SPECIAL, YOU ARE STARTING A RESIDENCY AT AMNESIA IBIZA WITH EASTENDERZ. HOW DID THIS RESIDENCY COME ABOUT? Yeah, it’s a big moment for us. We had a really strong three-year run at Cova Santa. It was special, intimate, and we built something proper there with the crowd. But after those seasons, it felt like the right time to take things up a level. We needed a bigger space that could match the energy Eastenderz brings, and it doesn’t get better than the Amnesia terrace. It’s one of the most iconic rooms in the world, and having the chance to curate our own nights there is something we’ve been working towards for a while. The vision’s big, and we’re ready. WHICH ARTISTS WILL ACCOMPANY YOU IN THIS RESIDENCY? We’ve put together a really strong lineup for the season, with artists who truly represent what Eastenderz is about. Franky Rizardo will be joining us, always bringing that quality groove. Skream is on board too, which I’m buzzing about. He’s a legend and always full of surprises. We’ve also got Sidney Charles, Max Dean, Alisha, and Sosa. All of them are smashing it right now in their own lane. It’s a mix of established names and new energy, and I think it reflects the balance we aim for with the label and the nights. YOU’VE PLAYED AT AMNESIA MANY TIMES BEFORE, BUT THIS IS THE FIRST TIME YOU ARE TAKING OVER ONE OF THE MOST IMPORTANT CLUBS IN THE WORLD WITH EASTENDERZ. WHAT LEVEL OF PRESSURE AND EXCITEMENT ARE YOU UNDER? It’s definitely a mix of both. Amnesia is one of those places that holds a lot of history, and stepping into that headliner role feels massive. There’s a bit of pressure, of course, but it’s the kind that motivates you. I’ve played the terrace plenty of times over the years, but having the night built around the Eastenderz sound adds a different weight to it. I’m excited more than anything. We’ve put a lot of thought into the lineup, the flow of the night, and how we want people to feel when they walk in. It’s a challenge, but one I’ve been ready for. Tell us about the production you are going to have, what elements beyond the musical ones you are going to bring. We’re keeping the essence of the club intact. Amnesia is iconic for a reason, so we’re not trying to change the nature of the space. The booth is staying exactly where it is, right in the heart of the terrace, and that connection between the DJ and the crowd is something we want to keep strong. What we are doing is bringing in a custom lighting concept. We’ve been working closely with an artist who specialises in light design. He’s been developing something specifically for this residency over the last six months. It’s going to be a visual experience that complements the music without overpowering it. I’ve seen some of the mock-ups already and I honestly can’t wait to see it come to life in that room. HOW WAS THE EASTENDERZ PROJECT BORN AND WHERE DOES ITS NAME COME FROM? Eastenderz was born in London out of a pure passion for music. It started from a tight community of people who were all part of the same scene, connected through a sound and a vibe that brought us together. The name comes from the East End, where a lot of that culture was thriving, underground parties, warehouses, and a strong DIY spirit. It felt right to build something that represented that energy and gave it a proper platform. From there, it just grew naturally into a label, a party, and a sound people now recognise worldwide. EASTENDERZ IS ALSO A PLATFORM THAT HAS BECOME ONE OF THE MOST RESPECTED LABELS ON THE SCENE, WHAT ARE YOUR CRITERIA WHEN IT COMES TO SELECTING ARTISTS TO COLLABORATE WITH? For me, it always starts with the music. I don’t really go out looking for specific artists or names. If I hear something that fits the Eastenderz sound and feels right, I’ll reach out. Most of the time, that connection builds naturally and that artist ends up becoming part of the family. It’s never forced. Once the music speaks for itself, everything else follows, whether that’s a release or them joining us at the parties. It’s all about the right energy and staying true to the sound. WHAT DIFFERENCES DO YOU FIND BETWEEN YOUR PARTIES IN LONDON AND IBIZA? London has that raw, underground energy. The crowd there really knows their music and they’re fully locked in from the start. It’s where Eastenderz was born, so there’s a strong connection every time we do something in the city. Ibiza is different in a good way. The crowd is more international and there’s this unique energy that comes from people being on the island, fully in the moment. The vibe is a bit more open, and you can take people on a longer journey. Both places are special in their own way, and I love being able to bring the sound to each with a slightly different approach. WHAT DO YOU LIKE MOST ABOUT IBIZA AND WHAT DO YOU LIKE LEAST? I honestly love everything about Ibiza. The island has a special energy that’s hard to explain unless you’ve spent real time there. For me, it feels like home. The mix of nature, the sea, the sunsets, the food, and the pace of life, it all just makes sense. There’s a calmness during the day and a real intensity at night, and I love that balance. I’ve made some deep connections on the island over the years, and every time I land, I feel like I’mexactly where I’m supposed to be. Ibiza has given me a lot, and I try to give that same energy back when I’m playing or just living there. @eastenddubs
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08 EASTENDERZ IBIZA TUESDAYS - AMNESIA FROM 15TH JULY - 7TH OCTOBER EAST END DUBS DO YOU REMEMBER THE FIRST TIME YOU WERE ON THE ISLAND? WHAT WAS THE FIRST PARTY YOU WENT TO? Yeah, I remember it like it was yesterday. The first party I went to was Cocoon, and it was Sven Väth going back to back with Ricardo Villalobos. As soon as I walked into that room, I had goosebumps. The atmosphere, the sound, the energy, it was something I’d never felt before. That moment really stayed with me, and the crazy thing is, I still get the same feeling today when I walk into Amnesia. It’s incredible how the island holds onto that magic and keeps giving it back every time. IN YOUR OPINION, WHAT IS THE SUCCESS OF IBIZA AND WHY DO YOU THINK IT IS STILL A REFERENCE IN THE ELECTRONIC SCENE? I think the success of Ibiza comes down to its unique energy. There’s no other place in the world where the culture of electronic music is so deeply woven into the atmosphere. It’s not just about big lineups or famous clubs, it’s about the feeling the island gives people. You can go from a sunset at a beach bar to a full night on the dancefloor and everything feels connected. What keeps Ibiza relevant is how it continues to evolve while still respecting its roots. New generations keep discovering it, and it becomes a part of their story too. At the same time, it keeps pulling back artists, DJs, and fans who’ve been coming for years. The island knows how to adapt without losing its identity, and that’s rare. For me, it’s still one of the most important places in the world for electronic music. LET’S TALK ABOUT THE SCENE IN GENERAL, HOW DO YOU SEE THE HEALTH OF ELECTRONIC MUSIC AT THIS TIME? I think electronic music is in a strong place overall. There’s more attention on the scene than ever, and people are really digging deeper into different sounds and artists. The access to music has never been easier, and that’s helped a lot of new talent break through, which is great to see. At the same time, I think we’re at a point where quality control is really important. With so much music and content being pushed out daily, it’s easy for things to get a bit diluted. That’s why platforms, labels, and events that stay true to their identity are more important than ever. People can feel what’s real and what’s not. There’s definitely still a strong core in the underground, and I feel like the connection between artists and crowds is only getting stronger, especially in the right spaces. As long as we keep pushing forward with passion and purpose, the scene will keep growing in a healthy direction. WHAT DO YOU THINK ABOUT THE USE OF ARTIFICIAL INTELLIGENCE IN MUSIC, IS IT JUST ANOTHER TOOL OR A SHORTCUT FOR THOSE ARTISTS WHO DON’T WANT TO MAKE AN EFFORT? I think it depends on how it’s used. AI can be a tool like anything else. If it helps with workflow, speeds up certain processes, or gives artists a new way to explore sound, then it can be useful. But for me, music has to come from a real place. It’s about emotion, experience, and personal expression. No machine can truly replicate that. There’s definitely a risk that some people will try to use it as a shortcut, skipping the years of learning, digging, and experimenting that usually shape a great artist. That part worries me a bit. But at the same time, the people who are truly passionate about the craft will always stand out. You can feel when music has soul, and that’s something AI can’t fake. So as long as artists stay honest and use it as a tool, not a crutch, it doesn’t threaten the scene, it just becomes part of the evolution. RECOMMEND ANY YOUNG ARTIST WHO IS STANDING OUT AT THE MOMENT? For East End Dubs electronic music is... a way of life. It’s more than just sound, it’s a language, a feeling, a connection. It’s given me purpose, direction, and a platform to express myself without words. Through music, I’ve built friendships, travelled the world, and created something that brings people together. For me, electronic music is freedom.
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011 nowhere / now here CHAPTER 2. THE ABOMINABLE MIST ASIAN SAGES LONG BEFORE THE TIME OF CHRIST HAD INTUITED CORRECTLY THAT THE GALAXIES NUMBERED IN THE BILLIONS, AND THAT UNIVERSAL TIME WAS BEYOND ALL APPREHENSION: MORE THAN FOUR BILLION YEARS WAS BUT ONE DAY IN THE EXISTENCE OF THEIR CREATOR, NO MORE THAN “A TWINKLING OF THE EYE OF THE IMMUTABLE, IMMORTAL, BEGINNINGLESS LORD, THE GOD OF THE UNIVERSE. PETER MATTHIESSEN, THE SNOW LEOPARD. HÉCTOR CASTELLS Now Here, Kathmandu, May 2025. Last Tuesday life, as I knew it, became the Gloomiest Monday. The Narcissist and I were outside a lovely hotel in Kathmandu. Our Nepalese fixer, Rishi, was about to relocate us to a safe place in his jeep, when two alleged Interpol agents ambushed us. The larger one, an enormous furry bastard, inflicted a blow to the Narcissist’s head with a steel club. Rishi managed to drive him away, but I was left behind. My left strap got ripped off, my underwear exposed, his belongings rolling under the absent moon like a mad, tiny snowball. It’s been five days without news and I fear the worst, so I have decided to step in and finish the story on his behalf. Since I’m the only witness and I have his orphan belongings inside me, I’m a legit literary executioner. It is my unsolicited duty to transcribe and edit the Narcissist’ calamitous handwritten pages and endless notes, and finish this story. THE OBNOXIOUS OLIVE My name is Olive, by the way. I’m a Parisian backpack unfortunately made in China, hence my underwear. I have been the Narcissist’ only luggage and company for the last decade. I feel for him, even though I have no feelings. This story was inspired by a dream —if not a nightmare. The Narcissist suffered it while reading Wade Davis’ Into the Silence, which along Peter Matthiessen’s’ The Snow Leopard are the main two volumes he was sourcing while writing this: The Scorching Mist — Nowhere—Elsewhere, April 2025. There is an evil, scorching mist: it dazzles you before it burns you. The snowflakes swirl under the blizzard like albino geckos spitting fire, and once the sunshine hits the crusted ice, the radiation is instant: it melts your skin and laser-blinds your corneas. This is how your Himalayan dream becomes your nightmare. You narrow your eyes. You can barely make out the silhouette advancing under the snowstorm towards you. You squint; he, whatever he is, smirks. He is wearing the groin cloth, the 8TH century phurba, a fine, deadly scythe; and the exact same sheepskin coat used by Tibetan soldiers 1400 years ago. Oh My Lord of the Rings and Game of Thrones! Mother of the Dragons! FANGS CHEWING HILLS He is immune to the frost radiation, loftier than a sequoia tree and bushier than a Spaniard moustache from the Dark Ages. You can make his flushed smile crack up the lashing white. Next thing he opens his mouth. His dentition is the ultimate radiography of the Himalayas: thirty-two peaks turned into immaculate fangs ready to devour you. He roars like a thousand predators abusing Beethoven. And the rest is (your) silence. Now Here: Ting Ri, Tibet — circa 8th century. “If you can not sustain my teaching misadventure certainly befall you.” —PadmaSambhava AKA Guru Rinpoche (8TH century).
012 A REDEEMER PETRICHOR In his Zen essay The Snow Leopard, Peter Matthiessen recalls that in the 8th century the trail of horror left by the Tibetan army was so savage that Trisong Detsän, the ruthless king, decided to spare his people from daily-visual- abhorrence. His army had just obliterated and banished the Chinese Tang dynasty, and Trisong sought redemption in an Indian figure, the sage PadmaSambhava, AKA Guru Rinpoche (the precious Guru). Sambhava was summoned to sacralise the Himalayas. If he succeeded in cleansing the unfathomable heights, the ripple effect would turn the blood-stainedsnowflakes into raindrops purging the death-infested soil —a Redeemer petrichor. KARMA SHIELD. Tingri, Tibet. —B.C. AND BEYOND C’s Sambhava walked the deadliest cliffs barefoot and oblivious to food, sleep or fear. The scale of the mission proved unmanageable for a single hero, therefore he invoked the only one that could help. Siddharta manifested swiftly, considered the issue, crouched, picked a spherical stone from the ground, threw it down the Himalayas, and told Sambhava that if he were to find it, the seed of holiness would bloom all over the valley. SAMYE EAST Sambhava not only found the pebble: he used it as the cornerstone of Samye, the first Buddhist temple ever built in Tibet. He would go on spreading the faith and translating the canon of Buddhist scripture from Sanskrit, until the hills and the plains of the doomed land became the same fertile soil where the Buddha had attained Nirvana a few centuries prior, born a stone’s throw away from Samye, ironically. FOUR THOUSAND YEARS OR A SECOND The centuries rolled, swallowed time and spat its corpses, and the big wheel of storytelling kept on fuelling and lapidating the tales of the unknown. Not long after the departure of Sambhava, amidst the same iced gorges were he became the Redeemer; a new enemy was the hottest talk of every bonfire. “He was a fearsome, hairy, reddish-brown creature larger than a bear that would devour you in a mouthful,” evokes Matthiessen. Over the centuries, no evidence of its existence was gathered: many claimed to have seen it, but no one had proof. It was not until 1951 when a young mountaineer fromMissouri, Eric Shipton, took a photo of a large footprint on the Himalayan iced crust. Eric had left home to engage in the sentimental hunt of the “Abominable Snowman.” HOWIE Eric had learnt about the abominable in Missouri, while reading about the first reconnaissance expedition to Mt. Everest in 1921. The military leader of the group, Charles Howard-Bury, an Irish royalist and remarkable botanist, had coined the termwhile fighting for his men’s lives at 20 thousand feet. Eric became irresistibly drawn and then haunted by the catchy epithet. Now Here: Everest, June 13th, 1921 — THE ABOMINABLE Howard-Bury and his mountaineers were exhausted, almost blue, engulfed by nasty blizzards and vertiginous falls, trying to open a route to the summit, and failing. They had been stranded for days at the highest altitude ever met by a human, and they had lost contact with their surveyor and photographer, Oliver Wheeler, the man who had the key to survival. While fighting the evil weather, stranded NOWHERE, news reached that the only story about the expedition their native English readers care about back home was that of a colossal hairy creature. “The fucken’ Abominable Snowman? For real? What’s wrong with people? They go through The Great War and come out believing in fairy tales, oblivious to the true fight?” Howard-Bury crumpled the insidious telegram with his frostbitten hands. Ahead of him, his leader mountaineer, the irresistible and indefatigable George Mallory, was losing it. “Forget about the Yeti and the damned readers, where is Wheeler? We are lost without him!” His voice was so loud, that a chunk of ice the size of Iceland started to crack on the ice ridge looming above them.
013 MANYWHERE, 1973 “GS refuses to believe that the Western mind can truly absorb nonlinear Eastern perceptions; he shared the view of many in the West that Eastern thought “evades” reality and therefore lacks courage of existence. But the courage-to-be right here and now and NOWHERE else, is precisely what Zen, at least, demands: eat when you eat, sleep when you sleep!” — Peter Matthiessen (The Snow Leopard, 1978). During their emotional odyssey from the Nepalese hills of Pokhara to Crystal Mountain, on the Tibetan Himalayas, the fine writer Peter Matthiessen and his travel mate, the field biologist George Schaller (GS) were in search of two different and yet very relatable creatures. PM was determined to spot the seldom seen white predator he would devote his acclaimed essay to: the snow leopard. GS had a more prosaic mission: to document the life of the blue sheep, a favourite prey of the white beauty that PM had his eye on, and an animal much easier to come across. They were eminences in their fields and perfect opposites when it came down to religion, politics, history, philosophy or animals. At times, the demented ascending brought them to the brink of murdering each other. PUSH! “GS remarks, ‘This is the first really interesting stretch of trail we’ve had so far.’ How easy it would be to push him over.” Peter Matthiessen. The Snow Leopard. PM and GS had been deserted by their porters not far from to the infamous Tingri, the same ground that Sambhava had purified. On a particularly wet and starless night of October, both worn out and freezing by the bonfire, Matthiessen was trying to explain to GS the fundamentals of the linear sense of time and space in Eastern philosophies, and its connection with his Zen practice. “Snow mountains, more then sea or sky, serve as a mirror to one’s own true being, utterly still, utterly clear, a void, an Emptiness without life or sound that carries in itself all life, all sound.” GS thought it was “amusing gibberish lacking scientific evidence.” George would never get angry, although he found it hard to understand what his travel companion was doing: how could he have embarked on such a deadly journey leaving his motherless daughter behind? The fire was dead and PM, the same man who had co-founded the iconic magazine The Paris Review and had been a one time CIA agent twenty years before, kept on talking about the notion of being “right HERE right NOW; NOWHERE!” GS could not take it any longer: “Chances are that in your delusional journey you will find the Yeti before the damned Snow Leopard.” Only then they heard the roar. It sounded like a thousand predators abusing Beethoven. They looked up. GS saw the Himalayan fangs before the massive uvula, and thought that he had become a prophet, perhaps the chosen one, for the first and last time. PM blinked and forgave for the last time. The rest is (their) silence. ROLLING STONE —Tibet, 1921. It is a freezing morning of June 1921. Oliver Wheeler is climbing the hills above the ground where Sambhava had found the spherical stone, although he is oblivious to the story. Wheeler knows that this could be the end. He has been stranded for weeks under furious, devastating winds and blizzards, the only gleam of hope living in Mallory’s smile every time he closes his eyes. God. George is hot. And you want to be warm around here, although it is impossible. Oliver survives another night curled in Mallory’s smile with his eyes closed. THE MAP AND THE TERRITORY Next morning, he is sitting alone with his tools: scale, compass, triangle and a self-made mid format camera. His limbs are blue, his lips cracked. He is undernourished and exhausted but far from defeated. Today, for the first time in weeks, the sun is shining and Wheeler is smiling: he can see his whereabouts with such clarity that once he leaves the tent he can’t stop climbing up and down for miles. He measures, touches, photographs, kisses, and discovers: birds, butterflies, flowers, the garden of Sambhava fully blooming for miles, while he walks, jumps, runs and lies on the ground beyond euphoric. THIS IS EXHILARATION!
014 SCORCHING MIST RELOADED There is only a con, and it is deadly. There is an evil, scorching mist that has left Oliver half blinded, his skin chargrilled. But then again, he couldn’t care less: he is on a roll; he can summon the universe foundational milk and claim that he is the Mother and the Father cartographer of the Milky Way and the fucking Cosmos —let alone the Himalayas. By the end of the day, blinded, burnt and ever so smiley, Wheeler has mapped out over 20K square meters of territory, he has traced the gorges and the ravines, the hills, the whole picture is clear as day in his mind. By dawn, after nine months of analogue scanning and photographing, the job is done: he has drawn with insane accuracy the only way up to Mt. Everest: there is a sharp-edged pass carved by glaciers in the ridge connecting Mt. Everest and Changtse, in Tibet. It will be from now on and thanks to him the crucial base camp to the future routes to the summit, known as North Col. The Reward At dusk Wheeler finds himself a frozen spot, sets camp, lights a fire with yak dung, and grabs his 125 year-old Cognac flask. He hasn’t touched it for nine months. He wanted to share it with his fellow climbers. But to hell with it: he has just made history and he knows it; and he also knows that he is the only one who knows. Next thing he looks at the flames and feels so lonely, tiny, incongruous, lesser than a grain of crushed millet, the exact opposite of his ground-breaking achievement. He is emotional. He cries and laughs, he is the fundamental lonely idol and he knows that whatever he knows is on the brink of extinction. The shadow of the beast has already darkened the flames. The only light lives inside its mouth, a set of teeth replicating the Himalayas; then the sound, the symphony of a thousand predators abusing Beethoven. The rest is silence. Now Here, Kathmandu and Jomsom, Nepal, June 2025th. Last night, the Blunderer dragged me out of the mouldy luggage room where I have been kept since the Narcissist’s vanishing, and stuffed me on the back of his jeep, my lumbar pad splattered against the back window. What a careless beast: it felt like he had pawns instead of hands: I had never been lifted so effortlessly, and I kind of loved it in a pin-up backpack sort of way. The Blunderer drove for hours like a maniac through impossible dirt roads and deadly high passes, and even though I have never seen such ominous, stunning canyons or endless rhododendrons hanging like rainbow stalactites over the dizzying ditches; even though I wanted to be the first backpack to climb Mt. Everest alone, without a fucking human attached to my pad bra, I would rather not see those pink skies nor the neon birds and the menstruating clouds again, if this psychopath were to drive. The Blunderer was wearing latex gloves and a mask, and kept talking on speakerphone to a man whose voice sounded like a black hole abusing deaf metal. I kept my cool and resisted the impulse to crack the suffocating back window and slid through the same ravines and gorges that PadmaSambhava had purged —at least, according to the Narcissist or Matthiessen. I was ready to embrace eternity when the black hole voice said: “Turn left on the next junction, and then look for signs to Mutkinath temple. The Harper God and Rishi are hiding underneath it.” EPILOGUE, MUTKINAH, NEPAL, JUNE 2025 The Blunderer roars like a Mammoth and smells like a hundred tigers in a toilet. He parks at the edge of a cliff, gets out, and comes to the boot of the jeep. Only then do I realise that he is the same bushy animal that hit the Narcissist’s skull. He is larger than any other human mammal I have ever seen. The snowed peaks flooding the landscape are lesser than the tiny lights of a white Xmas tree sheepishly tracing a halo around his Minotaur head. Next thing, he opens his mouth: it feels like witnessing a landslide sweeping Everest and Annapurna, brushing the peaks of the Earth towards the base camp of his uvula, that appears to be dancing flamenco. I say my famous last words, a prayer to North Face, Patagonia and all the privileged brands that have improved the history of my carrierspecies better than my cheap Chinese manufacturer. I see George Mallory, Oliver Wheeler, Peter Matthiessen, George Schaller and Howard-Bury before I see nothing else. The rest is silence. (TBC)
015 BACK TO MINE FLASH HOMIES HUDD TRAXX LA DISCOTHÈQUE MELON BOMB OPENLAB SLAP FUNK VITALIK E N C O L A B O R A C I Ó N C O N MARTES 03 JUN → 16 SEP C O N L A P A R T I C I P A C I Ó N A — Z n u e v a r e s i d e n c i a e n : 528 IBIZA BASEMENT JAXX dj set CARL CRAIG CHEZ DAMIER COLLEEN "cosmo" MURPHY CONFIDENCE MAN live DAN GHENACIA DAN SHAKE DANILO PLESSOW aka mcde DEMI RIQUÌSIMO EATS EVERYTHING GROOVE ARMADA dj set HORSE MEAT DISCO HOT CHIP dj set idRiss d LAYO & BUSHWACKA! LUKE UNA MOODYMANN PAUL WOOLFORD RON TRENT SALLY C SASHA & JOHN DIGWEED TOTALLY ENORMOUS EXTINCT DINOSAURS dj set & MANY MORE G A R D E N S H O W A L A I R E L I B R E 1 8 : 3 0 - 2 3 : 0 0 C L U B A F T E R P A R T Y 2 3 : 0 0 - 0 4 : 0 0 E N T R A D A S P A R A R E S I D E N T E S D E I B I Z A D E S D E 2 5 € E N W W W . 5 2 8 I B I Z A . C O M
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017 JULY IS THE MONTH OF TRUTH IN IBIZA. THE WARM-UPS ARE OVER. NOW THE REAL SEASON BEGINS. AND AS IS TRADITION AT FIESTA&BULLSHIT, WE SIT DOWN ONCE AGAIN WITH SOMEONE WE ALREADY CONSIDER FAMILY: PACO OSUNA. TALKING TO HIM IS ALWAYS SPECIAL, BECAUSE HE DOESN’T HOLD BACK — HE SPEAKS CLEARLY, FROM THE HEART, WITH NO SMOKE AND MIRRORS. IN THIS CONVERSATION, WE GO OVER WHAT’S COMING WITH NOW HERE IN 2025, HIS CONNECTION TO THE ISLAND, HIS (ALWAYS HONEST) VISION OF THE SCENE, AND MORE. PACO DOESN’T DO INTERVIEWS — HE GIVES LESSONS IN MUSIC AND IN LIFE. THIS IS ANOTHER CHANCE TO ENJOY THE PERSPECTIVE OF A LEADING ARTIST WE TRULY CONSIDER ONE OF OUR OWN.
018 HI PACO, HERE WE ARE AGAIN FOR ANOTHER YEAR, AND FOR US, IT’S A TRUE PLEASURE AND A SOURCE OF PRIDE TO KICK OFF ANOTHER SUMMER IN IBIZA WITH YOU. HOW ARE YOU ENTERING THE 2025 SEASON IN IBIZA? HAVE YOUR MINDSET OR IDEAS CHANGED COMPARED TO RECENT YEARS? Well, the idea remains the same every year: to keep our musical philosophy intact in terms of musical direction, because that’s the soul of the party. There aren’t many changes, beyond bringing in new artists, as we do every season. We look for talents who have never played on the island and who, from our humble point of view, can bring something different. This year we’ve added 9 new names, and we’re really excited and curious to see each of themmake their debut. We’re eager to once again contribute something new to the island. THIS IS THE FOURTH SEASON OF NOW HERE AT HÏ IBIZA, AND IT’S BECOME A PROJECT WITH A CLEAR IDENTITY. HOW DO YOU FEEL THE CONCEPT HAS EVOLVED, AND WHAT HAVE YOU LEARNED FROM THESE YEARS OF BEING ON THE ISLAND? Part of the evolution has been positioning ourselves as an alternative to everything else going on in Ibiza during the summer. In our fourth year, we know exactly what worked in previous seasons, and we’re going to double down on that. The key lesson is that no matter howmuch you think you’ve got the formula or the public’s support, you can’t take anything for granted. We have to keep working hard and avoid getting too comfortable. Each year we have to be better, and we have to pour all our attention and love into NOWHERE if we want it to live on in the music scene. NOW HERE HAS ITS OWN LANGUAGE BEYOND GENRES OR STYLES. HOW HAS THAT TRANSLATED INTO THE ARTISTS YOU’VE INVITED THIS SEASON? The strongest trait of the brand’s identity is its music. We always aim to bring artists who align with the brand, both in musical direction and in spirit. Another key trait is the belief that we’re all part of something, and no one is above anyone else. We’re a small family who enjoy doing what we love: playing music and making people have a good time. When we come across artists with a sound that fits but whose attitude is individualistic, we prefer not to bring them in. Maintaining balance and a good vibe between everyone is super important. Together, we’re stronger than alone, and at NOW HERE, there’s no space for egos or selfishness. SOME OF THE NEW NAMES IN YOUR LINE-UP CLEARLY SHOW YOUR SUPPORT FOR EMERGING TALENT. HOW DO YOU MAKE YOUR SELECTION? WHAT DOES PACO LOOK FOR BESIDES, OBVIOUSLY, THE MUSIC? For us, a DJ’s music is just as important as their personality. Over the years we’ve worked with incredible artists, but if they didn’t share the mindset of the group, things didn’t flow. To maintain harmony, everyone has to feel important and part of the brand. What we value is creating a family in a brotherly, creative, ego-free environment. IN YOUR OPINION, WHAT SETS A PARTY IN IBIZA APART FROM ANYWHERE ELSE IN THE WORLD? The atmosphere! There are places in the world where I feel similar energy, but nothing comes close to what you experience in Ibiza. I couldn’t tell you exactly why — maybe it’s the place, the summer, the people who show up ready and excited to enjoy. I don’t know, but being here you can feel a special kind of magic and energy. On the other hand, I’ve spent 26 consecutive years working and spending the season in Ibiza. Wherever I go, I feel the love and warmth of the crowd. I truly see it as my home, and playing at home is always something special. NOW HERE IS ABOUT “LIVING IN THE MOMENT.” BUT WHAT IS IT THAT REALLY MAKES PACO OSUNA FEEL ALIVE? On a personal level, my biggest motivation is my family. They’re the engine that keeps me moving forward. Professionally, it’s the audience. I turned 51 this year — 31 of those in the electronic scene — and what keeps me feeling alive and motivated is the support and attention my followers give to what I do. They’re my fuel to keep going, fighting for something as beautiful as playing music and creating unique moments through my sets. ARE THERE ANY DREAMS OR CRAZY IDEAS YOU’D LIKE TO MAKE HAPPENWITH NOWHERE IN THE FUTURE, EVEN IF THEY SEEM IMPOSSIBLE TODAY? My only dream is to be happy doing what I love. I don’t set extra goals or objectives. The whole philosophy behind NOW HERE says it all: we live in the now, without overthinking the future. Who knows what could happen tomorrow? No one. So our aim is to enjoy what we have to the fullest. The future will take care of itself; the guarantee is what happens now, not later. In the coming years, I’d simply like to keep enjoying myself and making our audience enjoy as much as possible. The day I feel that’s no longer the case, I’ll stop. After that, time will put us in the place we deserve. IF YOU COULD TRAVEL BACK IN TIME AND PLAY AT A KEY MOMENT IN ELECTRONIC MUSIC HISTORY, WHERE AND WHEN WOULD IT BE? Without a doubt: Studio 54 in Barcelona. That’s the club that made me fall in love with music and with this profession. Sadly, when I started out, it no longer existed in its original form. That’s probably my biggest frustration as a DJ… A dream I’ll never fulfill. I would have loved to be part of that movement during the growth of clubbing and electronic culture.
THE GLOBAL MUSIC SCENE IS IN A MOMENT OF CHANGE: AI, ALGORITHMS, MASSIVE FESTIVALS… WHAT’S YOUR TAKE ON HOW TECHNOLOGY IS SHAPING THE FUTURE OF DJS AND PRODUCERS? Technology is always a positive thing, no matter the sector. In electronic music, I think it really helps expand creativity and ideas, both in production and in DJing. The problem is when people use it as a crutch, without creativity or giving something to the scene. In those cases, instead of driving evolution, technology becomes a step backwards because it turns into complacency. That said, I’m a big believer in embracing tech to bring innovation into our scene. 019
020 MELANIE RIBBE PACO OSUNA IN THE STUDIO
021 EXPERIENCE, HAVE YOU EVER FELT THE NEED TO STOP OR COMPLETELY REINVENT YOURSELF? HOW DO YOU DEAL WITH MOMENTS OF CREATIVE CRISIS? Not really! Though I’ll admit there have been times when I’ve felt less creative, usually due to the sheer amount of work and shows I’ve had. I always say that whatever you do in life, if you overdo it, you’ll hit a saturation point eventually. The big difference with DJing is that it’s constantly evolving both musically and technologically. That really helps: during heavy weeks where things start to feel repetitive, suddenly new music appears that gets you excited again, or some plugin or tool inspires you to try something different in your set. And just like that, you’re looking forward to the weekend and getting back in the booth. So yes, there are tough moments. Not necessarily creative crises, but more like routine fatigue. In those cases, the best thing you can do is look for sparks that reignite your passion, whether it’s fresh music or new tech that you can bring into your performance. WHAT DOES PACO DO AFTER HIS TUESDAY SET AT HÏ IBIZA? AND WHAT ABOUT VACATIONS? WHEN AND WHERE ARE THEY? What I usually do after my set is go back home, rest a bit on the days I can and when I don’t have a show, and above all, enjoy time with my family. My son and my wife are the most important things in my life, so I try to spend time with them and take advantage of all the wonders Ibiza offers: going to the beach, a restaurant, or simply sharing the day together and enjoying it to the fullest. Vacations are a tougher topic. The truth is I haven’t had a proper vacation in three years. For one reason or another, I’m always traveling, and although I can take a week off — I haven’t managed more — it’s not enough to fully rest. This year, I’ve definitely drawn the line and told my manager that, regardless of the festival, date, or anything else, I need four weeks off. As for where to go… I don’t care at all. As long as I’m with my family, I’m happy, no matter the place. IN A HYPERCONNECTED WORLD OVERLOADED WITH STIMULI, HOW DO YOU MANAGE TO KEEP SURPRISING PEOPLE FROM THE DJ BOOTH? I guess by being myself, with my personality—both the good and the bad. My father always told me that you’re never going to please everyone, that there will always be someone who criticizes you or doesn’t like what you do. So I’ve focused on staying true to my path and my ideas, without doubting what I do. Even though I’m sure that not everyone will like it, I’m also sure that my followers won’t have any doubts about my sets and what they can expect. IN AN ERA WHERE MANY DJS SEEM OBSESSED WITH THE ‘MAINSTAGE’ AND FOLLOWER COUNTS, WHAT DOES “KILLING IT” IN A SET REALLY MEAN TO YOU? For me, killing it in a set is when the whole dancefloor is completely immersed in your session and in what you’re trying to convey. Nothing makes me happier and more fulfilled than the connection with the crowd. I don’t need them to have their hands up or be shouting all the time; just feeling that they understand my music and the moments created during the set. I don’t care if it’s a festival with thousands of people or a club with just a few. What comforts me and what I truly value is that they connect with the music. WHAT INSPIRES YOU MORE WHEN IT COMES TO CREATING — THE ENERGY OF THE DANCEFLOOR, THE SILENCE OF THE STUDIO, OR CONVERSATIONS WITH OTHER ARTISTS? Well, the first and the last one. Silence in the studio, in my case, means a creative block and wasted time. The energy of the dancefloor inspires me a lot, which is why I value the art of mixing so much. A good blend of two tracks —or whatever you add to create a difference from the original track — can give me ideas to later try to capture that feeling in my productions. Likewise, talking with other producers, especially young ones eager to conquer the world and experiment with new plugins or production techniques, inspires me a lot and I learn a lot from them. YOUR WEDDING NOT ONLY MARKED A NEW CHAPTER IN YOUR PERSONAL LIFE, BUT IT ALSO COINCIDED WITH THE START OF A NEW SEASON. HOW DO YOU CONNECT MAJOR PERSONAL MOMENTS WITH YOUR LIFE AS AN ARTIST, AND IN WHAT WAYS DO YOU THINK MUSIC AND LOVE FEED OFF EACH OTHER? In my case, music and love go hand in hand. I met my wife Melanie while she was a resident DJ at Amnesia Ibiza — if she hadn’t been a resident, maybe we never would’ve met. Ibiza was the connection point between us, which is why we decided to get married on the island. Creatively and professionally, my relationship with my wife brings me so much. She’s passionate about music and always eager to learn and try new things in her DJ sets. That, for me, is a HUGE motivation. Sharing the same passion and profession is a privilege: it allows us to support each other and constantly push to be better. She loves seeing me take risks and try difficult mixes. When I play, I see her watching me with pride — and let’s be honest, who doesn’t love feeling valued and admired by their partner? That alone makes me want to surprise her and see her reaction. For me, she’s a massive source of motivation behind the decks. And the same goes for me watching her. Seeing her grow, her energy, her passion, her commitment to the craft… It fascinates me, because it mirrors my own. So we feed off each other. Melanie fuels my creativity and dedication to what I do. IN YOUR 31-YEAR CAREER, WHAT’S THE MOST IMPORTANT THING MUSIC HAS TAUGHT YOU ABOUT YOURSELF? You can never relax or let your guard down. The career of a musician or DJ isn’t a sprint; it’s a marathon. The more you rush to reach your goals, the later they arrive, because obsession distracts you. Respect and loyalty are worth more than anything, and above all, not everything is acceptable to achieve your goals. AS AN ARTIST WITH MORE THAN THREE DECADES OF
022 En su versión original para Amiga, se utilizó tecnología MOD tracker de 4 canales, donde se cargaban fragmentos de audio digital (samples) para reproducirse en bucle. En consolas como Mega Drive, el chip Yamaha YM2612, recreó la pista usando síntesis FM. El chip Yamaha YM2151, presente en las placas CPS-1 de Capcom, permitía síntesis FM con 8 canales simultáneos. Este sistema ofrecía una gran riqueza armónica para la época, permitiendo bajos agresivos y estructuras complejas. TEXT: C-SYSTEM MEGABLAST (HIP HOP ON PRECINCT 13) – 1989 SLUM AREA / OPENING STAGE – 1989 Xenon 2 - Megablast Final Fight Amiga, Atari ST, Mega Drive, Master System, Game Boy, Pc... Arcade, SNES, Sega CD, Game Boy Advance... Bomb the Bass (Tim Simenon). Manami Matsumae 01 02 Una colaboración pionera entre la cultura rave y los videojuegos. Su adaptación introdujo por primera vez un tema electrónico popular directamente como parte de la jugabilidad, estableciendo una nueva relación entre música comercial y entorno lúdico. Un ejemplo temprano de cómo la música podía establecer la atmósfera de un videojuego. La energía cruda de este track definía el tono de todo el juego, marcando el ritmo de la acción con sonidos urbanos sintetizados.
023 La versión arcade usó el sistema CPS-1 con chip Yamaha YM2151 y reproducción PCM. Esta combinación permitió melodías claras, percusión programada y detalles estéreo avanzados para la época. RYU’S THEME – 1991 Street Fighter II Arcade, SNES, Mega Drive... Yoko Shimomura 03 Uno de los temas más icónicos de la historia de los videojuegos. Su fusión entre melodía tradicional japonesa y base rítmica electrónica convierte este tema en una marca sonora indeleble del personaje. La Neo Geo utilizaba el Yamaha YM2610, un chip híbrido con síntesis FM, PSG y reproducción de muestras PCM. Permitía combinar percusiones realistas con líneas melódicas sintetizadas. GEESE HOWARD STAGE THEME – 1991 Fatal Fury Neo Geo, SNES, Mega Drive... Toshikazu Tanaka 04 El tema combina elementos tradicionales japoneses con una atmósfera sombría y solemne. Una composición que daba identidad y gravedad a uno de los villanos más emblemáticos de SNK. También basado en el chip Yamaha YM2610 de Neo Geo, el tema se caracteriza por combinar sonidos de percusión tipo taiko y melodías electrónicas con texturas PCM. STAGE OF GALFORD - TUNA – 1993 Samurai Shodown Neo Geo, SNES, Mega Drive.... Masahiko Hataya, Hiroaki Shimizu y Yasuo Yamate. 05 La dualidad del personaje ninja y californiano, se expresa musicalmente en un track que mezcla lo tribal con lo sintético. Rápido, rítmico y perfectamente integrado en su estilo visual.
024 Las pistas del juego estaban grabadas en formato CD audio, lo que permitía reproducir música electrónica con fidelidad de estudio, sin la necesidad de convertirla a formato midi o sintetizado. BLINDING WAVES – 1997 Xenon 2 - Megablast PlayStation Scan X (Stéphane Dri). 06 Una pieza techno hipnótica y oscura que refuerza la sensación de velocidad y tensión. Refleja cómo los videojuegos empezaban a incorporar directamente música compuesta por artistas de la escena electrónica profesional. Al igual que el resto de la banda sonora, la música fue incluida como CD audio en la versión física del juego, asegurando reproducción directa con calidad de estudio. Con bases ácidas, estructuras minimalistas GHOST IN THE SHELL – 1997 Ghost in the Shell (PSX). PlayStation Takkyu Ishino 07 y pulsos industriales, este track encapsula el ambiente cyberpunk japonés. Ishino aporta su sensibilidad techno al universo de Motoko Kusanagi con una contundencia sin precedentes en videojuegos del momento. La banda sonora se integró como archivos digitales directamente reproducibles por la PS2, sin necesidad de conversión a MIDI. Esto permitía mantener calidad de producción profesional. FUNNY BREAK (ONE IS ENOUGH) – PLUMP DJS REMIX – 2002 Wipeout Fusion PlayStation 2 Orbital / Remix: Plump DJs. 08 El ritmo vertiginoso del remix encaja a la perfección con las mecánicas de juego. Wipeout estableció una alianza entre música rave y videojuegos que definió una generación.
025 La música fue incluida en formato digital moderno, sin restricción de hardware, permitiendo una mezcla detallada y dinámica. Una explosión de breaks, bajos STAGE 4 – DOCKSIDE – 2022 Final Vendetta PC, Nintendo Switch, PlayStation 4 y Xbox One. Featurecast (Lee Mintram). 09 y energía rave que sirve como homenaje moderno a los clásicos de los 90. La calidad del diseño sonoro y la potencia del beat lo convierten en uno de los temas más frescos del género retro actual. La banda sonora del juego se diseñó con técnicas avanzadas, incluyendo mezcla multicanal, masterización para escenarios 3D y uso de motores como FMOD para una integración dinámica según el gameplay. THE REBEL PATH – 2020 Cyberpunk 2077 PC, PS4, PS5, Xbox One y Xbox Series X/S. P.T. Adamczyk 10 Un track techno crudo e implacable que acompaña algunas de las primeras misiones del juego. Su potencia rítmica y su diseño sonoro envolvente sitúan al jugador en el corazón de la distopía urbana de Night City. @csystem
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031 ¿QUÉ TIENES QUE HACER SÍ O SÍ ANTES DE COMENZAR UN SET COMO EL DE HOY? ¿ALGÚN RITUAL? Solo hay que dejarse llevar por la música, pero sobre todo por la buena música y tener muchas ganas de fiesta. No es por nada, es mi primera fecha con Fiesta&Bullshit. TU SONIDO TIENE ESE GROOVE ENTRE EL TECH HOUSE Y EL MINIMAL… ¿PERO CÓMO LO DEFINES TÚ? ¿QUÉ HAY DETRÁS DEL SONIDO DE CYAVA? Mi sonido tiene raíces en el house y el funky. Me gusta escuchar mucho hip hop, pero me atrae el mínimal. Combinándolo todo, creo haber creado un sonido único con un groove inconfundible. HAS PASADO POR CABINAS EN CROACIA, ÁMSTERDAM, ITALIA, IBIZA… ¿CUÁL HA SIDO EL LUGAR QUE MÁS TE HA MARCADO HASTA AHORA? Mi primera vez enel extranjero fueenun festival en la playa en Croacia, un lugar y una vibra realmente únicos. Estaba muy emocionado, lo recuerdo como si fuera ayer. Así que diría Croacia. SABEMOS QUE MUCHOS ARTISTAS CONOCIDOS, PINCHAN TUS PRODUCCIONES… ¿RECUERDAS LA PRIMERA VEZ QUE ESCUCHASTE UN TRACK TUYO SONANDO EN MANOS DE UNO DE ELLOS? ¿QUÉ SENTISTE? Estaba viendo historias en Instagram en la cama, encontré uno de los primeros apoyos, salté de la cama y comencé a dar vueltas alrededor de la mesa por la adrenalina que tenía dentro, con lágrimas en los ojos. HAS FIRMADO EN SELLOS COMO MINDSHAKE, DEEPERFECT, CUFF… ¿QUÉ SIGNIFICA PARA TI FORMAR PARTE DE ESTOS LABELS? ¿QUÉ BUSCAS A LA HORA DE FIRMAR CON UN SELLO? Al elegir un sello, presto atención a varias cosas: quién es el propietario, quién ha lanzado música en ese sello, cómo se promocionan en las redes, reviso si suelen estar en las listas de Beatport. Así que ser aceptado y formar parte de estos sellos me hace sentir que estoy creciendo cada vez más. PRIMERA VEZ TOCANDO EN HÏ IBIZA PERO ADEMÁS LO HACES EN UNA FIESTA DE FIESTA&BULLSHIT. ¿QUÉ SIGNIFICA ESTE MOMENTO PARA TI? Significa mucho para mí, representa un momento de crecimiento, una emoción indescriptible... ¡Tengo la piel de gallina!
032 ¿UN CONSEJO RÁPIDO PARA LOS NUEVOS PRODUCTORES QUE QUIEREN LLEGAR A LUGARES COMO ESTE? Aceptar siempre las críticas constructivas y los consejos, trabajar mucho en el estudio y estar dispuesto a aprender cada vez más. ¡Nunca sentirse un PRO! ¿UN GUILTY PLEASURE MUSICAL QUE NADIE SE IMAGINA CUANDO TE VE EN LA CABINA? Muevomucho los pies y bailo, porque el primero en bailar mi música quiero ser yo. Si me hace bailar, me divierto, y si me divierto, puedo hacer que se divierta quien está frente amí.
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034 DJ OLIVER Pues han habido varios factores, consolidar una fiesta o un producto tiene su tiempo, como mínimo 2 o 3 años. No es nada fácil y mucho menos es “llegar y besar el Santo” en Ibiza. Tienes que dar a conocer tu proyecto, qué es, qué sucede, qué ofreces, qué música hay y un largo etcétera. Sobre todo atraer al público y a partir de ahí, ellos eligen si les gusta y si repiten. Nosotros lo hemos conseguido con mucho trabajo de calle, y sobre todo, el boca a boca nos ha ayudado muchísimo por el público que ha venido a vernos. Para mí lo más importante de todo es ver que el público repite, eso siempre es una buena señal porque disfrutan de lo que ven, viven y sienten en Pandora. Cada fiesta es un reto para nosotros pero si ofreces buena música y tienes un buen equipo humano trabajando te consolidas. PANDORA HA TENIDO UN ARRANQUE POTENTE ESTA TEMPORADA. ¿CUÁL HA SIDO EL MAYOR RETO A LA HORA DE CONSOLIDAR UNA FIESTA CON IDENTIDAD PROPIA EN UNA ISLA TAN COMPETITIVA COMO ES IBIZA? PANDORA IBIZA EVERY SATURDAY FROM MAY 10TH TILL OCTOBER 4TH
035 ¿QUÉ IMPORTANCIA TIENE HOY EN DÍA PARA UN DJ TRABAJAR CON SELLOS CON IDENTIDAD COMO MINDSHAKE, EN LUGAR DE SIMPLEMENTE AUTOPUBLICAR SU MÚSICA? ¡Tiene muchísima importancia! La distribución y el marketing es lo principal de un sello y sobre todo el llegar a todo el mundo cuando produces para un Top Label como es Mindshake. Publicar tú mismo tu propia música puede estar muy bien, pero es el triple de trabajo y muchas veces no tienes las herramientas necesarias para llegar a todo el mundo de la industria musical. LLEVAS AÑOS SIENDO PARTE ACTIVA DE LA ESCENA IBICENCA. ¿CÓMO CREES QUE HA CAMBIADO LA ISLA A NIVEL MUSICAL Y CULTURAL DESDE QUE EMPEZASTE HASTA AHORA? Para mí ha sido un cambio gradual. En la escena ibicenca ha habido una evolución muy grande a lo largo de los últimos años. Antes, Ibiza era conocida principalmente por su ambiente más relajado y por sus fiestas más legendarias, con un enfoque muy centrado en la música electrónica y los clubes famosos. Con el tiempo, la isla ha diversificado su oferta cultural, incorporando más estilos musicales, eventos artísticos y actividades culturales que atraen a un público más amplio y diverso. Ha habido un mayor énfasis en preservar su patrimonio y en promover una cultura más inclusiva y sostenible. Creo que Ibiza ha sabido adaptarse y crecer, manteniendo su esencia mientras abre nuevas tendencias y proyectos culturales. Pero la isla es mundialmente conocida por sus discotecas y eso siempre será así, guste o no guste, la isla vive de ello. ¿SIENTES QUE TODAVÍA EXISTE ESA “MAGIA ESPECIAL” EN IBIZA? Por supuesto que sí, tanto el día como la noche tiene esa magia que enamora al que vive aquí y al que está de paso. Esa magia es constante y durante todo el año, yo me siento muy afortunado de vivir aquí y sobre todo de disfrutar de esa magia que la envuelve. Esa magia me atrapó en el año 1992 cuando llegué a la isla y aquí sigo enamorado de ella. 3 COSAS QUE SÍ O SÍ TIENEN QUE TENER LOS JÓVENES DJS ACTUALMENTE. Te diré mejor 4 cosas que siempre les digo a los jóvenes... Cero ego, pasión, creación y constancia. LA INDUSTRIA ACTUAL, ¿OFRECE OPORTUNIDADES REALES PARA EL TALENTO EMERGENTE, O SIGUE SIENDO UN CÍRCULO DIFÍCIL DE ROMPER? A ver hay un círculo muy muy grueso y muy cerrado de cara al talento emergente, no solo aquí si no en todas partes. La actual industria debería de abrir más su abanico y dar más oportunidades, sobre todo, a muchos artistas emergentes de la isla que desgraciadamente no tienen un lugar para ejercer su profesión. Talento y creación hay de sobra, lo que no hay son espacios para la mayoría. ¡Una lástima! SI MIRAS ATRÁS, ¿QUÉ LE DIRÍAS AL OLIVER QUE EMPEZABA EN ESTE MUNDO? Que siga igual... ¡Volando bajo y recto! ¿HAY ALGO QUÉ TE FALTA POR LOGRAR DENTRO DE LA INDUSTRIA? Sí, que los politicos de la isla apoyen definitivamente a nuestra asociación de DJs y Productores DIPEF. Llevamos cuatro años intentando hacer proyectos culturales con ellos y por el momento están escondidos con excusas y mentiras. Una vergüenza que en una isla como es Ibiza y todo lo que mueve culturalmente, no apoyen a los DJs y productores de la electrónica de la isla con formación, talleres, ferias, etc. NUEVA MÚSICA EN EL SELLO MINDSHAKE DE PACO OSUNA. ¿CUÉNTANOS UN POCO EL PROCESO CREATIVO QUE SEGUISTE? Hace ya 3 años salió Groove Bass y Macario Groove para el sello de Paco (Mindshake) un EP muy completo con el remix de Iglesias y la verdad que fue un pelotazo, se vendió super bien y con Paco hablamos de sacar otro EP más adelante. Al final acabé varios proyectos que tenía con otros sellos y no me puse a empezar este nuevo EP hasta hace pocos meses. Muchas veces empiezo proyectos que a veces los tengo que abandonar ya que nome convencenmucho y otras empiezo con una ideamuy clara de lo que quiero producir y acabo haciendo todo lo contrario. Esta vez fue un poco así. Empecé con un proyecto casi Techno y al final nome gustomucho, cambié las voces y un poco la dinámica del Groove y acabó siendo un track Tech House. A partir de ahí, ya me lancé a hacer 2 tracks más y así completar este nuevo EP llamado SHAKE UP que saldrá a finales de año. ¿CÓMO TE GUSTARÍA QUE EVOLUCIONARA A MEDIO PLAZO? Nuestra mayor diferencia a todo lo que hay es principalmente la música y seguidamente el clímax y la energía que se crea constantemente con el público. Un público que le gusta mucho la electrónica y que están muy bien educados musicalmente hablando. Pinchamos House, Tech House y, de vez en cuando, algo de Classics House. Siempre conectamos con toda la gente que viene a vernos y siempre es con la música. En comparación con otras fiestas que hay en la isla siempre tienen lo mismo que son podiums con gogos, confetti, FX por todos lados etc. Nosotros en Pandora no tenemos nada de eso, lo respetamos totalmente, pero no va con nuestro concepto de conectar con el público. En Pandora todo el mundo hace lo mismo que es bailar, bailar y bailar. La conexión entre los djs y el público siempre tiene que ser constante, la clave es TRANSMITIR. Nuestra casa, que es Lío Ibiza, también ayuda mucho. No solo por el trato y cariño que nos dan sino por el emplazamiento, que es idílico, por las vistas que hay a Dalt Vila y sobre todo porque Lío por la noche se convierte en un Club 100% y es perfecto para cualquier fiesta. La verdad es que cada año intentamos estar a la última con todo, ya sea música, marketing etc. Pandora es una fiesta muy muy joven, intentamos vivir el día a día y no nos planteamos nada a corto o largo plazo. Estamos muy bien como estamos y, ahora mismo, estamos centrados en el verano. Estamos felices de nuestra evolución que ha ido de menos a más y cada año evoluciona a más. ¿QUÉ ELEMENTOS CREES QUE DIFERENCIAN A PANDORA DE OTRAS PROPUESTAS EN IBIZA?
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