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Looking back at the past fifteen years, it’s hard to pick ‘my favorite moment’. Ever since I❤Techno started, people have – rightfully so – called it one of Europe’s leading dance events. True, I’m not being modest here but fifteen years is a – pardon my French – big fucking deal. But more importantly: it wasn’t just a devoted team of electronic music lovers who turned I❤Techno into such a big event. It was you! Over the past fifteen years more than half a million tickets have been sold for an I❤Techno event – be it the very first edition (with just 650 people attending) or the still legendary outdoor edition in 2003. A lot of those tickets have been sold to people who have returned for many years. They have supported I❤Techno and the many artists playing here in a way we can only be thankful for. I would however also like to thank all the deejays and producers who have played at I Love Techno. A lot has been said about them in those fifteen years and with several dubstep producers being part of the 2010 line-up, chances are a lot more will continue to be said about them. It is important we listen to your (online) shouts and comments about the origins of I❤Techno but we feel it’s also important to keep evolving – to go where the next generation of producers and ravers is taking us. Electronic music has always been about looking at the future. And that’s exactly where we want to continue taking you – with our mind, our body and our ❤ Roel Vergauwen I❤Techno
UNDERWORLD
When the beat kicks in, we’re unstoppable.
With Rick Smith hiding in the studio, Karl Hyde is left to face the public on his own. With a natural ease and a twinkle in his eye, because this half of Underworld is multiple ADD personalities rolled into one. A list of multiple choice questions seemed the best solution to please everyone. A local event like I Love Techno or a world famous TV programme like Later with Jools Holland? KARL HYDE: “Easy: I Love Techno. And not because I’m giving this interview in Belgium. We’ve had to turn down Later with Jools Holland several times because we were only given five minutes and we never know how long a track can last. People were saying we were mad to let a programme like that pass us by.” What about Jools Holland as a symbol for wider appreciation outside the techno scene? HYDE: “Both then. It’s important to play in small clubs, but equally so to play for 80,000 people like we did two years ago in Buenos Aires. Or to appear on television and communicate with a mass of people not familiar with our music.” Artificial intelligence or human defects? HYDE: “The more systems are put in place, the less room there is for creative accidents. There will always be people who allow themselves to be dictated by their instruments, whether it’s a Stradivarius or a computer. But many of the bands I like have a healthy indifference towards technology. That makes it nice and punk.” City or countryside? HYDE: “We live in the countryside because we need somewhere we can make a bit of noise. We used to have a studio in a small terraced house. It was only when we heard the neighbours shout ‘bye honey!’ in the morning that we could turn up the bass. Now we don’t have to worry about decibels. The open air and the light only serve to improve the whole experience. But I do my writing in the city. Graffiti, tags in the street, corners of buildings, murmurs, crowds... When I’ve been out in the countryside for too long, I feel the need to drive to the nearest town and sit in a pub listening to other people’s conversations.” Island or continent? HYDE: “I get bored easily and things seem to take a lot longer on the continent than they do in Great Britain.
Change keeps you on your toes. I like Little Britain and its funny ways. Brits are mental.” Do you feel closer to America than you do to Europe? HYDE: “No, I’m European. In the early nineties, when Underworld Mk1 (the early period, red.) went under, I was a session musician in the States. The Stones Roses had just released Fool’s Gold. I can remember very well how I was bashing all my friends’ ears with it in California, and how lukewarm their response was. Then I realised: I’m European.” What were you doing in California? HYDE: “I was playing guitar. First with Terri Nunn, who had a major hit single with Berlin - Take my Breath Away – the Top Gun song. (laughs) And from there I joined Prince in Paisley Park and Debbie ‘Blondie’ Harry. It was a chance for me to move away from my obsession with rock, playing Wembley Stadium. When I got that out of my system, I could concentrate on dance music in peace.” ’80, ’90 or 2000? HYDE: “In the eighties we tried to make music for the masses and no one was very interested. Then we decided to make music based purely on feeling, and suddenly heads started turning. The more personal you get, the more global your appeal becomes. In the early nineties, Rick told me: if you want to be part of this band, you’ll have to dig deep. And for Mk2, the masks came off. All that matters is connecting with the groove. Go with the flow. Faceless crowd or small group? HYDE: “The bloke running across the stage like an idiot is not the man collecting his children from school. Put me in front of 20,000 people and I’m unstoppable. There are certain aspects of yourself that come out depending on the context you’re in. If you’re sharing the bill with Radiohead, you’ll let a few more indie elements enter into proceedings. If it’s I Love Techno, things will be a lot harder. When the beat kicks in, we don’t hold back.” If the audience do the same, you could say it’s a high point. HYDE: “We often have spiritual experiences. There you are, slap bang in the middle of those flows between music and public - kinetic energy, euphoria, sound waves. I am the policeman controlling the traffic flow.” Johan Faes
KORTING
DEZE KORTING IS NIET CUMULEERBAAR MET ANDERE PROMOTIES EN/OF ACTIES. ACTIE GELDIG TOT 30/11/2010. NIET GELDIG VOOR AANKOPEN VIA WWW.FREERECORDSHOP.BE
MAGNETIC MAN Everybody Skream!
Magnetic Man is the monstrous alliance between Benga, Artwork and Olli ‘Skream’ Jones. The latter has been churning out anthems since the age of 16. If dubstep is infecting the live circuit and even mainstream these days, he could be classified as the supervirus. Or simply Mister Ambassador. SKREAM: “On the one hand I’m flattered, but on the other it puts enormous pressure on me. There are so many producers, labels and releases around nowadays that you’re always having to raise the bar. Luckily, I’ve always worked with several styles, from dub and reggae to electro and rave. I’ve noticed that Belgium is very open-minded. This is the first country I’ve played outside the UK.” At first, British DJs didn’t have a great deal of respect for the continent. If and when they came here, they would binge drink and get stuck on a rewind. SKREAM: “That just wouldn’t cut it nowadays. It’s become a worldwide community and everyone can keep track of its evolution on the internet. People know what’s good. In dubstep, we respect each other enormously. There’s no jealousy among producers, no aggression in the crowd. I’ve never seen a fight. Actually... once, between two MCs. In the grime scenes you do get bloated egos causing trouble. Are grime and dubstep really such different scenes? SKREAM: “Grime is more of a hiphop scene: tough talking and ghetto posing - the majority of these guys have never seen a ghetto up close. There’s no such thing as a typical dubstepper, however. The audience goes from 17-year-old stoners to 35-year-old connoisseurs of intelligent electronics. There are different races and styles, all behaving correctly. When I go out, I never have to worry. Or even if my girlfriend goes out on her own when I’m touring. Musically, there are obviously many crossovers between dubstep and grime. Plastician, a good friend of mine, is a perfect example of this. He used to call himself Plasticman. But we told him he might want to change his name because Richie Hawtin - the original Plastikman – would not be amused. He thought it’d be fine. Right up until he got a letter off Hawtin’s management.” (laughs) There is a growing acknowledgement for dubstep in the world of techno, pretty much since Villalobos hyped your Midnight Request Line and remixed Shackleton in 2005. SKREAM: “I’m glad that dubstep is finding its way elsewhere. You create something with a certain sound to it, an arpeggio or a metallic synth, that’s similar to something in another genre, and people will put two and two together. As long as dubstep is successful - and it’s got quite a bit of life in it yet – I will be proud to be its travelling salesman.” Johan Faes
Dubstep for dummies Inventing a new genre, or at least pretending to. The Brits have mastered it. They speed up rave-beats and split them in half, mix in a pinch of dub and reggae and label it jungle. Then they disembowel that and accentuate the rhythm to surprise the world with drum & bass. Too fast and too cold for the ladies? Then cunning producers bring the down the pace and inject some soul and sunshine. UK garage and 2-step lure the girls back onto the dance floor and seduce the pop charts. It was a matter of time before a response rose up from the underground. 4Hero and Bugz In The Attic strengthen ties with Detroit techno and jazz and breakbeats are suddenly turned into broken beats. Horsepower Productions and Zed Bias and other bad boys on the pirate radio stations like their stuff much, much harder. Stripped electronics, heavy sub bass, a wandering vocal snippet and scanty rave echoes are the basis for dubstep. From Burial’s industrial blues, and Joker’s futuristic funk, right down to Rusko’s stadium version. Steve Goodman aka Kode 9, owner of the leading Hyperdub label: “We use elements from the past, but in a brand new form. There is a sort of ‘afro-futurism’ in dubstep: the jungle rhythms are obviously an influence. I’m a pale Scottish bloke with a penchant for funk and soul. White people trying to make black music without trying to imitate it often achieve interesting results. More than a black thing, dubstep is a very British thing.” With bastions like London and Bristol, Britain is still the epicentre, but these days there are lively scenes from Stockholm all the way to San Francisco. And Belgium also makes a contribution with crews like Untitled! (Antwerp) and Stainage from Brussels, where DJ/producers Grimelock and Bunzer0 are internationally renowned.
D E P E C H E MODE MODE DEPECHE T O U R O F T H E U N I V E R S E : B A R C E L O N A 20/21:11:09
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DR LEKTROLUV A label is still a powerful thing.
What must have seemed like a fun idea, turned out to be a great one. Ever since Dr. Lektroluv started writing prescriptions, the world population has increased in a way human scientists didn’t even think was possible. Now, with most artists on his label going international, the UN predicts the world population will rise to ten billion before the end of the year! Kidding, of course. Though those who’ve been under the good care of Dr. Lektroluv will testify to the fact that no other DJ is better at healing than him – albeit not in a Marvin Gaye sort of way, one hopes. But it’s not just about his healing hands or the killer electro tracks in his DJ bag anymore. Recently, Dr. Lektroluv received a Golden Gnome Award at ADE (Amsterdam Dance Event) for Best Dressed DJ – officially replacing David Guetta, who still got the award for DJ with the Worst Haircut, as the sexiest man on earth. “Of course I was surprised”, admits the good doctor. “I always knew I was the sexiest but this is the first time someone else has said so. Mind you, it would’ve have also been really cool to have taken home the award for Best Masked DJ but I guess those guys from The Bloody Beetroots deserve it as well – even though they’re only human.” In case you’re wondering: Armin Van Buuren and Richie Hawtin were named Favourite/Best DJ, Dim Mak got the award for Best Label, Deadmau5 is today’s Best Live Act and Ida Engberg took home the Sexy Gnome (a.k.a. the award for sexiest DJ). So does this mean Dr. Lektroluv will start paying even more attention to his wardrobe – making sure he reclaims his award next year? “Watch what you say, human! I’ve always paid attention to what I wear. In fact, I’ll be presenting yet another new suit at I Love Techno this year. It’s designed by a young Belgian guy who lives in Paris and works for Balenciaga. I think he’s a real talent – someone to keep an eye on.” Coming from the doctor, that’s not just a compliment – it’s most likely an undeniable truth. For the past couple of years, Dr. Lektroluv has proven to have a keen ear – so why not a keen eye? – for talent. He’s helped launch the career of both The Subs and Sound of Stereo, and now he’s set his mind on creating international waves for Highbloo, Mightyfools, Mumbai Science, VNNR, … Hang on, those are all Belgian bands! “How very susceptive for a human being”, says Dr. Lektroluv. “To be clear though: Lektroluv Records will continue to release tracks from international artists – like Strange from Hey Today. But over the years, I’ve learned it’s easier working with artists you actually get to see on a regular basis. Not that there’s anything wrong with talking over the phone and sending E-mails back and forth, but with Lektroluv Records I want to do more than just release the occasional 12” or EP. I really want to help build the careers of the artists on my label; be there every step of the way.” So far, the doctor has done an excellent job: Sound of Stereo just got back from a hugely successful North
American tour and The Subs are playing all over Europe – getting everybody even more excited about the release of their second album, which will probably hit stores in February or March. “It’s finished,” according to the green alien, “and it sounds amazing. They really put a lot of effort into it, and you can tell. However, I’m also expecting a lot from Sound of Stereo’s debut album, which will probably be out in the fall of 2011.” And all the while, we were thinking albums are a thing of the past?! “Not yet. We might be getting there, with artists getting ever more interactive with their fans online. But for now, they still benefit from getting press coverage and an album gives you so much more credit than just another song or remix.” With the doctor flying to Brazil almost immediately after he finishes his set at I Love Techno, it seems the success of his artists also reflects well on him. “If the label does well, we all do well. That’s why I think it’s so important for everyone to get along. A label can be a powerful force and Lektroluv Records is definitely growing into a force to be reckoned with. So don’t just keep an eye out for future Lektroluv releases; make sure you also attend one of our future label nights!” Yes, doctor.
Ben Van Alboom
8 MAY 1997
I Love Techno moves to Flanders Expo (and the month of May) for ‘The Largest Dance Event Ever Organized In Belgium’ with Carl Cox, Daft Punk and Dave Clarke. The day after, it hosts The Next Day: Over the Rainbow at Vooruit with Kruder & Dorfmeister and Kirk Degiorgio.
20 FEBRUARY 1998
10 NOVEMBER 1995
The first I Love Techno – an initiative of Fuse founder Peter Decuypere, in collaboration with concert promoter On the Rox (owned by Kris Verleyen and Herman Schueremans) – takes place at Vooruit in Ghent. Some six hundred people show up to hear Richie Hawtin, Jeff Mills, Pierre, Trish and still rather unknown French act Daft Punk play. Everybody’s happy.
20 – 29 JULY 1996
Years before 10 Days Off (then called 10 Days of Techno) moves to Vooruit, I Love Techno hosts a ten-day festival at the venue during the annual city celebration Gentse Feesten. The festival is given the name Bobby’s Mission and features big names like The Chemical Brothers, Green Velvet and – seriously, back then she qualified as a ‘big name’ – Marusha. Though some people still talk about the ten-day fest to this day, Bobby’s Mission never gets a sequel.
10 NOVEMBER 1996
After several ‘smaller’ parties at Vooruit that year (with artists like Carl Craig and System 7), I Love Techno returns to the venue to celebrate its first (and completely sold-out) anniversary with Jeff Mills and Underworld DJ Darren Emerson.
1995
1996
1997
1998
The techno craze is sweeping Europe, encouraging I Love Techno to host not one, not two, but three big events in 1998. The first one takes place at Flanders Expo in February with Laurent Garnier, Luke Slater and – still riding high – Marusha. Next up is an exclusive third anniversary party at Vooruit on November 10 with Carl Craig and Mark Broom. Finally, I Love Techno throws a second party at Flanders Expo on November 14 with Underworld and Sven Väth.
1 MAY 1999
For the second year in a row, I Love Techno hosts two parties at Flanders Expo. The first one, on May 1, features Cassius and Kevin Saunderson. Laurent Garnier and Jeff Mills headline the second, on November 6.
11 NOVEMBER 2000
For its fifth anniversary, I Love Techno decides to focus on one indoor event, instead of two. It does however also raise the bar by occupying five rooms of Flanders Expo, instead of three – effectively taking over the place completely, for the very first time in history. Headliners are Dave Clarke, Richie Hawtin and DJ Hell.
10 NOVEMBER 2001
Ricardo Villalobos, Slam and Sven Väth are amongst the many artists playing at I Love Techno – securing its status as the biggest indoor dance event in the world.
9 NOVEMBER 2002
Belgian techno legend Tomaz compiles the new I Love Techno album – joining the ranks of a.o. Marco Bailey, Dave Clarke, T-Quest, Crookers and – this year – Steve Aoki. The line-up includes Underworld, Timo Maas and Adam Beyer.
1999
2000
2001
2002
20
003
19 JULY 2003
Apart from an indoor event on October 18 (with Vitalic, Miss Kittin and 2ManyDJs), I Love Techno hosts its first outdoor festival in Lommel (with Deetron, Roger Sanchez and Speedy J). Despite the fact over 20,000 people attend, organizers decide not to renew the festival in 2004.
15 NOVEMBER 2008
A fit and healthy Underworld returns to I Love Techno as does Richie Hawtin, who brings along his entire Minus crew to take over a complete room. Check out Hawtin’s recent concert movie Making Contakt (out on DVD) to see how well that went.
24 OCTOBER 2009
New Belgian kids on the block The Subs and Sound of Stereo fiercely hold off competition from Boys Noize and Zombie Nation – despite the fact that only 65% of I Love Techno’s visitors come from Belgium. The other 35% come from all over the world – 40 different nationalities!
13 NOVEMBER 2004
The Prodigy makes its first appearance at I Love Techno. Also on the bill: Felix Da Housecat, Alter Ego and Dr. Lektroluv.
12 NOVEMBER 2005
I Love Techno celebrates its tenth anniversary with Underworld, Tiga and Super Discount. Also, a three disc best of is released featuring I Love Techno classics from Plastikman, Dave Clarke and Aril Brikha.
21 OCTOBER 2006
Kraftwerk gets to prove how well their legendary tracks still hold up against Ellen Allien, Apparat, James Holden and a Soulwax double bill: Soulwax Nite Versions + 2ManyDJs.
13 NOVEMBER 2010
You were wonderful! Thank you, and good night!
10 NOVEMBER 2007
I Love Techno serves up his most eclectic line-up to date – adding ‘acid-rave sci-fi punk-funk’ outfit Klaxons to the bill, which also includes Justice, Goose and Gui Boratto. Underworld drops out at the last minute due to illness (and is replaced by Alter Ego).
2004
2005
2006
2007
2008
2009
2010
2011
NOVEMBER PARKEN STADIUM COPENHAGEN 12 march132011 EThIaS arENa haSSELT
To celebrate 15 years of I❤TECHNO we gave you the opportunity to leave your mark on this edition. And you did... massively! Five different contests were helt since march this year. Here’s an overview of the winners of each contest.
01. DESIGN
Not one, but six winners from over 1500 submissions in this contest. We loved the idea of working with the hand shaped hands. Thanks again guys!
02. SHOUT
These were our promo soldiers who spent their summer spreading I❤TECHNO on every major festival in Belgium! Left, right, love!
03. PRODUCE
Polydor was the big winner of our produce contest. We listened to almost 400 tracks and some of them were really good! But there can be only one winner and “Don’t be late” was the one that blew our minds! Check it out on our website.
04. KNOW
After winning the KNOW contest online, our 3 best participants quizzed live on Jim. By winning the finals, Davy De Groote claimed the title of Biggest I❤TECHNO fan! Big up Davy!
05. SHOOT
You all sent us your best partypictures, some of them really artistic or funny! Here are the winners: Ken Ninane
Rob van
Leuken
Special thanks to our partners:
Dominic Qu
entin
A-TRAK
Not original? Fuck that!
“I’m actually buying some tomatoes at the moment. Can I call you back in ten minutes?” So yeah, one of the guys responsible for quite possibly the biggest tune of the year is still buying his own vegetables. “Seriously,” laughs A-Trak,“I wouldn’t mind having a personal shopper, but I’m only just coming to terms with the fact that Barbra Streisand is such a big hit. You really didn’t see it coming? A-TRAK: “Well, no. I mean it’s just a loop and a name, isn’t it? There’s no chorus, no lyrics, no bridge, just this Boney M sample and someone saying ‘Barbra Streisand’ every thirty seconds. I guess we knew it was going to do well on the dance floor, maybe even enter the dance charts, but all of a sudden we were in the real charts–hitting number one in Belgium! Then the video surpassed one million views in no time. I think we’re currently at ten million.” Belgian radio station Studio Brussel even made its own version of it. A-TRAK: “Everyone is making its own version of the video! It’s crazy! Of course it’s also a great video. The idea came from French director So Me, who has also worked with Justice and Kanye West in the past. He wanted to do something really simple – some sort of free-flowing skate style video of Armand (Van Helden, the other part of Duck Sauce) and me going around New York, running into people we know and doing silly stuff like working in a restaurant.” It’s a brilliant homage to New York. A-TRAK: “Thank you! I’m really glad you said that because Duck Sauce is all about this city. Even our name sounds very New York to me – no-one in America feeds more on Chinese takeout than New Yorkers. But the most important thing for us is definitely this city’s disco legacy. Sure, other cities have also played a part in disco music’s history but no city had more legendary artists, labels and – especially! – clubs than New York. So when Armand and I decided to go disco, it was clear from the start that New York would give us what we need.”
A sample from a German disco band called Boney M? A-Trak: (Laughs) “I think Armand actually did find it in a New York record store. You know, I’m aware there are people who have been criticizing us for working with samples – young kids even, saying it’s ‘not original’ or calling it a ‘remix’. When, really, that’s what the whole early New York/East Coast hip-hop movement was all about. Remove every sample from every hip-hop record ever made and you’ll end up deleting three out of four hip-hop tunes, including the classics! Sure, a lot of them may have been sampling obscure jazz records, but sampling is sampling – there’s no other way of putting it.” And it’s not just hip-hop. The history of electronic music is ripe with samples as well. A-TRAK: “Of course! Even Daft Punk, who I’ve always looked up to, have made extensive use of samples. So it’s really nothing new. It is what it is. Having said that, it’s not like what we do is as easy as taking a sample and speeding it up a little. You have to really get the groove right, get the drums right, make it sound retro and modern at the same time. You’d be surprised how much of those classic house tracks from the nineties you can’t play at a party anymore because they just don’t sound as massive compared to what’s being produced right now. You’d basically kill a party, with a classic! So you really have to take all of that into account and then you also have to come up with a little twist; something that takes a song from good to ‘what the fuck’! Like the name of a famous New York singer who has absolutely nothing to do with it – Barbra Streisand, per example.” Right, so who’s next? Jerry Seinfeld? Lady Liberty? Robert De Niro? A-TRAK: (Laughs) I think Robert De Niro is already taken by Bananarama. To be honest, Armand and I have only just found time to get back in the studio again – after a summer of non-stop touring. We’ve started work on a few new tracks but that’s really all there is to say right now. You have to remember Duck Sauce started out as ‘just another fun thing to do’. We never really counted on making more than two songs together and all of a sudden we’re a chart success. So now we’ll just see what happens – no pressure. Did you already hear from the real Barbra Streisand by the way? A-TRAK: “No. Someone at our record company did in fact contact her people about it but they said she’s been traveling and is not aware of the song. Let’s just say I find that hard to believe.” (Laughs)
Ben Van Alboom
DJ HELL
Deejays should not sing
Helmut Josef Geier is an International Deejay Gigolo with a good ear for an underground hit. More than anyone else, he managed to make money out of electroclash. With his knowledge of old and new dance records, he’ll never go out of style and has the likes of Bryan Ferry and P. Diddy on speed dial. Hell yeah! “In the late eighties, techno was the soundtrack for the future,” says DJ Hell. “But today, we’re living in that future, and it’s nothing like what we’d imagined.” On tour in the US, he spotted some posters sporting the slogan: ‘I want my future back’. “Everywhere in America you can see and smell the crisis. I want to make music that is fitting for this world, for the emotions we are feeling right now.” Has the evolution of techno not been too much of a technical story? DJ HELL: “It was in the beginning. Just look at Tadao Kikumoto, the inventor of legendary equipment like the Roland TB-303 and TR-909. He’s a man in a white coat who with his synthetic bass and drumming sounds gave birth to a genre. And then of course you needed some blokes using these machines in ways they weren’t meant to be used.” Rather than a soundtrack for the future, kids these days refer to their parents’ techno as “beats for the elderly”. DJ HELL: “Have you seen the cartoon where a father is helping his son pack his DJ equipment and is urging him not to forget the original pressing Detroit techno vinyl? While young people today primarily use mp3: plug your earphones in, no bass, lean beats. It’s also the responsibility of producers reducing everything down to compressed sound files. And if they want to earn the same amount of money as before, artists need to release five times more. Those are the findings. Can you see a way out? DJ HELL: “Focus more on the music, spend more time in the studio. Never release anything just for some quick cash or a couple of interviews. The cream can’t help but rise up to the top. I spent two years on my last album, Teufelswerk, with the best musicians and the best voices. DJs should not have a try at singing - they should stick to what they’re good at. Artists like P. Diddy and Bryan
Ferry are masters of their trade. Bryan Ferry knows what he wants and he knows what techno is. He attended the Cocoon parties on Ibiza. His son is very active in that world: he attends clubs like Fabric in London and has asked the Glimmers to remix his father’s work. When he was a teenager, Diddy went out dancing in New York’s Sound Factory. He absolutely loves techno. Every summer he goes down to Ibiza after parties and during the Winter Music Conference in Miami, he organises events along with Felix Da Housecat. He introduced techno into R&B with Let’s Get Ill, featuring Kelis.” Teufelswerk is referred to as your magnum opus. That’s all very well, but what’s next? DJ HELL: I’ve had a film in my head for years. Maybe the time has come for that. The script is based on my own experience, which is so insane that people might think it’s fictional. What I’ve seen in the world of techno in the past 30 years beggars belief. It will be a mix of true stories, some fiction and science fiction. The story plays out in two cities: Berlin and New York. In nightlife, fashion and the art scene. In any case it’s got to be markedly erotic, maybe even slightly pornographic. In love stories, I often wonder why the camera turns away when the real deal is about to happen.” With Gigolo Records you were able to set the tone in the dance scene for a very long time, launching artist like Miss Kittin, Zombie Nation and Vitalic. But a few years ago, you seemed to be adrift. DJ HELL: “We mainly lost our distribution. The absurd this is that Gigolo was receiving loads of attention and was generating serious sales, but when the distribution company was due to pay us out, they went under and we didn’t get a single penny from that success. All the money I made as a DJ would be invested in the label.” Are you sad that those glory days have been and gone? DJ HELL: “I’m smart enough to realise that that sort of attention only comes round once in a lifetime. There wasn’t a fashion show around without Gigolo tracks on the catwalk. In clubs, our stuff would be head and shoulders above anything else. But it’s nice to hear that we’ve had an influence on Boys Noize, Ed Banger and Kitsuné. A healthy legacy.” Johan Faes
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UNTIL ONE
The stunning debut album by superstar DJ combo Steve Angello, Sebastian Ingrosso and Axwell
SWEDISH HOUSE MAFIA “UNTIL ONE” The party album of 2010, featuring the Ibiza smash hits “One” and “Miami 2 Ibiza” swedishhousemafia.com
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