http://www.fanzineproject.com
Bookings : pablo@fanzineproject.com
Contact & Promos: roi@fanzineproject.com

ESPAÑOL

Alvaro Pardo tiene un secreto. Su libertad sonora es inaudita, poco común. Quizás, para algunos, suicida en este mundo en el que las etiquetas van por delante de los fundamentos y el talento.
Dr. Think practica un libertinaje musical adquirido como propio tras enormes noches de emoción y apretón de ganancia en cabinas extrañas y lejanas, tras largas madrugadas ampliando frente a los technics su armario sónico... toda una vida pensando/buscando sonidos, en atmósferas, en la música mayestática, digital y ensoñadora.

Es cuestión de buen gusto. Desde el mejor y carnal funk setentero; hasta el breakfunk más garajero, pasando por el Deep House de alto octanaje  y el hip-hop -que tanto ama este gallego- funde, aúna y con doctorado autodidacta consigue que los ritmos más sincopados y rupturistas viajen sin colisión en sus sets. Vinilos cálidos, almas circulares, galeradas de sueños deambulan en sus viajadas maletas.
Saltó de su amada tierra patria esa Galicia adorada y amable, pero salvaje, que engulle a sus hijos a base de chapapote, intolerancia y años de -dictadura cultural- para compartir su estilo libre, su emergencia sonora con los mortales.

 Ha sido y es residente en las mejores salas patrias y otras situadas en lugares como Latinoamérica. Ha compartido noches con los mejores selectores del mundo. Los festivales más exquisitos reclaman sus servicios y la rancia crítica especializada lo coloca en su punto de mira como una de las apuestas electrónicas más emocionantes y sorprendentes en estos albores de siglo 21.
Paralelamente, y además de su otra aventura confesable en Safari Orquestra, es el alma del combo Telémaco. Aquí comparte desvelos con sus amigos el músico Mike Rolling y los vdjs The RGB Corp,  con ambos nos regala un viaje audiovisual en el que la fusión de lo digital con lo doméstico y lo cinéfilo da como resultado un sonido sensual, raro, entrañable... siempre sorprendente.

Su primer disco -Outótono- es mágico, inusual, arriesgado. No se si realmente escucharían en la cuna las mismas nanas que Penélope cantó a Telémaco, lo que es seguro es que se cayeron a la marmita del sonido mestizo y adecuadamente confuso. Este apasionante paisaje sonoro, registrado en directo en Pontearéas, es una bofetada de aire fresco al sistema, al minimaleo y a los cuatro productores cool de siempre que siguen aburriendo al personal, mientras gente como Telémaco se divierte, innova, recupera y compone un elenco de temas que sonrojaría a más de uno. Cuidado rivales, la crítica está de su lado... bienvenidos al año de Telémaco y su piscolabis electrónico. Alvaro Pardo tenía un secreto.      

Por Fernando Fuentes 

ACTUACIONES DESTACADAS:

Fever (Bilbao), Sala Apolo, Club Fellini (Barcelona), La boca del Lobo, Café la Palma, Sala Caracol, Fnac (Madrid), Sanfroidance (Lugo), Reperkusión (Allariz - Bemposta - Ourense), Brincadeira (Cambre - A Coruña), Image, Eólica, Stones, Vampis, Pasha, Motiva2 (Tenerife), La Real, Aquasella, Albeniz (Asturias), Telefunken, House Café, Oh Coruña, Fanzine, Leclub (A Coruña), Octopus Club (Pontecesueres), Vademecun, Fiesta de los Maniquies (Vigo), Sónar (A Coruña), sala Picaro (Toledo), La Lola (Valladolid), Öpera 4 (Granada), Freshweekend (Cerceda - A Coruña), 1001 Café (Londres), Fabrica de Bananas, The Crow, Perú Beach, After Creamfield 2005@Pinar de Rocha, El Dorado, Soundflower, Velvet, Código, Spell café, Niceto Club, Flux Club, Makena, Dobleve (Buenos Aires - Argentina), Carreras, Bluedoor, Borne (Cordoba - Argentina), Molino Rojo (Carlos Paz - Argentina), La Loco e Itakuá (Posadas - Argentina), Natura, Quitapenas, Cuba Libre (Iguazú - Argentina), Pollock y Yo voy Bass (Tucumán - Argentina), Chester (Santiago del Estero - Argentina), CCE y La Curva (Montevideo - Uruguay), Brasileiro Club, Goen Lounge Club (Brasil), V.I.P,  Paradise (Marrakech), Alcaides de Faria (Barcelos - Portugal), Fnac (Braga - Portugal), Wednesday club (Berlin), etc.....

ENGLISH

Alvaro Pardo has a secret. His sonorous freedom is extraordinary and uncommon. Perhaps, for some, suicide in this world in which labels come before foundations and talent. Dr Think practices a musical libertinism acquired as his own through enormous nights of emotion and the pressure of succeeding in strange and distant dj booths, after long dawns spent amplifying the techniques of his sonic closet… an entire life spent thinking/looking for sounds, in atmospheres, in music which is majestic, digital and dreaming.

It is a question of good taste. From the best carnal funk of the seventies; to the more garage-style breakfunk, passing through high octane Deep House and hip-hop - which this Galician master so loves - he mixes and joins styles, and with a self-taught doctorate manages to acheive a seamless fusion of syncopated and ruptured rhythms in his sets. Warm vinyls, circular souls, galleries of dreams ramble in his well-traveled suitcases. He leaped from his beloved mother land, that adored and lovely but wild Galicia, which devours its children with sludge, intolerance and years of cultural dictatorship, to share his free style, his sonorous emergence with the mortals.

He has been and is a resident in the best rooms of his mother country, and in others located in places like Latin America. He has shared nights with the best artists of the world. The most exquisite festivals demand his services and the rancid specialized critics keep him in their sights as one of the most exciting and surprising electronic wagers in the dawn of the 21st century. Parallelly, and in addition to his other confessable adventure in Safari Orquestra, he is the soul of the combo Telémaco. Here he shares insomnia with his friends, musician Mike Rolling and vdj's The RGB Corp, which together give us an audio-visual trip in which the fusion of the digital with the domestic and the cinephile gives as its result a sound which is sensual, rare, close… always surprising.

Their first disc - Outótono- is magical, unusual, risky. I don't know if they would really listen to the same lullabies in the cradle that Penélope sang to Telémaco, but what is certain is that they fell into the kettle of a mongrel and suitably confused sound. This fascinating sonorous landscape, recorded live in Pontearéas, is a slap of fresh air to the system, to the minimalists and to the four eternal cool producers who continue boring the people, while people like Telémaco enjoy themselves, innovate, reclaim and compose an array of subjects that would put many to shame. Watch out rivals, the critics are on their side… welcome to the year of Telémaco and their electronic treats. Alvaro Pardo had a secret.


By Fernando Fuentes

ACTIONS:

Fever (Bilbao), Sala Apolo, Club Fellini (Barcelona), Café la Palma, Sala Caracol, Fnac (Madrid), Sanfroidance (Lugo), Reperkusión (Allariz - Bemposta - Ourense), Brincadeira (Cambre - A Coruña), Image, Eólica, Stones, Vampis, Pasha, Motiva2 (Tenerife), La Real, Aquasella, Albeniz (Asturias), Telefunken, House Café, Oh Coruña, Fanzine, Leclub (A Coruña), Octopus Club (Pontecesueres), Vademecun, Fiesta de los Maniquies (Vigo), Sónar (A Coruña), sala Picaro (Toledo), La Lola (Valladolid), Öpera 4 (Granada), Freshweekend (Cerceda - A Coruña), 1001 Café (Londres), Fabrica de Bananas, The Crow, Perú Beach, After Creamfield 2005@Pinar de Rocha, El Dorado, Soundflower, Velvet, Código, Spell café, Niceto Club, Flux Club, Makena, Dobleve (Buenos Aires - Argentina), Carreras, Bluedoor, Borne (Cordoba - Argentina), Molino Rojo (Carlos Paz - Argentina), La Loco e Itakuá (Posadas - Argentina), Natura, Quitapenas, Cuba Libre (Iguazú - Argentina), Pollock y Yo voy Bass (Tucumán - Argentina), Chester (Santiago del Estero - Argentina), CCE y La Curva (Montevideo - Uruguay), Brasileiro Club, Goen Lounge Club (Brasil), V.I.P,  Paradise (Marrakech), Alcaides de Faria (Barcelos - Portugal), Fnac (Braga - Portugal), Wednesday club (Berlin), etc.....

The tale of Danny Tenaglia's love affair with music, and the world's subsequent romance with him, is one of the critical veins in the body of dance music. He is every dancer's secret discovery; a random purchase at the record store, a reluctant night out that unexpectedly turned magic. Explosive success came not behind a major label release, or a world tour, or a radio hit remix: It happened when enough people had the private Tenaglia experience for themselves.

The momentum started building in early '70s New York, when a barely 10-year-old Danny first got the feel of vinyl in his hands. Enthralled by the music of artists like Philly Soul's The Trammps, Motown's Marvin Gaye, African trumpeter Hugh Masekela, and disco producer Giorgio Moroder, he started to collect records, plumbing the depths of each one, and frequently finding that he preferred the B-side to the A. It was 1979 when he discovered legendary nightclub Paradise Garage, where DJ Larry Levan's rich, genre-less blend of music seemed to mirror his own "no boundaries" policy. It was here where Danny found the club model he would one day emulate: Levan's bold style, the venue's plain décor, and the party's warmth and inclusiveness.

Danny left New York in 1985 and launched a successful DJ-ing career in Miami as a resident at Cheers nightclub. There he schooled the locals in classic New York and Chicago house, but five years later he returned home, tired of only playing other people's music. He started to assemble an impressive roster of remixes, including Right Said Fred's "I'm Too Sexy" (1991), Jamiroquai's "Emergency on Planet Earth" (1993), and Madonna's "Human Nature" (1994). But his first epic was The Daou's "Surrender Yourself" (1993): With the kick in the bass and the underlying rhythm as the foundation, Tenaglia blanketed Vanessa Daou's wispy vocal with grand, thick chords, a combination of classic groove and modern club-ready depth that was, at the time, entirely new. The title of his 1995 debut artist album on New York's Tribal Records described it perfectly: Hard & Soul. But even if the cocktail was his own, Tenaglia never hesitated to declare how heavily his influences weighed in his productions - everyone from Patti LaBelle to Kraftwerk, with countless lesser-known Soul, R&B, Latin, Samba, and Disco artists in between.

In 1996, after a brief stint at New York superclub Roxy, Danny landed a Saturday night residency at white-hot Twilo, a position that upped his profile but didn't satisfy his expanding artistry as a DJ and producer. While New York swooned for big-room diva anthems, Danny was turning his ear toward the more minimal, tech-y grooves originating in European production studios. This period produced solid remixes like Grace's "Not Over Yet" (1996) and Janet Jackson's "The Pleasure Principle" (1996), but by the time he moved to Tunnel in 1998, Danny had already created "Elements," an instant classic that caused the dance scene's collective jaw to drop. With his own warped voice providing the narration, "Elements" (one track off full-length Tourism) walked the listener through the different components of a dance track in real time, going from kick to drum loop to snare hit, letting each layer over the other until the track exploded with dark, drum-heavy energy. Next to ostentatious radio anthems, its simplicity was a revelation. 

It was around this time that the murmurs started to get louder: Who is this Danny Tenaglia, and just what does he do to people? Clubbers reported seemingly inhuman mixing capabilities, booth-to-floor telepathy, and the grittiest "modern yet classic" grooves they had ever heard come out of a speaker. A trio of label compilations - Mix This Pussy (1994) and Can Your Pussy Do The Dog? (1995) for Tribal, and Gag Me With A Tune (1996) for Maxi - were the first Tenaglia sets clued-in clubbers could take home to dissect, but the release of his first installment in the UK-based Global Underground series of DJ mixes, titled Athens (2000), lit the international fire. Athens (meant to reflect the set he played at the Greek capital's club King Size) remains one of the darkest, strangest, sexiest sets ever released, and its tame cover photo of a gentle-looking man in a Yankee cap just didn't seem to fit. DJ dates across Europe dispelled the mystery and started the spread of the infectious Tenaglia fever.

Back in New York, Tenaglia was tiring of the cavernous gloom of Tunnel and longed for a weekly home that better resembled where the DJ bug first bit him - the Paradise Garage. He landed at Vinyl, a black-walled, single-environment, no-liquor club about one-quarter the size of Tunnel. He named the night "Be Yourself," after the self-affirming, heavy-bottomed vocal track he had recently recorded with Chicago's Celeda. And he took the name to heart: Without the pressure of bar minimums or an expectant crowd, Tenaglia spread his DJ wings. Next to new tracks by young producers like Rui Da Silva, Peace Division, and Saeed & Palash, he played the artists of his youth, with nary a beat dropped. If he wanted to launch into a two-hour set of straight-up techno, he did. If he wanted to play old Michael Jackson records, he did. If he wanted to get on the mic and tell the crowd the name of the sound he was about to play, or who next week's guest opening DJ would be, or just give everyone a "verbal handshake" to welcome them to the club, he did. And a city tired of drama embraced the barebones, music-centered night. 

The world caught up to Tenaglia in 2000. His annual party during Miami's Winter Music Conference outgrew its home at the cramped Groovejet and moved to just-opened superclub Space. DJ giants like Carl Cox danced on top of the speakers with the Deep Dish boys, Fatboy Slim mingled on the patio, and for a day the ego inherent to DJ culture evaporated: Tenaglia was hailed as the undisputed king, the "DJ's DJ." His roof-raising revamp of Green Velvet's "Flash" won "Best Remix" at the UK's Muzik Awards, where he was also awarded the "Best International DJ" prize. 

In the two years that followed, Tenaglia released another Global Underground installment (London); toured the world, took the party island of Ibiza by storm, remixed Billy Nichols' "Give Your Body Up To The Music" (a Garage anthem); got nominated for a Grammy (for his remix of Depeche Mode's "I Feel Loved," also nominated for Best Dance Song); returned to Twilo for two special gigs - a President's Day marathon with Carl Cox that shattered all its attendance records, and the club's sixth anniversary party with John Digweed, which turned out to be even more meaningful than it seemed at the time (Twilo was shut down permanently a week later); graced the cover of every major dance music magazine; and won a Dancestar Lifetime Achievement award... all while keeping Be Yourself buzzing every Friday. 

In 2003, Danny came full circle with the release of Choice: A Collection Of Classics, a two-CD mixed compilation that let him pay direct tribute to many of the artists who had influenced his sound and style. It featured everyone from Blaze to Adeva to Imagination, as well as hefty liner notes explaining the significance of each track, penned by the man himself. He also remixed another Garage classic (Yoko Ono's "Walking On Thin Ice," which became her first Billboard number one ever), opened another Space during Winter Music Conference (the new location down the block), and took another Dancestar award, this time "Best Party" for Be Yourself. 

Be Yourself took the same honor again in 2004, but this time the win was bittersweet. At the time of the ceremony, Vinyl, now called Arc, had already been sold to developers. Danny closed the classic club on Sunday, April 25, 2004, with an emotional set that lasted well into Monday afternoon, and culminated with his mix of Kings Of Tomorrow's paean to unending love, "Finally."

And as in every year since his DJ odyssey began, all across the globe, from Acapulco to Tokyo, more people experienced their first night with Danny Tenaglia, that clubber rite-of-passage that forever changes how you listen to music, go out to nightclubs, and think about DJs. 


Jëan Fixx is the musical alias of multidisciplinary artist Félix Fernández. His sound blends hypnotic techno, electro energy, and synthwave melodies with industrial and EBM influences. With releases on labels such as DISCTRL, Iptamenos Discos, and Ruido de Fondo, his work has been featured internationally across radio and media platforms. He is also the founder of INNFLEXIA, a creative space connecting electronic music and contemporary art.

Desde los dieciocho años detrás de los platos, Edu decide dar un golpe en la mesa y aparecer en la escena del norte haciendo lo que más le gusta, mezclar. Una intervención en el Maldeamores (donde es residente) bastó para convencer.
Estudioso de las mezclas y amante del pitch como canalizador de sus sets, es un defensor absoluto del eclecticismo musical. Sus actuaciones muestran una amalgama de sonidos caracterizados por mezclas arriesgadas y tremendamente originales, capaces de hacer que el baile sea un ejercicio colectivo.
Durante estos años ha pasado por algunas de las mejores salas (Ochoymedio, Sala Maravillas, Siroco, Costello, Dabadaba, Sala López, El Veintiuno, Potemkin, Convent Garden (SS), Menhir, Panorama, La Fábrica de Tornillos, Gora Project, 8B, Jane Birkin...) y festivales (Bilbao BBK Live, Santander Music Festival, Ebrovisión, Tres Sesenta Pamplona, MUWI, Festival Actual, Fárdelej, Irún Rock...).

New album "Dreamweaver" out now:
https://trentemoller.lnk.to/Dreamweaver

2025 Tour Dates:
https://tix.to/trentemoller

Copenhagen’s Anders Trentemøller has long been respected as a creator of extraordinarily memorable melodies and dark soundscapes. While many artists follow a pattern of invention and reinvention, Anders’ arc has been a series of points along the same curve, playing the long game with each release representing the next chapter in a constantly evolving series.

Dreamweaver continues on this track, combining elements of shoegaze, dark wave, motorik, noise rock and somber, introspective takes on electronic pop but in a considerably more psychedelic manner. The chronology of its 10 songs is an immersive experience that presents additional otic pleasures when headphones are strapped on.

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