https://funke.gent Funke Wed, 15 Nov 2023 12:55:24 +0000 https://funke.gent en https://funke.gent/itv-Samoth Fri, 26 May 2023 13:15:45 +0000 Funke https://funke.gent/itv-Samoth Samoth We meet Samoth (Thomas Haelterman) mere days after the media-hyped teknival in Brustem, Belgium. As one of the free party scene’s backbones here in Belgium, we’re eager to hear what he makes of the past media frenzy. While the free party scene remains shrouded in mystery, it’s abundantly clear it embodies strong, human-centered core values that started to seep in the regular club scene as well. ︎︎︎ Soundcloud ︎︎︎ Funke exclusive set ︎︎︎ Spotify Playlist <img width="960" height="960" width_o="960" height_o="960" data-src="https://freight.cargo.site/t/original/i/b3eb136274bfa636d7b4fa99d69d49cc46a41a56e61cdb8be01f2e334c5c905c/Somath-voetjes-1.png" data-mid="192932055" border="0" src="https://freight.cargo.site/w/960/i/b3eb136274bfa636d7b4fa99d69d49cc46a41a56e61cdb8be01f2e334c5c905c/Somath-voetjes-1.png" /> — What happened there in Brustem, the last weekend of april? The second ever teknival in Belgium - and a very successful one as well. While free parties are locally organized by one sound system or a predetermined group of sound systems, a teknival is more open. People would travel from all over Europe to attend one. In terms of music, it’s not only about tekno or hardcore; way more genres are represented. You’ll find circus acts, stalls with handicrafts, people with food stalls, … Both free parties as teknivals serve as an answer that it’s becoming harder and harder to organize a barrier-free event on such a scale, in this day and age. For instance: there’ll be no ticket fee, but a donation system. The aim is to organize an easily accessible, low-threshold event, for everyone. Some media would portray this type of events as reckless and irresponsible, but really, it’s the complete opposite. They will paint an exaggerated picture, focusing on the stuff that will make people click the article.&nbsp; “ Free parties as teknivals serve as an answer that it’s becoming harder and harder to organize a barrier-free event on such a scale, in this day and age. ” — This is of course not a new phenomenon, but some media had a frenzy about that weekend. How come? Nothing else news-worthy was happening that weekend. I guess that made for the fact that they focused so intensely on this event. And that, in itself, is part of the fact why it got so hyped. Some claims about the event were downright false. The amount of substance abuse is not higher than in the legal party circuit. There were, by no means, 15.000 people. Sensation sells, I guess. On the other hand, I have to say that some news outlets were actually quite nuanced. For instance: a good friend of mine was invited by the late-night news and the interview felt genuine. Other articles emphasized the true incentives behind organizing events like these, so personally I think the tide is turning. “ Let’s say I didn’t go to a lot of scouts parties. ” — How does one start organizing an event like this one? I’d say it takes four to five months to properly prepare it. Inviting sound systems and artists, making sure everything is settled in terms of production and technical stuff - that’s the easiest part. The biggest chunk of work is figuring out how to get everyone there, setting up meeting points, figuring out how to approach the terrain - all without drawing too much attention. The organization(s) behind events like these happens in very shielded and closed-off circuits, to not draw unwanted attention. The emergence and rise of social media surely didn’t make it any easier in that perspective. Organizing an event - whether it’s legal or illegal - always comes with possible pitfalls. Of course the aim is to minimize mistakes, complaints and damage. Especially since you know the organization will be looked at with a magnifying glass. “ For me personally, the values and standards are the reason I became so invested. The scene is about freedom - it exceeds music. ” — How did you end up in this scene? When I discovered electronic music, it didn’t take long before I took a deep dive in underground sub genres such as drum and bass, acid and hardcore. Let’s say I didn’t go to a lot of scouts parties. Ending up in the free party scene, however, happened by accident I guess. My parents moved at some point during my youth. In our new neighborhood, I stumbled upon a group of people that were involved in the scene. Up until this day, they are very dear friends of mine. — How important is the ideological aspect of the free party scene for you? For me personally, the values and standards are the reason I became so invested. The scene is about freedom - it exceeds music. Everyone should feel welcome and unbiased. If you can’t afford to give a donation at the entrance, you’re welcome to enter anyways. Anti-sexism, anti-racism, LGBTQIA-friendly, … are all ingrained in that movement. Everyone feels responsible for everyone - keeping an eye out, in case things take a turn for the worse. Fifteen years ago, these concepts were still quite new in the electronic music scene and I felt thrilled being able to be a part of it all. Nowadays, you see a lot of clubs in the regular and even mainstream scene implementing concepts like safer space, measures like awareness teams, free tickets for the ones that need it, … There’s more and more common ground between the club circuit and the movement. And that’s a good thing. Funke is actually a prime example. It’s certainly part of the reason why I enjoy visiting, playing and being a part of that place. — Can you tell us a bit about the number “23” and what it stands for? It pops up widely in the scene - how come? According to some, everything can be traced back to that number. It represents chaos and there are a lot of theories revolving around the “23”. It was introduced by Network 23 - a record label founded by the Spiral Tribe sound system in 1994. That group organized free parties in the UK but fled the island in 1992, fleeing pending trials after organizing the Castlemorton Common Festival. Afterwards, they traveled through Europe and spread “the virus”; in The Hague, Prague, Berlin, … They kickstarted the scene here on the mainland - they were the pioneers, leading the way, really. So “23” became some sort of a mark or a stamp, representing the scene.&nbsp; — Your projects carry that number as well - can you tell us about them? Exit 23 is a sound system, an event series and a label, founded in 2008 and run by a group or like minded friends. The common denominator is tekno - throughout what we play, throughout the acts we program on our events and through our own label. But everyone plays and loves other genres as well. Lab23 is my record store. Although the shop is not directly linked to tekno or free parties, it might not exist if I wasn’t so knee-deep into the scene. By organizing parties and spinning records myself, I got immersed in the wondrous world of vinyl. I run a label as well, so owning a records store was the next logical step - it had been a long-time dream anyways. I was a stage technician before the pandemic hit, but being out of work for so long gave me the chance of figuring out and realizing this dream eventually. When you come to think of it; almost everything I have, or everything good that ever happened to me, kind of derived from the whole free party scene. My girlfriend, who I met 15 years ago at a teknival in France, understands what it’s all about and she supports me in what I’m trying to achieve in the scene. We have a kid. We bought a house. I’m involved in music on so many levels. I feel blessed, really. The only thing I’m really looking forward to is a proper, long holiday. I can honestly say that's my goal for the next year. Interview with Samoth + words by Hans Empereur https://funke.gent/itv-Corvus-Ex Sun, 22 Oct 2023 12:52:17 +0000 Funke https://funke.gent/itv-Corvus-Ex Corvus Ex From background tunes in Nintendo games over IDM YouTube digs to sets that are marked by tribal, hypnotic and introspective grooves: it all flowed very naturally in Corvus Ex’s musical journey. Being part of a pivotal generation that is both in tune with the super young and somewhat less young, we couldn’t wait to hear about his perception of communities and the scene nowadays in Ghent. ︎︎︎ Soundcloud ︎︎︎ Funke exclusive set ︎︎︎ Spotify Playlist <img width="3000" height="3000" width_o="3000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/4dffcf76df1c166c5832e5f4ad320a01ac6a408a665f3f463aa4ec832822bfd1/Foto-4-Kleur.jpg" data-mid="194455820" border="0" src="https://freight.cargo.site/w/1000/i/4dffcf76df1c166c5832e5f4ad320a01ac6a408a665f3f463aa4ec832822bfd1/Foto-4-Kleur.jpg" /> — Where and how was your musical journey sparked? How did it evolve? My first active memory of music are the background tunes featured in my Ninentendo video games. Up to this day they linger, somewhere in the back of my head. I also recall the era when digging for music on YouTube was fun and good - nowadays the suggestions are shit. It took a while before I truly developed an interest in music. YouTube, and the discovery of IDM through it - with the likes of LFO and Autechre - played a big role in it. I like it when soundwaves stimulate and challenge me and IDM features sounds that do exactly so. Dub techno was a second revelation. However, my first parties were in the realm of goa. This genre also stars a varied sound and it definitely grew on me. These first experiences were about more than listening to music though: it dawned on me that music has an effect on an individual body and on a group of people. During my teacher education, I stopped going out altogether. This hiatus came to an end when I moved to Ghent. At first I lived together with my cousin, who moved abroad shortly after. Going out was also a means to get to know new people and Decadence was where it first started. Now the seed was planted. ” To be honest: the ambition to DJ was never really there. I was more interested in producing and creating intriguing sounds. ” — How did your ambition as a DJ develop? To be honest: the ambition was never really there. I was interested in producing and creating sounds. Experiments with a MIDI controller and Ableton never really led to finished tracks but it was compelling nonetheless. Next to that, I grew interested in learning how to spin and out of curiosity (and a fair share of boredom from being alone in Ghent) I enrolled in DJ School. I didn’t learn that much, since I mastered the basics with a simple DJ controller I had at home, but it was a good pastime. During that time I also handed out flyers for Kompass. Thanks to that I put myself out there until (after A LOT of flyers) the time was right to subtly ask for a chance to play in front of a crowd. I got that chance eventually. It was the second time I played a club. The first time, funny enough, was the day before at Decadence. So my first two proper gigs took place on the same weekend. “ I was always able to stay close to the (strict) vision and limits I set out for Corvus Ex: tribal, hypnotic, introspective. ” — Looking back, do you perceive a musical evolution? The vision stays the same, I’d say. And I was always able to stay close to the (strict) vision I have for Corvus Ex. Tribal, hypnotic, introspective - these are some of the pinpoints I set for myself. Even though the music I play has changed and the skills developed over the years, these core conditions were never tempered with. I’ll probably never listen to techno during my free time. I visit less techno parties as a dancer. And also as an artist I don’t want to be exclusively linked to one genre. This sometimes clashes with the strict vision I have on Corvus Ex as a project. “ An off-grid weekend: that's what I get the most pleasure from. ” — I guess that’s where your alter ego “Norbert” comes into play? Yes, absolutely. I created it out of a certain necessity to be able to share something else, without these self-imposed standards. Recently I played my first solo gig as Norbert, whereas in the past it was always a duo venture, together with Mariette (aka Nina Ampe). “Norbert” and “Mariette” both are our second names - has a nice ring to it, right? Norbert enables me to color outside of the lines. I need that from time to time. That being said, I don’t think I will conceive many more alter egos. With Norbert, you never really know what you’re going to get. — How do you perceive the scene in Ghent nowadays? I feel like we have a pretty rich and diverse tapestry of scenes and communities. Especially when you look at the rise of the youngsters since covid. Sure it’s different compared to before, but the heart of it stays the same. I’m not looking down on these evolutions, on the contrary. I was born in 1992 and I feel like I’m both in tune with the younger generation as with the people who are a bit more experienced. I feel like I contributed in an indirect way to what the scene is today. First and foremost by supporting. Secondly by teaching some youngsters how to spin tunes: for instance Stimular residents WØRTAAL. Actually Nina (Ampe) was my first student - subconsciously I started my own DJ School now that I come to think of it. — Do you feel like Funke plays a big role in Ghent? 100% yes. That’s one of the reasons why I was so glad to accept this residency. For me, Funke is the only place in Ghent that’s in line with my own vision of nightlife. Not only in terms of music, but mainly in terms of community building. It gives loads of opportunities to youngsters, it creates space for other art forms. Community is key, especially when you want to introduce new genres to an audience. They need to be connected to a place (or group of people). That creates trust. Trust creates openness to new things. Lineups are important, don’t get me wrong, but a consistent vibe is key. My all time favorite parties are organized by Ojoo and despite the fact I rarely know their headliners, I will always get a ticket. — Residency-wise, what are your expectations or wishes here in Funke? I’d really like to organize an ambient event because I’m quite fond of it myself and because it doesn’t happen that often in Ghent. Can be on a Friday evening for instance. At first we’d fill the pit with pillows, people can bring their books or blankets. Some moments of relaxation and introspection before the party hits off. — What’s your happy place? I live for a chill Sunday as well: spent in bed while watching movies and ordering takeout food. Every once in a while a small group of friends take a little trip in the Ardens. To truly disconnect. Something to look forward to - rest is not always easy to find. I experienced panic attacks when I was younger. An off-grid weekend: that's what I get the most pleasure from. — Looking back on 2023 - what stood out? What made you happy? I joined Pulp Agency, definitely a highlight. Founder Sylvie is one of my best friends and she knows me inside out and knows about (and actively defends) my core values and communicates. Being part of this (super) young roster I must say I’m impressed with the youth’s passion and their drive. In June I went to Waking Life for the first time and I have to say it was the most beautiful experience I had so far, in my life - a very intense feeling of happiness. I’m sure I’ll be riding that feel-good-wave for a long time to come. — Are you looking forward to any specific moments? Not really. I try to keep things in limbo - not planning too much or expecting anything. I try to focus on what’s here and now. As long as it’s fun and fulfilling, I keep on doing what I’m doing. Interview with Corvus Ex + words by Hans Empereur Funke · Resident_Corvus Ex https://funke.gent/itv-Ampe Mon, 23 Oct 2023 11:17:17 +0000 Funke https://funke.gent/itv-Ampe Ampe As we near the end of this interview series, we sit down with Ampe. Over the past years, few have left a bigger mark on the Ghentian scene than her. After an unequivocally and dashing conquest of all that is restless and unrelenting, before us stands an impressively calm and collected artist and Butternut co-founder and organizer who truly found her own voice. ︎︎︎ Soundcloud ︎︎︎ Funke exclusive set ︎︎︎ Spotify Playlist <img width="3000" height="3000" width_o="3000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/3d77e95ea1dca540385007755bab9c475a1983e130645b811aa0a2c66830549c/Ampe_funkefeetpics_c-Sara-De-Graeve-7-3.jpg" data-mid="194539983" border="0" src="https://freight.cargo.site/w/1000/i/3d77e95ea1dca540385007755bab9c475a1983e130645b811aa0a2c66830549c/Ampe_funkefeetpics_c-Sara-De-Graeve-7-3.jpg" /> — How did you get involved in the scene? I started studying in Ghent and I moved here as well, some 10 years ago. After going out in Overpoort - you’ve got to start somewhere, right - I discovered a more in-depth sound in Decadance and I stumbled on techno. I was intrigued, feeling it right away, and wanted to dive deeper. I had a brief career behind the bar in Kompass, which exposed me to many different kinds of music and nights. During the occasional after party I would spin tunes using a DJ controller. People present seemed to dig it, which motivated me to actually develop the skills and find out where I could play in front of an actual audience. Didn’t take long before that ball started rolling. A friend of mine hosted an open air event and was set on booking me. My first gig I played as “Mariette” - which is my second name, by the way. I stuffed my USB sticks with mediocre YouTube rips and had a blast - the crowd dug it too. ” For my first real gig I stuffed my USB sticks with mediocre YouTube rips and had a blast - the crowd dug it too. ” — Can you explain the difference between “Ampe” and “Mariette”? “Mariette” is part of the illustrious DJ duo Mariette &amp; Norbert - “Norbert” is Kjell’s (aka Corvus Ex’s) second name - so there’s that. I’d describe the music played by Mariette as fun and a bit more lighthearted, whereas Ampe is of course still fun, but more on the serious side of things. — How was your first all nighter? Playing 8 hours is not an easy task Honestly, I loved it. Finally I was able to dig through my entire library. In general I don’t want to limit myself to a single genre or mood, and this was the perfect opportunity to showcase that diversity and these different layers. Two hour sets are a bit restrictive in terms of conveying a message and - above all - a feeling. During these eight hours I was able to put forward a truly emotive trip. The feedback was overwhelmingly positive. And being able to dance, together with the remaining audience, to my last tune was the cherry on top of the cake. Of course it was challenging as well, changing the way I look at my music collection and forcing me to make deviating decisions. It’s not something to do every month, let’s say. — As a Funke resident, you started a series called “Amped”. What are you hoping to achieve with the series? And how does it compare to Butternut? For starters: Butternut was founded by Lien De Keyser and me and thus it’s the result of two people's perspectives colliding. Butternut is mainly affiliated with techno, whereas with Amped I do it all by myself. Considering the fact that I’m into an abundance of genres and styles it’s nice to be able to make singlehanded decisions. The result might be a night that’s a bit more broad and experimental - featuring artists like CCL that span a more junglish spectrum. Juggling with tempos and toying around with emotions: that would be Amped for me. In terms of what I want to achieve: I’m dreaming of having a different feeling for all of my parties - featuring distinct deco for instance. Next to that, I have a loooong list of artists that I’d like to invite. “ Two hour sets are a bit restrictive in terms of conveying a message and - above all - a feeling. ” “ Juggling with tempos and toying around with emotions: that would be Amped for me. ” — Let’s dive a bit deeper into Butternut: how do you look back on the first three years of your baby?It became way more than what we anticipated. We tried a lot - but really, a lot of different things. By doing that, I think we sometimes overplayed our hand a bit but we learned a lot from it, eventually returning to the core reason why we started all of this: featuring an underground sound that was rarely heard in Ghent. This kind of techno was not really represented in our town - maybe because it’s a risk from a commercial point of view. And of course, maybe even more important than our stylistic choices: we’re doing this for a tight-knit, small and passionate community and during our events we want truly to enable them to be themselves - fully and unaltered. We took opportunities that brought Butternut to venues and festivals where we had to compromise - especially on the community aspect - but we learned important lessons from these experiences. Also: hosting a stage at Tomorrowland for instance, was simply a lot of fun and it made us connect with an audience that we didn’t have before. I’m quite convinced that we won some souls in the Rave Cave. It was quite the ride up until now, but I think it’s safe to say that it feels more stable than ever. —&nbsp;Butternut, Pulp Agency and its affiliated artists with their own concepts and parties - it seems all connected. Do you feel like you started a wave in Ghent? Maybe? I don’t know - we started something non-commercial which resonated with a lot of people. One thing is crystal clear: it all started with a like minded group of friends who all had (and still have) very pure intentions. In that sense you’re right: we’re riding a wave that we ourselves created. — How do you look upon the Ghentian nightlife scene nowadays? A lot is going on, some of it can be linked to each other - some of it is not. Main differences - at least for me - is the approach to social media. A lot (still) revolves around social media and here I am, wondering if that’s the way to go. Let’s take for instance the making and distributing of videos during sets. In my opinion they divert the attention away from the music itself, and that’s a pity. Alas, social media (and even videos) are key in promoting a party. People want to get a glimpse of what they can expect. Open question: how can we convey the vibe of a party without all these literal references? — Does Funke influence the scene in Ghent? Over the past years, Funke became the breeding ground for a lot of these different genres. For me, Funke feels like coming home. Everyone is welcome - everyone shares the same mindset — Do you have a specific ritual going into the night? I stress, still. But give me a beer and half an hour and things will eventually work out. Despite the stress, in general everything always works out. — When you’re not busy, what do you like to do? Finding inner peace in nature or just by being plain lazy. Away from impulses, away from the busyness of my mind. Organizing, being social during the weekend, working during the day, … It demands some peace and quiet to balance it all out. Avoiding social media, indulging in a bath - these things help. — Looking back on 2023 - what stood out? What made you happy? All the opportunities I was given - thanks to Pulp and Butternut. I was able to play at beautiful venues and festivals, surrounded by many supporting friends. That simply feels good. I recently moved, together with my girlfriend. Settling in the nicest, cutest and homiest of homes makes me very happy as well. Bonus: it’s not far from Funke — Are you looking forward to any specific moments? Personally, I feel like I (finally) found my own voice in terms of music. I’m looking forward to exploring that even further. Of course I’m also looking forward to our next Butternut event in Wintercircus - quite the honor to be the first concept to host a party in this new venue. Another hosting in December still has to be announced, but let’s say it will be somewhere around the city of Vilvoorde. Interview with Ampe + words by Hans Empereur Funke · Resident_Ampe https://funke.gent/itv-Timmerman Fri, 05 May 2023 09:23:14 +0000 Funke https://funke.gent/itv-Timmerman Timmerman Timmerman juggles with a job in the communications team of Horst Arts &amp; Music, being the co-promoter of Supergay and, of course, his own DJ-career. Spanning over eight years and becoming ever more refined, the latter covers the biggest chunk of what you’re about to read. We will also discuss the death of presale, ever-faster-paced music and Call of Duty. ︎︎︎ Soundcloud ︎︎︎ Funke exclusive set ︎︎︎ Spotify Playlist <img width="2362" height="2362" width_o="2362" height_o="2362" data-src="https://freight.cargo.site/t/original/i/9b75b823a11e3eb66beadabcf339797d1a00c32c0a8c81ce8c477f39782fea24/TIMMERMAN_FUNKE-1.jpg" data-mid="188590002" border="0" src="https://freight.cargo.site/w/1000/i/9b75b823a11e3eb66beadabcf339797d1a00c32c0a8c81ce8c477f39782fea24/TIMMERMAN_FUNKE-1.jpg" /> — Can you tell us how Toon Timmerman became Timmerman? Growing up, music was already everywhere. Although my parents are obsessed with classical music, the gift of music itself was handed to us on a silver platter at home. The first records I remember buying were ‘Illmatic’ by Nas and ‘The Eminem Show’ - carefully covering the “Parental Advisory” sticker for my mother. When my brother turned 16, he got a JB Systems speaker-meets-turntable. I was 11 at the time. We both started toying with that and discovered the basics, like beatmatching, together. My brother and I played together for some time, later he discovered the visual arts. On the built-in radio of my alarm clock I used to listen to Dave Clarke’s show ‘White Noise’ on Studio Brussel. I didn’t really like it, but was nonetheless triggered by this new style of unconventional and fast-paced electronic music I'd never heard before.. At the age of 14 I was spinning drum and bass sets at the local scouts parties and youth centers. Not too long after, and through my first night outs at places like Café d’Anvers and Decadance, I got into tech house and even had a brief obsession with what deejays like Joris Voorn were doing at the time. Later on, I stumbled into house music - chasing a sound that had more depth. “ I grew closer to myself and what I stand for musically. There's more focus now. Rather than being only a party DJ, I want to contribute to something meaningful.” — Eight years ago you moved to Ghent and started studying here. Can you explain how the city and scene shaped you? During a night out in Decadence and throughout the set of a rather mediocre DJ it dawned on me: maybe I could do a better job than him. I already had some experience and I certainly had a story to tell. I started stalking a lot of people to give me a shot and on a Wednesday evening in 2016 it happened: I opened Decadence for Amelie Lens. In 2017, I won a pretty influential DJ contest - after which it all developed very fast those first years. Maybe even a little too fast at times. I got huge opportunities to play big festivals like Tomorrowland and Pukkelpop while I was still very much in search of what I actually stood for musically. As time moved on, I gradually started to feel that I could be more significant in other places, playing for crowds and communities my sound actually resonated with.&nbsp; I still vividly remember playing two extended back2back sets on the same New Years night; one with Jonathan (Uni Son - or Just Nathan back then) and a second one with Stijn (Sixsixsixties). I had been looking up to them for quite some time, and felt a little insecure in an attempt to keep up with them behind the decks. It was an eye-opener really. They showed me there's so much more to the craft of deejaying than what I thought I already knew at the time. Thank you Jona &amp; Stijn! By going out more myself, by meeting new people and by dedicating most of my free time to music, I grew closer to myself and what I stand for. There’s more focus now. Rather than being only a party DJ, I want to contribute to something meaningful. To a community. “ There’s a substantial queer community here in Ghent that deserves and needs quality events. That’s why we founded Supergay. ” — How did Ghent change over the past years? I can’t help but feel like there was more going on when I first got here. Household names like Alpha, Nachtvogels and KERK all stopped over time. These were all institutions that influenced me as a person so I was sad to see them go. At the same time, the Brussels’ scene as we know it today, started to emerge. It kind of became more fashionable to play, or organize, events there. The last couple of years venues such as Broei, Minus One and Funke have given more opportunities to young promoters and artists. I feel like nowadays in Ghent, a young, vibrant&nbsp; and tight-knit scene is coming up again. Together with my friends Jonathan (Uni Son) and Zakarya I try to contribute to the local scene as well, by founding Supergay. We've been going to plenty of gay parties all over Belgium, which were hardly ever held in Ghent. We felt a need for quality and safe events by and for the vibrant LGBTQIA+ community here. They deserve better and safer queer parties. So you could say we founded Supergay out of an urge. Musically, we focus on quality house and techno music and provide a platform for LGBTQIA+artists. “ There’s a new generation. They are young, wild and free and their music reflects that as well. High tempos, high energy and very accessible in its own way. ” — What do you make of the last two years - the post-covid scene, so to speak? The landscape is even more saturated with new clubs, concepts and festivals - there’s more going on than ever. I guess a lot of people get lost in this “oversupply”, deciding very late and on an ad hoc basis which event they will attend - which kind of kills presale. In terms of the audience itself, there’s an influx of a new generation. They are young, wild and free and their music reflects that as well. It features high tempos, high energy and is very accessible in its own way. Youngsters are triggered by this kind of “TikTok techno” and that makes for the two sides of the coin: substance and form. Everything is so fast-paced - both the music as the content that is being generated. At times I find it quite difficult to keep up with it all. Coinciding, a countermovement is happening - as it always does. Thesis and antithesis. Think about the renaissance of a more minimal sound in Brussels and all the events, artists and crowds focusing on decent house music. Everyone flows in their own way, of course. Some people might enter the nightlife scene through a snappy hardtechno video on social media, to find out later there’s way more to nightlife than that. I didn’t come straight from the underground myself, so who am I to judge? — Away from all the (fast-paced) noise, where’s your happy place? I spend a lot of time in restaurants and would dare to call myself a foodie but I also enjoy spending a lot of time at home, which always surprises people. The combination of an intense daytime job, organizing events and DJ-ing can become quite exhausting. I need plenty of time to myself. Otherwise, I would be letting myself down by pleasing other people. To that extent I claimed a full floor in the house I share with my boyfriend. My man cave features a dj-booth, a desk, a sofa, a beamer and a Playstation. I bought the latter during the pandemic. In isolation, me and a couple of my friends used to play Call of Duty Warzone online - just drinking some beers while violently shooting each other up. I also thoroughly enjoyed Red Dead Redemption and Uncharted, so anyone with leads on a game with an outstanding campaign mode; come forth. Interview with Timmerman + words by Hans Empereur Funke · Resident_Timmerman https://funke.gent/itv-phrex Mon, 15 May 2023 19:09:07 +0000 Funke https://funke.gent/itv-phrex phrex Juan Awile, aka phrex, aka Seduction, has been a pillar of the Swiss electronic music scene for many years. He’s heavily involved in concepts such as Dubtopia, Midilux and the Montsomnia Festival. From hometown club Kapitel Bollwerk to Ghent’s Funke seems only like a small stretch: “both of these places feel like a living room, where you’re surrounded by familiar faces”. ︎︎︎ Soundcloud ︎︎︎ Funke exclusive set <img width="2362" height="2362" width_o="2362" height_o="2362" data-src="https://freight.cargo.site/t/original/i/49a80b6085acaa88d5c41283c1740cbdcdeb80ea0117e523f1e83829e58688f4/phrex_beeld.jpg" data-mid="179579457" border="0" src="https://freight.cargo.site/w/1000/i/49a80b6085acaa88d5c41283c1740cbdcdeb80ea0117e523f1e83829e58688f4/phrex_beeld.jpg" /> — First off, can we draw some comparisons between Bern and Ghent? Definitely! I feel like Ghent has a similar vibe to Bern. Both of the cities seem to be on the same, left field-ish team, compared to bigger hubs like Brussels and Zürich. Funke kind of feels like my homebase nightclub Kapitel Bollwerk - especially its second room. They both have this “living room” kind of feeling, with a lot of familiar faces popping up. There’s a new kind of scene sprouting from this second room at Kapitel which is fueled by a younger generation of artists, promoters and dancers. These young ones seem to be more adventurous by allowing multiple genres in one night. Back in the days, when you were booked on a four-to-the-floor lineup, you kind of had to stick to it - whereas now you can make your set go wherever you want it to. It feels like a breath of fresh air, compared to many years of pretty rigid deep house or minimal-ish kind of stuff going on. “ I got crazy about sound, bass and sound system culture by making very basic, rudimentary music in my friends’ basement. ” — How and when did you get involved in music? It’s difficult to pinpoint the exact moment where it happened. What’s important to understand beforehand: my roots lie in Syria. Especially when I was younger, it wasn’t always easy to pair my migrational background with my musical interests and traits. At one point, my brother took me along to a drum and bass party. I was way too young and didn’t know what it actually was but at the same time I liked it. At the same time, between the ages of 14 to 17 let’s say, I was heavily involved in the anti-racist skinhead movement. In that scene it was all about early-reggae, rocksteady and ska. I started collecting these kinds of records, started playing them and also started to promote early-reggae nights. As an artist, I didn’t get booked anywhere else though. This early-reggae scene was irrelevant in the Swiss club scene. “ People are looking for something; whether it was during a Northern soul-party in the 60’s or during a rave nowadays. No matter the moment in time or the genre. ” — How did you evolve from there to bass culture? You can basically boil it down to an intense friendship which blossomed in a friends’ basement. There, we started making very rudimentary music. It was basic and it felt like we were breaking a lot of rules. This is where I got crazy about sound, bass and sound system culture: an important moment in my musical bildung, let’s say. From those basement sessions flowed Dubtopia, 2011 or 2012. Our main motivation was to get our songs out there - through a decent sound system preferably. Again, finding bookings wasn’t easy, as the scene was all about minimal back then. We played dubstep which, I believe, is also very minimal in a way but somehow it didn’t work out. Hence we just did our thing. Maybe that’s why it feels like with Dubtopia it’s us against the world. We’re just doing it, whatever. Through time, we were able to bring acts like Mala, V.I.V.E.K, Commodo and Sicaria Sound to Bern - which is cool. Nowadays we are lucky to be backed by Dachstock, a seminal venue&nbsp; that appreciates what we’re doing and finds it relevant, although financially it doesn’t make a lot of sense. We have a super loyal audience of some 350 to 400 people, always showing up early to the party. That’s enough people for a perfect vibe. “ One of my greatest joys is to take the music (and the audience) to completely different places - without them even noticing. ” — Apart from Dubtopia, you’re also part of the Midilux collective. If Duptopia is your baby, Midilux is your …… best friend? I guess something like that (laughs). Midilux is a ground of friends; we speak the same language and there’s full trust among us, which isn’t always the case in a collective. For instance: I’m responsible for the bookings and I don’t have to fight for my lineups.It all started by accident almost. In 2012 they were throwing a big rave. One of the artists on the bill had to cancel last-minute. I jumped in and suggested some other possible DJ’s. It worked out really well and that was the start of it, I guess. Although I officially joined Midilux a few years later, in 2018.In terms of music, Midilux is oriented around house and, mainly, techno - with a modern twist to it. Throughout the years, we booked artists like Bambounou, Dr. Rubinstein, A Made Up Sound and&nbsp; Aleksi Perälä. It is still revolving around the idea of techno but at the same time, it’s more fractured. It’s about good energetic music - not too heady, still understandable. Booking is all about finding the balance between these aspects. — Along the way, you touched upon a lot of different genres - to say the least. How do they compare?In the end, it’s about escapism - although that’s probably not the best word to even describe it. People are looking for something; whether it was during a Northern soul-party in the 60’s or during a rave nowadays. No matter the moment in time or the genre: people are always looking for something. Sometimes they find it, sometimes they don’t. But it’s always worth a shot. In terms of music, I’m sure you can find so many parallels between so many genres. It’s all fluid - especially nowadays in contemporary music - everything is cross-pollinated in a way. During my sets I strive to connect some of these dots. It especially works well for me during a closing set: taking the music (and the audience) to completely different places - without them even noticing - is one of my greatest joys. In a way, I’m hypnotizing (or seducing) the crowd by sneaking in new elements and making them listen to a sound that they might not even like in a different setting. — How do you prepare for these (often very versatile) sets? I’m a very spontaneous DJ. I do prepare playlists and my record bag but I leave these playlists very early on usually. But I obviously check out the lineup to see who’s playing. I try to get as much information about the other artists as possible; especially when I don’t know them. Sometimes I even contact them to gain some information - especially when I’m warming up for the main act. Because things can take a turn for the unexpected, I always bring two SSD drives - one is basically a mirror of the other one. They basically have everything on it, so I can roam wherever I feel like going. I always take everything because you never know what’s going to happen. One time, when I was playing outdoors, there were noise complaints and the police came over. The music had to be turned down. I told them to wait. I started playing stuff without bass, which was still groovy - rhythmical ambient let’s say -, for about thirty minutes and it worked. Everyone - even the police - was happy with this sonic solution. But it was a huge relief when the bass drum could kick in again. Interview with phrex + words by Hans Empereur a momentary selection by phrex in no particular order agonis - king cobra not happy Neutropia by Agonis 150bpm was for a long time a deadzone for me. amenthia recordings creative buttonpusher agonis changed my mind. the lysergic and energetic, yet spacious feel of this tune — and the whole album — is just beyond! colliding fields - love Groove Magazin · Groove Resident Podcast 34 - phrex it was a rainy sunday evening. an ambient session with two live sets at a beautiful location in the heart of bern. Colliding fields were playing the last tune of the night when it struck me: the sound of a synthesizer paired with a heavy 808 subbass shook the dark room and dissolved into a wonderfully composed edit/remix of the 1986 released seminal tune „moments in love“ from art of noise. you could feel that everyone in the room was fully immersed into the emotionally driven grimesque proto-dubstep soundscape. i decided on the spur of the moment that this needs a proper release. this is still a dubplate to be released on dubtopia records. coming later this year on 12“! telepathテレパシー能力者 - アンドロメダ アンドロメダ by t e l e p a t h テレパシー能力者 i have a softspot for the hazy sound of the more ambient-leaning side of vaporwave. the misty a e s t h e t i c of the whole album is the perfect companion for massively stoned and lazy post-rave sundays. LDS - organic computer awareness Organic Computer Awareness by LDS clocking at almost 160bpm this fast paced yet spacious LSD-peaktime-triggering tune aimed at late-night psychedelia and perfectly tuned to resonate in a forestrave has all the elements needed to transcend the audience into wild hallucinations on a dancefloor. needless to say that this tune needs to be well placed in a set to unfold all its power. rarely played — but when I do it creates a very special atmosphere. killer. vivian jones - flash it &amp; gwan after jah shakas passing i swayed in memory of the few sessions i was able to experience. this tune struck me on a different level when the zulu warrior played an allnighter. this was played pretty early on that night but it went deep and still resonates. https://funke.gent/itv-Vers Tue, 21 Mar 2023 16:06:38 +0000 Funke https://funke.gent/itv-Vers Vers Robin Verslype is an active member of the Belgian nightlife community. Combining a job as communications manager and assistant artistic director at Arty Farty Brussels (Nuits Sonores, Reset), an important role in DIY-collective Grid and as a DJ. ︎︎︎ Soundcloud︎︎︎ Funke exclusive set ︎︎︎ Spotify Playlist <img width="2362" height="2362" width_o="2362" height_o="2362" data-src="https://freight.cargo.site/t/original/i/81a56dbb214704c7ecc72d99edf2a954fd4aaa90fb9b86b0da77bbeae7d5f756/vers_beeld.jpg" data-mid="179559532" border="0" src="https://freight.cargo.site/w/1000/i/81a56dbb214704c7ecc72d99edf2a954fd4aaa90fb9b86b0da77bbeae7d5f756/vers_beeld.jpg" /> — Wearing all these different hats - how do they add up? I enjoy being involved in different aspects of nightlife and culture in general. After having done internships at Kiosk Radio and Listen Festival, I knew that I’m capable of doing this type of work. Pursuing a job in the scene that fascinates me the most wouldn’t be unrealistic. And I’m glad it actually worked out. I’m not chasing a full time DJ career. I wouldn’t dare to put all my eggs in that basket. DJing remains a side project but I love it so much - I would never abandon it. Also, the combination of DJing and my current job makes a lot of sense to me, both being on the artistic spectrum. “ When I stumbled upon Objekt and Skee Mask at Dour 2019, something clicked. ” — Do you remember the moment you fell in love with electronic music?Dour, summer of 2019. Me and my friends eagerly checked out the hip hop acts on the program but also stumbled upon a stage where Objekt was playing between 2am and 4am. The next night, similarly, we caught Skee Mask. Both sets blew me away and were quite different from what I listened to, up until then. A couple of weeks later I went to Horst Arts &amp; Music Festival for the first time. The same feeling hit me when I saw upsammy and Deena Abdelwahed’s sets. That moment I realized that one can pretty much play anything during a DJ-set, as long as people can dance to it. I was already spinning hip hop and trap tunes as a DJ, but shifted my attention to different genres soon after these encounters. “ I would definitely benefit from having an actual ritual, going into the night. ” — What sparked your interest in music initially? My father is a walking music encyclopedia. He was able to name almost every song on Studio Brussels - that impressed me as a young kid. Some teachers at school definitely left a mark too. Still fresh in high school, we were giving two hour lectures on pop music. “Knowing a lot about a lot of different music must be cool” I thought. So it started. I come from Ypres, which is known for punk, hardcore and other heavier genres of guitar music. Going to the local youth center, we were exposed to other kinds of alternative music. Me and my friends definitely were influenced by a lot of different things and our musical path led to very distinct destinations. At first, we were punks. Later on, we got into hip hop. In 2019, and in that same youth center, we started Grid. Grid is an experiment to combine electronic music with interesting visuals, as some of our group were into video art and the likes. The composition of the core group might be slightly different now, but Grid is still run by a group of five friends. I’m co-curating the music program and I coordinate the whole event: following up on to-do’s, schedules and logistics. continue reading <img width="1080" height="1620" width_o="1080" height_o="1620" data-src="https://freight.cargo.site/t/original/i/b1561e420eccf531d4c7e4edeabaf94fd4808d95e232850950c7a05ca3ead24e/vers_secondedit-5-klein.jpg" data-mid="179677093" border="0" src="https://freight.cargo.site/w/1000/i/b1561e420eccf531d4c7e4edeabaf94fd4808d95e232850950c7a05ca3ead24e/vers_secondedit-5-klein.jpg" /> “ I will never abandon DJing, even if I don’t have any bookings. ” — How are you approaching your events here at Funke? First and foremost, I want to book artists that inspire me. During my first event I invited Stenny who - for me at least - has never released a lesser track. All of his productions are 100% my cup of tea. I discovered k means in OHM and her set completely blew me away. A couple of weeks later, I invited her to Funke. That first line-up leaned a little bit more towards a darker &amp; rolling sound. Next time I might want to put together a more percussive and eclectic night. Still plenty of names on my wish list, like Marwa Belhaj Youssef. Meanwhile I’m counting my blessings to be able to invite these kinds of artists to Ghent. I try to stay off the trodden paths by inviting people that otherwise wouldn’t be booked so often. I played Funke a couple of times myself, sharing the line-up with artists I admire. Makes you appreciate the way things go here even more. Being able to start off your evening with a delicious meal prepared by chef Nicolas, is a delight. When you’re playing early and people are only starting to show up, it’s quite enjoyable to just listen to your selection coming through the impeccable sound system. — How do you prepare for a night? During the day, I choose four possible opening tracks. Depending on how the dancefloor feels like, one of these will be played. Apart from that, there’s no ritual going into the night. At times I find myself behind the decks, not fully realizing I’ve started my set. When I played Horst however, all I wanted to do before the gig was to retreat backstage and stare blankly at a wall in complete silence. So I would definitely benefit from having an actual ritual. Suggestions are more than welcome! (laughs) — Where is your happy place? Wherever there’s railway tracks or water around. I live near ‘Moeraske’ in Schaarbeek: a small nature reserve featuring a series of pools and puddles right next to railway tracks. It’s the best of both worlds - amazing. — What made you happy the past year? My three sisters are pregnant at the same time. What are the odds? One of my sisters asked me to be the godfather of her kid. That moment was really quite unique. The past couple of years might have been gloomy worldwide, but it’s moments like these that make you realize that it’s not all dark. Interview with Vers + words by Hans Empereur Funke · Resident_Vers https://funke.gent/itv-Menica Fri, 26 May 2023 13:23:16 +0000 Funke https://funke.gent/itv-Menica Menica Performing as Menica and Sundae Sue, running Ojoo (which is an event series, a label - briefly an artist agency even), being a mother of a sixteen year old, working full time for Waking Life, and having a fun (yet very secret) project in the pipeline: Menica’s agenda is filled to the brim - to say the very least. “I want to discover all there is to know about the scene.” ︎︎︎ Soundcloud︎︎︎ Spotify Playlist <img width="2362" height="2362" width_o="2362" height_o="2362" data-src="https://freight.cargo.site/t/original/i/a456f7e0069ba889b6c0c5c0a6a4477a1ad28ab037bb130949c113cd91fc3fe1/Menica-foto-.jpg" data-mid="191470133" border="0" src="https://freight.cargo.site/w/1000/i/a456f7e0069ba889b6c0c5c0a6a4477a1ad28ab037bb130949c113cd91fc3fe1/Menica-foto-.jpg" /> — How was that interest sparked? Growing up, there was always music around. We have a very music-minded family. My dad plays the guitar and used to perform in a band. He is into bodybuilding and during the weekends he used to be the doorman of many nightclubs in and around Aalst. My aunt and uncle had a bar, featuring tons of 7 inch records. I still vividly remember my mom and aunt - two single ladies - getting ready for a night out, getting their makeup done, soundtracked by Robin S.’s Show Me Love in the background. Up until today, our family gatherings are one big party. And these old timers can really dance - boogie, that’s the real deal. Long story short, music was (and still is) everywhere. Coming from Aalst, of course carnaval played a role in my formation as well. Not so much the musical aspect of it, but nevertheless, it’s an event that takes me back to my roots and I’m very proud about it. My family has always had a strong connection to Brussels - one of my grandfathers was from Brussels, my mom worked there, … So naturally, I went out in Brussels as well - I basically spent my young adulthood in the Motion Room in Fuse. The first time I went to a party in Ghent, I was 27 years old. “ It pays off to keep on pushing your story - even if the crowd doesn’t seem to bite at first. ” — How did you take your first steps as an artist? It happened by accident, I guess. It never occurred to me - whilst going out - that I could be the one behind the DJ booth. At the same time, I was always listening to, collecting and buying music - CD’s and mp3’s at first, vinyl later. I bought everything I liked. Beats? Sure. But there was always soul, funk, rockabilly, exotica, … as well. My first gig was during the one year anniversary of second hand shop Think Twice, somewhere around 2012. Pieter, my boyfriend at the time, and I brought our turntables and records. People seemed to dig it a lot, so we continued to play as a DJ duo. “Dirty Twosome” was born, playing dance cafés like Kapitein Cravate. I couldn't mix back then, but the music we were playing at the time didn't really require that. When Pieter and I broke up, I locked myself in the house for months and frantically learned how to mix. That was the birth of “Menica” - back in 2014. Funny thing is: I probably learned the most during the infamous Voetweg afterparties, courtesy of my good friend Tom Delabie. He handed me some minimal records that were a bit easier to mix. And I got better. Tuupe was probably the first event I played. It was also the first event I got involved in on an organizational level. I grew a lot, thanks to Tuupe. &nbsp; “ I probably learned to properly mix during the infamous Voetweg afterparties. ” — Nowadays, you have so many roles in the scene - how are they all linked? That’s an excellent question. It’s all centered around my passion, no, obsession with music. Music is the best addiction in the world. Why? Because no one can die, claiming “now I’ve heard it all”. There’ll always be something more to discover. You can spend a lifetime chasing as much music as possible. Apart from that, job-wise, I want to discover as many aspects as possible within the scene. I want to help people get their music out there by providing a platform. I want to know the ins and outs of a good production. At one point, I left my full-time job in search of a job in this field. It wasn’t easy - I can tell you that much. For four years I was unemployed - I was never out of work though, I never kicked back. There was always something to do; for instance pushing Ojoo to what it is now. I wasn’t afraid. If I want, I can always return to a regular job - easy peasy. I had been working for sixteen years in HR and I felt like I needed a break to really focus on my music and everything that revolves around it. I wanted to see if I could really make it work. My parents were very supportive as well. “ I find it quite satisfying to hear a DJ “work” - when a beat is slightly off, or when something’s out of cue. ” — Do your parents get what you’re doing in the scene? Are they proud of your achievements? Certainly - although they both have their own way of expressing that feeling. My father probably won’t voice it directly to me. But I already overheard him calling my uncle, bragging about me over the phone. So he’s proud, in his own way. My mom regularly visits Ojoo. You’ll mostly find her right in front of the DJ booth; kicking, screaming and dancing her ass off. She’s still (and probably always will be) a party animal. — During an Ojoo event, you’re both an organizer and an artist. How does that work for you? It’s super difficult, to be very honest. In general, I’m a bit reluctant to perform, even. During an event, I’m involved in finance and the organization in general. I would be fixing stuff left and right. The hours pass by, up until the moment where it’s time for my set. My mind is just not in it at that point. That’s why, over time, I put myself on the lineup less and less. People started noticing that. Some people link Ojoo with me as an artist, so I have to put myself out there from time to time - to not disappoint them, sort of. But I’m not an ego trooper - I’ll gladly sit in the back office, counting money or fixing some other stuff. I’m always stressed before playing. It’s silly maybe, but I’m kind of an anxious DJ. The older I get, the worse it becomes. My mind is making up these doom scenarios. “Will people like it?” Also, when playing after a big name. “Will I be able to pick it up from there?”. “Is my technique good enough?” - that’s probably the biggest one. At the same time, I think a DJ-set should be human - meaning it loses some of its prowess when everything is too slick, too polished. It’s always satisfying to hear a DJ “work” - when a beat is slightly off, or when something’s out of cue. But when it comes to me as an artist, I’m just extremely tough. And I guess that’s why I find it difficult to promote myself. I would really benefit from someone who can do that on my behalf. So if you’re a booking agent, reading this interview and thinking this could work out, you can always contact me (laughs). — Do you have a ritual or a preparation before playing? My preparation starts at home. I shut down my phone and leave social media for a moment. I write down some tracks that could form a story. But most of all, I thoroughly sort my record bag. I have a - supposedly - very special way of organizing my bag. Some of my friends would make fun of that. All my records are labeled by BPM. They would be sorted in three sections: there's a start, a middle (with different possible directions) and a finale. If the night doesn’t quite go as planned and the story I want to convey doesn't quite work, there are always more records, and a USB-stick - just in case. But sometimes it pays off to keep on pushing your story - even if the crowd doesn’t seem to bite at first. Interview with Menica + words by Hans Empereur https://funke.gent/itv-Godero Fri, 05 May 2023 09:28:27 +0000 Funke https://funke.gent/itv-Godero Godero Hailing from Landen (not London), Godero started to make waves a while back - despite his young age. After landing his first gig at local festival Rock Landen at the age of 13, he dove deeper and deeper in the wondrous universe that is house music. Now, some seven years later, part of the things that make him happiest are: Funke, obscure movies and everlasting sets. ︎︎︎ Soundcloud︎︎︎ Funke exclusive set︎︎︎ Spotify Playlist <img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/42a798e221780a8c5a4c34e483b1c5473f6b98def824628305c972a8a34d014d/IMG-20230703-WA0001.jpg" data-mid="187038159" border="0" src="https://freight.cargo.site/w/1000/i/42a798e221780a8c5a4c34e483b1c5473f6b98def824628305c972a8a34d014d/IMG-20230703-WA0001.jpg" /> — What sparked your interest in music initially? I got interested in music all by myself. We didn’t have an especially musical family or anything like that, I have always been kind of on my own with it. Of course, further on, I discovered artists who inspired me. Through them I discovered new music, new genres and new scenes. When I was 9 or 10 years old, I got myself a tiny mixer and tried to get my hands on all kinds of electronic music that were deemed hip at that time. It didn’t take long though before I developed a devotion towards house music. That was the start of it all - I never stopped after that, really. “ I prefer long sets because the stories I want to convey generally don’t fit in a one or two hour slot. ” — Do you aspire to make a living out of nightlife? As long as something makes me happy, I will pursue it. And right now digging, listening and playing gigs make me very happy, so I’m willing to put a lot of effort into it. I’m not that future-oriented. I will see where it takes me but at the same time I don’t want DJ-ing to be the only thing in my life. Talking about the other side of things - organizing parties - slowly but surely some ideas are beginning to take shape. We talk about our own, small-scale events, with a couple of friends. But first and foremost I try to take in a lot of different experiences and impressions. “ Thanks to Funke, I got to know lots of new people in Ghent, leading to quite intense friendships. ” — How is the context of Funke influencing you? How does it compare to other venues? I feel very much at home here - it kind of feels like I found myself a second family. There’s an atmosphere of love lingering around the place and everyone involved in it. I don’t really get that feeling in other clubs. Thanks to Funke, I got to know lots of new people in Ghent, leading to quite intense friendships. All in a short span of time. It makes me happy just to think about that. In Funke I feel at ease, like I belong there. As a person but also as an artist. Because springing from those all-round positive emotions, is a well of boundless creativity. Other parties I’ll attend are mainly organized by collectives that don’t necessarily have a fixed spot. Beautiful Freaks in Brussels stands out for me. Long sets, deep cuts and the same, caring atmosphere - I thoroughly enjoy those events. &nbsp; <img width="1584" height="1600" width_o="1584" height_o="1600" data-src="https://freight.cargo.site/t/original/i/6c1c49965ebe8acc8c734e7b84971d572e93ea8c49e688f34d08a83c8b418561/IMG-20230703-WA0006.jpg" data-mid="187038175" border="0" src="https://freight.cargo.site/w/1000/i/6c1c49965ebe8acc8c734e7b84971d572e93ea8c49e688f34d08a83c8b418561/IMG-20230703-WA0006.jpg" /> “ I don’t like the idea of having a fixed schedule. Spontaneity is key! ” — Do you have a ritual before your sets? Generally, my selection is made a couple of days before the event. I’ll go through the whole selection beforehand, to really get to know the songs and possible combinations. Afterwards I’ll leave it at that, trying to clear my head by not bothering or engaging with the selection until the day of the gig. Going into the night, I’ll have a basic idea of where I want to go with the set. I divide my sets into blocks - linked with atmospheres and feelings. Of course there’s plenty of room for sidesteps and variations. I prefer long sets because the stories I want to convey generally don’t fit in a one or two hour slot. — Where would we find you when you’re not preparing or playing a gig? I enjoy long walks. Headphones on and off we go. It really can be anywhere - in nature or in a city - depending on my mood and how far I want to go. This time away from it all is precious to me. It helps me to clear my mind. Apart from that, of course there’s school. I major in arts studies. During classes I stumbled upon a ton of stuff that, often quite unexpectedly, sparked my interest. For instance theater; I wasn’t really into that before. Film and movies will always be a refuge. I have a sweet tooth for rather obscure movies with vague storylines like ‘Nowhere’ by Gregg Araki. The movie follows a day in the lives of a group of Los Angeles high school students and the strange lives they lead. The story covers nothing and everything at the same time. It challenges the viewer: what is true, and what is not? — What are you looking forward to in the (near) future? I don’t make many future plans, to be honest. I’m trying to live in the now and I’m a big fan of unexpected adventures. I prefer having a lot of options and making last-minute decisions, rather than planning everything in advance. I don’t like the idea of having a fixed schedule. Spontaneity is key! — Can you tell us a little bit more about the playlist and set you assembled for Funke? The playlist contains a lot of different genres - not exclusively club music. Although these are songs that I mostly listen to in my spare time, they still refer to ‘my sound’. I tried to create a feeling of melancholic tranquility and escapism. You can drift off, listening to it. For example: Spinvis, one of my favorite artists, is featured. I am a huge fan of the purity and emotions in his songs. There are also some weirder and quite eccentric songs in there, which you will always hear in my sets. A good example is ‘Capitol K - Song for banana’. When I first heard that - hugely chaotic and super weird - record, a certain feeling of joy entered me, which I found quite interesting. Dropping these kinds of obscure records in a set is one of my favorite things, as they sometimes trigger confused looks and a more individual experience in a crowd. Interview with Godero + words by Hans Empereur Funke · Resident_Godero https://funke.gent/itv-Adi Fri, 05 May 2023 09:16:02 +0000 Funke https://funke.gent/itv-Adi Adi After having commuted between homebase Colombia and Europe for gigs on a regular basis, Adi made a more definitive move to this continent just last year. Settling in a new home can be intense, but the pieces of the puzzle are falling in place. “I put a lot of seeds in the ground the past couple of years, now I can slowly start harvesting.” ︎︎︎ Soundcloud ︎︎︎ Funke exclusive set ︎︎︎ Spotify Playlist <img width="2362" height="2362" width_o="2362" height_o="2362" data-src="https://freight.cargo.site/t/original/i/d01c411a452b7cf6c04615e13221d5d211a503aa148c5226638955d69e5b034f/adi_beeld.jpg" data-mid="179579433" border="0" src="https://freight.cargo.site/w/1000/i/d01c411a452b7cf6c04615e13221d5d211a503aa148c5226638955d69e5b034f/adi_beeld.jpg" /> — From Colombia to Europe: these are two very distinct contexts. Can you pinpoint the differences? I love Colombia - the country makes my heart sing. It’s so vibrant, raw and alive. I think this is reflected in the fact that people are very passionate in how they feel and express themselves across different dancefloors (or life itself) in the country. There are a lot of independent organizations working hard to bring an alternative to what big event production companies would offer. It is quite the task, given the fact that this side of culture is not yet part of the economic structure of our country. Europe is way more structured and organized in that sense. I guess that’s the main difference. In Colombia it’s not that easy to pursue a career in the arts. In Europe there’s more systems in place for artists to be able to make a living off their art. Colombia is still developing in that sense. It seems simpler to follow your passion in Europe - even in combination with a “regular” job. For example: to have a DJ-booth in your living room here, is no big deal. Whereas in Colombia this would be very much considered a luxury. I feel lucky, being able to make this move. Of course, I have worked for it. Now I see even more possibilities to grow. “ Colombia is so vibrant, raw and alive. Europe is way more structured and organized. I guess that’s the main difference. ” — How does your family feel about you pursuing a career as an artist? My parents both work in healthcare, so they’ve noticed&nbsp; how demanding this lifestyle can be. Little sleep, carrying around heavy bags, lots of traveling, … But I have to say that they’ve always been very supportive - in their own way. For my mom it took a little bit more time, but she’s always been there for me. My father told me to pursue my dreams from early on. He actually attends my gigs sometimes. He dances front-row with my friends and gives me detailed feedback about my set afterwards. He’s just very open minded and loves music (laughs). “ Some would call clubbing escapism, for me it feels more like returning to sanity. ” — Did your family influence you musically? For sure. For example, my dad’s family is from the west of Colombia, where salsa music and dancing are very big. So whenever we would have a family gathering, it would be all about salsa. In a way, when I’m mixing, I still feel like I’m salsa dancing sometimes. Apart from that, my older siblings are also super musical. When I was younger I listened to pretty much everything I could get my hands on - pretty much all of the time. I have a hyperactive mind so music helped me to study, to relax, to sleep. Rock, R’nB, hip hop, pop music - I didn’t have a filter. I started dancing and taking up ballet classes at a young age. The rhythm, and the perception of sound through dancing, for sure affected my approach and the feeling I have with music. All of these different influences are still very much present in what I do today. They might be subtle, but they’re still there. The only thing that really changed, is that I have less space&nbsp; to listen to music that might not be functional per se. I had to become a bit pickier. Time for silence has become a basic need as well. “ I’ve been thinking a lot about the estranged relationship we have with our phones. I’m looking for a way of detoxing from this thing. ” — How does Detone (Adi’s series of events in Funke, red.) compare to other events you organize? For Detone I invite artists who are&nbsp; experienced or have a very personal sound who take us on a musical journey where it’s all about enjoying, feeling oneself and connecting on the dancefloor - without any other distractions or expectations. The first events I ever organized were all very loaded. Visuals, art installations, interventions and so on. As I progressed as an organizer, I came to realize that - for me - it’s really all about that musical journey. Of course it’s interesting to create something multidisciplinary but here I’m aiming more and more at simplicity. I feel like in daily life we’re already trapped in a very high paced rhythm and a saturated environment full of distractions. Everyone’s rushing to make things happen. If you’re not achieving a lot, you might be considered to be unsuccessful. Slowing down, centering and focusing on one single thing can feel liberating and that’s the exact feeling I want to evoke during Detone. — Can you elaborate on that? We live in such a rushed world. We’re constantly connected - digitally. We are so used to being accessible all the time that it becomes very difficult, stressful even, not to be connected. Certain clubs and festivals really make an effort, trying to make people understand that it’s all about being present in the moment. You don’t need a machine to connect to someone else as they are actually standing right next to you. Some would call clubbing "escapism", for me it feels more like returning to sanity. — How do you prepare for a set or a night out? Do you have any rituals? When it comes to a set, I go through what I have in the record bag, digital folders and my collection to figure out what fits the slot I am playing, how I am feeling and how to translate that to the occasion. I try to have an idea of the different moments I can build or create during this time frame and get to know the tracks, how they behave when mixing them. On the personal side, I picked up some new habits or rituals recently because they actually help me to feel more grounded and centered. I need a moment by myself where I sit down, focus on my breathing and set an intention for the evening. During that moment, I concentrate and try to imagine what feelings I want to convey when I’m playing. This moment of complete silence before heading out, quickly became essential. Because once you’re out there, there’s a lot happening - a lot of distractions as well. Finding stillness for a minute, makes everything go easier. — Apart from behind the decks, where’s your habitat? Nature. Whether it’s an almost empty park in Berlin or the rugged mountains in Colombia - nature is my happy place. Sometimes it’s hard for me to get going, but I actually need it more than I would think. <img width="3088" height="2048" width_o="3088" height_o="2048" data-src="https://freight.cargo.site/t/original/i/fd15def194b433cd9452595530c68815861712a4f77af25a4a61d4e7982314be/000019250033_---.jpg" data-mid="179714824" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/fd15def194b433cd9452595530c68815861712a4f77af25a4a61d4e7982314be/000019250033_---.jpg" /> — Can you tell us something about the playlist and set you assembled for Funke? In the Spotify-playlist I put together some songs I recall being obsessed with. At the time I discovered them, they changed something in the way I perceived music. Next to that, I added some tracks that are relevant for me at the moment. The set is a small extract of a live recording playing at ‘Detone Vol. 1’ at Funke back in April. It contains some of my fav tracks which I find timeless and quite connected to lately. Just to put it into context: we had been in the club since midnight. I was just stepping in at 7 am after Vera had taken us into her musical world. It was quite a lovely night from tip to toe. The vibe was deep, somehow energetic and dreamy at the same time. Interview with Adi + words by Hans Empereur Funke · Resident_Adi https://funke.gent/itv-Dardenne-Session-4000 Wed, 15 Nov 2023 12:55:24 +0000 Funke https://funke.gent/itv-Dardenne-Session-4000 Dardenne Session 4000 For our last interview in this series we gladly took our time to sit down with Damien Dardenne (aka Session4000, aka Dardenne): rather fresh in the city of Ghent, but an established value in the scene. He is a DJ with a tour schedule that reads like a travel brochure (Stockholm, Marseille, Tbilisi, …), a producer of many groovy tracks that resonate with artists like Anthea, Sugar Free and Sunju Hargun,&nbsp; but most of all an utterly cheerful appearance: from Brussels to Ghent, with love. ︎︎︎ Soundcloud ︎︎︎ Funke exclusive set ︎︎︎ Spotify Playlist <img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/38c91496ff37661f936ae81034bebecd977fc32b77c9ed95d684bd92641d0345/FullSizeRender-bw.jpg" data-mid="197383616" border="0" src="https://freight.cargo.site/w/1000/i/38c91496ff37661f936ae81034bebecd977fc32b77c9ed95d684bd92641d0345/FullSizeRender-bw.jpg" /> — What sparked your interest in music? When I was a kid sports, and football in particular, was everything to me. I briefly played for Standard de Liège but mostly for RFC Hannutois. When I was 12 I got gravely injured - big big bummer. A local party for youngsters became my escape. It was organized as part of Télévie: a charity in which my father is involved and that raises money for leukemia and cancer research. I played there for the first time when I was 14 years old; think of super commercial tunes and a DJ-booth with a microphone. My brother was way into music. Thanks to him I discovered artists like Jeff Mills and Dave Clarke and music forged a strong bond between us. Later, my brother passed away. It’s been very emotional because if you come to think of it: thanks to him I am who I am today. My brother had issues with addiction so my parents were hesitant to see me pursuing my thing in the scene. Nowadays they reckon the fact that it makes me happy and that I make a living out of it and they truly support me. Over time things became better; they visited Ojoo once for instance - which was the perfect context for them to get acquainted with all of this. We lived in Hannut - not exactly a place with vibrant nightlife. I went to Fuse a couple of times, on my own. In Liège I discovered the electro scene with Forma.T’s parties who invited Ed Banger Records. I started to play in Liège and later in Brussels at Deep in House. Their crew noticed me roaming around there on my own and they were super welcoming, inviting me for the next editions as well. At the age of 21 I moved to Brussels. I quickly got to know a lot of people in the Brussels’ scene and my passion for music developed swiftly. “ Producing also has a somewhat addictive side to it. In about a year I made almost 150 tracks. ” — In what part does music bring bread to the table? What other job do you do on the side? When I was younger I would have loved for music to be my only source of income, but financially that’s not easy to achieve. I worked at Essentiel and even as a personal shopper for a little while - quite an absurd experience, almost like in the movies. I like to connect and help people out and it doesn’t really matter if it’s with organizing a party or with clothes. Today I’m working towards becoming fully self-employed through a trajectory called “Springplank naar zelfstandige”. I’m allowed to teach Ableton lessons, work in hospitality, help out friends in bars or restaurants and so on - right now the balance between all that and my own musical ambitions is good. Of course we love a good party once in a while, but over the years I discovered that there’s more in life than that. “ Session4000 is a bit warmer and a bit more house-y - the Dardenne alias is more focused on chaos and techno. But the lines are getting blurry. ” — How did you start producing? Eight years ago a friend of mine sold some gear - it ended up in a dusty drawer for a year or two. The past five years though, I’ve been really focused on producing and learning all there is to learn. If you really want to develop a skill and you devote ample time, you’ll get better. Three years ago, during covid, I followed an Ableton workshop by Eversines. It was all about finding a different approach and how to un-stuck your workflow. Up to this day that wokshop still helps me out. I want my Ableton students to get the same moment of Enlightenment. Often you can learn more from working together for one hour with someone else than by watching four hours of YouTube tutorials. I love Eversines, by the way, we’ll be doing a joined studio session sometime soon - he’s kind of a personal hero of mine and it’s surreal that somehow we’re working together now. Producing also has a somewhat addictive side to it. In about a year I made almost 150 tracks. I party less than I used to: so more energy, more producing - simple as that. Often I’ll find myself in the zone and I’d have to force myself to do something else, like sports. It’s not really healthy either, to be producing most of the time. At night in bed you might be hearing three melodies at the same time with the vocal of another track bouncing on top. You have to let go sometimes. — Can you explain the difference between Dardenne and Session 4000? Session4000 is a bit warmer and a bit more house-y - the Dardenne alias is more focused on chaos and techno. The distinction came into life because people get confused when you bring two very different kinds of music under one moniker. Nowadays the lines are becoming even more blurry because everything changes and evolves - like tempos for example. House sets used to float around 124 bpm, which feels rather slow and boring to me now, whereas techno at 140 bpm is no longer considered super fast. I often play the same records as Session4000 and Dardenne, but I’d use them in a different way. I got a little side tracked the last couple of months, by focusing too much on finding a certain very specific niche that I could call my own. I didn’t thoroughly enjoy the records I was buying and playing. It was forced and it didn’t really feel like myself. But it clicked for me with the realization that I can enjoy listening to a different niche than the music I’d dig for and play. So now I’m back on track, digging for groovier stuff. It definitely has to do with me moving to Ghent as well, I believe. — Can you elaborate on that?In Brussels the dancefloor often feels somewhat more intellectual, which isn’t far-fetched given the fact that it would often be flooded with other DJ’s. More than 40 diggers in the crowd wondering what you’re playing can cause some stress. Other DJs might focus more on the digging aspect but I focused more on the production side for a bit, so I lost some groove in my digging, my performance. A crowd can feel that too, which is challenging and then there is no escape.Brussels has a dark and grim edge. It’s melancholic in a way. Intense as well - metro, boulot, dodo - in a way that I came to dislike. I feel happy and more at ease, living in Ghent nowadays. On the music side of things, there’s less pressure. You don’t need to play the rare, or expensive records to get a crowd enjoying and dancing. It’s a bit faster - more pumpy and techy maybe. When I go out myself, I DANCE and when I’m behind the booth I’d expect the crowd wants to party as well - not just listen. When you get the balance right, you feel like the king of the world, there is no way to explain that. But for sure I still love Brussels. I’m going back more often now, to my friends over there at Crevette, Sono Ventura, C12, … I enjoy those moments and I’m glad to return to my lovely 9000 afterwards. “ I believe that everyone who’s involved in music wants to organize an event at some point. ” — You arrived in Ghent at an interesting time. A lot of young initiatives are sprouting - how do you try to contribute to the scene here? I try to convince them that it’s not all about partying in life. Of course: a nice and long session on the dancefloor every once in a while can bring so much energy and inspiration, but it’s nice to know when to stop. If you’re really serious about music, you should approach it in a serious way. And even then it’s not easy - certainly as an organizer. With Naastelkaar (Damien’s series of events he hosts in Chinastraat with Marvin) I’m happy if we reach break-even. I can’t take any more financial risks but I believe that everyone who’s involved in music wants to organize an event at some point. There’s a lot of local young talent in Ghent, that’s for sure. But it seems that all they want is to move to Brussels as soon as they can. It feels a bit sour because Ghent has a lot of potential but Ghent-Brussels often appears like a one way street. In general, I feel like festivals and clubs from Ghent, Antwerp and so forth are investing a lot in artist rotation and trying to give a lot of opportunities to as many local artists as possible. Whereas festivals and clubs from around Brussels, would generally book Brussels’ artists as locals - but not necessarily DJ’s from Ghent or any other town. This is of course a generalization - not every Brussels’ club is approaching booking this way, but still, I can’t help feeling like this, no longer living in Brussels. — Your schedule looks packed for the coming weeks - how do you feel about that? My schedule is full until the end of March which feels really good. There’s a bunch of tracks about to be released, I think that’s part of the explanation. One of those releases is on the label of Anthea, who’s a very important ambassador for me. I also got some lovely support from Pieter Jansen (who’s behind Breakfast Club en yeyeh) and his buddy Eversines. To be honest with you, it’s kind of crazy how much stuff is going on. I’d often find myself randomly smiling like a little kid. I do my own bookings nowadays and I only play one gig each weekend. When I'm booked abroad I try to go there on Thursday and stay until Monday or even Tuesday - to discover the city, its scene and just hang back a little. Often I can stay with the promoters so my only real expense is getting some food in my belly. It’s not always possible, but as long as I can approach touring like that, I’m super happy. For instance in March I’m going back to Georgia to play two gigs and do some skiing in between, together with my girlfriend. What’s interesting to see also in other countries: small-scale clubs are struggling. No one wants to take too many big risks. Not easy to pinpoint the exact reason(s) but generally commercial clubbing, with big room names, still draws a lot of attention from young audiences. But I can feel it changing. There’s a lot of optimism. — What role does Funke play for you? It means the world to me - both as a dancer and as an artist. Funke is like a hard working family. I’m so glad to have landed here. I’m given opportunities here to organize stuff together, to give input and to truly collaborate. For many artists who already played there, Funke is one of the best clubs in Europe, by the way. Both on a technical level as crew-wise; artists are lyrical about it. It’s a combination between this intimate club feeling, a very human approach, the long performances and the late closing hour, the exquisite soundsystem, the balance between established and fresh artists, … A magical venue, our little pocket club. — Do you have a specific ritual, preparing for a gig? Not really. I’m a dancer forever - even before my set. I’ll try to be there at least one hour beforehand - not to talk or to chill, but to really catch the vibe and analyze the dancefloor a bit. At the same time, I’ll try to close off a bit and be in my own bubble. Sorry to everyone who ever approached me before my set - I’m not an asshole, I’m trying to focus! — What is your happy place? The apartment I share with Julie, my girlfriend. I recently moved in here, so there’s still some boxes laying around but that doesn’t matter. It’s a home and it makes me feel intensely happy. We both have a cat - mine is called Skippy, hers is called Puk - they’re not the best mates yet but they tolerate each other, which is something already. — What are you looking forward to in the (near) future? Next month it’s release time for a new Session4000 EP on Locked In. Apparently record stores ordered more copies than expected so that’s really cool. Sometime next year I’ll be releasing EP’s on Psionic and on Anthea’s &amp; Velasco’s label PARTI PILLZ. Later in 2024 something will be released on yeyeh, thanks to the lovely referral from Remco (Eversines). I started talking to Pieter Jansen from yeyeh through Instagram - after a first video call it felt like we’d been longtime friends. Me, an almost bilingual Walloon, and a legend from the Amsterdam scene establishing a pure connection. Crazy. Last but not least, I’ll contribute a track on a VA on Off The Grid Records. As Dardenne I’m not releasing (yet) on any label. But after super positive feedback from artists - and personal heroes of mine - like Efdemin, Sunju Hargun, Spekki Webbu, Carl H, Woody 92, Marco Shuttle, … and also Julie (and that’s even crazier, haha!) I decided to put out two digital releases soon through Bandcamp on my own “Trouvegroove rec.” imprint. I’m so glad to everyone who is trusting me and treating me - still quite a newcomer - with so much kindness and warmth. It gives me the energy to really push the limits and step outside of my comfort zone. Interview with Dardenne + words by Hans Empereur Funke · Resident_Dardenne_Session 4000