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English producer Max Cooper has been active since the late nineties, first as a DJ, and five years later as a producer who built a staunch fan base while releasing dozens of eclectic EPs, mixes (Traum Schallplatten, Herzblut) and remixes (Hot Chip, Au Revoir Simone, Agora, Michael Nyman, and D. Eulberg). His scientific training has shown at different moments of his relationship with music: in the visual accompaniment of much of his work, which has been fundamental since his trilogy series (Harmonisch, Stochastich, Chaotisch); in his collaboration with companies that develop software for music production; and, more recently, in the creation of 4DSOUND, an atypical audio system that brings the concept of alternate reality to the world of audio, which for too long has played second fiddle to alternate visual worlds. Of Human, his latest release, and one that he’ll be presenting in our 2014 edition, Dummy Magazine wrote: “[Human] Wants you to dance and cry simultaneously, and will probably succeed in doing so”.

Fields, Max Cooper’s label
Playlist with references in Human


Behind Métrika is Diego Cevallos, one of the producers who more strongly represent electronic music made in Mexico. Given his taste in melody and his masterful passion for percussion, for subsonic bass and detailed samples, his productions have captivated English producer Damian Lazarus (Crosstown Rebels), Mikael Stavöstrand (Sunset Diskos), or Markus Lang (Einakt), among many others. Before Metrika, Diego became a reference in Mexican electronic along with Gabriel Reyna with their duo Digi + Gabo, which set definite standards and contributed to the diversification of an incipient scene –the one of dancefloor oriented music. The presence of Metrika in our next edition guarantees robust bass and a sweaty, oneiric set designed for dancing.



Daniel Lopatin is often referred to as one of the key figures in the development of vapourwave, that genre in which many have wanted to see a sort of punk for post-Internet generations, which aims to question consumerism, the eighties and new-age music. In his multiple individual and coauthored projects (KGB MAN, Ford & Lopatin, Total System Point Never, Dania Shapes, Infinity Window…), Lopatin explored the possibilities of sound to build landscapes ––always loaded with analog equipment that seems taken out of a technological nightmare. With Oneohtrix Point Never, he has taken the aural experience of his long-time followers to new territories where they can reflect upon the dark, murky side of new technologies. This project works as a soundtrack which propels our awareness of the strange familiarity we have included in our lives through the use of computers. Three years ago, OPN started to collaborate with visual artist Nate Boyce, who adds his surreal exploration of sculpture in digital environments to construct an immersive, poetic resonant performance.

Entrevista para RBMA
OPN en YouTube



Anyone who has followed Pantha Du Prince’s (Hendrik Weber) latest works knows he cultivates an attraction towards the sound of bells. Black Noise’s atmospheres were rendered less oppressive, or perhaps less melancholy, thanks to the bells that tinkled here and there within the songs. Their apparitions seemed to be absolutely balanced with the depth and detail, and with the lure to dance of the formidable techno he constructs. Since The Bliss, from 2007, they already showed the glimpses of those rhythmic explorations that move in darkness. And in 2010 he would fully show the world that his interest in bells went beyond a passing fancy or an ornament to his songs: he made this clear through an album co-authored with Norwegian musicians The Bell Laboratory, an ensemble that had already gathered fame in European concert-halls for bringing with them a 50-bell bronze carillon that weighs approximately three tons. When he heard them, Weber was astounded and managed to transport one of the carillons from Denmark to Germany, in order to work on the themes that would later comprise his Elements of Light. This album, without ever losing touch with Pantha’s particular approach to sound, could also be placed near Steve Reich, Terry Riley or La Monte Young’s atmospheres. For this year’s edition, Pantha Du Prince comes in company of The Bell Laboratory. His concert is one of the festival’s highlights that will transcend its territories and reverberate, surely, within its audience’s dreams.

Pantha Du Prince & The Bell Laboratory in images
Pantha Du Prince’s website


SIETECATORCEThe year 2013 saw the rising of Marco Polo Gutierrez thanks to the spread of fame that Siete Catorce, one of his many projects, got to have. Very few remained outside the influx of his polished dance-snippets that unforgettable northern-Mexican night. His sound is deeply rooted in the all-night birthday and quinceañera parties among relatives that marked his childhood—the hours and hours of cumbia, dubstep, techno and tribal (recently reasserted by his collaboration with Erick Rincón). But it has evolved into a pristine, authentic voice capable indeed of grabbing hold of an entire dancefloor and never let go. If he whimsically comes up with the idea of turning into Den5hion (his most experimental alias) while up on the decks, he can hypnotize hoards of people and take them through unknown corners of their minds. This Mexicali producer is one of the best and most exciting things that have happened to national electronic music in the last five years; he captures the essence of the times (as he did with his second EP released by N.A.A.F.I): dark and desolate, but open to every possibility.

Siete Catorce + Trillones