United States

Could you tell us a bit about your experience in the artistic world and when you started forging your path? Are there any artists or particular aspects of the music scene, whether Spanish or from other cultures, that have notably influenced your artistic expression?

I am naturally curious, so I have always enjoyed researching about groups, artists, labels, and events.

I became interested in electronic music from a young age; electronic music was often playing at home during the late 90s and early 00s. At the age of 14, I was gifted my first DJ mixer, and since then, I haven’t stopped. I have explored various styles and projects as an artist, and I believe it’s part of the process—creating and destroying, as with everything in life.

I think my biggest influences have been trance, eurodance, and late 90s groups (Depeche Mode, Radiohead, New Order), and within Techno, the labels Semantica by Svreca, Warm Up and PoleGroup by Oscar Mulero, and Non Series by Psyk. In addition to these, MORD, Nachtstrom Schallplatten, Concepto Hipnotico, Trau-ma, and 47 are the labels I enjoy the most at the moment.


Are you working on a new release? If so, is there any new approach or direction you plan to explore in it?

Currently, I’m working on several tracks for a couple of VA releases, both on Gordo Trax and other labels, so I’m trying to give each of them a different character. Within techno, I enjoy various subgenres that I usually include in my sets: industrial, hypnotic, sci-fi, breaks, deep techno, even ambient, so in the upcoming releases, there will be a bit of everything.

We noticed that you’ve recently started delving into the world of vinyl. What inspired this initiative, and what’s the most notable experience you’ve had transitioning from mixing with vinyl compared to digital?

I’ve been buying and collecting vinyl for years. Initially, I bought records I liked without any intention other than having music in a physical format, which is always more special. Gradually, I began buying more club music, and in the end, without realizing it, I have a fairly decent collection for today’s times (and prices). A couple of months ago, I sold my digital equipment and bought a pair of Pioneer PLX-1000 to fully immerse myself in analog mixing.

For me, the main difference compared to the digital environment is the importance of the music itself and how the product is treated. While it’s much simpler, accessible, and cheaper to get new music in digital format, when you buy a record, you have to be very sure that you like it in its entirety or in part. The EP as a set of tracks holds more value than being able to pick apart a record and keep only one or two tracks.

Aside from this, it’s much more complicated and requires greater technique, so in my case, the tracks are played for longer, and that’s important to me since I base 80% of my sets on selection. I respect DJs who are highly technical and always have 3 or 4 channels playing, but in my case, two spinning records are enough (for now).


Can you give us some details about the events or projects you have scheduled soon?

Currently, we’re working very hard at Gordo Trax, preparing a bunch of releases and Various Artists compilations with some very relevant names within our scene. Over the next few months, we’re making a significant leap in quality with our releases, and we’re very focused on this, as well as continuing to maintain a high-quality programming at the club.

On a personal note, I have several important events lined up in the coming months, including visits to Madrid, Barcelona, Alicante, Galicia, as well as dates in Valencia, and all the preparation for summer, trying to secure some festival bookings.

What impact have the various releases you’ve worked on had on your career so far?

I launched the Atisbo project towards the end of summer, coinciding with a couple of significant gigs, such as warming up for Richie Hawtin at Spook. During these months, I was preparing everything to release ‘Renacer’ in early November and ‘Where’ in December, condensing all of that into a few months.

I believe it’s important to sometimes look at things in perspective. The change of alias has mainly been an action to make some noise; everyone likes to see a new project. These events, the release of music, the work at Club Gordo, and Gordo Trax make me feel like I’m in a good way at the moment, and it’s important to invest this energy and motivation into working and dedicating hours to the studio.

If you want to add something else, what would it be?

I believe it’s important to advocate for quality music with soul in today’s times, where everything is fast-paced, ephemeral, and mass-produced to be consumed in seconds and move on to the next thing. Trends come and go, but things made with patience, good taste, and care are what endure.