Hij is amper 22, maar hij bracht al muziek uit op labels als Stroom en Knekelhuis, voorzag Zwangere Guy van beats voor zijn eerste single 'Jij Niet Zien' en runt een cassettelabel. In het weekend vind je hem in platenzaak '72 Records' in de Zuidstraat in Brussel of ergens achter de draaitafels. Deze zomer onder andere op Horst en Dekmantel Selectors in Kroatië. Hoog tijd voor een gesprek met Victor De Roo.

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Op zijn elfde begon hij gitaar te spelen, vanaf zijn vijftiende belandde hij in een hiphop-fase en kocht hij een MPC2000XL sampler. Onder het 'Tovenaar' alias amuseerde hij zich een aantal jaren met vooral jazz en Braziliaanse muziek te samplen. Vanaf zijn achttiende kwam hij regelmatig over de vloer bij Doctor Vinyl (platenzaak in het centrum van Brussel, red.) waar Michiel 'Walrus' hem de raad gaf om het samplen achterwege te laten en zelf alles in te spelen. Hij investeerde in een Roland Juno synthesizer en al snel volgden ritmeboxen, meer synths en effecten. Intussen realiseerde hij zich dat hij deze instrumenten wel beheerste maar in geen enkel echt uitblonk. Maar als hij ze samenbracht, kwam er wel iets mooi uit. Dat vond blijkbaar ook Nosedrip, de man achter het Stroom label.

Victor: “In oktober vorig jaar bracht ik samen met mijn toenmalige huisgenoot Felix Poffé een single uit op Stroom. Dat werd een 7” plaat met twee nummers onder het Vanderschrick alter ego, genoemd naar de straat in Sint-Gillis waar we toen woonden. Ik had het nummer 'Ongehoord' al een tijdje ervoor geschreven, maar was er niet echt tevreden over. Felix hoorde het en stelde voor om er een tekst op te schrijven. We namen alles op om er vervolgens maandenlang niks mee te doen. Tijdens mijn stage bij Stroom liet ik het aan Ziggy (Nosedrip, red.) horen; na lang twijfelen hebben we uiteindelijk toch beslist om het uit te brengen. Op de B-kant staat het nummer 'Ochtendgrijs’, een eerbetoon aan Luc De Vos die altijd een grote invloed op mij heeft gehad. Gezien het trage en onzekere productieproces, hebben we de single 'Onzeker' gedoopt. En ook over die naam waren we niet helemaal zeker (lacht)”.

In januari 2019 verscheen je EP 'Nachtdichter' op het gereputeerde Amsterdamse Knekelhuis label, hoe kwam je bij hen terecht?

“Samen met mijn goede vriend Pijl organiseerde ik de voorbije jaren regelmatig feestjes in Epicerie Moderne (RIP, red.), een kleine kelder in het centrum van Brussel. We volgden Knekelhuis al even en nodigden labelbaas Mark uit voor een DJ-set. Sindsdien zijn we contact blijven houden. Toen ik hem een aantal van mijn nummers liet horen, wou hij ze uitbrengen. Persoonlijk vond ik dat er nog iets aan ontbrak; waarop ik aan Alex Deforce vroeg om zijn teksten in te spreken op mijn nummers. Ik had Alex leren kennen tijdens mijn stage bij Stroom, hij had net de liner notes van de '48 cameras' plaat geschreven”.

“Ik vond het best leuk om te zien wat iemand anders met je muziek doet. De twee ambient tracks ‘Beland in Bed' en 'Gewoon' en het agressievere 'Nachtdichter' hebben we in één sessie opgenomen. Op 'Voorbedachte Rade' had ik oorspronkelijk mijn eigen vocals ingezongen maar toen ik het achteraf beluisterde vond ik het maar niks. Ik heb dan Alex gevraagd om ook dat nummer te voorzien van tekst”.

'Nachtdichter' wordt omschreven als een kruising tussen synthwave en grootstedelijke poëzie; je muziek is dikwijls doorspekt met melancholie. Wat zijn je belangrijkste muzikale invloeden?

“Ik hou van uiteenlopende stijlen waaruit ik mijn eigen sound probeer te distilleren. Het is echter cruciaal om in de studio mijn eigen ding te kunnen doen. Soms is het goed om zonder vooraf bepaalde ideeën muziek te maken en te zien wat eruit komt. Ik krijg vaak te horen dat ik een herkenbare sound heb, dus ik denk dat ik daar vrij goed in slaag. Mijn producties zijn technisch vrij eenvoudig maar hebben een eigen karakter. Voor mij primeert de emotie. Muziek hoeft niet complex te zijn om aan te spreken; iets wat me is bijgebleven uit mijn hiphoptijd”.

Af en toe grijp je terug naar je hiphopverleden, onlangs verscheen een USB mixtape op Stroom met vijf nummers van jou, hoe ging dat in zijn werk?

“Inderdaad, dat was 'The Elephant In The Room'. McBain (Stroom’s mede-eigenaar, red.) mixt daarin een twintigtal nummers aan elkaar: van filmsamples en trail versies van software tot producties van vrienden, waaronder zes onuitgebrachte nummers van mij. Voor dit project had ik me nog eens ondergedompeld in het samplen. McBain had me een aantal interessante tracks doorgestuurd. Ik heb er een week mee gespeeld en uiteindelijk zijn 6 tracks daarvan op de mixtape beland”.

Zijn je DJ-sets even gevarieerd als de producties die je uitbrengt?

“Dat hangt af van de gelegenheid. Tijdens een radioshow speel ik vooral de muziek die me raakt. In clubs en festivals draai ik dansbare muziek, variërend van trage ritmes zoals new beat, new wave en big beat tot uptempo electro, house en techno. Daarbij probeer ik steeds mijn sets op te bouwen volgens een zekere logica. Net zoals bij de muziek die ik maak, primeert emotie ten opzichte van techniek”.

Laten we het even over het cassettelabel 'Kontakt' hebben.

“Kontakt is een cassettelabel dat we met een aantal vrienden hebben opgestart. Ik hou me vooral bezig met het opsporen en selecteren van muziek, en het samenstellen van de compilaties. De tapes brengen we, afhankelijk van de release, uit op 130 à 200 exemplaren via Bandcamp en fysieke winkels. We zijn nu 3 releases ver. Met de eerste twee projecten focussen we vooral op minimalistische muziek uit de jaren '80, respectievelijk van Stephan Barbery en Unovidual. Deze bands brachten in die tijd zelf albums uit op cassette in beperkte oplage. Van beide projecten hebben we in 2018 een compilatie uitgebracht op tape. De derde tape, die afgelopen februari uitkwam, is een selectie ambient van de Canadese Max Segal. Binnenkort releasen we een hiphoptape van een Leuvens collectief TCBE met zes catchy rapnummers in het Nederlands”.

Vanwaar de keuze voor cassette?

“Cassette lijkt ons de enige logische keuze aangezien de muziek die we brengen oorspronkelijk op tape is uitgekomen. De muziek is opgenomen met een DIY-filosofie en heel beperkte middelen. Wij beschikken als label slechts over een beperkt budget dat ons niet toelaat om op vinyl uit te brengen. De muziek enkel digitaal in de markt zetten leek ons te abstract. We zijn zelf verzamelaars die ervan houden om iets tastbaars in handen te hebben. Daarom besteden we veel aandacht aan de vormgeving: Cosmo Knex ontwerpt de covers die vervolgens in riso worden geprint. Zo proberen we van elke cassette een mooie collectors item te maken. Uiteraard krijgen de kopers de downloadcodes erbij zodat ze deze ook digitaal kunnen luisteren”.

Volg Victor De Roo op Facebook en blijf up to date. TCBE’s Kontakt release is binnenkort beschikbaar op het label’s Bandcamp pagina en via verschillende platenwinkels.

Many ravers in Ghent will be familiar with Maxim Lany. The homegrown DJ-producer has long been a staple in the local nightlife circuit, while occasionally releasing records on We Play House or on his own Lany Recordings. This year however, Lany decided to start over. Since, he has signed with international powerhouse Armada and released the dancefloor destroyer ‘Renaissance’, a fitting title for someone who decided to take things into a new direction. We had a little word with the man to see what he is up to these days.

In a previous article you said you lost focus on what you really wanted: an international career as a producer-DJ. How have been things been since? What has changed and what have the challenges been so far?

I have been playing more gigs, pushing myself to go the extra mile in order to reach that next level. Recently, there have been some really cool shows at home and abroad. Culture Box in Copenhagen was a definite highlight for me, but so was playing in my hometown Ghent on the ABSTRKT x Moonday Open Air. One of the things I promised myself was to get in the studio more often, which has happened more than I could have hoped for so far. I met some really talented people and got to work with great singer-songwriters as well.

Your last release was called ‘Renaissance’, the forthcoming one is called ‘My Story’. Seems like all these titles carry a personal meaning, right?

In fact, ‘Renaissance’ is the track I made right after ‘My Story’. I really felt like I had to tell my own story and what better way to express myself than translating this into music? With ‘My Story’ I really wanted to show where I came from, while ‘Renaissance’ had to be a track that showed I have stepped up my game. This track shows what I’m capable of now.

How did you get signed on Armada and has the label been a big influence on you as an artist?

Armada had been on my bucket list for a long time. I went to pay them a visit last year during Amsterdam Dance Event. Not long after that, ‘Renaissance’ was already being played by guys like Solomun and Kölsch, and so the label reached out and made me an offer I couldn’t refuse. I’m learning a lot from them and I feel appreciated as an artist, so signing here has really motivated me to put in the work.

How do you feel now, a few months later after this decision? How have things changed since then?

It has been - and still is - really exciting. I’m able to release more of my music and the upcoming shows that come with it are something to look forward to. I did not expect things to blow up like this, but I am not going to complain of course. Things have changed for the better and I’m busier now, just how I like it. At the moment there are two remixes coming up before summer, as well as a new EP on Moonbootique, some crazy gigs in Ibiza and a few big ones in Belgium too.

In your opinion, what does it take to reach that next level? Which steps are crucial if you want to break through in the international DJ circuit?

I think you need to stay focused as much as possible - and you need to believe in yourself. A good taste in music is key, as it will reflect on your work as an artist. Additionally, you need to stay curious and interested in all things that go along with the music. Just don’t be afraid to learn new things.

After being in the game for more than 2 decades, what are some of the most important lessons you’ve learned?

Working with a professional team is essential. A strong management and an equally strong booking agency are really crucial. Finding a record label that you can call home and linking up with talented people to work with in the studio are definitely important as well. For me, it helped to have friends in the music business, people who have relevant experience and who can give you good advice. I would suggest anyone to try to and see things in the long term, climbing up fast sounds very tempting, but it could also be dangerous if you’re not careful. 

Follow Maxim Lany on Facebook to stay up to date with the latest news. Maxim Lany's new EP My Story, featuring remixes from Kolombo and Cornelius SA, is out now via Moonbootique.

Some have already obtained small successes, spending years in the shadows, waiting for the right moment to shine and others have barely left their bedroom studios. Some aim for headlining festival stages, others aim for nothing in particular – but all of them have developed a sound with the potential to turn heads. With this feature we shine a light on some of the most interesting new musical talents our tiny country has to offer.

West-Flanders may not be the busiest province when it comes to nightlife, it did manage to produce one of the most exciting new young DJ’s in the country. Jasper Derluyn aka JazzDee is a welcome fresh breeze in a house and techno world that can be quite rigid at times. The Roeselare native prides himself on being a versatile DJ without limits – and he’s not lying. When we saw him at Het Depot in Leuven, he effortlessly blended sun-drenched house music with African percussion, euphoric disco and smooth funk. After announcing a monthly Kiosk Radio residency and few high profile (inter)national gigs, the time felt right to get this man in front of our camera.

Hi Jasper, could you explain us how you first got interested in this DJ thing?

I first started getting interested in DJ-ing when I discovered my dad’s vinyl collection in the attic. I took any record that looked interesting to my room and listened to it on a budget turntable. It didn’t take long before the needle broke, so in the hunt for a new one I learned more about the subject and through a friend I got my first deck of turntables. Fast forward a few months and this pair reached the end of its lifespan as well. Now I knew I had to make an investment, so I managed to save enough money to get my own proper pair. After this point it didn’t take long before I taught myself how to beatmatch and scratch. And that’s how I got here.

You know how to scratch? Is that how they do it in Roeselare?

Well, it’s how it started for me out there, yes. At the time, there was a strong hip hop scene with loads of local DJ’s from the area that were into scratching and turntablism. One such collective was Pelzen, who promoted parties with more alternative music and hip hop. When I saw those guys scratching like pros I immediately thought ‘let’s go’. And so I started practicing each day.

As a versatile DJ, do you feel any pressure sometimes to go in just one direction? Often promoters prefer DJ’s of who they know exactly which genre they will play.

It’s true that if you play a particular genre, you could get more bookings faster in some cases. This wouldn’t work for me, though. Being versatile is in my DNA and I’m confident in the quality of the music that I select. It’s always going to be obvious at some point if a DJ plays tracks that he or she doesn’t fully believe in. I may be a romantic sometimes, but I do believe that if you stay true to yourself and your selection, there will always be people that will rally behind you.

Does it not work out sometimes? Are there times when you follow your heart, but none of the stuff you play resonates with the audience?

That can always happen of course, especially when you take a booking that may not be 100% your thing. I’m sure many DJ’s will be familiar with the request phenomenon. In most cases when I get these requests, I don’t even have these tracks with me (laughs). But being a versatile selector can actually come in handy in these situations, as there are many different directions you can try out. If none work, then you just got to realize you’re in for 2 very long hours (laughs).

Why do you choose to use turntables and Serato (vinyl emulation software that allows you to turn your turntables in a controller for your digital library) in a digital CDJ world?

I learned how to play with vinyl, so it’s my weapon of choice. I added the Serato method because venues are often lacking a proper turntable setup. Think: a constant sonic feedback, vibrations that mess up your needle, etc. Connecting a Serato interface with those record players makes dealing with these issues a lot easier. Additionally, you’re able to take a lot more music with you, which allows you to be reactive to the vibe of the party. Scratching and beat juggling become a lot more manageable as well. If you want to do the same tricks with real vinyl, you’re going to have to buy two copies of the same release. When you practice a lot with these, the records wear out and you can buy yet another copy. Those things add up down the line. Being a vinyl DJ is an expensive hobby that’s hard to maintain for a teenager (or anyone really). That said, I’ll never give it up completely, because I love real vinyl too much. I still prefer to play actual vinyl and I’ll often sneak in a couple in my DJ-sets. Additionally, the hunt for a particular record or discovering a hidden gem in a second hand crate is so much more satisfying than buying your music online. Buying records in a record store often forces you to listen to music without any prejudice, because you have no idea what to expect. That’s how you discover new stuff.

You seem to be in love with radio, not only do you have a monthly residency at Kiosk Radio, you’re a frequent guest at Red Light Radio, Operator Radio, etc. What is it that draws you to this format?

I love radio. There’s this casual and relaxed atmosphere that’s unique to the format. You can literally do whatever you want on there – and there’s no audience to judge you (at least not in your direct line of sight). Every week I discover new music I would never be able to play in a club and radio offers a perfect platform for that. With a residency, you can also invite guest-DJ’s over and build a more complete version of yourself as a DJ around your name.

We know you also make your own productions. How come we haven’t heard any so far?

At the moment these are still raw loops and draft ideas trapped in my Akai MPC. Yes, I’m still a bit of an old school nerd when it comes to production. Eventually, I will put these out, but I want to be really confident about them first. I’m sure that moment will come soon enough.

Follow JazzDee’s fanpage to stay up to date with his Kiosk Radio residency and forthcoming gigs.

Prepare The Flash shines a light on folks that shine a light themselves. The people behind the camera, taking pictures of the artists we all love. Let's take a look behind the scenes of some of Belgium’s most infamous clickers. This has to be one of the most special articles in this series. For this time, we’re interviewing one of Red Bull Elektropedia’s most iconic photographers, Daniil Lavrovski. The Bruges-based 25-year-old started out by taking pictures of the local skate scene and slowly shifted towards nightlife photography, a domain in which he quickly became one of the best in the field. By 2016, he was crowned Belgium’s best nightlife photographer on the Red Bull Elektropedia Awards and people saw the grim-faced Lavrovski on parties across the country every weekend. Now, he told us he wanted to take things into a new direction. That means it was the perfect timing to dedicate an in-depth interview to one of the most influential players in this game.

Hi Daniil, it’s great to feature a photographer we’ve been working with since a very long time. You’ve covered countless events for us, but you told us you’re going in different directions from now on. What does that mean exactly?

Well, although I really enjoyed working in nightlife, I have to admit that it has started to take its toll after 4 years. The funny thing is that I never really took nightlife all that seriously. It always felt like I was just going out with a camera by my side. Before I knew, nightlife photography became one of my main occupations and it accounted for the majority of my energy and focus. It's all fun and games until you realize you’ve become a slave of your own lifestyle, you know? I started to notice I didn’t enjoy those long nights anymore. That kind of lifestyle was starting to drown my creativity and productivity. In the end, I've had a pretty good run, I’ve been to so many places, I’ve met incredible people and most important of all, I’ve had so much fun along the way.

So where are you going now?

I’ve decided to recalibrate my focus and work my way back on track towards a new goal. After a much needed hiatus from nightlife photography I want to put my energy on portraits, press, fashion and brand photography. Making this shift is hard though. It’s not that I wanted to quit nightlife but it was more of a rational decision, choosing for a healthier lifestyle. I won’t quit entirely of course. Sometimes my fingers still itch, but you won't find me shooting in clubs that often anymore.

From all the events you visited taking pictures, which have been some of the most memorable?

If I would have to pick out a few, I would go with HORST and Dour Festival. I've covered the former 3 times now and it's always adventurous. The scenery is beautiful, the music is great and the crowd is amazing. For me, it’s just picture perfect. Each year, I get to meet amazing people, discover a bunch of artists I have never heard and just have an absolute blast. That last edition sticks out even more. It's been ages since a festival sparked that desire to relive a moment that hard. And HORST succeeded in doing so. My second choice is Dour Festival, which always feels like coming home. It’s the first festival I ever went to. By now, I’ve already witnessed eight editions and only missed out on one. Shooting Dour is always something special.

How did you end up doing that amazing cover shoot for Amelie Lens on Mixmag?

Well, Amelie and I got to know each other throughout the years when I worked as a nightlife photographer. I've shot multiple events where she played and I also covered the launch event of her CKS clothing collection somewhere last year. One day, I received a message from her saying she will get the cover story of Mixmag and would like me to shoot it. The magazine approved and I was beyond stoked! Just as it was a big deal for Amelie, it was a big deal for me too. I can’t say I wasn’t stressed. The results were good. The shoot itself was very organic. Amelie knows how to behave in front of a camera and it felt like we were just hanging out for the day while I was taking pictures here and there. I'm super grateful towards everyone involved for the amazing opportunity.

Let’s do a little throwback now. Your bio says you were born in Russia and only moved to Belgium when you were 5 years old. Please do tell us your story…

Yeah! I was Born in Kaliningrad, a small Russian enclave by the Baltic Sea, tucked between Poland and Lithuania. I come from a family of musicians: my mom is a pianist, my grandfather was a saxophone and clarinet teacher and my grandmother was a choirmaster. They all taught at the Music Conservatory of Kaliningrad. So I was surrounded by music since I was a baby (which maybe explains why I ended up in nightlife at one point). But life as a classical musician in Kaliningrad was tough. The wages were ridiculously low and most of the musicians lived in poverty. My mom dreamt of moving to Europe to seek for a better life and provide a better future for me, since my biological father wasn't the best person to be around. Around the year 2000 my mom had the opportunity to move to Belgium and she took it with both hands. We ended up in living in De Panne for several years, where I went to primary school. After that, we moved to Oostduinkerke followed by Bruges, where I still live today.

Do you remember the moment you fell in love with photography?

My love for photography emerged through skateboarding. My mom always used to buy me skate magazines like Thrasher, Transworld Skateboarding and Sugar Skate Mag. Seeing all those skateboarding pictures really sparked my interest for photography. I wanted to capture my skater friends in the same way as those shots in the magazines. By the time I was 14, I used my mom’s camera so often that she bought me a snapshot camera so I would stop using hers. By the age of 16, I bought my first digital single-lens reflex camera. From that moment onwards, photography took over my life.

Do you still skate often?

I still try to skate as often as I can. Even though I don't have that much time anymore, it's still very important to me.

How many lenses have been broken or stolen over your lifetime? :)

The funny thing is that I've never broken a lens before, nor have I got one stolen. I just hope it stays that way! The only thing I break are flashes. I think I've already went through 7 by now. That’s an expensive joke.

Comparing the past with the present, how would you describe your evolution as a photographer?

In the beginning, I mostly did black and white snapshot photography with my friends as models. Now I work in colour, my images are more calculated and I handle my lighting with care. I've learned how to work with people, how to deal with clients and how to make someone feel at ease in front of the lens. That might actually be the biggest difference. When I was younger, I was really shy. I was so scared to ask people if I could take their photograph and I had no idea how to handle a shoot. Through experience, I learned how to get over that insecurity and how to be more confident. One of the red lines in my work is that I don't use photography as a tool to reflect reality, but I use it to romanticize a moment.

We know it’s hard to say about yourself, but what sets you apart from other photographers?

That’s hard indeed (laughs). It might be in the way of handling things. I always try to keep it fun and spontaneous. I'm not the guy who is extremely serious about his work ethics. I'm a pretty positive person, so it's important that this is reflected in my way of working. Additionally, it's crucial not to force anything. I'm also kind of a nerd when it comes to lighting. I pay a lot of attention on how I use light in my images. I could say I'm pretty technical, but not in the right way (laughs).

As someone who has always been the middle man between brands and culture (be it skateboarding or nightlife), how do you perceive that fragile relation between both sides?

I try to stay true to what I love and like. If something doesn't feel right, I won't do it. As far as I can, I try to work with brands that stand for those cultures. It’s the only way to keep the overall vibe and credibility of a project. There's a thin line between staying true to a culture and capitalizing from it. There are too many culture vultures these days. Even I cross that line sometimes, but it doesn't make it less important to pay attention to.

You’re one half of Studio DaDa. Tell us a little more about that project.

Well, Studio DaDa is a collective of two that I formed with Davy Denduyver. Davy is a graphic designer I've known for several years now. About a year ago, he started renting a workspace in the same building where I was renting mine, so we passed each other almost every day. We got along pretty well and it became clear we understood each other’s creative visions, which were pretty complementary. That’s why we decided to join forces. My studio was a bit too big for me at the time and his was a bit smaller, so he moved all his stuff to my mines. And that's how Studio Dada was born. We still work on our own projects, but with this joint project we deliver the ‘total package’: I do the photography, while he does the art direction and graphic design. We're only just starting out, but it's going pretty good already. Hopefully it could become a real ‘studio’ or ‘creative agency’ one day.

If there’s one tip you could give to beginning photographers, what would it be?

My tip for any beginning photographer is that hard work is key. Follow your passion. There will be obstacles, long days, unpaid work, hard times. But it's all worth it. Look for the things that spark your interest, reflect on yourself, reinvent yourself. Take as many pictures as possible, because the more you shoot, the better you will become. As soon as you find yourself having a lot of commissioned work, make sure you don't lose yourself. Keep the balance between paid and autonomous work. Those are the things I always have to remind to myself as well.

Any big projects coming up that you can share with us?

Recently I’ve been working on some bigger projects with Studio Brussel and Bounce Rocks, my agency. But for now, my biggest project coming up is a completely autonomous project. I won't spill the beans yet I’m afraid, but it might be something involving a new photobook (winks).

Follow Daniil Lavrovski  and Studio DaDa on Instagram to keep track of the latest and greatest.

Tsar B’s debut album ‘The Games I Played’ was one of the most exciting projects to drop in Belgium this year. The Ghent-born 24-year-old Justine Bourgeus effortlessly stirs up a cocktail of infectious broken beats, singalong pop melodies and mystic soundscapes, balancing on the fine line between daytime radio material and a passionate dancefloor or bedroom soundtrack. “For some reason, I’m frequently charted in sex playlists”, says Bourgeus, who definitely has a knack for humour. “Even though I don’t make my music with this in mind, I play into this fad by handing out branded condoms on my latest shows”. From articles in famous magazines like Billboard, The Fader or i-D to big gigs in L.A., Istanbul or Budapest: 2018 has been an impressive year for this enthusiastic multi talent (she’s a violinist, a singer and a producer). However, all signs point to an even bigger year to come. We invited the tsarina for a photoshoot and an interview about her beginning, her present success and her future.

What has been your favourite reaction to the release of your debut album?

There have been countless lovely reactions from everybody, like people telling me my music meant a lot to them. Other than that, it struck me how far my music had gained fans. I don’t know why, but the album did really good in Brazil for example.

What’s your earliest musical memory?

It may sound cliché, but my mom used to listen to Mozart when she was pregnant. That may have had an influence. I started playing violin at the young age of 3, although you can’t really call that a violin. It’s like a piece of wood that teaches you the basic movements before you actually move on to the real thing!

When did you realize ‘I can really do this music thing’?

By the time I was 14 years old, I got really into Radiohead. I wanted to be a female version of them, but with a dark twist. And so I got looking for the right people who could help me with that. I ended up playing for a variety of different bands (most notably ‘School Is Cool’, red.), each of which taught me a lot about the music business and touring. Eventually, I realized this was something I wanted to do as a part of a group, rather than individually. That said, I was always quietly working on my own stuff on the side, so after a few years, I started Tsar B without a real plan in mind. I just kept on making music and before I knew I was performing on stage.

How did the band react when you told them you wanted to go solo?

Without many expectations, I showed the other band members I could do some producing of my own. They loved it. This made me realize I can do it on my own too; I don’t need anyone. So by the time I turned 20, I left School Is Cool and I got plenty of time to work on my own music.

It’s clear that you have a distinct idea of how you want your music, artwork and shows to look like. Do you like to keep in control of everything?

I would never describe myself as a control freak, but deep down I know I am, despite the fact I’m quite the laissez faire type of person who does everything at the last possible moment. Throughout the years I have learned to let go when you’re working with people you trust, letting everything flow naturally. In the beginning, all of the Tsar B shows were very meticulously planned into detail, but now it’s so much more unrestricted. Every band member has a certain space in which they can do their own thing without rules. This approach has influenced me in many other ways. For example, I would never allow someone else to direct a music video for me when I was younger, but now I realized it’s better to let go and create a synergy with different people. Now, I want to include as many people as possible because it will spice things up.

Which track of the album are you most proud of?

I think ‘Velvet Green’, because it’s a track that shows what Tsar B is all about. There are beats, but there are classical elements too. It’s something different, a ballad, but then again it’s 100% ‘me’.

On stage, a whole lot has changed since your first solo performances about 4 years ago. You have become incredibly confident for example. How do you prepare for your shows?

I used to see live shows as a necessary part of music, so I was very cautious when I didn’t get the desired reaction from the audience. I always thought: ‘why should I do my best if you guys aren’t even trying? But now I just go all out. I will give the best version of myself on any stage, regardless of the fact if there are many people or not. When the crowd really gets in the mood, I’ll become even more enthusiastic – much more than I ever would a few years ago. Performing live is an effective way to channel some aggression. Sometimes I wish I could smash my violin on stage! Maybe I should bring a really cheap one with me next time? If I ever get invited for Jools Holland’s show, I’ll bring a violin with the sole purpose of slamming it into pieces.

Smashing aside, would you also consider doing just violin performances?

If I’m honest, I would love to start a classical project next year, writing pieces for an orchestra or something. That’s my next goal. Making music for completely different projects: movie scores, opera, etc. I become so happy just thinking about it.

So what has been the last show where you went all out?

Definitely Istanbul! Everyone was singing along to every tune and in the end, dozens of people joined me on stage. It was wild. I already had a feeling that was going to be a good show, because Turkey – after Brazil – has a lot of dedicated Tsar B fans. That’s something we have learned from checking our Spotify plays.

That’s actually quite interesting. Why Turkey?

I don’t know. A lot of Belgian things are doing really good over there, like Oscar and the Wolf for example. I think ‘Belgian music’ is a thing over there, so as soon as they know it’s from here, they are more open to it.

Which Belgian artists would you love to collaborate with?

If I’m honest: Mauro Pawlowski (renowned singer and guitarist from countless bands like dEUS and Evil Superstars, red). He really is one of the most inspiring Belgian musicians out there. He’s so clever and versatile, whatever project he takes on. He is a massive source of inspiration for me.

Ever since Alexander Chung made a choreography for you, your music has been inspiring dancers around the world. You regularly repost videos of people pole dancing and twerking to your music every week. How does that feel?

I’m so grateful for that! It feels so absurd when people make art from something you created, especially because these are not tracks that you would label as ‘twerk music’. I rarely make music with ‘the club’ in mind. But in the end that doesn’t matter. Nothing keeps your music more alive than people making choreographies to your music. It just makes me so happy.

Ok, but take the drums and rhythm of ‘Brazil’ for example. I’m sure you knew it had a high club potential when you pieced that track together…

Well, yeah, kind of. I’m really into the baile funk wave that’s coming from Brazil right now. I’m a massive MC Bin Laden fan for example. I got a lot of inspiration from that movement because it uses a highly infective broken beat, which makes it feel really connected to my own music. Some people say it sounds ‘Eastern’ or ‘exotic’, but it’s not. I just don’t want to use things that sound different from an usual snare and kick. Instead I prefer to use rhythms from Brazil, sitars from India or drums from Africa.

Is that the direction you will be going from here?

Actually, no. My forthcoming music will be quite calm and introvert to be honest. But you can be sure there will be a reaction after that. I can already feel the dancefloor itch that will inevitably come afterwards!

What’s your biggest wish for the coming year?

I wish I can make a wide variety of different music and that I can be able to travel because of that. It feels so good to soak up the vibes in new places and being able to translate those into new music. That’s just such a good source of inspiration. Currently, I’m in a good flow and I want to make the most of it.

Follow Tsar B on Spotify or Facebook to stay in the loop about her latest adventures, releases and shows.

A fully packed Sportpaleis and Lotto Arena. Pounding beats. Dazzling lasers. 20.000 people going nuts. Sets by acts as Da Tweekaz, Coone, MANDY and Mark With A K. This is Reverze, the perfect example of why hardstyle can’t be ignored.

“Reverze is one of our all-time favorite events,” say Kenth Kvien and Marcus Nordli of Norwegian hardstyle duo Da Tweekaz. “You start the new year and just know that it’s coming up. It makes you all excited. You want to make new music, you want to make special edits. You want to do so much cool stuff because you know that the Belgian people are anxiously waiting for this event. I mean, it’s sold out. If you check TicketSwap you’ll see there’s like two tickets available out of 20.000. People just don’t want to miss this.”

Roots

“Reverze was born in 2005 at Sotto’s, a big club in Zottegem,” remembers Reverze founder and Bass Events co-owner Marijn Venmans. “It had a capacity of 3000 people and the party was sold out immediately, which was pretty unique in the club scene at the time. The first slogan of Reverze was Switch to Difference. That was a statement: we wanted to bring this hard dance, a new upcoming genre - a sound coming from The Netherlands - to the crowds, to compete with trance and other genres that were popular at that time.”

“Jump was very popular, so I wanted to organize a night with a mix of the Belgian jump sound and Dutch hardstyle. It was initially planned in a much smaller club but there was an urban promotor who threw R&B parties there weekly and said to the owner that “if this party will take place here, I’ll quit with my urban nights”. That’s when the owner backed out. I was insulted and worse: I had my DJ’s booked already. Cosmic Gate, Marcel Woods, all pretty big names. We had to move to somewhere else. It was a very exciting undertaking to move into unknown territory. We promoted the event as if our life depended on it. 3000 people, it was insane. We even had to round up family members to help at the bar because we didn’t anticipate this big of a crowd at all.”

“What I will never forget is that the floor of Sotto’s was pretty flexible - they had stages that could come out of the floor - so it was trembling when you jumped on it. With 3000 people starting to pound, you get a small earthquake. The vibrations. The goosebumps. The whole club shaking. It intensified everything that came next.”

Coming up

“There was a time when Jim TV was very popular and Reverze was making waves in the party scene,” says Koen Bauweraerts, better known by his hardstyle alias Coone. “I rode those waves. Reverze played a big part in me getting my name out there. No other genre can touch me in the same way as hardstyle does. It’s cool, the melodies have a certain content and feeling, an us-against-the-world feeling. I really love the rebellious side of it. It’s my mission to make hardstyle big all over the world. Luckily, I’m not the only one. I hope the genre keeps evolving. There is still room for improving the sound.”

“The creator of Reverze himself came over to Norway to recruit us in 2009,” say Da Tweekaz. “He brought DVD’s of Reverze. We saw the footage and thought: holy crap, what is this and why have we not been here before? We played live in Belgium for the first time in 2011 at Lotto Arena. It was so cool, and we’ve been here every year since.”

Power

“Hardstyle is electronic dance music with a lot of kick and bass,” says MC Villain, named Michael Brons in real life. “Millions of people listen to it. It has become a way of living. I always describe it as hard on the outside and very soft on the inside.”

“Hardstyle is a way of letting go,” states Venmans. “I would define ‘hard’ as ‘intense’, a lot of energy. It’s all about connecting. It’s a scene and a community for people who want to go nuts. Hardstyle keeps evolving. Every generation attracts a new kind of crowd. It’s our and the producer’s task to adapt. The quality of the music also improved. You don’t need to buy hardware anymore to make electronic music. You can make a track just with some software on your computer. That also means a lot more DJs and producers, challenging themselves to get ahead.”

“The power of hardstyle is that it doesn’t get commercialized,” says Mark Carpentier, better known as Mark With a K. “The radio does not play us. It kind of stays in a niche. The people say it as well: “this is our music, our style, stay away from it, because it’s our community and if you don’t touch it, it will stay strong.” Hardstyle has grown more popular, but it’s true power lies in its dedicated fanbase. Music goes in flows, in movements. People always go looking for the extreme in every style. I see it evolve in a positive way, as long as there are enough young DJs and producers eager to make a name for themselves.”

Image

“We don’t fuss about not being included by the mainstream media or that when it happens, we get marginalized and caricaturized,” knows Venmans. “We have a no media policy, as we have our fans and don’t need the attention. Our fans are dedicated, and we want to keep it like this. I remember allowing a journalist once, and for his article he went looking for what he thought a typical visitor was instead of doing a decent interview with us or the DJs. After that, we decided not to get involved with the press anymore. I think it happens in every genre, that it gets ridiculed. We don’t worry about that anymore.”

All around the globe

“Reverze is one of the biggest hardstyle parties in the world. In Holland you have two comparable parties: they are in a bigger venue but regarding show and experience we are at the same level. In Australia, Mexico, Chili and Germany there’s also a big scene. At festivals, hardstyle is getting its own stages now. Last year Coone got the chance to bring hardstyle to the Main Stage of Tomorrowland, and this year it will be Da Tweekaz. It’s not as underground as it used to be, but still credible.”

“It was always my dream to be on stage at Reverze,” says Mandy Praet/MANDY. “Dreams come true! Last year I was here with Lowriderz. Everyone was really into it and it was also a bit busy, even though I played at 21:00. This year I play solo on a primetime slot at the Lotto Arena stage. I feel like everyone at Reverze is very dedicated, more than at all the other events. Personally, I feel like hardstyle is growing a lot. Coone playing Tomorrowland is a great example. A few years ago, people didn’t even know about hardstyle!”

“Reverze has reached its peak capacity in Belgium, because we choose consciously for Sportpaleis and Lotto Arena,” says Venmans. “It’s a unique venue, and Reverze has its roots there. Hopefully we can stay and throw parties for years to come. It’s fine. We don’t need to go bigger and we’re not going to add a day. But we do throw other hardstyle parties with Bass Events, like Flashback and The Qontinent. We also get requests from promotors abroad to organize Reverze in their country. But we are very careful. If we were to grow, it won’t be in Belgium.”

“I think Reverze has grown especially in terms of quality,” says Coone. “If you look at Tomorrowland’s first stage in comparison to now for example, it’s kind of the same story. Reverze has always been the biggest indoor hardstyle party in Belgium. The shows you get to see here, production wise it’s just insane. I call it the Cirque du Soleil of hardstyle.”

“It’s not only a Belgian crowd anymore,” knows Mark With a K. “People come to Antwerp from all over the world. It’s great to see so many people looking forward to it every year, myself included.”

“How Reverze has evolved show wise, stage wise, music wise… It’s really insane!” say Da Tweekaz. “The thing with Bass Events is they always want to take their productions to the next level. Remember the box that came out of the wall? That kind of stuff. You’re on the VIP deck and you’re like: holy shit, what is going on? It’s absolutely amazing and it’s so cool to be a part of that progress.”

You can put whatever you want in there

“We think hardstyle has always been a very open minded scene,” say Da Tweekaz. “We always try to implement whatever is fun to make and whatever is popular. It will evolve as music evolves. Sometimes we go with dubstep, psytrance, drum and bass or even Disney music. It doesn’t really matter because hardstyle is such a versatile genre. You can put whatever you want in there.”

“If I wasn’t a hardstyle DJ I would have been a hip hop artist,” says Coone. “I use a lot of urban influences. I have a few tracks where I found the perfect match. ‘Sniper’ with Dirtcaps. Or ‘Riot’, a record with E-life, who is a legend in Dutch hip hop. I also made a remix for Linkin Park. Mike Shinoda was a hero of mine. This all results in unique combinations. I would love to do a track with Eminem some day. (laughs)”

“I used to be a commercial DJ, so I played all-round music,” remembers Mark With A K. “I even produced all-round music under other aliases, but I always loved the harder styles. I used to play in Highstreet, a club in Hoogstraten, and even there I played rougher, a bit of German hard trance. I’ve always loved music with some punch. Then little by little I started to produce that kind of music, always going harder. Once you fall in love with it, it never goes away I guess.”

“Of course, the music needs to strike,” concludes Venmans. “But these days there’s a lot more to it: social media, image. You need to show charisma. If you can combine that with awesome music, you can go very far. D-Block & S-te-Fan, Headhunterz, Brennan Heart, Wildstylez, Da Tweekaz and Coone are still the guys who set the tone. But with DJs like Sub Zero Project, Sound Rush, Devin Wild, Sephyx, Sefa, the new generation came knocking on the door.”

“I think a lot of people were thinking ‘what the hell is Zwangere Guy going to do in Japan’”, explains Gorik van Oudheusden aka Zet Gee aka Zwangere Guy. He’s always been one of the most eccentric figures within STIKSTOF, the Brussels-based rap formation of five that released their highly acclaimed debut album ‘Overlast’ back in March. Gorik has always kept his solo business on the low, releasing his well-received Zwangerschapsverlof mixtapes on the side. Now that he has found a bigger platform, he’s ready to show the world what he has to say. A debut solo album is currently in the pipeline and if the first single, ‘Gorik Pt. 1’, is anything to go by, it promises to be an extremely personal testament of his troubled childhood and his relation with the people and the city around him. Before we can hear more, Red Bull Elektropedia and Lefto took Zwangere Guy on a quest to the other side of the world.

As any first-time traveller to Japan, Gorik’s first experiences with the local culture over there were overwhelming to say the least. Luckily, he had the well-experienced globetrotter DJ Lefto and close friend slash producer UM! (who has roots here) with him to show him the ropes. First up was a guest appearance to one of the premier local radio stations, InterFM (“It’s like a larger sized Studio Brussel, but with 10 million listeners”, dixit Lefto), followed by a recording session with UM! and two local rappers, Kikumaru and KGE, at the Red Bull Studios in Tokyo. “It all depends on the beat”, said Gorik. “If that catches on, then I can let go and I see what comes out”. The result was a refreshing combination of different approaches to writing verses and rapping styles.

Luckily, the guys had a pair of gigs planned too. The first one was at Solfa Club - a small but bass-heavy basement club in Tokyo had booked all 3 on their bill for the night. “Two seconds before the show, I decided to go all out”, says Gorik. The second gig was scheduled in Kagoshima, located in Japan’s southernmost tip – a smaller city where people are a little warmer and the beer tastes a little sweeter, or, at least that’s how Guy experienced it. “I decided I shouldn’t care about the fact they wouldn’t understand me and it totally worked out fine. They really enjoyed it, the beat made them go crazy. I love to see that, that’s what hip hop is all about for me”.

Letting go and getting lost in translation works both ways. “It was really interesting to be in a place where you don’t understand anything”, admits Gorik. “Just getting away from it all for a while, indulging yourself in a temporary feeling of ambiguity and discomfort”.

Watch ‘Zwanger In Japan’ in full above.