Madrid, mediados de los 80, la capital española vive una verdadera explosión musical no conocida hasta entonces. En medio de toda esta vorágine un adolescente desconocido entra en una tienda de discos para invertir sus ahorros en un álbum, 'Standing on a beach' de The Cure. Ni él mismo sabía que este iba a ser el primer peldaño de una larga y costosa escalera que le llevaría a ser uno de los dj's imprescindibles de este país.
Esta afición por los discos para consumo propio continuó ampliándose con referencias de Joy Division,The Smiths, Sisters of Mercy, Fields of the Nephilim y toda la Dark wave y el rock gótico.??La electrónica llegó más tarde, cuando asiste como público a uno de los momentos históricos de la electrónica madrileña, las míticas noches EBM en la discoteca OH Madrid.Hablamos de 1989 y una arriesgada promotora decide traer a la capital a la flor y nata del Body Music Europeo, en unos pocos meses pasan por el escenario de esta discoteca: Front 242, Cassandra Complex, Nitzer Ebb o A Split Second. Muchos de los asistentes a estas noches se engancharon definitivamente a la electrónica más dura y Oscar fue uno de ellos.??La colección crece y ya no es suficiente escuchar los discos en solitario una y otra vez, rápidamente surge la necesidad de compartir esa música con los demás, el virus del dj ataca el sistema nervioso de Oscar, casi sin percibirlo se perfila la vocación y pronto llega la primera oportunidad: Un amigo que pincha en un pequeño club se pone enfermo y le ?llama para sustituirle. Primer contacto con la profesión, y desde abajo, sin atajos, recorre su camino paso a paso, con decisión, creyendo firmemente en cada movimiento que hace, poniendo toda su pasión en la música, sin más.??No pasará mucho tiempo hasta que se haga un habitual en las cabinas de los clubes más underground de Madrid: , que acogen estupendamente su discurso musical oscuro y cortante, alimentado por lo mejor de la electrónica europea de baile y lo más selecto de la new wave y el rock más arriesgado. Así terminan los 80 y se inicia una década que será vital para el desarrollo de Oscar Mulero como dj, lo mejor está por llegar y la primera piedra se llama New World.??La noche madrileña se electriza, clubes como Attica, Saratoga, Voltereta, Nacional 3 o De Nombre Público apuestan por la música europea más underground y por los dj's que mezclaban. En ese pequeño embrión del techno New World Jugó un papel fundamental, y sus dj's (Oscar, Yke y Yury) fueron parte muy importante en este hecho. New World sonaba ?atronadoramente, metálico, con precisión, la cabina estaba en medio de la sala y el contacto con el público era total. La música que se programaba era abierta, sin límite, tan pronto podía sonar The Cult como Front 242 o el disco más underground del new beat belga o el trance alemán. Los asiduos al club reciben este mensaje musical con verdadera pasión y rápidamente se convierten en incondicionales. El boca a boca empieza su trabajo...
El éxito de las sesiones en New World va en aumento y Oscar entra en el estudio por primera vez para colaborar en la creación del disco oficial del club, 'Nuclear Zone', una aproximación a distancia, más como consejero sónico que como productor real. El disco sale a la venta en 1993 y supone un éxito bastante notable para la época, llegando a incluirse en diversos recopilatorios de ámbito nacional.Visto en perspectiva es un trabajo muy acorde con el estilo que imperaba en los primeros 90 y con el tiempo ha llegado a convertirse en un objeto de culto en Ebay
Como todo en la vida, la experiencia New World tiene un final, el dueño del local decide venderlo y la época mítica de la plaza de los cubos firma su requiem.Lejos de ser el final de algo,supone el comienzo de algo aún más grande. Nace THE OMEN, para algunos, el club total, formado por un equipo de lujo en todos los aspectos. En The Omen, cada aspecto estaba tratado con minuciosidad, los dj's seleccionaban la música usando todo el abanico de estilos a su alcance, desde los ralentizados y líquidos comienzos de sesión hasta los finales más apoteósicos y memorables. La sesión del club estaba concebida como una película, siempre diferente, siempre móvil, con la misma atención en el principio, nudo y desenlace. Junto con la música los visuales y las proyecciones aportaban algo totalmente nuevo en las noches de la capital, nadie había visto hasta entonces en la misma cabina tres platos y un ordenador.La conjunción de dj's y light jockey proporcionaba una experiencia audiovisual total. En cuanto a la imagen gráfica, los flyers del Omen eran verdaderas obras de arte, creadas al detalle, experimentando con las tipografías, formatos y materiales más futuristas, creando imagen de marca y marcando escuela. Como dato curioso, en la info se daba igual importancia a los dj's, a los light jockeys y a los relacionaes públicas, llevando el espíritu de equipo hasta cada rincón del club.
Durante esta etapa, Oscar marca definitivamente su concepto de sesión y su estilo de mezcla constructivista, en la que los discos pierden importancia en si mismos para convertirse en herramientas de construcción de algo mucho más grande en forma de sesión.Musicalmente, los sonidos cósmicos de etiquetas europeas como Harthouse o Eye q se mezclan con las sonoridades más ásperas y abstractas de influencia detroitiana o británica, los primeros UR, los primeros Tresor o los primeros Soma, añadido al mejor ambient e IDM para la apertura , con todo el catálogo de de Warp y sus series Artificial Intelligence como paleta sonora, además de música de sellos tan arriesgados como Apollo Records ( subdivision downtempo del mítico sello belga R&S) o la electrónica planeadora de Fax Records.El éxito del Omen lo convierte rápidamente en atracción turística, con clubbers de todo el país viajando a Madrid cada fin de semana para disfrutar de las sesiones. Esto conlleva un cambio en la carrera de Oscar, su peso como residente va mutando a dj viajero, comienza a salir regularmente para expandir el sonido Omen por toda la península, primero en el norte y progresivamente en los cuatro puntos cardinales. La íntima relación de Oscar con las carreteras y los aeropuertos toma forma...
Pero desgraciadamente, el Omen también tiene un final, no deseado por nadie, en plena explosión mediática de las drogas de diseño y los fines de semana interminables, como una víctima más de una información sesgada y desconocedora de los valores musicales de lo que ahora llamamos techno.A partir de este momento, Oscar Mulero no será residente permanente nunca más, Las constantes peticiones de promotores , tanto en nuestro país como en el resto de Europa, le implicaran en un constante tour de fin de semana que no parará ni un momento durante toda su carrera.
En sus primeros escarceos europeos tiene la oportunidad de compartir cabina y entrar en contacto directo con lo mejor del techno mundial: Jeff Mills, Laurent Garnier, Derrick may ... Oscar aprende y sintetiza en su grabadora mental nuevas técnicas, nuevos sonidos y los suma a su ya extenso bagaje, ni siquiera él es consciente, pero está creando algo inusual, un dj total total que sabe tanto enseñar como aprender, que no se estanca y que ve su carrera como una constante evolución, cerrando etapas y buscando nuevas metas.
Llega 1996 y con él la tercera edición de Sonar, un festival que por entonces ya se ha consolidado como uno de los más importantes del mundo. Por primera vez el nombre de Oscar Mulero aparece entre la lista de convocados nacionales, junto a otros compañeros de generación como The Frogmen, Hd Substance o Resonic. Sonar 96 sirve como confirmación oficial de toda una escena hasta entonces en estado embrionario, por primera vez es tomada en cuenta como algo serio, como el gérmen de algo sólido. En esta edición Oscar mide sus fuerzas con figuras de la talla de Richie Hawtin, Garnier o Mills y no sale perdiendo.Fuera de nuestro país se comienza a hablar de su técnica y selección musical únicas. Objetivo cumplido y una etapa más cerrada.
Pero hay vida después de Sonar y este espaldarazo de nivel le proporciona aun más trabajo, más viajes, más grandes festivales, como el Members of Mayday, hasta derivar en 1998 en su primer cd de sesión ( y uno de los primeros editados en nuestro país) ' About Discipline and education', editado en la discográfica catalana So Dens, por entonces muy vinculada a los organizadores de Sonar. Para la época, la selección musical era totalmente avanzada y arriesgada, con lo mejor del sonido seco e industrioso de Birmingham de la mano de Regis o Surgeon y lo mejor del sonido de USA representado por Jeff Mills o Joey Beltram. El Cd es un éxito absoluto de ventas, siendo uno de los cd's de música electrónica más vendidos de la historia de nuestro país.
Si el nombre de Oscar Mulero ya era conocido por el underground y los clubbers más fieles, pasa ahora a ocupar las portadas de los medios especializados y generalistas, gracias él la figura del dj es tomada en serio en medios que hasta ahora solo lo veían como uno más de los trabajadores de un noche. Como tantas otras veces, abriendo puertas y marcando caminos.
Pero no se conforma aún, a objetivo cumplido objetivo puesto, music non stop. Aún no se siente completo, la idea de producir su propia música le quita el sueño, el salto no va a ser fácil, pero aún así decide darlo, como siempre sin buscar atajos, desde abajo, desde el principio.
El objetivo está claro, si quieres trabajar en esto de formar profesional, recorrer el mundo y darte a conocer más allá de tus fronteras no te puedes quedar quieto, necesitas editar tu propia música, necesitas que los dj's que admiras pongan tus discos, que el mundo se entere de lo que se está perdiendo.
Manos a la obra, ya no sólo hay que estar al tanto de las últimas novedades musicales, ahora hay nuevas tareas, hay que conseguir el material de estudio necesario para hacer realidad la música que tienes en la cabeza. Pero las máquinas no suenan solas, el proceso de aprendizaje es duro y a veces frustrante, hay que pasar muchas horas en blanco hasta sacar del equipo algo que se ajuste medianamente a los que tienes en el cerebro.
Y una vez superado este primer escollo hay que tener el tiempo y la poca vergüenza necesarios para presentarlo en público en forma de demo, aceptar todo tipo de opiniones y tener el sentido del aprendizaje muy desarrollado para constantemente aportar algo nuevo. Si has hecho bien todo esto tendrás una recompensa en forma de disco, y si éste funciona, doble recompensa. No todos los dj's son buenos productores y viceversa.Oscar ha trabajado muy duro para equiparar su nivel como DJ con el de animal de estudio.
Su primer trabajo lo edita en 1999, junto a un productor madrileño experimentado, GROOF, ambos forman el dúo Quite Unusual en el sello del propio GROOF, Brainwaves con apoyo unánime de crítica y ventas. El bautismo de fuego da resultado satisfactorio y le proporciona el suficiente arrojo para lanzarse de lleno a su carrera en solitario.
Ese momento llega en el año 2000, en el sello francés Kobayashi. Primer partido fuera de casa y primera victoria.
El siguiente paso está bien claro, no se puede depender de los demás para editar tu música, hay que crear un sello.
Dicho y hecho, en el mismo 2000 nace Warm UP y un par de años después su vástago POLE. A partir de este momento todos los esfuerzos se concentran en editar su propio material ya sea en casa o jugando fuera en los mejores sellos del planeta techno, como CODA,, Pure Plastic, Tresor, Sheep, Tsunami, o Main out entre otros..Esto le sitúa definitivamente en el mapa mundial del techno editando 9 maxis entre 2000 y 2002. No esta mal.
Trabajo de fondo, gimnasio, entrenamiento, llámalo como quieras, ahora hace falta un Hit, uno de esos temas mágicos que nunca sabes cuando vas a componer, que muchos no llegan a componer nunca, que solo sale cuando las coordenadas se juntan con precisión.
El momento llega cuando Ben Sims pide una demo a Oscar para su sello Theory, uno de los más potentes del panorama en aquel momento, tras un lento y costoso ir y venir de masters y demos entre Madrid y Londres y horas y horas de trabajo de estudio, Anaconda es editado a finales del 2002, esto supone su primer hit internacional que le coloca definitivamente en el ALL STAR de los productores techno mundiales, el disco es pinchado y charteado por los dj's más respetables del globo y como consecuencia directa la carrera de Oscar Mulero se dispara de forma exponencial. Fichando por la prestigiosa agencia alemana de booking Dynamix, compantiendo roster con lo mejor del hard techno. El pasaporte se colapsa de sellos de aerouertos de los cincos continentes y sus maletas visitan desde entonces los mejores clubes y festivales de América del sur, Europa o Asia.
Para la mayoría de los mortales ya hay suficiente con esto, para Oscar Mulero no
Para completar su doctorado le falta un álbum, un trabajo de concepto. Nuevo reto, nada fácil..
En 2003 se pone de nuevo el mono de trabajo, se encierra en el estudio con su paquete de tabaco y los víveres necesarios y publica en el sello Pure Plastic bajo el alias TROLLEY ROUTE ' A Occhi Chiusi' un álbum de electrónica total mental y bailable al tiempo, Con este álbum se cierra un ciclo y su madurez como productor queda fuera de toda duda.
Desde entonces y hasta hoy su labor como francotirador ha continuado, tanto como productor como remixer en los sellos imprescindibles del techno mundial y continuándo sus actuaciones sin descanso por todo el planeta electrónico.
Una carrera sin manchas, sin giros, repleta de trabajo y dedicación, con el mismo amor por la música que a mediados de los 80 le hizo comprarse su primer vinilo y sin perder nunca la ilusión, una ilusión que le depara un futuro lleno de nuevos proyectos y expectativas, como la edición de su segundo álbum como Trolley Route, La creción de la nueva plataforma ZERO OSCILATOR PARTIES junto a DJ MUERTO, en las que da rienda suelta a su pasión por todos los estilos de la música electrónica, aunando tradición y futuro.
En definitiva , un artista completo sin el que no se puede entender la historia de la música de baile en nuestro país.
The mid-eighties, Madrid. The Spanish capital is teeming in the grip of a musical explosion of the type never before seen. In the midst of that rabid twirl, a teenager, unknown and unassuming, enters a record shop to invest his savings in an album, “Standing on a Beach”, by The Cure. Little did he know that was to be his first step up the long and difficult ladder to being one of this country’s obligatory references in Dee Jay terms.
His liking for records for personal consumption only grew as he got in to Joy Division, The Smiths, Sisters of Mercy, Fields of the Nephilim, plus dark wave and gothic rock. His taste for electronic music would come later, as part of the audience that directly witnessed one of the historical moments of electronic music in Madrid - those mythical EBM nights at Madrid’s famous OH discotheque. The year was 1989, and a bold, forward-looking promoter decided to bring the crème de la crème of European Body Music to the Spanish capital. In the short space of a few months, all of Front 242, Cassandra Complex, Nitzer Ebb and A Split Second had graced the stage of that discotheque. Many of those who attended those nights became definitively hooked to electronic music of the hardest variety. Among those many, Oscar…
His collection steadily grew and it wasn’t long before he felt the need to do more than just listen to those records over and over on his own. As the DJ virus gradually took over his system, he began to crave sharing that music with others. His true vocation crept up on him like an unnoticed animal, and his first opportunity soon came. One night, a friend of his, who deejayed at a small club, wasn’t well. He called Oscar and asked him to take his place. It was Oscar’s first contact with the profession. From then on, he began his climb upwards, from the very bottom, unhesitatingly, refusing short-cuts, step by every careful step, firmly believing in every move made, and giving his all to that music, with unremitting passion. He soon became a familiar face in the DJ booths of the most underground clubs of Madrid, which welcomed his musical discourse with open arms - a discourse that was dark and incisive, that fed on the best European dance electronic music, as well as the most select new wave and the most daring rock. Thus played out the 80s, till a new decade was ushered in – a decade that would be vital to Oscar Mulero’s development as a DJ. The best was still to come and the first stone was called New World.
Electronic music soon took the Madrid night scene by storm, and clubs such as Attica, Saratoga, Voltereta, Nacional 3 and De Nombre Público decided to go in for the most underground European music and for DJs that were in to mixing music of that ilk. New World was key to the embryonic stages of techno, as were the DJs that were the chief exponents of it (Oscar, Yke and Yury). New World had a thunderous sound, very metallic and very precise; the booth was in the middle of the room and contact with the audience was total. That music, which became the thing, was open, seemingly without limit. One could just as easily hear The Cult, Front 242, Belgian new beat or the most underground variety of German Trance. Club regulars really took to this new musical message and were into it with real passion, soon becoming unconditional fans of it. Word of mouth began to function…
New World sessions were soon all the rave and Oscar entered the studio for the first time to be part of the making of the club’s official record, “Nuclear Zone”. It was an approach he took from a distance, more as sound advisor than real producer. The record went on sale in 1993 and was quite a success, actually being included in the many national compilations at the time. Seen now, with the perspective of time and distance, it is a work that was very much in sync with what was in vogue in the early 90s. With time, it has become a veritable cult object on Ebay.
The New World experience, like everything in life, had to come to an end. The owner decided to sell the place, which was tantamount to signing the death certificate of that mythical joint in La Plaza de los Cubos. However, far from being the end of something, it provided an opening for something even bigger. It allowed for the birth of THE OMEN, for many the total club. In every sense, in virtually every thing it served up, THE OMEN was nothing short of a true luxury. At The Omen, every aspect of everything was treated with minute detail and attention. DJs selected music using the full range of styles at their disposal, from the laid-back, liquid beginnings given to every session, to endings that were truly memorable, really out of this world. Club sessions were conceived like a film, always different, always mobile, with equal attention being paid to beginning, development and denouement. Apart from the music itself, visuals and projections were used, bringing something totally new to nights in the capital. Never before had three turn-tables and a computer been seen, together, in the same booth. The combination of Disc Jockey and Light Jockey made for a total audiovisual experience. And as far as graphic image went, the flyers given out by The Omen were true works of art, honed down to the finest detail, boldly experimenting with futuristic designs, formats and materials. The result was the achievement of a brand image, the creation of a school. A curious detail is quite illustrative: on the info sheets, Disc Jockeys, Light Jockeys and public relations personnel were granted equal space. The notion of the true spirit of team effort was palpable in every little corner of the club.
It was during that phase that Oscar hit upon his concept of “session”, and his “constructivist mixture” style, in which records were less important as records per se, and more meaningful as tools for the construction of something much bigger – that something bigger being a session. Musically, the cosmic sounds of European labels such as Harthouse or Eye Q were mixed with the rougher, more abstract sounds of British and Detroitian influences, the first works of UR, the Tresors or Soma, coupled with the best IDM ambiences for openings, plus the full Warp catalogue and Artificial Intelligence series as a sound brush, along with the music being churned out by labels as ground-breaking as Apollo Records (a down tempo sub-division of the mythical Belgian R&S label) or the hovering electronic sound of Fax Records. Omen was so successful it quickly became a tourist attraction, with clubbers from all over the country coming to Madrid every weekend to enjoy its sessions. This led to a change in Oscar’s career. He gradually moved from being an important resident DJ to a travelling one. He started to travel regularly, taking Omen’s sound all over the peninsula, firstly to the north, and then, gradually, to the four corners of the country. It was the beginning of Oscar’s intimate relationship with airports and the road….
But, unfortunately, The Omen, like everything else, also had to come to an end. And when that end came, it was not the end desired by anyone, since it did so in the midst of lots of explosive talk in the media about design drugs and unending weekends. It was, in short, another victim of biased informing, fruit of ignorance with regard to the musical values of what is today called techno. From that moment on, Oscar Mulero was never again a permanent resident. With constant petitions from promoters, at home and in the rest of Europe, his life became an on-going weekend tour. It would be the norm for the rest of his career.
His first European adventures afforded him the opportunity to share the booth and come into direct contact with the best of the techno world: Jeff Mills, Laurent Garnier, Derrick May… Oscar learnt new techniques, which he quickly logged into his mental recorder, as he did with the new sounds he incorporated into his already vast baggage. Though he most certainly wouldn’t have been aware of it, he was becoming the embodiment of a new creation: the total DJ, as able to teach as he is to learn, a creation that never remains stuck with, or in, anything, a creature that sees his career as a constant evolution, forever closing phases and seeking new goals.
And so to the year 1996, and the third edition of Sonar, a festival which had by then become established as one of the most important in the world. For the first time, the name of Oscar Mulero appeared among the list of national invitees, alongside other companions of his generation such as The Frogmen, Hd Substance or Resonic. Sonar 96 served to officially confirm a whole new scene that had, until then, been something in an embryonic state, which was now being taken seriously for the first time, being viewed as the well-sown seed of something solid. At Sonar 1996, Oscar held his own against lime-lights of the stature of Richie Hawtin, Garnier and Mills. Outside Spain, people started talking about his unique technique and musical selection. Another objective achieved. So on to another phase…
But there was life after Sonar and the kind of recognition and support gained as a result of success at it brought even more work, more travel, more big festivals, such as the Members of Mayday Festival, and culminated, in 1998, in his first Session CD (the first CD of its type to be edited in our country), entitled ‘About Discipline and Education’, edited by the Catalan label, So Dens, which was at the time closely linked to the organisers of Sonar. The musical selection was, for the time, very advanced and ground-breaking, a blend of the best of the dry, industrious sound of Birmingham, courtesy people like Regis or Surgeon, and the best US sound of the epoch, represented by the likes of Jeff Mills and Joey Beltram. That CD was an absolute sales hit, one of the biggest best-selling electronic music CDs ever in our country.
Already a well known name in the underground circuit among the most faithful clubbers, Oscar Mulero now started hugging the media headlines, in the specialised and general press alike. Thanks to him, the DJ was now a figure taken seriously by media that had, until then, viewed him as just another of the many people who work at night. Like he had done on so many previous occasions, Oscar was again opening doors and forging new paths…
But, as usual, for Oscar there had to be more. Every newly achieved objective simply meant setting another. Non-stop music… He still didn’t feel complete. He very often lay awake at night thinking about producing his own music. That represented a very major leap, but one he wasn’t afraid to take. As always, without short cuts, from below, from the very beginning…
It’s quite straightforward really. If you want to work professionally in this business, travel the world and be known beyond your own country, you can’t just sit back and expect it to happen. You’ve got to edit your own music, you need the DJs you admire to play your music, and you need to let the world know what it’s missing.
So time to get cracking... Not only have you got to be up with the latest musical trends, you also have to undertake new tasks. You have to get the studio material necessary to convert the music that’s in your head into a reality. But machines don’t make music on their own. The learning process is hard and at times frustrating, so you’ve got to be prepared to spend many hours, coming up with nothing, until you manage to draw from the material something that comes reasonably close to what you’ve got in your head.
Once you’re over that initial hurdle, you’ve then got to find the time, and not be too embarrassed, to show it in public, as a dummy; you must be prepared to accept all sorts of opinions and make sure that your sense of learning and apprenticeship is sufficiently developed to allow you to always bring something new to the table. If you do all of that well, you’ll be rewarded, in the form of a record, and if that works, you’ll have a double reward. Not all DJs are good producers and vice versa. Oscar has worked very hard to marry his DJ prowess with his studio-animal instincts.
His first work was edited in 1999; it was done with an experienced producer from Madrid, GROOF. The two formed the duo, Quite Unusual, on the GROOF label, Brainwaves. They were well received by critics and also enjoyed good sales. It was a baptism of fire that brought satisfactory results and gave him the courage to launch his solo career.
That moment came in the year 2000, on the French label Kobayashi. It was his first away game. And first away victory!
The next step was therefore only logical; you can’t depend on others to edit your music. You’ve got to create your own label.
So said, so done… That very year, 2000, saw the birth of WARM UP, and, a couple of years later, of its offspring, POLE. From then on, all Oscar’s efforts were focused on editing his own material, whether home or away, on the best techno labels on the planet, such as CODA, Pure Plastic, Tresor, Sheep, Tsunami and Main Out… That put him, definitively, on the world techno map. Between 2000 and 2002 he edited no fewer than 9 maxis. Not bad at all.
Hard work, gym routines, training, call it what you will… But now he needed a hit, one of those truly magical tracks that you never know quite when they’re going to come out of you; one of those truly magical tracks that many never quite manage to compose, which only come when everything comes together with precision.
That moment came when Ben Sims asked Oscar for a demo for his Theory label, one of the most powerful labels around at the time. After initially slow and costly to-ing and fro-ing, between Madrid and London, with masters and demos, and hours and hours in the studio, Anaconda was finally edited towards the end of 2002. That was his first international hit, which definitively earned him a place among the ALL STARS of techno producers the world over. The record was played by the most respectable DJs across the globe and featured on all the big charts. The direct consequence of this was that Oscar Mulero’s career took off spectacularly. He then signed on to the prestigious German booking agency, Dynamix, where he began to share the roster with the very best of the hard techno world. Soon, there weren’t quite enough pages in his passport for all the immigration stamps of all the airports he began to frequent on all five continents. At the same time, his suitcases were humped around, from club to club, from festival to festival – the very finest! – in South America, Europe and Asia.
For most mortals, that would be enough; but not for Oscar Mulero… There still was the small question of an album, which had to be made if he was to complete his Doctorate. A new challenge; by no means an easy one...
So, in 2003, he donned his workman’s overall again, locked himself away in his studio with a packet of cigarettes and the food necessary to keep him going, till he came out on the Pure Plastic label. TROLLEY ROUTE was the alias for “A Occhi Chiusi”, a totally mental electronic work that was also easy dance music. That album closed a cycle and confirmed his maturity as a producer.
Since then, he has, until today, continued his unceasing work as a sniper, producing and remixing the very best techno labels the world over, and hasn’t stopped appearing on the electronic music stage the world over.
His has been an untarnished career, devoid of reckless turns and full of work and dedication. A career which sees him now full of the same abiding love for music he had in the mid 80s, that love which made him buy his first vinyl record. The thrill and excitement have never wavered, and that no doubt assures him a future fraught with new projects and endeavours, such as his second album as Trolley Route, or the creation of the new platform, ZERO OSCILATOR PARTIES with DJ MUERTO, in which he gives free rein to his passion for all styles of electronic music, and which is a deft marriage of future and tradition.
Here before is, in short, a truly complete artist, without whom the history of dance music in our country cannot be understood…
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