Rocks Afterparty en Es Paradis. El concepto de Ibiza Rocks se trasladó a Mallorca el año pasado, Colin era residente en Mallorca Rocks pinchando antes de grupos como Dizzee Rascal, Calvin Harris y The Courteeners.



Durante los últimos cinco años, Colin ha estado pinchando en Rock Nights en Ibiza que ha pasado de ser el secreto mejor guardado en la vida nocturna de Ibiza a convertirse en un fenómeno en la isla. No sólo atrae a una legión de entusiastas Rocknighters a cada fiesta, pero también ha captado la atención de muchos ojos en la península española y en el extranjero, con Rock Nights haciendo fiestas en Joy Eslava y Charada Club de Madrid y el Cultura Club en Palma de Mallorca así como el Barfly en Londres. El verano pasado Rock Nights hizo fiestas en Martina y Ushuaia en Ibiza, el Sonorama Festival en Burgos y en Formentera. Rock Nights fue nombrado como uno de los 20 mejores fiestas de España por el diario El País en julio de 2010. 


 
Además de cautivar a Ibiza, Colin también ha pinchado en Europa en lugares como Londres (Transmisión en 93 Feet East, ASBO, The T Bar, Drama) Barcelona (Fellini, Catwalk, Risco, Sala Apolo), París (The Mix Club – Prohibición, Studio 284, Redlight y Follies Pigalle) e Italia (Peter Pan en Rimini y Meccano en Florencia). 

El verano de 2010 vio a Colin ir viento en popa con sesiones en tres de los más grandes festivales del año: El Festival de Reading (pinchando en el Dance Stage entre como Metronomy, SALUD, Roots Manuva y Magnetic Man), FIB Benicassim y Sonorama Festival en Burgos. 


 
Invierno 2010 / 2011 Rock Nights se trasladaron a Pacha Ibiza para una residencia de invierno que tuvó un gran éxito con Colin pinchando junto a DJs como Cassette Jam, Oink Oink y Crappy Tuesdays. También hizo apariciones regulares en Nasty Mondays en Barcelona, ​​Aftasi Club en Badajoz y los ya mencionados fiestas de Rock Nights en la península. 


 
El verano de 2011 ha comenzado y promete ser un año legendario. Colin tocará en algunos de las fiestas más importantes de la isla. Él está pinchando en el Ibiza Rocks cada semana y tocará en Lio (antes El Divino) para una fiesta de rock las noches del lunes. Por último pero no menos importante es su residencia en Rock Nights, que será en el club n º 1 en el mundo, Space. Rock Nights será el anfitrión de 6 fiestas en el Sunset Terrace, como parte de We Love Sundays y 10 partidos en la Red Box o en la terraza principal, como parte de Café Olé.

Stars of the Terrace”. They have toured globally playing everywhere from Russia, to Malawi, from Belgium to Latvia.

Other notable appearances include Ibiza Rocks numerous times, Creamfeilds, Chibuku Shake Shake.Snowbombing, the Arches, Turnmills & Nation. 


 
On top of that they have also had live sets broadcast on Galaxy (Live from Creamfields 07) Juice FM (Live from Creams Birthday) XFM (The Remix Show) & Kiss FM, and have even been featured on MTV Dance.


Their sets are grounded in Techno, but can be found to include everything from indie and rock to drum & bass and hip-hop. Most of the tracks they play have been subjected to their own edits & re-rubs and the use of two mixers and six decks enables them to layer track upon track of Mayhem.
 


Following on from their success they have been asked to Nail down Remix’s for the likes of: 
The Whip, 
Ladytron,
The Sunshine Underground,
Does It Offend You, Yeah?
Jon Carter
And there is a load more in the pipeline.


There debut EP its shops in May, they are having support from Jon Carter, Erol Alkan, Alex Gopher, Ladytron, Arveene, and loads of others. Dont Lose Control is the stand out track.


Their remixes, bootlegs & edits have been receiving support from some of the scenes biggest players. Cassette Jam are a breathe of fresh air that the UK music scene, so we are going to let the music do the talking, see Cassette Jam live or listen to a mix and you will have to try hard not to be blown away!!

Nasty Mondays es un punto de encuentro de culturas y movimientos culturales y sociales, todos unidos en nombre del Rock
& Roll y la buena música. Max y Sören seleccionan y mezclan canciones, ritmos y artistas para desprender toda la energía que caracteriza sus sesiones pero también en su apuesta por la buena música Nasty Mondays invita mensualmente a tocar en directo a grupos innovadores y emergentes, tanto de la escena nacional como internacional.
 
Desde 2005 Nasty Mondays ha participado en eventos afines al proyecto y de importante relevancia en la capital catalana como por ejemplo Bread & Butter, Primavera Sound, Barcelona Summer Week o Movistar Barcelona Extreme.
 
La repercusión de Nasty Mondays se ha extendido fuera de los limites de Barcelona y ha llevado su propuesta al resto del
territorio nacional, Madrid, Ibiza (Rock Nights), Bilbao (BBK live), San Sebastián (San Miguel Uniques), Vigo (O’Marisquiño), Málaga (San Miguel Uniques), La Molina (Campeonato del Mundo de Snowboard) o Andorra (Total Fight Masters) son algunas de las ciudades donde Nasty Mondays ha actuado
 
En nuestro empeño de transmitir la filosofía Nasty a los lunes de otras ciudades hemos
conseguido formar parte de eventos en otros países de Europa con los que nos sentimos estrechamente vinculados y en los que nos han acogido con la misma calidez con la que recibimos a sus ciudadanos en Barcelona, Oporto, Copenhaguen, Göteborg, Berlin, Amsterdam, Viena, Munich, o Lisboa son algunas de las ciudades donde Nasty Mondays ha hecho bailar a sus seguidores internacionales.
 
Quizás la apuesta más exigente de Nasty Mondays radica en el salto que hemos dado al otro lado del Océano Atlántico, donde Nasty Mondays se ha trasladado el último lunes de cada mes para hermanarse con
una ciudad con la que tiene muchos aspectos en común, New York.
 
La Gran Manzana, con su extraordinaria diversidad, creatividad, estilo y tendencias se perfila como la ciudad idónea para iniciar el proyecto en la madurez. Desde hace un año la sala, Le Poisson Rouge se ha convertido en el cuartel general de Nasty
Mondays New York en el SoHo neoyorquino. Y como en su ciudad de origen Nasty Mondays divierte a todo su publico al ritmo del Rock & Roll

it gave The Glimmer Twins their well deserved breakthrough in the international DJ scene. ‘Serie Noire’ ended up as number two in that years list of Best Compilations in Jockey Slut magazine (R.I.P.)
 
In 2004 they shortened their name into ‘The Glimmers’ for various reasons and then released their highly acclaimed ‘Remixed, Re-edited and F*cked Up’ mix album on Eskimo Recordings. DJ Kicks (2005) in the famous series for !K7 Records followed, and a year later they mixed ‘Fabric Live 31′ (2006) in the amazing series runned by London’s hot spot Fabric.
 
Their amalgamation of new-beat-funk-dub-house-techno-party-hip-hop-electro-new-wave-edgy-post-punk-disco-rock and a bit of pop was a revelation to those bored of linear mix albums. It became their trademark and according to DJ Magazine ; The Glimmers are the most adventurous DJ duo in the world !
 
Whilst touring and cityhopping remixes have been made for Grace Jones, MGMT, Bloc Party, The Killers, New Order, Roxy Music, Isolee, Phoenix, Munk, Pop Del Arte, Snow Patrol, Soulwax, Calvin Harris, Shirley Bassey, Junkie XL, The Chemical Brothers, Doves, Moby and Phenomenal Hand Clap Band. A lot of those remixes were released successfully and a few of them never saw the daylight officially.
 
Being totally independent, not having any record label anymore thanks to a few sharks, the Glimmers decided to do something different with their new music they had been making. In collaboration with the promoters and club owners where they have been working with during all those years, they made it possible to give their CD ‘The Glimmers Are Gee Gee Fazzi’ (2008 – self released) away for free to everyone who came to a Glimmers gig. This was new in clubland, never seen before, and a huge success! Over 55.000 CD’s have been distributed by the Glimmers themselves in more then 55 cities all over the world, and this without the help of any record company.
 
‘The Glimmers Are Gee Gee Fazzi Part II’ (2008 – self released) which was made exclusively for DJ Magazine as the covermount CD with their April issue of that year, had a second life as The Glimmers decided to press and distribute 10.000 copies themselves for the last leg of their Gee Gee Fazzi world tour.
 
‘The Glimmers Present Disko Drunkards’ (2009 – Hostess Japan – self released) is their first proper concept album recorded with some of Belgium’s finest musicians. A band was created and live drums, a live bass, dirty synths and crazy vocals were all recorded and produced by the Glimmers in their unique style. Again DJ Magazine (UK) was so kind to distribute the album exclusively and for free with their May 2009 issue and then the album got released exclusively in Japan on July the 22nd through Hostess Entertainment and since November 27th the Glimmers made the album available as CD and digital download for the rest of the world.
 
Whomp That Sucker ! (NOVEMBER 2010 – Gomma Records), their latest effort, is pure dance floor madness. As the Glimmers describe it ..”This time there are no musicians involved. We’ve been working with long time collaborator and third Glimmer Ray Mang (recently signed to DFA Records) for this project and nothing is recorded live, all the music here is sampled, ripped, stolen and abused.. No guest appearances, no pop or rock stars on vocals, no hypes. This time we only serve second hand discoid beats, heavy bass, analogue synths, bleeps and FX. Play Loud !”

Heineken, denominada estos miércoles como el ZOMBIE CLUB. La mejor y mayor fiesta que existe en Madrid actualmente, la cual alternan con su otra residencia semanal: PANTERA.
 
THE ZOMBIEKIDS siguen creciendo a pasos agigantados y sus últimas apariciones ante miles de personas en festivales masivos como ROCK IN RIO, SONISPHERE, FIZ… no han dejado a nadie indiferente. De ahí que la prensa nacional de la talla de ROLLING STONE, ESQUIRE, FHM, EL PAÍS, EP3, MONDO SONORO etc, alabe su poder de convocatoria y magnetismo en la pista. Han sido testigo de esta energía clubs de las ciudades más importantes de Europa incluyendo Ámsterdam, Munich, Estocolmo, Lisboa, Viena, etc.
 
En el comienzo del 2011 se publican en sellos internacionales las primeras ediciones de sus temas, con los que consiguen aferrarse al top 20 de Beatport durante varias semanas. También en este año se firma contrato nacional con Subterfuge Records con el que lanzarán su primer sencillo “Face” el 17 de Mayo. Atentos a su nuevo sencillo y video, que siguiendo la pauta de sus anteriores videos, arrasará en Internet y las principales cadenas de música nacionales.
 
Se esperan sus primeras apariciones masivas en los Festivales SOS4.8, Dcode, Vinilove, Aquasella, Electromar, etc además de su esperadísima residencia en Space Ibiza durante todo el verano 2011.

but by then the band had signed to 679 Recordings, appearing on Top Of The Pops, releasing a handful of singles and one album, ‘Making Dens’ and spending almost two years on a tour that took in Europe, the US and Japan, including a stint on the road with Arctic Monkeys on the NME Awards Tour in 2006. The last we heard of them was when they hosted a tribute night to their hero Syd Barrett at Islington’s Union Chapel, but for the last two they’ve been busy preparing their second album for us.
 
Produced predominately by DJ legend Erol Alkan – tipped to be producing the new Franz Ferdinand album – and with one track, ‘Half In Love With Elizabeth’ helmed by veteran British producer Stephen Street, ‘Twenty One’ is a huge stylistic and emotional leap forward for the band. Now no longer residents of the West London scene that they helped to found with their Eel Pie Island parties, The Mystery Jets have spread their wings in style on their second record.

“I love what we did on ‘Making Dens’,” says Blaine
“but it’s almost like we were wearing other people’s clothes on it. It was really just a collection of songs that we’d been playing live – we were young and we didn’t really worry about how it was going to hang together. On this album we’ve learnt what our limitations are and what we can do.”
 
Largely abandoning the prog-influenced weirdness of their debut album, ‘Twenty One’ is a sleek collection of oddball pop born of Erol’s willingness to road- test new tracks at his now-defunct Trash night.
“We’d done a track called ‘On My Feet’” says Blaine “and I had it in my back pocket and I was in the club and Kapil dared me to give it to Erol. So I went up to him and three songs later he played it – he didn’t even listen to it first, even though the songs starts with a 50 second acapella. And I was just standing on the side and watching the dancefloor empty. But Erol loved it. So as we’d record songs we’d bring them in and give them to him and he’d play them in the club.”
 
After demoing songs in Kai Fish’s bedroom (“it was pretty cosy” says the bassist), the band moved in to Erol’s studio flat on London’s Holloway Road (“just up the road from where Joe Meek had his studio” laughs Blaine) before heading to Ray Davies’ Konk studios in Hornsey. “Konk’s a weird place – people say it’s haunted,” jokes William.
The first fruits of the band’s collaboration with Alkan appeared in December 2006, when they gave away copies of a limited-edition vinyl-only seven inch with ‘Umbrellahead ’ and ‘Half In Love With The Radio’ on to MySpace competition winners. The two tracks were originally supposed to be part of an acoustic EP, but the band decided that they marked an important transition between the young proggers of ‘Making Dens’ and what the group were rapidly becoming.
 
“People assume that because Erol ran a club for ten years that we’d produce an album full of synth basses or something” says Blaine. “But it’s not that at all. He was just full of energy and instinctive ability. There were tracks on ‘Making Dens’ that had hundreds of keyboard parts or guitar parts. One of the first things that Erol said to us was to keep things simple.”
 
One of the reasons for keeping things simple was that the band wanted to concentrate on the art of writing pop songs, rather than throwing songs together as studio jams as they had done previously. The inspiration for this came from a source that many people might be surpised by, especially considering the Mystery Jets’ former reputation as saucer-eyed Pink Floyd fans.
 
“Basically one of the few things that we all agree on is Michael Jackson” says Kai, “especially the stuff produced by Quincy Jones. We’re all loving ‘80s power ballads too. Bruce Springsteen’s ‘Dancing In The Dark’. Phil Collins. Phil Collins is the king of the break-up song. You can’t deny that he can write great pop songs – simple, direct with great hooks and loud drums.”
 
“There’s one song on the album, ‘The Girl Two Doors Down’ that’s inspired by Aztec Camera and Phil Collins” furthers Blaine. “Really glossy ‘80s production. It’s got a sax solo that could’ve been on a Wet Wet Wet record and the keyboard sound was inspired by Roxette…”
“…it’s basically 11 o’clock to 1 o’clock on Magic FM” laughs Will. “That was the feeling we were going for.”
 
Another major change in the band was the departure of Henry Harrison from the band. Although Henry is still heavily involved in the writing and recording of their music, live the Mystery Jets are now a quartet. “For our first record, we did the music and Henry did the lyrics,” explains Blaine. “But on this album there’s been a lot more collaboration – different people wrote different songs and lyrics.”
The Henry-less band headed out on a US tour with friends Klaxons at the end of last year. “I think that we have a lot in common with Klaxons” says Will. “We both write pop songs but dress them up in a really weird way.”
 
“We’re obviously much younger than Henry and we decided that we wanted to go out into the world as a young band without his guidance and experience” says Kai.
This theme of youth is both the inspiration for the album’s title and part of its genesis. When the band took off, the Mystery Jets were all teenagers. Now, after almost three years as a signed band they have life experience to draw on.
“21 is a landmark age” explains Will. “Everyone talks about it as being the best year of your life – you’re grown up enough to not be a foolish adolescent but you’re still young enough to go into things with a certain enthusiasm. And there’s a flipside to it: there are songs on this new record about having your heart broken for the first time.”

This new emotional depth dovetails neatly with the band’s raised musical ambition on the steamrollering rhythms of flyer single ‘Young Love’. Featuring their catchiest chorus and a spine-tingling vocal from new London folk singer Laura Marling, its tale of a one- night stand is also remarkable for the richness of Blaine’s voice. Likewise ‘Flakes’ – a free download before Christmas – where the spare arrangement and Blaine’s near doo-wop vocals showcase a band learning exactly what they’re capable of, and being palpably thrilled by the results.
“We thought that this album would be like The Clash – we’d walk in there and just do it all straight off” explains Blaine. “But it was hard work. It was definitely a difficult second album. In the end, though, we learnt a lot about what kind of band we are – we’re not just this Pink Floyd-influenced progressive group with big instrumentals and choral harmonies.”
“They’re songs that we believe in” says Kai. “Not just now but for the rest of our lives.

haciendo parada con actuaciones junto a Iggy Pop y The Misfists entre otros artistas míticos.
Tras varios años de silencio Silvia se ha dedicado a experimentar y dar forma a su proyecto en solitario. Todo este tiempo la ha valido la pena y es que por fin tenemos la suerte de poder devorar su nuevo disco como artista TOTAL.
Sorprendente, directo, fresco y actual , 10 temas repletos de guitarras distorsionadas, sintes, trémolos, loops y baterías reales tratadas, estribillos pegadizos y ritmos vacilones. ¡¡¡¡¡TREMENDAMENTE ADICTIVO!!!!!
Teniendo como lema el revulsivo del punk del 77 “hazlo tu mismo” , Silvia Superstar ha compuesto , producido y tocado parte de los instrumentos de este disco que incluye temas como “I Am”, “ My Number One” o “Queen Bitch”.
El primer single, “Less Love”, desvela todo lo efectivo y directo del Rock de Silvia Superstar. Una artista mas que completa que da igual de importancia a la música que a la imagen. Una imagen, la actual, más que potente, con reminiscencias de las chicas más cañones de Russ Meyer o Tarantino. Y es que Silvia Superstar es una artista por todo lo alto; sus participaciones en las últimas películas de Jess Franco, Antonio Blanco y la más reciente, de Pedro Temboury , además de sus participaciones en programas catódicos, hacen de ella una chica a tener muy en cuenta en todo lo que pueda pasar en el Planeta Pop.

Jamie dropped the phrase ‘nu-rave’ to describe Klaxons’ “bring the party” ethic and, hey presto, the balloon started to go up. By the time
they did their frantically oversubscribed first gig it was already clear the band were onto something special. ‘The Bouncer’ isn’t an electronic dance record at all, of course, but stuttering brutally Spartan rock that has more in common with Big Black or Fugazi. The point was that Klaxons, with their garish dress sense, lack of poseur mystique and desire to turn a concert into a frantic good time, were just what the self-absorbed post-Libertines London guitar scene needed.
 
An old-fashioned rave-style party at a school gym, with the location revealed at the last minute on a mobile number, sealed Klaxons’ reputation. Hundreds were turned away and the dancing went on past dawn with no police interference. What followed was a platinum debut album, an everyman wide reaching single (Golden Skans), a hectic 12 months of constant world touring with career defining performances at festivals and of course the aforementioned Mercury Award 2007.
 
Klaxons, though, were always ready for it. They were never going to waste their opportunity and are eager to let the world hear the full palate of their capabilities on the debut album ‘Myths Of The Near Future’ produced by James Ford of Simian Mobile Disco. All three come from single parent families and have become a tight-knit gang of musical brothers who take all the hype with a pinch of salt, concentrating on making art that will outlast the fuss. They read voraciously and their lyrics, full of references to the writing of Richard Brautigan, Thomas Pynchon, JG Ballard, Alfred Jarry, etc, are a refreshingly far cry from the current trend for bus stop’n’chips social realism. Call them pretentious, if you want, but they’ll merely say, “So what,” and hammer into the next ballistic number.
 
With their stew of cosmic imagery, avant-garde awareness, dizzy melodies and raging energy, Klaxons became a cultural moment of 2007. “Light the bridges with the lantern,” to quote from their song ‘Forgotten Works’, “You know something’s going to happen.”
It certainly did.

su labor a los platos y como dj residente, hasta la actualidad, de Razz Club, la sala principal.
Es, también, residente de Pop & Dance (Madrid) y habitual en salas como Fever (Bilbao), Sa Lluna (Inca), 12 y Medio (Murcia), Karma (Pontevedra), Excuse Me? (Valencia), El Sielu (Manresa), Singular (Pamplona), Boulevard (Zaragoza), Cultura Club (Palma de Mallorca)…, festivales como SOS 4.8, Ebrovisión, F.I.B., Paredes de Coura, Summercase, Cultura Quente, Sonorama, Festival do Norte, Tremendo Pop, Sónar…
 
Ha editado sus sesiones en varios cd’s recopilatorios en donde selecciona y mezcla muchos de los grandes temas de la escena alternativa de cada año, Razzmatazz (’03), Razzmatazz 04, Razzmatazz 05, Razzmatazz 06, Razzmatazz 07, Clubbin’ (‘08), Razzmatazz 09 y Razzmatazz 10. También ha participado en remixes de canciones de Love of Lesbian, Catpeople, Mendetz.

But, then, that is what The Whip do.
 
You (should) know their history by now. No bandwagon jumpers these, The Whip’s origins can be traced back to ill-fated indie-electro pioneers, Nylon Pylon, a band stymied by the usual major label bullshit. When Pylon fell apart, however, Bruce and Danny retreated, undeterred, to a damp, strip-lit and reputedly haunted cellar in a Salford pub to regroup. They spent six months dodging loose plaster and freezing their electrodes off in this self-imposed “boot camp”, laying the foundations for The Whip. “It’s positive, a little seedy,” they say of the name. “It just sounds good.” 
They took inspiration from the things that they love, from Manchester, from clubland. ‘Blackout’ – a highlight of their Jim Abbis-produced debut, ‘X Marks Destination’ – was written in tribute to a Hacienda (and the old DJ trick of cutting all the lights at peak moments) that The Whip are too young to have experienced. ‘Trash’, meanwhile – which, from an initial run of 500 12″ singles, has grown into a nationwide indie-electro anthem – was designed specifically to catch the ear of the DJs and the crowd at influential Manc disco-punk night, Club Suicide. “That’s what we believed in,” nods Bruce. “Going out clubbing we’d just been getting more and more excited by dance music and, naturally, we wanted to be a part of it.”
With Nathan and Fiona recruited to the cause (just after they had split up as a couple no less), and The Whip MySpace getting appreciative hits, the band embarked on a punishing schedule of gigs that hasn’t let up since. A series of limited singles, debut ‘Frustration’ (Kids), ‘Trash’ (LaVolta) and then ‘Muzzle No1′ with Southern Fried, now their permanent home, helped spread the word. 
As did the attentions of Gildas Loaëc, chief tastemaker at the impeccably cool French record and fashion label, Kitsuné . Bowled over by tracks he had stumbled across online, the sometime Daft Punk manager rushed ‘Trash’ on to his Maison 3 compilation and subsequently put out The Whip’s ‘Divebomb’ single. The effect, particularly in Japan where Kitsune are big news, was startling. They’ve visited twice now (and Fee’s ex-pat uncle recently reported back that they had the biggest promo display in Hiroshima’s largest record store). “It’s absolutely nuts,” says Bruce. “Each time we’ve been we must have had six hours sleep, over three or four days.” 
If that sounds manic, it’s a work-load that The Whip relish. They simply love gigging, and even if it started out as a bit of a tongue-in-cheek thing, they try and live by the in-band motto: “Grattitude, not attitude.” They have no time for the concept of band’s as pampered, preening rock gods, who need to be put on a pedestal, or nursed through tours. Egos and hissy fits are not tolerated within the band – “We all pull each other up,” laughs Nathan. “As we say, ‘listen you, a bit less ego in my monitor, please’.” – and they’re at pains to stress how, when they play live, they see themselves not as “stars”, but as the catalyst for a communal tear-up. Danny: “When we do a gig, we’re at the same party. When we’ve finished, we want to get down there and have a dance while the other bands are on. There’s no separation of, ‘us band, you audience’.”
Nathan continues: “There’s something very real about the way we present ourselves, our attitude when talking to people, the music, and how we perform onstage.” Although, he insists they’re not alone. In this endless round of gigging and partying from Fuji Rocks to Transmusicales, The Whip have become firm friends with Hadouken!, Does It Offend You, Yeah?, The Teenagers and a host of other bands operating within what has become a global self-supporting underground network of clubs, labels and bands pushing indie-electro or, if you prefer, new rave
“None of those guys seems to have an attitude,” says Bruce. “They’re not strutting around like roosters.” Nathan nods: “I speak to the Hadouken! guys out of the band situation. Years ago, you wouldn’t have got that.”
That, post-gig, The Whip head straight for the dancefloor – “All our nights out are spent together,” says Fiona. “This weekend we’re in Belgium and Erol Alkan’s DJing.” – is clear in their music. Just as New Order used to take inspiration from the sounds of cutting-edge New York clubland, Italo-Disco or acid house, so too The Whip devour the best new electro, from Simian Mobile Disco to Sebastian, and it shows. 
If ‘X Marks Destination’ is about anything, says Bruce, it’s about, in a increasingly hostile world, craving precisely the escape that good dance music offers: “It’s a celebration of freedom. Forgetting about shit, going out, having a good time. A lot of the lyrics are about struggling towards that freedom.” And it is a struggle. ‘Muzzle No1′ or ‘Trash’, for instance, (the latter originally, “a long piece of bullshit all about spitting at people”), are very much modern, mixed-up dance tracks. They’re cathartic anthems, that induce chaos on dancefloors, but there’s nothing dumb or sappy about them. There’s no upbeat rhetoric. Instead, they brim with a very 21st century sense of frustration and alienation. It’s a Manchester thing, reckons Bruce: “There’s an intensity, an industrial vibe to the city, that definitely rubs off on the music.”
You can hear that intensity throughout ‘X Marks Destination’. Tracks like ‘Divebomb’ (how a lither, funkier Justice might sound); tough, wiry electro-pop killer ‘Fire’; or the huge snaking, six-minute shamanic frenzy ‘Blackout’, are full of the sounds and spiritual echoes of mechanical power, chattering digital data, traffic, tension, long drunken nights, bright lights, the urgent euphoria of sweaty basement club nights.

“‘Fire’ is fresh,” says Bruce. “And next album we’ll probably progress more towards that sound.” He pauses: “But I definitely want to keep that pop element.” And why not? Pop nous can’t be learned. You either have it or you don’t. And as ‘Frustration’, a neat, compact marvel of engineering, or ‘Sister Siam’, a shot of synthetic MDMA straight into your pleasure receptors, show, The Whip, like Hot Chip or Klaxons, have intuitive pop chops, dispensing hooks and melodies with deadly accuracy.
This isn’t hype. It’s plain audible fact. The Whip will took their place at contemporary electro’s top table. X Marks Destination was released round the world to critical acclaim, particularly in the USA, Japan and Continental Europe, the band supported it with two world tours and are noew recording their second album.

true rave/rock crossover act going, a band that blend elements of both seamlessly and retain an unmatched knack at riling up crowds from both camps.
Their show, if you‟ve not had your face melted by it before, is a masterpiece of digital distortion and technical virtuosity, a high-volume, sine wave-bending mind boggle that sees songs sped up, slowed down, mashed into barely discernable pieces and then reconstructed for the climax. The pair pluck endless samples from their hard drive while pushing a series of (often homemade) synths, pedals and keys to their absolute limit in a bid to wring the venues‟ collective serotonin dry.
 
Their 2009 collection of EPs and tracks „The Owl Of Minerva‟, has become a bit of a cult classic, its jackhammer beats, swirling synths and titanic guitars (not to mention the cover of Josh Wink‟s „Higher State Of Consciousness‟ and their take on The Fall „Nothing Can Go Wrong‟) cementing its status as a key milestone in the evolutionary journey of dance. And of course they‟ve been known to do the odd remix. Klaxons, Metronomy, The Maccabees, The Prodigy and A Place To Bury Strangers are just some of the acts that have undergone the South Central surgeon‟s knife.
 
And now the perfectionist pair have finally reached a stage with their debut album proper where they can stop tweaking and push it out for the world. They‟ve put down the Moogs and stepped away from the console and handed over the finished version of „Society Of The Spectacle‟. It wasn‟t easy. “We‟re control freaks,” Rob admits, “we didn‟t want to bang something out. It needed to be the right album. It needed to feel like art”. And so while labels were hammering at their studio door,
the two laboured for longer than your average band to make sure everything was just right. And what do you know, it paid off.
„Society Of The Spectacle‟ is a spectacular piece of work. Soaking up everything that‟s gone on musically in the last half decade, from the 8-Bit resurgence („The One‟) to dubstep („Paris In The 20th Century‟) it‟s everything we‟ve come to expect from the pair. Put it on. You will be pummelled by enormous drums and ghost-in-the-machine synths and you will love it. It‟s frantic and frenetic and unlike any other dance – or rock – record you‟ll hear this year.
 
It‟s the product of hours and hours of honing and meticulous tweaking in their Brighton lair, an EQ HQ bursting at the seams with synths, samplers and random shit they‟ve picked up on their travels. Guitars, bass, live drums, electronic drums, Moogs, Hammonds, a pedal called Rob Everything (“you get the sound you want into that and BOOSH”), compressors, Japanese gadgets – you name it, and South Central have not only used it but twisted it out of shape to fit their own vision. “We have a storage room that‟s loony” Rob laughs, “It stinks of wires. That stuff‟s what we spend all our money on”.
 
Gareth from Pendulum contributed a bassline to one track while Gary Numan and A Place To Bury Strangers‟ Oliver Ackerman both feature (on „Crawl‟ and „The Moth‟ respectively). The former is reminiscent of classic „Are Friends Electric?‟ Numan (albeit filtered through some handmade effects pedal and South Central‟s demented imaginations) while the latter is the kind of droning noisemongery APTBS do so well.
“Shoegaze was a massive influence, on the second half of the album especially” Keith admits. The making of „Society Of The Spectacle‟ saw the pair soak up noises from all over the place, from Noisia‟s berserk drum n‟ bass to “the atmospherics of The Chemical Brothers‟ new record”. And of course, there‟s more than a few obscure cultural references and philosophical themes.
The title itself is lifted from 60‟s Situationist Guy Debord‟s work on the assimilation of mass media into everyday life while the duo will sit for hours debating the relative merits of The Matrix, George Lucas‟ THX 1138, Logan‟s Run and Fahrenheit 451, and the album as a whole conjures images of totalitarian dystopias and uncertain futures.
 
“„Society Of The Spectacle‟ the book is about the unreality of reality, how the media changes your thoughts and so on, and a lot of the tracks relate to that stuff” Rob says. “The first track, „Nu Control‟, is about the media controlling you. In the past they‟d batter you with a bat or a sword, now they have other ways. And we‟re part of the system too – the record keeps repeating and repeating until you think
„fucking hell, it‟s doing my head in‟”. Repetition is indeed a recurring theme; check „Bionic‟‟s relentless refrain (“alcoholic drug addict I am bionic, bionic”). It‟s like repetitive musical torture – in a good way.
 
Anyone that tried to decode the Hegel / Gurdjieff / Crowley references across „The Owl Of Minerva‟ will know what we‟re dealing with here: visceral dance/rock with an unusually cerebral message. The dubstep-inflected „Paris In The 20th Century‟ was inspired by “a shitty Jules Verne book” (props to Skream and all that, but we can‟t see him slipping in a literary reference among the half-speed bass-bothering) while „The Moth‟ is about the life and tragic death of Virginia Woolf.
 
South Central are here to completely redefine the parameters of dance music. To show that one band member posing by a synth does not a crossover act make, and that intense BPMs can propel meaningful ideas. The next step in their journey sees them release „Demons‟ on Vitalic‟s Citizen label backed by „Nietzsche Vs Nurture‟ and a remix from Italy‟s Reset! before the release of the album proper.
In a typically forward-thinking move you can already create your own remix of „Demons‟ via the Fire Player music

Este intrépido surfista ha recorrido las mejores cabinas de Madrid (como ejemplos: Low Club, La Riviera, Pop&Dance, Ocho y Medio, Yes We Dance, Elástico, Heineken, Charada, Rock Kitchen, Over Club, Sal 1 Jueves al Mes, Nasti, Garage Sónico, Astoria, Tupperware, etc… sin mencionar sesiones en Barcelona, Valencia, Mallorca, Galicia o Cantabria entre otras.) y siempre con la misma energía que describre su nombre.
 
Ha compartido todas estas cabinas con artistas de la talla de Busy P, Mehdi, Steve Aoki, The Bloody Beetroots, Erol Alkan, Calvin Harris, Breakbot, Peter Hook (JoyDivision, DjSet), Jeff Automatic, Rex the Dog, Simian Mobile Disco, Vicarius Bliss, Félix daHousecat, Djedjotronic (Boys Noize), Decepticons, The Phantom’s Revenge, JBisMort, Homeboy, Sr.Miyagi, Amable, Kaze, Ed isDead, Void Camp, The Sounds(DjSet), The Whip(DjSet), Kimberly and Clarck, Smart, Kill The Hipsters, Blasco Etxegaray, Scream, The Warriors, Gato, Mendetz(DjSet), y tantos otros grandes artistas.
 
Despues de varios años de residencia en varios clubs y de inaugurar su propio club cada viernes (Animal Circus), Graham Thunder ha comenzado su autoproducción tras ser fichado por el selecto sello de Intromúsica Procucciones, I*M Records. Pasando de este modo a ser residente en sus clubs: Low Club, Pop&Dance, Over Club y Sal 1 Jueves al Mes. Es residente también en Araña Club y Hawaii, fiestas que se han convertido en referentes de la capital en muy poco tiempo.

Libera tu energía y baila, salta o brinca como si no quedasen más fines de semana!
WE WILL… THUNDER! THUNDER!

Pop&Dance/Low y llegó en avión para sus sesiones semestrales en Fever de Bilbao, Excuse Me de Valencia y Atómic Cafe de Munich.
Ha llevado su propia sesión de electro del Transmission desde Londres a Barcelona (Razzmatazz), Benicassim y Regensburg; pinchando en el escenario dance en el Festival de Reading del Reino Unido (con Magnetic man, Holy Fuck y muchos mas), en una plaza de toros en el Low Cost Festival de España (después de Placebo), con tragafuergos y robots en el primer NME Weekender festival y sin sonido para la Silent Disco en festivales como FIB y Edimburgo; continuó su periplo español con Jack Daniels como sponsor acompañando a Lori Meyers; y ha pinchado en las after partys oficiales para los Premios de NME y Premios Red Stripe
También ha expandido su música por clubs en Ibiza, Perugia, Wolverhampton, Amsterdam, Santa Cruz de Tenerife, Alicante, Aranda, Huesca, Hamburgo, Brighton, Castellón y Ghent. Y aunque parezca imposible 2011 parece que va a ser mejor aun.
El Irish Times le ha llamado “el agitador mas viajero del indie/electro ” mientras que Time Out dijo: “Jeff Automatic continua sentándose a horcajadas sobre la división entre el baile y el indie con preocupación sobre sus vaqueros de pitillo negros”!

Sound Festival, Kinky Night Pantera Austria and Madrid, among others. They have also shared stage with well-known dj sets such as 2manydjs, 2handsup, Void Camp or Zombie Kids.
Kostrok started with the objective of innovating and enhancing the local scene Valencia electronic music in clubber code. In one tear since its inception we have managed to transform part of the nightlife scene in a unique setting where good music, photogra- phy, design and everything that involves innovation meet. We try to distinguish ourself from other Spanish cities, showing a new feedback from the public, it is not just an evening session, but a new form of synergy between inquiring minds that are looking for at Kostrok what do not find elsewhere. Interaction, and the unbridled performances have been key to the success of Kostrok that after spending this year we have seen happen more than 15,000 people from different parts of the peninsula.

remix of his track “Kickdrum”, and twisted electronic reworking of the stripped down original which has never failed to seduce then smack a crowd. Next up is a band who need no introduction, as the mighty Prodigy commissioned an A&M flavour for their next single “Thunder”, due for global release next month. This track hits hard, make no mistake.

On a production tip, the guys were involved in the RTE reality
music show “The RAW Sessions” this year, to produce the band “The Infomatics” with their track “Let Me Fly”. Of course, the track sailed through to an epic victory proving the guys are more than just remixers de jour.

As flattering as the remix offers, production offers and reactions are, the guys are currently locked down in the studio honing their own productions, and concentrating on a live set which will rock your socks off. A UK & Ireland tour will follow to close off what has been a headspinning year for Arveene & Misk – keep your eyes peeled for dates near you.

Clara, klark the what? (madrid 1989): con tan solo 14 años ya estaba cantando en grupos de metal en los escenarios de Madrid. Con 17 crea su propio net.label, Mad Zoo junto con los también djs y productores Kaze y J, The Mutant. Con 18 compaginaba su residencia en Sounndsick con su propio programa de radio “Ghetto Blaster” (107.7 fm madrid). Durante todo este tiempo ha ido forjandose como productora. Actualmente Klark The What? Es un nombre consolidado en la escena electronica tras sus exitosas apariciones en Space Of Sound, Klubbers, Stardust, Pussy Galore… Compartiendo cabina con “gigantes” de la talla de: Vitalic, Ritchie Hawtin, Tiga, Ellen Alien, Zombie Nation… Actualmente también trabaja en su proyecto: Void Camp. Ademas es residente en Poney (Charada) y Void Club (Pirandelo).

The Warriors: juntos forman un tandem que no deja ni dejara indiferente a nadie, en cuyo set de electro tienen cabida desde el rock al fidget, desde el metal al dubstep… rap, techno, trash, drum’n bass… son algunas de sus influencias que junto con su puesta en escena y actitud punk, hacen que el publico se rinda a su ritmo frenético desde la primera mezcla. Después de su residencia en pantera, uno de los clubes referencia en Madrid. Comienzan su proyecto mas ambicioso como promotores: Araña. Ademas han sido invitados a otros clubes de renombre en españa: Goa, Fabrik, Low Club, La Riviera, Stardust, Pacha, Ochoymedio, Charada, Nasty (Madrid), Yes We Dance (Gijon), Kostrok, La3, Levulture (Valencia), Boombox, Apolo (Barcelona), Impaktum (Gran canaria), Tito’s (Mallorca), Space (Ibiza). Ya han compartido cabina con artistas de la talla de: Steve Aoki, Crookers, Stereoheroes, Ikki…

song “Party All The Time.” Freeland and the pop superstars recently settled amicably, however, allowing him to shift into a new era – then again, leading the charge into new eras is something Adam Freeland has been acclaimed for throughout his entire career.
Since he released his renowned debut mix CD, Coastal Breaks, in 1996, Adam Freeland has represented change, innovation and irreverence in electronic music. With Coastal Breaks, Freeland was hailed as a key originator of the breakbeat genre – bringing syncopated funk and groove to the expected 4/4 thump of electronic club sounds of the day. Freeland released a second edition of Coastal Breaks in 1998, but soon bristled under being so closely linked to a genre. “The whole reason I was excited about breaks was the fact that it had brought diversity to club music,” Freeland says. “But when it became a style with its own clichés and stereotypes, I had to move on.” As a result, Freeland created the multidimensional sound he is now famous for, one not limited by genre parameters: a Freeland DJ set is most certain to rock the house, but within it one will find state-of-the-art grooves from across the board. “I listen to and make all kinds of music, from the most minimal techno to the noisiest of drone rock to neo-electro fresh off the blogs,” Freeland explains. “I want to take listeners on that same journey right along with me.”
With his signature non-signature style, Adam Freeland has become one of the preeminent producer/artists working in electronic music, as well as one of the top DJs in the world, placing on DJ charts year after year. As a DJ and bandleader, he’s played Coachella four times, as well as everywhere from Ibiza’s superclubs to his own residency at famed London venue Fabric to Souk in Singapore (Freeland was one of the first DJs, in fact, to regularly tour Asia). During his career, Freeland has played nearly every major club and festival in the world, frequently as a headliner as well as touring with the likes of Massive Attack, Justice, M.I.A., and Prodigy, among others. He’s continued to release mix CDs, beginning the millennium era with Tectonics (2000) and On Tour (2001), next putting out Fabric Live 16 in 2005 as part of Fabric’s acclaimed compilation series and contributed his own edition of the famed Back To Mine series in 2005, following the notable likes of Underworld, Liam Howlett, New Order, Tricky, Pet Shop Boys and Royksopp; cementing his superstar DJ status, in 2007 Freeland was chosen to helm his own mix for the groundbreaking Global Underground series – but of course caused controversy by breaking with the title’s progressive house bent as solidified by the likes of Sasha, Digweed and Oakenfold.
As an artist, producer and label head, Freeland continues to set trends. He received a Grammy nomination in 2005 for his remix of Sarah Vaughan’s “Fever,” which cemented his reputation as a remixer: other notable mixes include re-rubs for the likes of Metric, Nick Cave, The Orb, Kelis, Pink, Orbital, Silversun Pickups, Marilyn Manson, Fujiya & Miyagi and more; his bootleg mixes of Nirvana’s “Smells Like Teen Spirit” and the White Stripes’ “Seven Nation Army” were underground smashes, his official mix of the Doors’ “Hello, I Love You” was an international hit, and in 2007 he remixed the Who’s “Baba O’Riley” as the theme song for “CSI: Miami.” To release his own music and similarly adventurous artists, in 1998 Freeland began his own indie label Marine Parade, which has since become known for its tastemaking release schedule. Marine Parade has released crucial tracks from the likes of Alex Metric, Evil Nine, BT, Josh Wink and Tom Middleton; in 2004 the label released “Floating” by Jape, which went on to be a radio hit and was covered by artists spanning The Raconteurs to Soulwax. Marine Parade was created primarily, however, to release Freeland’s own music. His 2003 debut artist album, Now and Them, spawned the international smash “We Want Your Soul,” which made the Top 40 singles charts in numerous countries spanning the U.K. to Australia and beyond. As well, Freeland has proven to be a leader in licensing music for film, television and videogame use. His songs have appeared in the trailers of Spider Man 2, the Matrix animation spinoff Animatrix, and games such as Grand Theft Auto, The Sims, Juiced, and Rez.
As the first stage of the 2000s wound down, Freeland found himself back in the midst of change. Not only did he relocate from his adopted Los Angeles to his U.K. home of Brighton, England, he also found himself returning to his club roots. This move was signified by the current release of Cope™ Remixed, featuring a dream team of today’s electronic music all-stars: dubstep heroes Joker and Emalkay, glitch god Nosaj Thing, techno iconoclasts Gui Boratto and Justus Köhncke, filter freak Grum, cosmic-disco don Prins Thomas, electro heretic Siriusmo, and Marine Parade stars Alex Metric, Pantyraid and Evil Nine all boldly retrofit the album tracks in their own image. Accordingly, 2010 will find Freeland putting out a series of releases that find him revisiting his electronic core with furious futurism, complemented with a series of globetrotting DJ dates that find him back behind the decks with a vengeance. “For a spell, it seemed like rock had eclipsed dance music’s edge, and I sort of drank the Kool Aid,” Freeland says. “Now electronic music is clearly the new rock and roll again, and I couldn’t be happier.”

local, y ha pasado por la mayoría de grandes festivales y salas de nuestra geografía. Actualmente produce también proyectos personales, remixes, edits y producciones de un amplio espectro de bandas.

programa en directo desde lugares como el mercadillo hippie de Ibiza, chiringuitos en playas y sobre otros escenarios de la isla y ha colaborado recientemente con el Ajuntamiento de Ibiza para acercar la música en vivo a los más jóvenes. 

Daniel Peñacoba colabora con el Ibiza International Film Festival como supervisor musical, coordinando la sección de videoclips y documentales musicales, produciendo eventos y trabajando como DJ pichando sus temas favoritos. Daniel Peñacoba conduce diariamente cada mañana el programa de radio La Captura Del Sonido/Capture Of Sound, emitido en directo desde el 95.2 FM de Ibiza Sonica y a través de la web de la emisora.

moving forward and after having worked with ‘SOS’ studio’s regular producer Mike Knowler in various venues, they teamed-up to be residents in ‘The State’ in Liverpool. Whilst the trendy Londoner’s were coining the term ‘Balearic’,
Andy and Mike were simply doing what they did best ‘playing GOOD sounds’ . They were integrating all the popular city anthems of the day with François K mixes of The Smiths and obscure New Order dubs in a similar way to how E.S.G. were working in New York city at this time (unknown to them at that point). In the summer of ’86, Mike went to NYC and brought back some amazing new electronic music….
 
House music from Chicago, Garage from New York and the Technological sound of Detroit. Andy was blown away and had to search out more of this sound from the import shops of the day.Now the ‘State’ mix was stepping up a gear or two. In the summer of ’88 Andy went to New York and sampled the club world of ‘The Big Apple’. It was a hot bed of sounds and creativity where now legendary club nights were over-flowing with the ‘house’ soundtrack. When he returned,Liverpool was ripe for a whole night of Acid house. James Barton had been travelling around Europe and visiting the London Underground club scene. He’d been enjoying what Mike and Andy were doing at ‘The State’ and asked them if they would DJ for a new idea he had for a Monday night to be called ‘Daisy’. From the success of the first night it roller coasterd swiftly onward to completely engulf The State soundtrack. Acid House had taken over the building!. The rest is fairly well documented history. When The State was eventually shut down by Police (as they did with every house music club possible),Andy joined up with John Kelly and James Barton at their new club ‘The Underground’. Here he played mostly on Thursdays and booked legendary acts such as ‘Adamski’ who was with the singer ‘Seal’.
Others included keyboard nutter ‘Guru Josh’, ‘Orbital’ and ‘Mr Monday’. Andy and James started to promote gigs at The Royal Court Theatre with Big Audio Dynamite and Adamski, being some of the highlights of those concerts.
 
As James and Andy continued to work together, Mike Knowler invited Andy to DJ at ‘Quadrant Park’ and a new wave of house music began to sweep across the soundtrack of Liverpool’s club-scene, a new legend was at it’s beginning. As the club owner found a loop-hole in the licensing laws, the all-nighter came to follow from the club night. James and John were invited to join the line-up of Dj’s for the late show and pandemonium exploded!. Coach loads of ravers travelled from London, Glasgow, Birmingham…. all over the country and started to descend on this Ital house Mecca. James and Andy continued their promotion activities and brought over the little known French dance maestro Laurent Garnier to join as a guest, as well as DJ
Frankie Bones and home-grown Quad anthemic acts such N-Joi, Katherine ‘E’ and numerous other groups such as club regulars ‘K-Klass’. Between leaving clubs, Andy was resident at Manchester’s ‘Konspiracy’ with Justin Robertson and played at various Blackburn raves. Andy was noticed by the Underground Dj’s and promoters ‘The Jam Mc’s',Chris and Tomlin when he was the first Dj they heard play Frankie Knuckles ‘Your Love’ at the ‘Live the Dream’ party. Andy also played at numerous ‘news headline’ Orbital parties and avoided arrest for crimes of playing acid-house on many occasions by as mixture of pure fluke and an ability to run across a field swiftly. Over the next few years Andy and James embarked upon a mission which after the demise of ‘The Quad’ saw them set up the purpose built ’051 Club’ where one of the many innovations was to introduce for the first time to Liverpool, numerous Dj’s such as NYC legend Tony Humphries, Manchester’s DJ Sasha, Leeds own Back to Basics legend Alistair Cook, London’s Paul Oakenfold, the return of Laurent Garnier and a lesser known Nottingham DJ ‘Allistair Whitehead’ .After be-friending Darren Hughes at the Quad,James and Andy used to go clubbing to various places including ‘Most Excellent’ in Manchester ,’The Hacienda’ ect and began discussing ideas of a place were they would have more control,were they could design the flyers and book all Dj’s and acts. This place became one of the first super clubs and is called ‘Cream’. Whilst working closely with Darren and James in the early days, Andy left the club before it was to expand to 2 dance floor rooms.He was getting offers to play all-over the UK and various parts of the world at a time when Super clubs didn’t exist and most clubs lasted only a few years.The love of DJ-ing was far stronger than any desire to promote clubs and Andy left the partnership amicably to remain resident DJ for the next years,while James and Darren began empire building.
 
Andy’s international profile includes having played at some of the best clubs in the world from New York to Bueno Aires,Toronto,Berlin,Vienna,Munich and Paris.He has also toured throughout Australia and DJ’ed as support act to ‘JAMIROQUAI’ in the UK and Japan. During the summer months for 10 years Andy has been working at ‘Amnesia’,Ibiza playing for ‘Cream’ and 8yrs playing for ‘MANUMISSION’ with guest spots all over the island playing
regularly at ‘SPACE’,various after-hours parties and one of the Island’s best kept secrets The Underground. During the Summer of 2005 Manumission promoted an off-shoot ‘Ibiza Rocks’.Andy was resident playing alongside Zane Lowe, Eddy Temple-Morris,Snow Patrol Dj’s and many others.He opened up for various bands including The Kaiser Chiefs,Hard-Fi and Maximo Park,playing a selection of Indie,Rock and contemporary electronic sounds.For the last few summers Andy has been resident at what has become an Ibiza institution , We Love @ Space on Sundays .
 
The other side of Andy is rooted firmly in the music business and reads as
follows:
 
Worked as road crew for The Dead Kennedys for 3 years on the UK tours and with numerous other bands, too many to mention.In later years co-discovered and co-managed ‘K-Klass’,co-founded Diesel Productions/management and co-wrote and produced most of the now classic house tracks for record label ‘OLYMPIC RECORDINGS’ which he was also a partner and co-founder.He has also been engaged in much A&R work having signed numerous dance club and chart hits.With the popularity of live music coming full circle, Andy has once again stepped up to the plate and can often be found indulging in 6 hr eclectro,Indie and classic rock sounds in numerous venues around the UK.Playing an alternate eclectic mix and on a contemporary house tip, this Summer Andy is resident every Sunday at We Love at Space , Ibiza and Ibiza Rocks with more residencies to confirm .