Victor Santana Biography

Víctor Santana is one of the Spanish reference artists of today’s underground electronic culture. Dj, producer and a romantic of the analog equipment in the middle of the digital era, part of his success is the meticulous and artisan work with his label Chaval Records.

His versatility on stage turns his live shows into pure energy shows where his mastery of machines and his ability to connect with the dance floor always prevail.

As a DJ, that musical versatility has led him to host artists as diverse as Sven Väth, Laurent Garnier, Richie Hawtin, Underground Resistance, Oscar Mulero, Simian Mobile Disco, Carl Craig, Derrick May, Robert Hood, Ben Klock, Marcel Dettmann or Amelie Lens. In his LIVE (original format), with or without his Band of Live Musicians, he offers a 100% analog live, with clear influences from the Techno movement, and House from Detroit and Chicago.

Víctor has passed through the stages of the main clubs on the peninsula, parties in Ibiza such as Cocoon in Formentera or Privilege Ibiza; festivals like Mad Cool or A Summer Story; plus several world wide tours.
At the record level, he has published on labels such as EPM Music, Motech Records and Involve Records; He has made remixes for artists such as Orlando Voorn, Dj Skull or Hiroshi Watanabe; and it has been remixed by, among others, Ken Ishii, Eddie Fowlkes or Mark Flash (UR).

The authenticity of his “music made with soul” has led him to be multi-awarded at the electronic music awards in Spain.

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DJ Stingray 313 Biography

Sherard Ingram is a menacing node in the vast tangle of electronic music’s history, present, and future. As DJ Stingray he propagates a seer-like, totalising concept of what it is to be engaged in thinking ahead by making people move. 

Permit yourself to zoom out of your singular reality enough such that all activity, all that is knowingly accumulated and all that is unnervingly accepted on this earth, is a spectrum of information. This includes the thermodynamics of our own biological structure. Now consider that music is a segment of this spectrum, and DJ Stingray’s nexus of electro and techno a further specialised section forged in bypassing normalised circuits to confront the future, to articulate abstract dynamics. It’s a slice of information, it is a bandwidth. Ingram’s crucial and distinctive function in this system is to decode his particular nexus as a speculative software for others, and to encode its conspicuous qualities as a feedback system with the rest of the spectrum. If it sounds intense, it’s because it is, and it’s still just about sweating it out at a club. 

A Detroit native, Ingram is an established figure in electro and techno from its earliest days. His Urban Tribe project is testament to this. First appearing on the genre-defining 1991 compilation ‘Equinox,’ Urban Tribe has come to call Anthony Shakir, Carl Craig, and Kenny Dixon Jr. members of the group. Though perhaps what has thus far come to be Ingram’s most finely calibrated and entirely natural manoeuvre was under the wing of Drexciya’s James Stinson. Performing with Drexciya’s live unit, Ingram took the ‘Drexciyan DJ Stingray’ identity and conjured a torrential storm from the DJ booth. His aqua-genetic code persists in the form of NRSB-11, his ongoing collaboration with the other half of Drexciya, Gerald Donald. 

The caustic, neuro-shock brand of apex electro that Ingram exhilaratingly pushes in every corner of the world isn’t contained by this past. There’s a motivating edge that’s founded in his formative years, but it’s one that only keeps the next page blank, with little clue of which way the swing will drill across the spectrum, gathering pace sufficient to redistribute definitions and test the limits of those being made to move. 

With his recent releases coming from an enviable smattering of crucial labels both genrecentric and experimental, Ingram is overhauling the very premise of the Detroit legacy he had a hand in writing, and on which others comfortably sit. With an oeuvre that touches base from Planet E to Presto!?, and from Mahogani Music to Reflex, Ingram’s justified attempts at exiting the gravitational pull of genre tropes anticipate a dynamic edge of what we know is an ever-shifting centre. 

By Patrick Quick

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