What happens when a bass head interviews Armin van Buuren about trance? Actually, something pretty magical.
As a bass head, I’m used to interviewing bass artists and producers in similar veins of music, and as such, the topics can sometimes become quite repetitive; realistically, the bass music world is pretty small. But when you put me in a room with someone like Armin van Buuren, who’s been in the music industry for 20 years, founder of Armada and A State Of Trance, one of the biggest DJs in the world, I’m going to have a lot to ask.
My interview with Armin came two days after I saw his Armin Only set at the Forum in Inglewood, certainly one of the largest productions I’ve ever seen for a solo DJ performance. Beyond the five-hour set time, the entire night was marked by incredible theater production and acrobatic performances from dancers on stage, as well as appearances from a variety of guest vocalists, many of whom were featured on Armin’s latest album, Embrace.
Though I arrived nearly two hours after the show had started, it was still well in full swing, with the massive swell of chords behind “Adagio For Strings” playing as we were finding our seats. Live trumpeter Eric Vloeimans was on stage holding a note, while a ballerina danced behind him, telling an intense love tale… and from there, the night continued to inspire.
I met up with Armin at the office of his theater and production designer in Venice on Monday, and we spoke about many things, as candidly as possible. With him, I didn’t want our interview to be some regurgitated questions from a notepad on my phone; it ended up being a 30 minute conversation in which I learned a lot.
Check it out below.
Alright so I’m here with Armin Van Buuren. I want to start off by saying that I’m not the biggest fan of trance, my tastes lie mainly in bass music; but when I was invited out by Armada to come see you at the Forum, y’know I felt that it was something that I had to experience for myself. The only time I had ever seen you was at a festival, I think it was at Nocturnal, but you know seeing you at an Armin Only show, seeing you play your music to the crowd by yourself was just something I couldn’t pass up. However there are a lot of people out there like me who just like bass music and y’know would never even consider going to see you. *laughing* Just to be realistic.
Armin: *laughing* Yeah no of course. I’m all for freedom of speech and freedom of opinion.
But there is a certain, I wanna say… You certainly have a way of connecting with your fans that I have seen few people do. So I mean if someone said something like “I like bass music, why would I go see an Armin Van Buuren set?” what would you tell them?
Armin: Well it depends on what kind of show you want to see from me. I mean if you come to A State of Trance (ASOT), obviously it’s pure about trance, it’s more about the melody, more about the classical Armin sound I guess. Armin Only for me is I’d say like Christmas Dinner with Armin Van Buuren. Who doesn’t want to have a Christmas Dinner?
If you look at my history, I’ve never been just about trance. Even though a lot of people call me just a trance DJ, and if you want to put a label on my forehead, please put trance on there. But I’ve never looked at just one genre or style, I like to mix it up, I like to be creative with the term. Some trance fans hate me for it, but I like to be a little more eclectic. Not so much for my fans per-say but also to keep it exciting for myself. I’m a big dance music lover, I love a lot of bass stuff. I’m a massive drum n bass fan, I love techno, you know? I think at the end of the day we’ll all die techno DJs. *laughing* I mean, my studio partner Benno [de Goeij] always says we start with trance and we end up making white noise because we’re old. *laughing* It’s probably very true. You know, what I try to do with Armin Only is try to go to the next level you know? With the production, the show, I think that there is a lot of undiscovered territory between the world of theater and the world of dance music.
Yeah, I mean you had a lot of people doing ballet and choreographed dances at your show on Saturday so that was pretty exciting to see!
Armin: Yeah well it’s, you know, I think there is a next level in dance music to be taken. Obviously it’s about the music, and the music is the most important thing, but I think you can enhance. We can learn a lot from the world of theater and live performance. I don’t want to say that all of a sudden dance music has to be played live by live instruments, but you can really enhance a performance by having good choreographed singers, dancers, visuals, lasers and everything else coming together. So to me it’s a great creative set up. Financially, it was the worst decision ever, too. *laughing* But creatively it’s inspiring to work with people that don’t come from dance music at all. For example, the trumpet player, Eric Vloeimans, if you Google him you’ll see that he’s one of the world’s most renowned trumpet players.
He was the one who did Adagio For Strings, the trumpet in that right?
Armin: Yeah! He’s extremely talented. He comes from a world of a lot of jazz musicians, he plays with classical acts. He never does anything with dance music, at all. If you google him you’ll see that he has a massive name to hold up. He played with a lot of great jazz musicians. It shows you also that I’m a massive fan of jazz music and I want to try and incorporate the sound of the trumpet into my sound. Which is sort of, uncharted territory. It’s kind of exciting to go out of your way a little bit. Not to say “Oh look how cool I am, I’m trying new things.” It’s more for keeping it exciting for myself, because it is very… You know, no matter what musical genre you’re in, it’s very tempting to just stay within your own safe path and a lot of these DJs do that.
That’s not criticizing them, that’s fine. If that’s your way, that’s great, but for me I can’t do the same thing over and over again. So for me, trance has never been this [puts hands close together] or this [spreads hands far apart], it has always been very varied. There’s very different tastes in trance music, just like there is a lot of different tastes in bass music you know? You might like the one artist in bass music, you might not like the other types of bass music, so yeah it’s just trying to give people a little more. It’s definitely very different from a normal DJ set, like I played at Create at the after party, that’s just me with a bunch of music and two decks. Great, love that, and I will always keep doing that, I love the old school way of DJing, but with Armin Only I’m trying to move forward.
Technologically, you know we designed this whole time code system, which is the back end of this. It’s still freestyle DJ sets, so the show you saw, of course, the individual tracks were choreographed and they were planned, but when I play those tracks it’s still random. So the set I played in Oakland was different than the set I played at the Forum. I’m not playing exactly the same set. So that makes it exciting for me, it makes it exciting for the crew, like if someone gives me a stick with a track five minutes before the show I want to be able to play it. I think that’s the essence of DJing. So it’s exciting to try and find a mix between pre-programmed stuff, like obviously the intro is pre-programmed, but still there’s live elements to it, there’s the classical ballet, there’s the trumpet and there’s the live snare roll. I find it exciting to try and see where the the two worlds can meet.
And there are a lot of things that you do live other than just DJing. You use the Myo armbands right?
Armin: Yeah not for this show but I use them a lot.
Oh I could’ve sworn that you had them on. I must’ve been mistaken on that.
Armin: Well I actually toured for two and a half years with the Myo bracelets, it was a great experience because you can control the lights with that, and it’s fun to point at people out in the crowd. Now I use the drum computer, the Pioneer, to add drums to my set which is exciting, and we have the time code system.
And to go back to what you said about challenging yourself, between Armin Only and your newest album Embrace, what’s one of the things that you’ve done recently where you felt the most artistically challenged?
Armin: Uhm I really like the collaboration between me and Vini Vici, I never thought that the psytrance world was so specific and it’s almost like a religious way of producing like… I only heard about that in the world of hardstyle, I mean those guys that are real hardstyle producers, they can probably talk to you about kick production for about four days non-stop. It’s all about the kick, hardstyle is about the kick. It’s not even the low end, it’s about the mids and the way it has to be distorted and the way it has to be just right and in the psytrance world it’s even more…
So one of the most exciting things is that even though I’m forty years old now and in the industry for twenty years I’m still learning every day. You know working with Eric Vloeimans, jazz trumpet player, or working with Kensington, a rock band, they come from a completely different world. You know I was in the studio in Miami with Kensington, you know, mixing “Heading Up High” and we went from mixing dance stems to drums, and how to crossfade that. It took a year to mix that track, just to get all the parts so that everybody was satisfied; so the band, the management, my management, you know the producer that I work with. It’s incredibly satisfying to sort of constantly also as a producer reinvent yourself and I think that is the most fun that I have had in my career since last year. You know being in LA, working with a lot of different artists and working with a lot of different people is just inspiring, I find it very very inspiring.
One of the monologues during your show was about A State of Trance. You recently did, what was it the 800th episode? How does it feel to hit that massive milestone? It’s probably the longest running dance music podcast or mix in existence?
Armin: No there have been DJs that have had similar high numbers. I wanna stress that I’ve never done it as a competition.
Oh yeah, no, of course.
Armin: It’s more like every week I find inspiration from these new tracks that I find online and you know it used to be vinyl. When I started the show it was all vinyl. Now it’s online and Soundcloud and all that. I told myself I’m not doing A State of Trance just for the sake of high numbers. Every week there’s a track that inspires me. And now, actually finally enough, I went back with the radio show to do its original formula. I missed doing that.
A State of Trance radio was actually fired from the radio station it was on at Episode 186 because they moved into a different direction with the radio station, and that’s when I started doing Ableton mixes which is back in 2003 when Ableton was still in 2.0 or 3.0. So I was one of the first to do that and I really loved it. I thought it was great because I was able to do the radio show in different languages, but I missed the connection with the music because basically what I was doing was: I was skipping through the tracks and I was only listening to the beginning and end of every track to mix them. I missed listening to the entire track, mixing them live, sort of have that live radio feel and now everybody does podcasts in Ableton. Which is fine, nothing wrong with that again, not criticizing but I don’t think that’s making radio, at least in my mind.
You know making radio is actually doing everything in one take to me, you know live mixing and those sorts of things. So I built my own radio studio, and I opened it last week in Amsterdam, custom built radio studio for A State of Trance which also includes visuals. So from this week on, every week, you’ll be able to watch ASOT on Facebook, Youtube and a bunch of other channels for free. I think that’s the next level in radio, in visual radio and also I want to go more in detail with the specific tracks I’m playing. So whether it’s an album special or just a new release with a big artist, I’ll try to get that artist in the studio or have them Skype in and tell us something about the track so you know it’s next level for a radio show.
Absolutely, yeah that’s really cool. Going back to the Armin Only show, you had so many guest vocalists and you had also Kensington, the trumpet player and everyone, so how difficult was it to coordinate that with everyone?
Armin: Very difficult. It’s an unbelievably big undertaking. First of all, we rehearsed for three weeks in Holland in a very very big hall, because we built the entire stage just for rehearsing. So every individual track was rehearsed and that’s what I learned from [my theater director] Jos Thie. He actually lives here, it’s very rare that you see him but he’s a very famous TV director and knows nothing about dance music. He comes from the world of theater production. He did massive theater productions. And to get him involved, and again he’s not a dance music fanatic, he doesn’t know anything about dance music, but to have him look at my world and have him be like “Okay so you want a singer right? You want a singer to perform?” and I said “Yeah.”
And we’ve all seen those DJ sets where there’s a vocalist that just awkwardly walks in, there’s a mic that’s plugged into the DJM-900 and then the singer starts singing, it’s like uhhhhh… You know you don’t really want that. I think what you should do with a live vocalist and this is what Jos told me, if you want to do a live performance or anything it almost needs to be better than the vocal coming from the record. I mean why would you do it live otherwise? It has to enhance your experience listening to the song, right? Otherwise you can just play the original track because it sounds better. It’s already recorded so why the hell would you do it live? But I really learned that people do appreciate vocalists singing the song live and trying to interact with the crowd and it’s so much fun to do with that.
Yeah especially when there’s, I wanna say, a disconnect between a DJ that’s just behind these decks and the crowd in front of them. You know there’s the lights and the sound, but then you suddenly you put this other player in there, a live vocalist who can come out on stage, and the stage that you had especially that went out into the crowd, and have that kind of interaction with the crowd, there’s another level of intimacy that they wouldn’t quite feel otherwise.
Armin: Well that was a big part of it. We really thought long and hard about how we were going to do the stage design because I was in the Forum with the Intense show and we had a completely different stage, but the idea behind the stage obviously is that the crowd embraces me. Because that’s the catwalk so.
Oh okay got it. I feel like that was really apparent with the vinyl only set at the end when you did that upfront where everybody was really able to surround you and be close.
Armin: You know, this is also about learning from Jos. Shows like these are more about the individual moments rather than the entire set. So if I’m in a club or at a festival, I’ll play a set, a coherent set, so a set that tells a story. I’ll build up BPM wise, key wise, I’ll try to have some surprises obviously but there’s some form of flow to your set which is what I try to do as a DJ. But with the Armin Only show I still try to keep that flow but it’s more like, if you play a crowd that big and you play for that long, it’s really hard to keep the attention from the crowd. Their attention span becomes really short.
Well actually to be honest, I’ve never really been to a trance show and bass music shows rarely go longer than an hour and I was there for a good three hours from like 9 o’clock to the end of your vinyl set and I rarely felt bored. Like there was always something keeping my attention whether it was the music itself or the transitions or the production or a live vocalist or you know dancers walking up a ladder on stage. There was always something to look at and keep my attention, which is so rare because it’s usually a guy on decks in front of me. But with you, like you said, it was this whole theater production and it was incredible to see come together.
Armin: Thank you and well I guess mission accomplished! It was always my dream of discovering this sort of uncharted territory like I said and I think… I’m not saying this show is perfect but I think that this is a way that dance music could be headed. Trying to keep it more exciting for the crowd than just playing the tracks. You know, really enhancing those particular moments for example with the intro or with Adagio, I mean that was a drone that goes on for 2 minutes and 10 seconds and there’s a drone just laying there in D sharp that just goes and then there’s a trumpet player going over that and I talked long and hard with Jos and with Sander about that and I was like “Am I really gonna do this? Am I really gonna have a trumpet player in a dance music show for 2 minutes and 10 seconds and a ballet?”
But everyone gets the story, that’s the funny thing.
We kinda wrote it on the spot when we were rehearsing because that wasn’t a thing. I just wrote a drone and I put a break in the track and I put the drone there and then Eric started playing this beautiful trumpet and when he did that the first time we were all like “Wow this is a magical moment,” and then we had this little story that we he starts playing Adagio he turns his back to the dancer and the dancer sees that he doesn’t want her anymore and it’s kind of this love story and everybody gets it! People were like “That was really moving,” and it’s a very simply story but because it’s so small and so little the effect when the beat drops back it’s like BOOM! You know? It’s because it’s so simple you know? So going from really small moments and really trying to find that emotion, I guess that’s what we really all want from music right? And a normal DJ set doesn’t really give me the opportunity you know? Like if you’re playing at Ultra or EDC or any big festival it’s not really possible to just have a trumpet player playing on a drone for 2 minutes. *laughing*
No, of course, because you have a certain set time and you have to fill that set time and you have to keep it moving along.
Armin: Yeah! So this show gives me more creative freedom in that sense.
Completely! Yeah, it was really special for me because I know “Adagio for Strings” is obviously one of those songs that even someone who doesn’t listen to trance will know; and I walk into the Forum, and we’re looking for our seat and we’re about to walk back out into the outer ring of the Forum and we hear the sound for Adagio for String come on and my friend that I’m with goes “No no no, we’re going back in.” *laughing* “Forget our seats, we’re watching right now.” *laughing*
Armin: And what was happening I mean it’s really strange, I mean the track is called Adagio for Strings and we did it with a trumpet, it’s not called Adagio for Trumpet. *laughing*
That was awesome! *laughing* Like “Oh yeah that’s not a string instrument.”
Armin: When I started writing for this show, obviously it’s based on my last artist album Embrace and yeah, you think about “How am I going to do a 4-5 hour show around this album? How am I going to keep that interesting?” So I just started to write a lot of music, new music for this show and try to come up with different ideas. Half of the ideas didn’t even make the show. It’s a big… Actually I don’t even have an idea what the hell I’m doing with this show. *laughing* But it’s just, I’m just trying to do what I do in the studio. When I’m in the studio I’m just trying to make something that I want to listen to. Because you know what, when I’m making music there’s no people there. It’s just maybe some guys I’m working with but there’s no crowd there. So you never know if what you think or hope would work actually works in reality. That’s also the reason why and why I’m coming back to radio, why I’m so happy I have my radio show because actually I think it gives me an advantage over the rest. If you do a radio show, you get to test your music, not only for your own ears but also thanks to social media people actually talk back. I find that magical.
And I assume you’re going to do this on YouTube as well so you’re going to have a live chat going and people can just chime in real time.
Armin: So I get to use… I get to use your ears! Like if you were a trance fan you’d listen to the show, I get to use your ears. And no matter what you mean like we all have a right to say this song is shit or this song is great, but you know it happened a million times that I got a song song and I was so excited about it and I’d go on air and say this is the new song by such and such, it’s so great, it’s my tune of the week and then the week after it doesn’t even get 2% of all the votes, and the other way around as well. Sometimes I get a track, I listen to it and it’s by some big artist that’s hot right then and I’ll listen and be like I’m not really digging this and I play it and the listeners go “Oh my god this is so great!” So when you read those comments you kind of start to understand that track better. I’m not perfect, sometimes I really have to see those comments online and sort of interact with my fans.
So you have tracks like that that obviously surprise you?
Armin: Yeah. Every week still, to this day. Every week there’s a track that I go… I mean, it’s the most boring answer you can give to an answer but I say always the tracks on my radio show. Other DJs inspire me man, I mean now especially, now that I’m forty, I get so inspired by twenty one and twenty two year olds. Last year in Miami every single DJ was inspiring me. I went to Martin Garrix, I went to Oliver Heldens, I went Armand Van Helden, and all these DJs have such different approaches and I find it so exciting and so refreshing. I think that at the moment you have no reason to be negative about dance music, even though some of it is commercial. I think even though we have this bit of dance music on the radio and it’s commercial, there also is this massive underground that is flourishing and it’s so great. I mean twenty years ago it was completely unthinkable to have a festival with multiple genres and now it’s like you can listen to bass or drum n bass or whatever you want. It’s a festival for you and I think that it’s phenomenal! I mean there’s not a lot of dance music that’s out there that I don’t like.
Yeah, especially now that Insomniac has Dreamstate and there’s Defqon 1, in Europe there’s Let It Roll for drum n bass and dubstep, so yeah it’s very tailored and you don’t really have an excuse to be like oh yeah I don’t like those shows. Find a show that you do like!
Armin: Exactly! That’s my point, especially within the trance scene right now there seems to be a group of people that are very negative and they claim they can say what is trance and what is not and it’s basically if it’s not what they like then it’s not trance. I’m like excuse me, are you the one that decides that? Also, trance is so broad, it used to be this and now you have the Arty stuff, the Above and Beyond stuff, which is fantastic. Then you have the Dash Berlin sort of EDM-pop kind of thing which is also phenomenal I think. Then you have Simon Patterson and Bryan Kearney, the more like tech-y psytrance kind of stuff, then you have the uplifting stuff that they call Orchestrance with the massive breakdowns and all the emo stuff, which is also fantastic. I want ASOT to be the home for all these sub-genres. I’m not trying to exclude somebody or say this is not trance and this is not trance. If you think that I’m not trance, fine, then I’m not for you. Great, you’re the customer so you’re always right. But for me, everything I play is trance or dance music or whatever so I don’t really want to… I never look at Beatport at just in the trance genre, I also look at techno. Sometimes there’s an amazing… Remember that rack Oxia Domino or something which is also on Compact? Which is another techno label. It’s almost a classic trance record when it was labelled techno. That’s what I mean though, music gets exciting if you cross that border and try to get out of your safety zone and open up a little bit.
Yeah, it’s funny you actually mention Beatport and trance because just today, Gareth Emery’s new track “Saving Light” hit number one on Beatport overall. Like, I think it’s the first time a trance track has been in the Beatport overall top ten in like 2 years. So that was a pretty phenomenal moment, and that track in particular was pretty special because all the proceeds were going against cyberbullying!
Armin: Oh wow that’s very cool! Yeah Gareth has always been very much on the forefront. I know Roxanne and Gareth well, and I’ve always been a massive supporter of Gareth, he’s done a lot of good for the scene. To be honest, I think of “Saving Light,” I even played it at the Forum, I didn’t expect it to be number one but I think it’s great for trance. But you know I find sometimes, Beatport is not necessarily representative for what’s happening on the dance floor. Maybe I’m silly, but sometimes I feel there’s no charts out there that are representing the dance floor adequately. I look at the Beatport top 100 and if I play any of the top 30 tracks my crowd would leave. Not to say it’s good or bad music but you know, I feel that the top 20 or 30 is not one hundred percent representative. It does mean something of course.
Well I think it’s like any kind of ranking or charts, you have to get multiple sources. It’s like political polls too. You have Beatport chart, you have the most played tracks on 1001Tracklists.
Armin: Yeah, 1001tracklists is important, I find that more representative of what’s going on on the dance floor than I do with Beatport. But then again, having said that I love Beatport for its interface, for the fact that I can get WAV files there. I hope it will never die, because Beatport is amazing and it saved my life so many times. *laughing* You know, really I think it’s an amazing website and I think what those guys are doing is phenomenal. I just wish that we had a chart that was more representative of what’s actually happening on dance floors.
Yeah I mean it’s so hard to please everyone. I mean you sit there and see DJ Mag and every single year…
Armin: Yeah but I mean it does say something. I know DJ Mag gets so much shit, and to a certain extent I can agree with the comments, but having said that I think what is good about any award show, charts, DJ Mag, whatever; what is good about it is the fact that we talk about it. That debate is needed in the scene very much, because even though you may not agree with the results of DJ Mag, I think that if you see a DJ that comes into the DJ Mag top 10 that you don’t know, he must do something right. Yes, there is a lot of cheating going on, but you cannot cheat your way into the top 10, there’s no way. There must be some truth to it. Maybe the numbers are not correct but it does say something. I do think it’s good for dance music because it does point a lot of attention to new talent that is coming up and it does really say something about the scene, whether the charts correct or not.
Yeah, we saw Oliver Heldens break into the top 10 this year which is super exciting.
Armin: Yeah for me it’s a whole revival of the ‘92, ‘93 sound, and he’s a phenomenal producer and amazing guy.
That’s way too old for me to remember. *laughing*
Armin: But yeah, it feels like that whole sound is coming back again, it’s just amazing. I think everything that is happening is amazing in that sense.
Where do you see dance music heading in the next 5 years?
Armin: You know what, here’s a bold statement. I don’t really think that you can speak of “dance music” anymore. Because if you look at the top 40 right now, almost every track is produced in a dance music way. So, my statement is that electronic music has spread like an oil stain through all genres of music almost.
Most music is produced in a dance music way or a sequence. Most kicks even in rock records now are processed. You know, I find it very difficult to state. I’m very interested in this, I like to read a lot of biographies, and if you look at for example let’s take the Beatles. They started to involve Moog synthesizers on Sgt. Pepper’s Lonely Hearts Club Band and this was a very important moment in time. Why? Because at that point in 1964 the synthesizer was regarded as a devil-ish instrument. You know it wasn’t an instrument because it was electronic and it wasn’t real, it was not a real ‘instrument’ so the fact that the Beatles had the guts to incorporate a Moog synthesizer on Sgt. Pepper’s Lonely Hearts Club Band was at that point in time a very essential point.
Here’s where I’m going: fast forward to this time and what they’re basically doing is they’re trying to involve unconventional instruments into their sound. This has always been essential for any music development, so my answer to your question is what does the future for dance music hold? I think it’s mixing and merging. I mean bass or trap music comes from, you know I hear elements, clear elements from jungle and two step. You know the two step sound from the late 90’s, early 2000’s in the UK. Speed garage, you remember that sound? So all these production elements, all these new sounds that are coming, there’s these wiz kids that make the most amazing plug-ins that make the most amazing sound. Ableton is made for the birth of dance music.
So what you see is that technology has always had a massive, MASSIVE, influence on the development of sound.
Take Skrillex for example, without Ableton there would be no Skrillex, or the sound would be very different at least. Ableton has just opened so many doors for so many producers which is phenomenal, I think. So, my point is that I think in the future dance music will be mixing and merging and the development of new techniques has a massive role in that. So if you look in the KVR audio, the website, you see all these new plug-ins that are coming and they will have an effect on the sound of the future. And what I find exciting about trance music is if you look at… I don’t know many about other genres or styles but what I find exciting about trance music is that you can really see these eras in trance.
For example, in 2007 minimal became really big, and you saw that the trance producers were trying to incorporate the minimal sound into their tracks. Right now, what’s really a trend in dance music is that a lot of DJs are trying to involve the impact of a psytrance produced track into trance. So a lot of the psytrance tracks, a lot of the trance producers look at psytrance because psytrance is so minimalistically produced compared to uplifting trance that the impact is a lot bigger because the kicks are not that long, you know sometimes in a trance track the bassline and kick are really fighting especially in a big room and then there’s 3 notes of bassline so what you hear in a big room is this one big noise but in psytrance all the bass noises are a lot shorter, it’s like really short, so you can really hear right now in trance and a lot of trance uplifting producers try to copy that impact that a psytrance track has and I think that’s amazing. There’s a development happening right here and right now. So that’s just an example of what I think will happen in the future, there’s just going to be a lot of mixing and merging.
Any final words?
Armin: Well I’m super excited for the big show that I’m doing on the 12th and 13th of May, I’m finally doing the Amsterdam Arena which is a stadium and I’m super excited about that. I hope people will appreciate the new radio show formula that I’ve got going on and I hope you guys will let me know and tune in every weekend, and even if you don’t have time to tune in live you can always go to Facebook or YouTube and watch the episode. I’ve got a lot of new stuff coming up and I’m excited and I hope to see you guys somewhere. Also, thank you for all the support we’ve had. Guys like you are becoming more and more important, it’s great. You guys are really influencing the scene which is very good I think.
All images via Alive Coverage, Marc van de Aa