Quince is recognized as one of Holland's biggest talents in the techno scene. Since his first release in 2006 on Amsterdam's Delsin label, he impressed with his well produced, warm house sounds.
Ondertussen zal het begrip "e-ticket" bij de gemiddelde Beatfreax-bezoeker aardig ingeburgerd zijn. De opmars van deze vernieuwing in ticketingland is niet te stuiten en mede te danken aan bedrijven als onze partner Ticketscript.
From October 22 to 25 our capitol is the stage for its annual Amsterdam Dance Event (ADE) again. Beatfreax has created the ultimate online guide to keep you up to speed with the coolest parties and venues during the event.
Dance erger je niet! is de naam van ons nieuwe ludieke maandelijkse clubconcept. Naar onze mening tot nu toe het beste resultaat als we kijken naar de identiteit die Firma Gezellig nastreeft.
At the age of 11 Endfest got into contact with American Hip Hop. It was at his parents house in the Eastside of the Netherlands, in a town called Haaksbergen, where he first listened to the black power from acts like Public Enemy. Endfest was hypnotized by the angry voices of the black people in his room and the massive broken beats. He didn't knew a thing about the black power politics at those days, but he loved the raw atmosphere of the music. It was also the time of the first 'Turn up the bass' compilations. While listening to those records Endfest experienced how powerful house music could be (think of tracks like 'Total Confusion' ... remember?)
The 90's
A couple of years later Endfest got seriously interested into the harder styles of electronic music. After listening a lot to the uplifting house music played by the legendary DJ Steve Mason, who had a residency at the German based English radio station BFBS London, Endfest decided in the middle of the 90's that the moment was there to visit his first houseparty's. Party's with loud hardcore/gabber music who were organised by a Dutch party organisation called 'Night of the Hools'. An initiative from some hooligans of football club FC Twente who had their residency in 'Vak-P' of the 'Diekman' football stadium in a city in the Eastside of the Netherlands called Enschede.
At those days it was ultimate gabbermadness in the Netherlands. Most people were only interested into the hard, simple produced Dutch gabbersounds, while Endfest preferred to hear the more polished rave sounds from Berlin, doomcore from Frankfurt (from the PCP-crew) and happy uplifting breakbeats from Great Brittain. The gabberscene became booming business. Everybody in the Netherlands started to visit hardcoreparty's. It made Endfest complete crazy that most people only were interested in drugs and not into the DJ's performing on stage and the music that was played. The gabber scene and his music became harder and harder. People were not happy anymore, and the hardcore evenings were too monotonous. But then, just before Endfest wanted to wave hardcore music goodbye, a DJ stood up who showed Endfest how to mix lots and lots of styles with keeping da shit underground, but with a positive message. It was the Rotterdam based DJ Rob (Parkzicht) who gave a whole new dimension at hardcore music with his oldstyle sets. Endfest started to find the roots of hardcore (the oldstyle sound) and became also interested in techno music.
The birth of DJ Endfest
After Endfest spinned some records just for fun at the turntables of some of his friends, somewhere on a Saturday night at the end of the 90's a DJ changed Endfest's life. It was on a commercial Dutch radio station for house music where Endfest heard an interview and a MASSIVE live set of the German based DJ Westbam. Westbam told the interviewer that he was tired of all that four-to-the-floor banging and that he started a project to open up the whole German (mainstream) dance scene with some "boing-boom-tsjakk" music (read: electro music). The project that DJ Westbam started was called 'Electric Kingdom'. After that evening Endfest started to follow Electric Kingdom and became interested in all sorts of techno and electro music. He started to collect records and decided to buy a cheap mixer and some turntables. Due the electronic highway Endfest got into contact with one of the better producers from Electric Kingdom; LUPO. After sending some Electric Kingdom records from Berlin to the Dutch Eastside, LUPO invited Endfest to come backstage at an Electric Kingdom Party in Germany (at the famous 'Cosmic Club' in Münster. While Endfest saw his technolectro icons spinning (LUPO, Icon, Lexy, Westbam, Afrika Islam, K-Paul) in Münster, he decided the technolectre scene was the scene in which he wanted to specialize his self as a DJ. After recording his first demo mixes under the name 'DJ Space Cowboy', Endfest more and more felt the need to bring an ode to all those German based producers who had such a big influence on the electronic music scene, like Kraftwerk, Giorgio Moroder and Klaus Schulze, that he decided to change his DJ name in 'Endfest'. The inspiration to choose that name came from his friend Enzo F., who found a book in the library of his father with pictures of typical German 70's advertisement. While riffling through the pages of the book Endfest and Enzo F. spotted an advertisement of a glue called 'Endfest'. A new DJ name was born.
After practicing a lot behind the turntables in his room, Endfest decided to launch his first iron achievement under his new DJ-name in November 2002. In this month he mixed up a bunch of Berlin Technolectro and Dutch electro records and named his DJ-mix 'Nachtfahrt Durch Coesfeld'. He distributed some copies of this mix in a limited amount among his friends. Only after a couple of months 'Nachtfahrt durch Coesfeld' reached the status of 'collectors item' in the geographical arctic boogie triangle Haaksbergen-Neede-Eibergen-Groenlo (Dutch Eastside) and is still a wanted gadget in that area today.
A DJ-contest which opened up some doors
With great help from the underground madness electro from Dutch record labels like Bunker Records, Viewlexx, Clone and his musical partners DJ Javar and Enzo F., Endfest was able to develop a broader musical taste of electronic music. In May 2003 Endfest made his official debut as a DJ at the UvA Cultural Festival 2003 (a festival of the University of Amsterdam) in a club in Amsterdam called 'Meander'. Although all the nerves Endfest tried to do his thing as good as he could, but was not able to truly impress most of the elite students and rock freaks over there.
Wenn Endfest decided a year later to show his skills once again at the Uva Cultural Festival (the 2004 edition) it looked like the whole world turned upside-down. Endfest spinned a fine set of electro at a well known Amsterdam club called 'Winston' and became winner of the UvA Cultural Festival DJ-Contest. His prize was to rock the decks at a big party ('Circue du Freaque') in the most legendary Pop Arena in Amsterdam called 'The Melkweg'. A performance that opened up some doors while Endfest got into contact with some new people that eventually would help him too set up a new movement to spread to electro-virus around; The Arctic Boogie Movement.
The Arctic Boogie Movement
After spinning his records at the UvA Cultural Festivals of 2003 and 2004, where Endfest got some of the self-confidence that he needed to continue his activities as a DJ, he decided at the end of 2003 to start up 'The Arctic Boogie Movement'. A movement that criticizes the bad situation in the Dutch electronic party landscape. A landscape were every style of electronic music seems to have its own place and where is hardly no place for a mixture of styles (one of the basic elements of house music). After philosophizing a lot with his musical and scientific friend Javar, Endfest decided to express his negative feelings with some concrete action. This resulted in the concept for an Arctic Boogie tour. A concept that brought some small underground party's in the Eastside of the Netherlands. Party's where people were able to find the true 'housefeeling' combined with freaky electronic music. Not strictly underground, not strictly commercial, but THE BEST OF BOTH WORLDS!!
On the 24th of July 2004 Endfest, Javar and Helmut Katzenbaum started up an inofficial Arctic Boogie tour in a picturesque village in the Eastside of the Netherlands called Groenlo. This evening a huge amount of Arctic Boogie Locofreax showed up and took over the dark and dreary streets of Groenlo... It was a huge success and a stable base of Eastside Arctic Boogie Freaks saw the light. After successful editions of the Arctic Boogie on Tour in Amsterdam, Groenlo and Eibergen, The Arctic Boogie Crew has taken itself in the first months of 2005 to a higher level through a party concept called 'Robotized'. A concept where the Arctic Boogie Crew in association with party organisation Genotypes invites big DJ's and live acts in the (techno)Electro scene to rock the decks with the Arctic Boogie DJ's Javar and Endfest on the most wicked locations you can imagine. The first edition of Robotized in the obscure basement of the legendary discotheque City Lido (Groenlo, Netherlands) was a BIG success. For the first time in the history of the Arctic Boogie Movement two heroes of the Dutch electro scene joined the Arctic Boogie Crew for a freaky night: DJ TLR (Crème Organisation/Leiden) and Orgue Electronique (Bunker Records/The Hague).
The scientist
Besides playing electronic music, Endfest also wrote about this interesting musical phenomena. February 2005 Endfest got his master title Social Geography at the University of Amsterdam (Uva) for a thesis about the West Coast Electro Sound of Holland that carries the title 'The Hague Rocks the Planet: The West Coast Sound of Holland en Internet'. The thesis elaborates on a local movement of musicians within the Dutch parliamentary headquarters The Hague, whom utilized the usage of the Internet in the middle nineties to establish a dynamic, digital community with an international character.
The birth of Helmut Katzenbaum
To be able to play his more experimental, obscure records with electronic music at the Arctic Boogie tour without people asking for the more mainstream German electro records he use(d) to play, Endfest created an alter ego called 'Helmut Katzenbaum'. A name which refers to the illustrious, long forgotten professor Katzenbaum. A professor who lived back in the fifties in a hermit's cell deep into the dark woods of the municipality Greifswald in the former DDR. Professor Katzenbaum collaborated for decades with the United States of America to dismantle the plans for the programming and launching of the Sputnik satellite by the USSR. Besides his formal tasks professor Katzenbaum worked in his top secret location in the woods of Greifswald at an alternative plan to capture open-minded youngsters from both the USSR and the USA and bring them together on an artificial location somewhere in the galaxy, a few parsecs away from planet Mars.
The main purpose of his ideological plan was to create a new generation of human beings that would be able to live harmonious together without prejudices and sickly desires to take over control of the Katzenbaum planet. Because of a misty, fatal accident somewhere in the seventies professor Katzenbaum never was able to complete his utopian plans for his alternative planet. The secret mission Katzenbaum accepted made him stateless so his body never got officially identified after he died on some dreary night in a dark alley somewhere in Greifswald. But through a secret document Endfest bought on a flea-market in Berlin, he find out the truth about professor Katzenbaum. To bring an ode to this genius professor, Endfest decided to create the alter ego 'Helmut Katzenbaum'.
The future?
Will Helmut Katzenbaum kill Endfest? Or will Endfest kill Helmut Katzenbaum?
Will Endfest destroy the Arctic Boogie Movement? Or will the Arctic Boogie Crew enter Germany for a secret invasion to spread the Arctic Boogie virus?
The truth is out there ... somewhere ... but where? When? How?
At the age of 11 Endfest got into contact with American Hip Hop. It was at his parents house in the Eastside of the Netherlands, in a town called Haaksbergen, where he first listened to the black power from acts like Public Enemy. Endfest was hypnotized by the angry voices of the black people in his room and the massive broken beats. He didn't knew a thing about the black power politics at those days, but he loved the raw atmosphere of the music. It was also the time of the first 'Turn up the bass' compilations. While listening to those records Endfest experienced how powerful house music could be (think of tracks like 'Total Confusion' ... remember?)
