Luciano the kingmaker, offers a ‘Tribute To The Sun’

Luciano the kingmaker, offers a ‘Tribute To The Sun’

27 October, 2009 | 8.02AM

• Written by: Terry Church
• Filed under: Music News: cadenza, luciano

It was only a few millimeters. And yet, that one tiny hand movement could be felt from the very back of the tent, through the misty crowd, across the bottle-strewn floor, past the shafts of morning sunlight, to the bodies on stage, and the tight, shaking DJ booth.

Luciano smiles, raises a finger towards the sky, and purses his lips for a whistle.

He is the ringleader of a circus, the conductor of chaos, at this festival in Romania. His causality is powerful. His energy is infectious. Wherever Luciano plays, whenever he drops the bass, pandemonium comes.

There are few DJs that can push a dancefloor to that edge, where joy and madness are but foot shuffles apart, warped emotions, at the touch of a button.

And just as he directs dancefloors every weekend through a party ritual that usually ends in hysteria, Luciano doesn’t stop pushing things forwards when he returns to the solitude of his studio in a peaceful village in Switzerland.

How often his thoughts and actions become trends that others follow.

He led minimal techno before it became popular. He brought classic house back to the main stage of the underground club scene, before it was fashionable to look backwards.

He was one of the first to embrace the possibilities of digital, by layering musical elements, loops, and vocals, into his DJ sets.

He sampled children, embraced organic drums, and experimented with sub bass frequencies. His productions are a masterclass in meticulousness at a micro level.

His tracklists are the stuff of legend, essential reading for any self-respecting house or techno fan to devour, and to plagiarize.

He breaks record after record because he either writes them himself, or releases them on his label Cadenza, which too, leads by example.

On so many levels, Luciano is a kingmaker. Our in-depth interview begins on that note.

There are only a handful of DJs in the world that can claim to set an agenda for electronic music. You are one of them. How did you get there?

It has been a lot of work. I’ve been doing it for a long time. It takes patience and time. You really have to believe in what you do and work hard in what you do. It has been a lot of effort and a lot of sacrifice.

...When something is rolling, when there is lot of attention surrounding you, people pay attention to what you do

What sacrifices have you had to make?

I travel a lot, but I’m a dad also, so I miss out on some things with my kids. I lose some important family things, for music. I try to have a balance, but for me it’s quite hard.

Your DJ sets and the tracks that you play, are watched very closely by other DJs. Why is that?

Because it is always like this - when something is rolling, when there is lot of attention surrounding you, people pay attention to what you do.

It happens to me, but maybe to other DJs too. People watch what you do, when they are curious.

Are you aware that there are whole forums dedicated to ID’ing the tracks that you play?

I guess, people tell me this. I know it happens, but I try to not pay too much attention to it. You can’t always trust what happens online.

I just try to do things honestly, and do what I do.

Is the hunger to ID your music due to the fact you play a lot of special re-edits in your sets, as well as a lot of unreleased tracks?

Yes that’s definitely one of the things that gets people excited. With all of these new technologies, you can play any file on the computer, and that allows me to do what I couldn’t do with vinyl.

Before it would take a long time to record a re-edit in the studio, but now I can re-edit in real time.

Do you always do re-edits in real-time?

Some are done in real time, some of the more complicated ones are done in the studio beforehand.

So digital vinyl systems like Traktor and Serato have helped to push your DJ sets forwards?

I’m a big fan of Traktor. Jumping from vinyl to digital, was big, big step for me. It happened after I moved from Berlin to Switzerland, quite simply, because there are no record stores where I live.

In Berlin I lived in front of Hard Wax, but where I live at the moment there is not even a place to buy bread. I travel so much that records were starting to get impossible. So I skipped to digital.

I began recording all of my old records into the computer. And with Traktor you can easily prepare things before your set in the studio - accapellas, melodies, percussion, and use those loops live over the top of records. That’s the little plus of digital.

That’s one of the ways you’ve pioneered - you’re famous for layering accapellas and melody loops over the top of your sets using Traktor.

When I started doing it there was no one doing it, and now I see a lot of other people doing it. At the very beginning, I used to do it with vinyl, with accapellas.

Now other people are doing it too.

Like who?

You know, Dice [Loco], Reboot, a lot of artists are doing it now, and I think it’s a great thing. It’s a positive for creativity in the DJ booth.

Creativity?

Yes, it brings a new level of creativity to the DJ booth. That’s my way to feel alive. When you play as much as I play. sometimes you can play one thing for three months, and you play the same track all the time, so the only way to renew it, is to mix it up. It’s a way to rebuild the track every time you play.

Why do you play the same record for three months?

When there’s a track that I like that I know people like, why shouldn’t I play it? Good music is good music, it doesn’t matter if it’s old or new.

It becomes a compromise between what people like, and what I like to play. But I can only do this when I know that no one else has the track.

When would that happen?

When I’m in charge of releasing it. That’s when I know that no one else has it.

People come and see me, and listen to what I play, so if I play a track repetitively in my sets, people will soon start to know it. They might recognise the track, but not know its name. That helps to build the profile of my artists on Cadenza, as people try to find out more about that track…

Don’t those unreleased tracks or re-edits ever get out?

Sure. When I was in Ibiza recently, someone played Mendo ‘1992’ on the radio, which was unreleased at the time. Only I had a copy of it, so I called the radio station and asked them where they got the track from. They had cut it out of one of my DJ sets online.

Can you believe that a radio station would want a track so much that they would cut it out of a recorded DJ set?

What did you do?

What could I do? I built the buzz around that track, so I was happy that it had made it onto the radio before it got released.

That’s the challenge of DJing for me, to always renew your music. That’s the way I build a track, that’s the way I build a buzz.

How do you build a buzz?

People come and see me, and listen to what I play, so if I play a track repetitively in my sets, people will soon start to know it. They might recognise the track, but not know its name. That helps to build the profile of my artists on Cadenza, as people try to find out more about that track and its artist.

Like Michel Cleis ‘La Mezcla’ - you waited months and months to release that track.

I always try to go against what people tell me. Like with ‘La Mezcla’, I had people everywhere saying ‘release it, release it’, but I told them ‘no’.

That’s fun, because it works against what the industry does. It goes against what you’re supposed to do as a label. I wanted to create a buzz around the track, so that everyone knew it, without it being on the market already. That’s a fun way to create buzz.

How much did Strictly Rhythm pay for ‘La Mezcla’? I heard there was a bidding war.

Ah, that is unofficial information. I can’t tell you that.

OK, were you surprised then, that the buzz you created around ‘La Mezcla’ led all the way to the door of one of the UK’s biggest dance labels?

Yeah we were surprised. We thought about not giving it to Defected, but in the end if they can push a track and an artist more than us because they have a bigger distribution network, then that’s a good thing. They can make it bigger than we can, and that’s better for our artists like Michel.

Cadenza always release on vinyl before digital. Why is that?

Because when music is on vinyl, it is a piece of art. There’s something beautiful about having a piece of music on something physical.

Sure it’s old skool, but we always thought, let’s give respect to vinyl and then make it digital. We all think that it’s nice to have music physically, with all the artwork, and it reminds us of our roots.

Couldn’t you make more money if you released tracks digitally when the hype was at its peak?

Maybe. We just try to give an alternative to the music business today. Our statement is that we don’t just do music for money.

We don’t do records for money, but for art. It’s not the 90s or the 80s anymore; the music business has completely changed. New formulas need to be developed around this market.

So there isn’t some vinyl or purist snobbery behind Cadenza’s physical first, digital later, release cycle?

No, not at all. I love digital. We are all big users of it. It’s where I get most of my music. Digital is part of the evolution of music. It’s what is going on right now.

I am however a little against MP3s. MP3s do not sound as good as WAVs, AIFFs, or vinyl. There is so much less information in an MP3 file, and it doesn’t sound good when you listen to a 320kbps MP3 in the studio. MP3s kill part of the music. 

But it is part of what’s happening today.

So you only play WAVs?

No I play MP3s occasionally. When you’re in a club that is not soundproofed, or doesn’t have a good soundsystem, you can’t hear the difference between vinyl and MP3. There are only a few clubs where you can tell the difference, so I will play an MP3 if I feel it won’t make a difference, and if I don’t have a choice. But in general, I like to stay away from them.

Ricardo Villalobos and you are quite similar in your approach to many things. Both of you avoid press and push vinyl more than digital. You both led minimal techno, and then started incorporating classic house into your minimal and techno sets before anyone else. Do you and Ricardo ever sit down and discuss theories on electronic music?

Not really. But sometimes we have discussions about the digital thing, because Ricardo only uses vinyl. Sometimes we will discuss music quality, and that’s hard for me to discuss.

For me, digital was always a practical thing, the fact that I couldn’t get any vinyl where I lived. But Ricardo is much more into vinyl. He will never go digital, even though he plays CDs every now and then. For me, I’m not trying to fight against the future - digital is part of the future. And I try to adapt myself.

You mentioned that digital allows you to do things you couldn’t do with vinyl. Like the ‘sync’ functionality of Traktor - has that helped you to push things forwards?

A party to me, is when people are smiling and having a good time with their friends. When people go out, pay to get into a club, they want entertainment. When the night is finished, they should still have the music in their heads

The biggest thing about sync, is that now, I can integrate a live set into my DJing. For me, it was a huge step. To be able to bring elements of my studio, loops, melodies, and things I’m working on, into my DJ sets is something I always wanted to do.

I think that breaks down the barrier between DJing and live, and allows DJs to be more creative. When I play alone now, I always bring my live studio stuff with me.

What’s your DJ set up like at the moment?

I have one Native Instruments Maschine, two computers, one for Ableton Live and one for Traktor, and then a controller from Allen & Heath.

You said in your DVD that comes with ‘Tribute To The Sun’ that you “only want to bring the party to the people”. What is a party, to you?

A party to me, is when people are smiling and having a good time with their friends. When people go out, pay to get into a club, they want entertainment. When the night is finished, they should still have the music in their heads.

That’s a good party for me. That is what I try to reproduce, every time I play. It’s about giving something positive to people. That is my positive message to the people. Sometimes it works, sometimes it doesn’t.

How important is the spiritual side of dance music to you?

For me, it’s really important. If I was a doctor and helping kids, I would always try to do the best I could to help people.

Sometimes you have the impression that everyone on the dancefloor is at one point, and they all agree on the same thing at one point in time

But I am a DJ, so I have only my music. If through music, I can help people to have a good time and forget about the bad things in life, then that’s what I have to do.

Are you a spiritual man?

I am totally spiritual. I believe in the spiritual side of life.

How so?

My life is driven by this. Like for instance, with my album, it’s a tribute to the light, because I always enjoy the sun. I like daytime parties.

The behaviour of people changes in the daytime. So I always try to play daytime parties, on the beach or somewhere else. So my album is a tribute to that. It’s music for the daytime.

On the album there is a balance between day and night sounds, but the majority is based around melodies for the light. It’s my way to thank all the spiritual things I have in life.

Would you say that the role of the DJ is to elevate people on the dancefloor by uniting them to one rhythm? And that, that union can create spiritual elevation?

Yes, exactly. That is the importance of the job, the importance of what I do. It has something spiritual there for sure.

Sometimes you have the impression that everyone on the dancefloor is at one point, and they all agree on the same thing at one point in time.

It doesn’t have to always be happiness or joy, it could be melancholy, it could bring a tear to your eyes.

This has to be really respected. If worked in the proper way, than it becomes bigger than just what we could consider DJing.

It’s very important to respect the human side of dance music. There’s a kind of religious or spiritual thing behind it, and that’s the magic that can sometimes come from dance music.

DC10 in Ibiza is considered to be the equivalent of a dance music Mecca, and you were a resident DJ there.

DC10 was very important to my career. It’s a great place, with great people. There was something really special, something magical about the place.

It’s got a true Ibiza spirit, and there’s a communion feeling there. You have big stars like Puff Daddy or Sienna Miller on the dancefloor with normal people.

Everyone is together on the same level and there’s no VIP bullshit. It has a very special atmosphere. And of course good music.

It’s the kind of magical place that repeats maybe only once every 10 years. DC10 was something magic.

Are you a big fan of Ibiza?

Ibiza is always very special. You have people from all over the world in one place. There are other places of course, every country has something to tell, but Ibiza is one place that tells it all.

Are you still working with DC10?

Sometimes we talk to them. They are doing their things. DC10 didn’t open this year, so I decided to do my own thing at Ushuaia every Wednesday in Ibiza from 4pm to midnight.

I am not trying to replace DC10, but we too have good music during the daytime, and you can see the stars, sun, and moon, during the party.

Ushuaia is not really a club though?

We’re not pretending to be a club. It’s more the old Ibiza spirit, with a cocktail in hand and your feet in the sea, listening to music at the beach.

How did you manage to have a daytime party in Ibiza? Aren’t they banned?

I’m a little bit of a hippy, yeah. It probably comes from my childhood in Chile. It was always about doing something with nothing back then. With a little carton, you can make a house. That’s the hippy way

You have to have all the right people behind you, and you have to respect the rules. The whole thing about last year that happened, where people said that daytime partying was forbidden, was just gossip.

The island is not rejecting the party, you just need to follow the rules. Ibiza loves music and parties, and has done for the last 40 years.

How many years have you been going to Ibiza?

I’ve been going for 10 years. The first time I went, I actually came to visit Ricardo as he inivited me to come and visit and make some music with him. My impression of Ibiza was that it was all tits and blah blah blah - superficial. I thought that it was not for me, but when I got there I was amazed.

I ended up staying for one and half months. I thought it was a Miami type place before I went, but it’s not like that at all. If you don’t want to party, you can just eat fish at the beach, and live a completely hippy life without any of that.

Are you a bit of a hippy?

I’m a little bit of a hippy, yeah. It probably comes from my childhood in Chile. It was always about doing something with nothing back then. With a little carton, you can make a house. That’s the hippy way.

Does your childhood affect the music you make?

My childhood does affect my music, for sure. I’ve seen different things and different places, and that definitely affected me.

When I was in Chile, I didn’t have financials on my side, so I only used to travel inside Chile. Then when I came to Europe, and my career took off, I discovered other people, and different cultures, and that inspires my music today.

My roots are still there, but what is going on in my music today, has lots of new things.

Like the African fingerwork, Iranian percussion, and Swiss hang drums on ‘Tribute To The Sun’?

There are European, South American, and African influences in my music now. I discovered African music quite recently. Proper African music is amazing, and it’s not that similar to South American music, but it has similar roots.

African popular music comes from the ground, from the people. It is not pre-programmed. It has a story, and that’s the main thing about African music. I’ve been to Africa and I loved it. I had a very strong connection there. Plus my tour manager Mousa is half African.

Children’s voices is another thing you have experimented with in the studio, along with Ricardo.

A child’s voice - I told Ricardo this when I had my first daughter - is pure. It is much higher than an adult’s. Children have a special tonailty, that they lose through time. Your vocal chords change over time, so a child’s voice is impermanent, and special.

It’s like an angel talking, and it fascinates me. My kids always sing at my studio, however they didn’t do anything for this album.

Haven’t you also recorded school children?

Yes, I recorded some kids singing at a school. But I haven’t done anything with that yet. I’m not in a rush. I do things by the moment, and it comes together naturally. I have so much unreleased music still.

‘Tribute To The Sun’ is your second album, as your debut under the name Lucien-n-Luciano came out on Peacefrog five years ago. Why did it take so long?

I released my first album long before I blew up. I will do music, until I die, music is for my life, so I’m not in any rush.

There is no big record company behind me, so I’m free to do what I want. I have had a couple of offers to join a big label, but I stick to my family.

The people I work with are my family. My sister does Cadenza’s artwork, and I live and work by my rules.

Do you miss Berlin?

I miss my friends, but not Berlin the city. I still travel and go there sometimes, and now I actually enjoy it more than when I was living there.

Life was hard when I was in Berlin, particularly on the family side. I didn’t speak the language for example.

I love to party on the weekends, but I need my kids, my family, and nature. I need this balance in my life. Berlin was too much.

There were always people coming from outside, and you had to always go to dinner with this person, or go and see that person play. It was constantly work. I need music, but half of my time I need to spend with my family.

A village in the Swiss alps is the complete opposite to Berlin.

I like this. It goes against the typical DJ lifestyle. I take a lot from living in a place like this. There’s only 50,000 people in this area and I have no neighbours.

If life is a jouney, are you at the apex, still climbing, or on the way down to a more relaxed plain?

I feel like I’m still going up and up. It’s not the end or the beginning. I have no idea where the journey is going. I have the same intention and the same honesty as when I first started. I feel the same as I did then, although I’m much closer to myself, than I was before.

How do you mean?

I’m slowly getting closer to what I want to do. My life is much more balanced now. I make what I want, I do what I want. Before I would say yes to everything, now I say no to some things, because I want to be with my kids and my family.

What do you say no to?

I say no to playing four times a week now. Even if I get a huge offer, there’s no amount that could match the value of spending time with my family.

I say no to a lot of afterparties now. I don’t play as many gigs as I used to, and that’s fine, because my sets are more of an exclusive thing now. That’s good. I feel much healthier in my spirit.

What about the USA? You don’t seem to play there much at all.

I play in the USA sometimes, but not that often. It’s very hard to choose where to play next as there’s a big demand for my sets from all over the world. It’s hard to be everywhere.

But it’s really hard to have to choose between countries, especially if I only play two times a week. I don’t do those three week tours as some DJs do, and that’s the only way to play America.

When I do go there, I generally do three or four dates and then leave.

Politics controls a lot of the world, and it’s dark. Dance music is most powerful when it spreads a positive message. A good party can change people’s feelings about the world, it can change things

So not visiting the USA is nothing to do with politics? Ricardo Villalobos famously swore never to play in America whilst the Republicans were in power.

We’ve talked about the politics of the USA a bit. He has his principles and I respect that. But everyone has a different approach.

I agree that the country’s politics were bad, but for me, I felt I couldn’t ignore the whole country because of one asshole, or a country’s politics.

There are good people in America, like everywhere, so you can’t ignore the community of good people by not playing there. I would feel like I was disrespecting all the people, if I just ignored them.

With your influence, have you ever thought about politicising your music?

I don’t know. It would be a big mess if I was in politics. People would go nuts with my ideas. You know, I would try to build society in a nice way, but it wouldn’t work. In the end, the world needs a balance between good and bad.

Why is dance music so apolitical?

I don’t know if we should get involved. Will we actually affect anything? Politics controls a lot of the world, and it’s dark. Dance music is most powerful when it spreads a positive message. A good party can change people’s feelings about the world, it can change things.

The world is controlled by a few people in power. Music can bring positive feelings in the moment, in the present. As a DJ or a producer, if you can create positive feelings in that moment, then you have achieved something. Dance music is not about changing people’s minds, it’s about giving them good feelings.

How did you first get into dance music?

I discovered it through all the Detroit guys. Derrick May had a big influence on me. Derrick Carter also, in Chicago. Electronic music was for me basically a modern answer to traditional South American music, which is all based on drums.

Dance music has very old roots. It came from our ancestors, who did it long before machines.

You led minimal techno for a while. Then you led the classic house revival. Are you a trend setter?

This minimal house thing, blah blah, it’s all about trends. With the trends thing, people just need to talk about something and a trend is interesting.

Suddenly it’s house, then it’s minimal, dance music has always had trends. The thing is, during the minimal hype, there was still house music being made. It has existed since the beginning and it won’t disappear just because another trend comes along.

But there is something to say about the fact you always seem to be there at the beginning of a trend?

Yeah I was involved at the beginning of minimal, and I probably became better known because minimal became trendy.

But my music is not minimal really, and if you listen to all of my tracks, you’ll hear that they’re full of little elements. It takes a long time for one of my tracks to build up, because it’s full of all these little details.

So in that way, it’s not minimal music. And my background is not minimal either.

When did you start going back to classic house?

When I got tired of hearing minimal the whole time. I crashed out of the minimal sound one day, and I wanted to share my roots with people. I wanted to bring my roots to a new crowd.

So you started playing old house classics, like Moodyman ‘Shades of Jae’.

Yes, and what’s quite funny is that some people don’t know that a track is 20 years old and think it’s brand new.

That’s my job, to surprise people. Expect the unexpected.

How do you choose tracks for your DJ sets?

Every day, I go through my old vinyl. Every day, I also go through my promos, both digital promos and vinyl. I spend a lot of time listening to and searching for music.

Do you have anyone filtering out the promos you get sent?

No, I have no one going through my promos. It’s my music, and that’s my job as a DJ.

I listen to new things all the time, on planes or in hotel rooms, and I keep what I like. I can usually very quickly recognise if I would play a track.

Normally it only takes a few bars and I know whether it’s for my sets or not.

How do you organise your digital music collection?

I have folders, but to be honest, I found it very difficult to adapt to folders. When I played vinyl, I used to recognise records by colour. That’s so much easier than trying to remember names.

...I always play in the moment. I just get inspired by the moment. I never really plan what I will play. I only know the peak time records, the ones that I know I definitely want to play, and the rest of it comes from the crowd and the moment

What are your folders like?

I use descriptions, like ‘warmer’, ‘bombs’, or ‘peak time’.

Do you plan your DJ sets?

No, I always play in the moment. I just get inspired by the moment. I never really plan what I will play. I only know the peak time records, the ones that I know I definitely want to play, and the rest of it comes from the crowd and the moment.

What about things like the Essential Mix you did recently in Ibiza for BBC Radio 1? Did you plan that?

No, I didn’t plan the Essential Mix at all. It was pretty hardcore for me, I was in the middle of two artists who are the opposite to what I play. I had Deadmau5 before me, and then Pete Tong followed me, so there were two different musical extremes to deal with.

It was really hard to create a journey, and my DJ sets and music take a long time to develop. I like longer sets, and like playing for three or four hours if I can.

How is your Æther live project going?

It has been a really incredible experience. We tour as a band, and are using a lot of new technology. It took three years to build it.

Now we’re taking a break, but will return next year with some new ideas having gained experience from this year’s performances. Next year, we’re going to bring some new details to the shows to make them better.

What sort of improvements are you looking to make?

The Æther shows are not just about music, but also about trying to make people understand how we modify sound. We have these colour coded platforms for each of the artists on stage, but right now, the colours don’t build in intensity as the volume of each element rises. So that’s one of the little details we want to change.

We want people to see the colour grow or fade away, as elements come and go. Plus we realised that on stage at a festival is not the best location for it.

We want to do the Æther shows as more of a package for the clubs, with DJs playing both before and after the show, to bring it more into a dance club environment. For instance, this summer we did a couple of shows before Lady Gaga and that didn’t work very well.

Luciano’s Long Versions

This week sees the release of special Long Versions of the club-focused tracks on Luciano’s new ‘Tribute To The Sun’ album.

In many ways, these long versions are Luciano’s album for his DJ fans, because “these versions are the full length that I originally intended them to be,” he says.

“For the album, I had to squeeze all the tracks into 80 minutes, so I could not have the full 13 minute versions of the tracks on the album. These long versions are much closer to my original ideas.”

We asked Luciano to guide us through each one of his Long Versions.

’Celestial’ (Full Length Version) (13:32)

‘Celestial’ was a track that I built when I got my new studio – it was the first track to come out of the new studio.

I had the original idea for the track in my mind for many months.

I wanted to produce something in between house and techno, but also wanted it to be very melodic.

The samples are super fresh, and super airy. It’s more of a happy track, based around vocals that sound like they’re from a church.

I like to think of it as quite angelical.

’Conspirer’ (Full Length Version) (11:54)

This is one of my favourites on the album. There are children voices in there in the background, which are my children.

Those bells, I actually recorded from my studio window as there is a church directly behind the studio.

What I didn’t realise at the time of the recording is that the melodies the bells play are actually from a funeral.

I was at my studio one day, when I recognised the bells that I had recorded, so I went down to see what was happening. And some one had died.

That gives the track another dimension in my eyes. It has a message. It’s a really soft track, with a timeless sense.

Los Ninos De Fuera (Full Length Version) (11:55)

This is something much more from South America. It’s about street life, and the joie de vivre.

I created something around kids, with their pure voices that are super tracky, with lots of energy. I really love it.

It was the last track I composed on the album, and it’s pretty simple, and not that complicated in arrangement.

The bass work on it is fun. It’s tough to explain the sub bass work I do, but in the last year I’ve become very precise about what I buy in the studio.

It’s 100% analogue and I have three different mixers that have different grains. I even have an old mixer from an old radio station.

I love old analogue. I hate working on laptops. And that’s the only way you can get the range I get, by using analogue stuff.

I sometimes use digital sounds, but I always put them back through analogue circuits.

When I arrived in Europe, I studied sound engineering, but quit as soon as I got the knowledge I wanted.

‘Africa Sweat’ (Full Length Version) (10:22)

I love this track. It’s got the guy’s spirit on it, the singer, and you can feel the sweat and the spirit of African music.

It has magical roots and I could see myself exploring this style further.

‘Metodisma’ (Full Length Version) (14:56)

This a dark track, and my tribute to the club. It has quite a dark mood to the rest of the tracks on the album, as most of it is melodic.

I wanted to do something more dancey with more beats.

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• Get Luciano 'Tribute To The Sun' (Long Versions)