The ability to control emotion, energy, momentum and experience of a festival, not only from set to set but as an overall experience lies in the core formula written by having a single stage. Furthermore, the opportunities presented when organising a camping festival enhances the complexities, challenges and sheer magnitude of curating a concept outside the realms of a concrete institute. Whilst these observations may all appear obvious and simplistic, they are often over-looked as major factors in the execution of an event.
For an artist, it gives them a chance to properly contextualise music that might never have had the chance to be played otherwise. From sunrise sets on the final day of a festival to the dark atmospheric textures added when the weather decides to intervene for better or worse. The opportunities for an artist to toy, manipulate and coerce their music with the environment and the listener is extremely powerful.
As many artists can attest, there is a noticeably different feel during a set whilst playing in an intimate club compared to warehouses or high-capacity clubs, the same can be said for festivals. Whilst the precise number of what reflects the size of a boutique festival is not accurately defined, for the purpose of this piece, a nice reference is between Free Rotation or Inner Varnika right through to Nachtdigital.
As Paral-lel Festival draws to a near for its inaugural showcase, these factors have been taken into consideration. Situated in the remote province of Guardiola de Berguedà, this three-day camping festival is limited to 1000 tickets, a single stage and a forward-thinking line up that goes against the grain in terms of Spanish electronic music festivals. Artists include Abdulla Rashim, Peter van Hoesen and Svreca – who not only took the time to chat with us before his upcoming set at Paral-lel, but he recorded almost 90 minutes worth of dark ambient soundscapes for Inchmix026
What are the differences in the preparation and execution of your sets between club and festivals?
I take into consideration the same factors in both kinds of performances: the venue or space, sound system, timetable, set length, etc.
When I play for a big audience the feedback is less clear for me, so you need to be confident with yourself and to be patient with the idea or direction of the set.
From personal experience, what is the effect on a festival by having a smaller capacity and a single stage for artists?
From my experience, I think this improves the side related to the musical experience and a global perception of the festival. People stay focused to the evolution of the stage, and the order of the performances, timings, etc. Every detail gain a significant importance
Smaller capacity is a very relative description; could be 200 or 2.500 pers. but I know what you mean. It’s key to size properly the space, access, services and facilities.
What is the concept behind this mix?
Dissonance, tension, disorientation and their opposites.
What do you have planned for the label and yourself in the coming months?
We are celebrating our ten year anniversary [for the label] and we will continue releasing Semantica 10.I to 10.X until complete the ten 12”s.
In between will be more releases; in September a double EP by Acronym and a new Exhibition Design by J.C. called Mugako.