ADE NEXT is ADE’s platform for new talent where you’ll find a well balanced mixture of producers & djs and other professionals from all around the globe, eager to share their knowledge with you! ADE NEXT was all about how to connect with artists and professionals, how to publish your track, how to promote yourself and how to be prepared for the main stage. Ask for feedback on your own music by infamous A&R managers and bookers, dj’s and producers who are there just for you! Sounds good doesn’t it? All fired up to release your music, beats and productions? Got questions about how to get prepared for the music industry,how to deal with copyrights, managers and agents? You'll have to wait for next year! Bring your music and let professionals listen to it, network your way through ADE NEXT, gather feedback, make new friends and fans, who knows, maybe even a record deal! We are proud to announce that ADE NEXT was sold out, the 24th. of October.

GRAP’s own Lars Kelpin moderated the team of jury members, consisting of Michel de Hey, Atilla Meys, Martijn Mischgofsky and Terry Toner. Out of around 120 entered tracks a selection of 20 tracks was presented to the jury, who had about an hour and a half time to review twenty tracks. Which leads to the most important conclusion. Terry Toner: “The first five seconds are the most important. From those seconds you can get a good idea for the rest of the track.” Michel de Hey adds “don’t send us the fourteen minute versions, but send a so-called radio version. We don’t have much time.” Atilla Meys had something to add about the quality of the tracks. “I sometimes get scared about the depth of the tracks. Most of them are interchangeable. By stacking some loops you can build a track, but where is the creativity?”

The winning track is Eclipsed, by Sebastian Sleebos and will be released on TikTok Music.

Hook is pretty honest about their original intentions to form a band. “We just wanted to get on stage. Bernard (Summer) and I had no musical idea’s whatsoever. At least in the beginning. We went to a music store to buy some instruments. Bernard took the guitar with six strings so I asked for the one with four.” Pete Shelley (of the Buzzcocks) gave them a good advice: “You gotta write some songs.” Which they did.
Factory Records, home of both Joy Division and New Order turned out to play a big role in the birth of both new wave and house music. With their own Manchester based club Hacienda acting as the volcano for the smiley generation, keeping them dancing around the edge for more than a decade. Peter Hook recently wrote a revealing book about the famous Hacienda, called ‘How not to run a club’. Because financially it was a disaster.

“We didn’t know the club was gonna cost us 6 million pounds”, Hook laughs bitterly. All the money earned with New Orders hit single Blue Monday went straight into the club, as we learned from Michael Winterbottoms documentary 24 Hour Party People. New Order never saw any of their royalties.
 “It was only when I started writing the book I realised that I was as much to blame for all our mistakes around the Hacienda as anyone else”, Hook looks back on things. “All the money that went through the Hacienda went to the doormen. They had nice cars and the dealers were making 9000 quid a night. But we couldn’t pay the bills.”
Nowadays Peter Hook is still making music. One of the most interesting projects is called Freebase, a band in which Hook plays together with Mani (ex-Stone Roses) and Andy Rourke from The Smiths. Quite a line up.  

Everyone in the dance scene knows (or should know) the history of Detroit techno. But did you know Mike Banks is also a skilled car mechanic? Or that he used to build race cars? “Yeah, we made some mean machines”, Banks laughs with his characteristic dark voice. “That’s how we made most of our money when we started Underground Resistance.”

Banks is in Holland by invitation from Carl Craig, sitting next to him. He reveals the plans for a tour with his Innerzone Orchestra, bringing ‘Mad’ Mike Banks on keyboards. Yesterday they performed side by side in Trouw, one of the best clubs in Amsterdam. “That was a great gig”, Carl Craig chuckles. "With Mike playing the Korg and me doing tracks and sound files."

Host Eric v/d Bogaard urges the two producers to give an insight of the early days of techno. Both agree that radio dj Electrifiying Mojo played a pivotal role in the evolution of dance music in Detroit. “He should be sitting here instead of us”, Banks insists. "He really opened up our heads, playing music from all over the world. He was years ahead of the rest.”

Besides Italian disco, the B52's and the first records by Prince, Mojo also played some ‘crazy computer shit’ from Europe called Kraftwerk.  “They had sounds I never heard before”, Banks remembers. “The song that really did it for me was Numbers. I couldn't figure out a pattern in it. That really interested me. Something I couldn’t grasp. For a long time I thought the music was made by robots, ha ha!”

Juan Atkins was the first to bring the robotic sound in the machines to Detroit, using nothing but drumcomputers and keyboards. “I remember going down to Juan and seeing all that stuff hooked up in his basement. What's all that, I asked. Play me something. So he played me Cosmic Cars. Damn, I thought. That’s music from space, man!”

A few years later Juan Atkins and Derrick May went to London for the first time, bringing techno to European dancefloors. Banks: “I warned them to be careful. I never saw those European fans back in the hood where I was living. They looked like pilgrims to me.” His vigilance remained for some time. “The first time we went to Berlin, Jeff (Mills) played in Tresor. My impression was that the crowd didn’t understand the relation between the tracks. They only wanted the 4/4 beat.”

Nowadays, both Underground Resistance (Banks) and Planet E (Craig) are among the most respected techno labels in the world, certainly in Europe. But does Detroit still play a role in future music?  “A new renaissance in Detroit music is coming”,  Carl Craig thinks. “A lot of people got stuck in the factory in order to make money. The factories in Detroit are now all closed, so maybe that will spark peoples creativity.”