FAULT Magazine in conversation with Carl Cox



This year it’s a seminal and historic season, it’s ‘The Final Chapter – Music Is Revolution’ with the closing of Space so I imagine that it will be quite emotional for you? 

I’ve never been involved in something so strongly as this. This is my only residency that I’ve taken on apart from Ultimate B.A.S.E. Here I’m 15 years on and everything is at the highest level. There is a team of amazing people surrounding me and we all feel a part of the success. Once this is gone the family will break and we will inevitably move on and go our separate ways.


So have you felt like your sets this season so far have had an element of nostalgia?

Absolutely and I feel the more I go into this season the more it’s gonna be like that because people want to experience what has made and defined the club over the years. So I don’t want to just play pure upfront techno and dance music or tech house which is the current sound, I want to play the music that people have forgotten about and make people think, ‘I remember exactly where I was when this record came out.’ Or if you’re so young that you don’t remember it, you can experience the vibe and the sound that made the club great.

Tell me about how your sound has evolved over the years?

I was born in the late sixties and I grew up in the seventies with bands playing funk, soul, disco and R&B, jazz and modern jazz. My adaptations and what I play with my music comes and stems from all of these moments in my history. I have lived all of those moments and my knowledge of music is an expanse, it’s a lot. My brain should almost be exploded with all this music knowledge that I have come to acquire. If you go back 30 or 40 years I look back at the amount of music that I’ve played, shared, begged for, borrowed and stole (he laughs) and it’s got me to where I am – my life has been dedicated to music.


When did you first arrive to the island?

I first came to the island in the mid eighties. When I was about twenty one I came to Space and I thought, once day I’m gonna be playing at this club and I’m gonna make sure that they’ve never heard a DJ play like me. And that’s how it started.

So from an early age did you dream that you would become one of the greatest DJs in the world?

Well I never went out looking for that title. Music was always in me, to understand it, nurture it, respect it, love it and once I had it – to share it. This was instilled in me from my mum and dad. My mum has now unfortunately passed away, but her legacy of who she was is within me to continue the legacy of the Cox family in the way that I believe I’m put on this planet to do.

What makes Ibiza your utopia? 

I wanted to go to Ibiza when I was younger cause Ibiza had so many clubs. I was drawn to Ibiza from day one since1984 or 1985 I’ve been coming to the island and not really missed one year over the last twenty years. I’m here to give to the island. I share the love of my music with people, I have always had that notion, and that is the reason I do what I do.


*Interview taken from an excerpt from the Ibiza Icons book in partnership with Bulldog Gin


Alesso sits down with FAULT Magazine to discuss success, collaborations and new music!


EDM has risen to new levels of prominence in recent years and right at the very heart of that, stands Alesso. Despite acquiring success and fame as a musician, DJ and producer at a very young age, he bucks the trend of being persistently in the media. His achievements are undeniable yet he has remained grounded and almost enigmatic as he oscillates from a reserved disciple of music to lord of the dance (music). Since 2012 Alesso has been charting gold and platinum hits with big names and has wracked up an obscene number of downloads and plays across all mediums. If he can achieve all that he has in four years and at 25 years of age, you have to wonder what he will be able to achieve in forty.


You have had well in excess of half a billion plays across all platforms with hundreds of millions of views on Youtube alone. When was the first time you felt as if you’d ‘made it’?

I don’t ever feel like I’ve made it. I’ve set goals for myself since the beginning of my career. Like I hope I get to release a track, then I hope I play at least one live show a month, I hope I get to signed to a label. So each experience for me has been incredible and I don’t take anything for granted.


You’ve played some of the best festivals and venues in the world and this got me wondering: what would you say is the best moment of your career so far?

There isn’t just one particular moment I can pick. I’ve had a few. Headlining the Sahara Tent at Coachella not only once but twice. My own show at the globe in Stockholm and now this year headlining Summerburst festival has all been monumental moments for me.


If you could choose to play anywhere in the world, where would it be?

I love going to Asia. It’s one of my favorite places in the world and I enjoy my time there so much.


You’ve collaborated with A-list music stars like Calvin Harris, Usher and David Guetta. So, in a similar vein, if you got to choose your next collaboration, with whom would it be?



Knowing what you know now, is there any warnings you would have given 16-year-old you before your music career took off?

Enjoy every moment. Don’t take anything for granted. And it’s always going to be hard work.


Similarly, what advice would you give to aspiring musicians who want to follow in similar footsteps to you?

Just stay passionate, be confident, be brave and you will find your way.


If you weren’t a musician, what would you be?

I think I would still have a job in entertainment or music in some capacity.


What should we look out for from you in 2016?

New music!


What is your FAULT?

Making people dance!


Words: Robert Baggs

FAULT Magazine @ Sonar Day Festival

We arrived at Sonar by Day Festival on the Thursday and after an incredibly efficient backstage pass collection we enjoyed welcome beers whilst walking around the exhibition stalls centered around electronic technology. There was one art installation that for me was beyond incredible; Imposition- the collaboration between Daniel Schwarz and Davide Cairo is an audiovisual performance. Dark, blurry electronic music in which non-linear rhythms meld with hypnotic, abstract visuals. Image and sound go hand in hand; each influences the other, feeds off the other and in this fusion they play with the perception of space and reality.


We later went on to check out James Murphy and 2ManyDjs in Despacio, presented by the prestigious American audio company Mcintosh. Despacio is a new unique clubbing experience designed so that the focus is on the partygoers’ experience instead of the stage spectacle that has become so common in music today. A pitch black circular space with speakers all around the edge makes for an incredible show yet unfortunately this didn’t stop a huge amount of people flooding to find the DJ booth thrusting mobile cameras into James Murphy’s face.  This was something that later urged Murphy to hang a hand written sign asking for people to put the cameras down and enjoy the moment they’re in, just for today.

Admittedly I’ve never been a fan of WoodKid but in my ecstasy state of mind, I went with the flow and was truly blown away by the show. The monochrome visuals and the band’s all-black look worked harmoniously with their moody, orchestral and atmospheric performance. After standing on stage for part of their set I really felt the reciprocal energy from the crowd- both the entertainer and the audience are working together.

Finding the backstage bar was like finding water in the Sahara. The Sonar venue is colossal, but the backstage areas are even bigger- one walk way hosts an airport moving walk way with birds-eye views of the entire festival. It’s fair to say, we accidentally found this small, lantern-lit sanctuary of a terrace filled with the likes of Nile Rodgers, James Murphy and Neneh Cherry. Everything was free and everything was unlimited, forcing us to take advantage and act as the drink mules to our friends in the main arenas.


I was a little apprehensive about coming to Sonar- being naïve enough to think it was just a haven for drug fuelled kids to enjoy the latest techno. It is so far from that- much more than a festival. It offers education in electronic music, pushes technology through innovation workshops and entertains through an array of carefully chosen acts and installations. The crowd was far from trashy, instead welcoming clean, crisp dressers wearing colorless outfits that complimented the cold concrete and steel aesthetic of the festival.

Words: lxn