Interview: Petar Dundov
Petar Dundov makes intelligent electronic music that breaks boundaries, moves feet and twists minds.
With little doubt, petar is one of the most inspiring, original and daring producers in electronica, having gained fans in the forms of Sven Väth, Francois K, Laurent Garnier, Adam Beyer, Josh Wink, Guy J, Glimpse, Hernan Cattaneo, Brendan Moeller, and Danny Tenaglia.
Born in Zagreb, Croatia in the early ‘70s, Petar’s career in dance music stretches back some 20 years. Over those years he’s graced many of the world’s best-loved techno institutions, including I Love Techno, EXIT, Awakenings and Wire, and cutting-edge clubs like Berghain, Matter (RIP), Womb, Air, Fuse and Space.
Anticipating Petar’s appearance at his home nation’s Movement Croatia festival, we caught up with the man himself to discuss his definitions of techno, Croatia, and much more.
“In it’s essence there is a desire to explore the sound of the future and because of this abstract component it was able to stay fresh for so long.”
Per your biography, you described electronic music as, “techno is music that precedes movement. It is dance music, solid enough to carry emotions through the dance floor and abstract enough to be a template for ever”. Can you expand a little on this idea? How did you come to it? Why do you believe it?
When you listen to techno music, you just want to move. When you hear that dominating drum beats your body just can’t resist. When speaking about sound it comes in a wide variety, from atmospheric, minimal textures all the way to lush Detroit style. In it’s essence there is a desire to explore the sound of the future and because of this abstract component it was able to stay fresh for so long.
Do you even consider yourself a producer of “techno”?
Sure, I couldn’t find a better explanation for most of my productions.
As an ambassador of the sound of Croatia, can you describe how you see the country’s “sound”?
Croatia is just too small country to have a particular “sound”. Maybe in a future this could change, but we just need many more producers to be able to create a Croatian sound.
Obviously, Croatia has increased its prominence in electronic music becoming a center for festivals and events throughout the summer. How have you found this impacting Croatia as a country? Is there significant economic impact, for example?
Because of many festivals, many more young people are coming here for a summer break. It is a good thing, for example in a last couple of years many new clubs, bars and hostels opened in Zagreb, we have cities on a coast now becoming interesting places to visit just because some big festival moved in a near by location. Economically speaking we have steady 10% yearly increase in number of visitors in a last couple of years.
Do you see any drawbacks to the popularity of Croatia’s current dance scene? Do you consider it more of a VIP environment or is there a legitimate appreciation for the underground?
Croatia dance scene comes from underground and it didn’t change much in a recent years. There were some tendencies in a past to create a kind of VIP places, but it just didn’t work out. Here there are not so many VIPs to make it viable.
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