José Rive – Feature Interview – Zone Magazine Issue 052 –

Pics By Jose Rive

Jose Rive, a Galician living in Madrid, began his career as a DJ when he was only 13 years old, in 1989, it was his first job. He started DJ’ing with vinyl, decades later he moved to digital, perfecting his skills in mixing, equalization and his musical style every day. Creating immersive transitions, loaded with sounds and hypnotic melodies. With a forceful, mental – experimental sound.

He began his career as an assistant to the main DJ at the Trazos Disco, in his town, at that time everything was played with vinyl, LP’s, Maxi and mini records. This nightclub would later change its name to Discotheque Flax, there he began a great teaching with Carlos DJ, a great teacher in the booth, a showman, where he would learn mixing techniques. All musical styles were played, psychology in the booth was vital, personal taste at that time was already the techno rhythms of the time. Styles such as dance, house, machine, trance techno, were the preferred styles for their forceful rhythms, melodies and the energy felt on the dance floor, reaching at times an almost underground sound.

Years later he spent a year as a resident DJ at a Rock and Roll after-party, Caracacho nightclub, it was a great experience on a musical, sound and cultural level.

In 1994 he moved to Vigo, province of Pontevedra, where he was working as a DJ, that is where he began to experience underground techno music.

In 1999 he moved to the Canary Islands, there with his partner DJ Deneb, he was a resident DJ and has had the honor of playing in many venues including Ministry Of Sound, he has shared a booth with NILS Pott (Shabom Records Netherlands), Jeff Panama (Radio Panama -Holand), Simone Gigante (Gigante Records Italy), Doug Scott (Coastline Cafe – Ibiza), DJ. SAVAGE – (London), Hayko – (Germany), Alberto Palacios (El Garaje – La Real – Asturias), Billy – (London), Sven – (Belgium), Zeus (Uruguay), Bom – (Russia), Electronic Percussionist (Danger Beat), Trumpeter Electronic – HARO – (Holland), Dj Beto – Jacobo Padilla (Sincope Records) – Bernar Habis – Cristina Molina (Elemental Events), etc…in addition to participating in Raves and organizing events, where he combined techno, deep techno, techno house, minimal…

In 2005 he moved to Madrid, in Madrid with his colleague Mario YL, he went from vinyl to digital, together they shared a booth in BUDA – Madrid, with UNAI TROTI and KIT AM from LONDON. Thanks to Mario YL and Oskar DJ meet Paco Hiddeminside, artistic director of MAXXI MIX PLAY LIVE, where he is, almost two seasons as a weekly resident DJ on the Radio, in addition to collaborating with Marcel Strömer on Radio Kosmos in Germany.

Currently collaborating with OPERATION ROOM MADRID in the Streaming and where it meets with BASS DRUM veterans and JORGE SILVA. In Madrid he had the privilege of sharing cabin with HD SUBSTANCE, Nacho Decoder, Iñaki Villasante, Willy (Van Vas – Madrid) Bassdrum, Jorge Silva (OPERATIONROOMMADRID), DjAngulo, Alvaro Riaza (Time Xperience – Galicia), Ivan Soya, Amador Luque, Ona1ram, Dr. Kielmannsegge, Arturo Ponce, Techsiva, Kaiden, Flip Flip, Fran Lentini, Mario YL, KIT AM, Unai Troti, etc… IN 2023 I perform at the Budha Dance room Club – Madrid.
In 2024 it participates in the MejorFest Festival. In 2025 you have the opportunity to perform in the legendary Madrid venue SPECKA CLUB, at a special event by OPERATION ROOM MADRID In 2026 he returns to SPECKACLUB again by the hand of OPERATION ROOM MADRID.

Tell us about your beginnings in electronic music and the key people who led you into this world.

First of all, thank you for this interview. My beginnings in music in general were very difficult. Back then, nobody wanted to be a DJ. Think about it—watching your friends having fun while you were working wasn’t exactly appealing, but it was what it was. Today, I’m very grateful.

I started with commercial music. At just 13 years old, I began working in a nightclub in my hometown, “Discoteca Trazos,” later renamed “Discoteca Flax.” It was my first job. At that time, I earned 2,000 pesetas on Friday, 2,000 on Saturday, and 2,000 on Sunday.

I remember the turntables were like a wooden box, with a belt-driven platter on top. If you held the record, it would stop, and when you released it, you had to push it to get it up to speed quickly. You could even see the springs from the side—like a mattress base… hahaha.

Back then, we played all kinds of music: pop, Spanish music, 70s and 80s disco, rock… even slow songs, where everyone eagerly waited for that moment to dance with the girls they had fallen for that night… hahaha.

The turntables had three speeds: LP at 33 rpm, Maxi at 45 rpm, and mini records at 78 rpm, which required an adapter placed on the top left. The hole in those records was much larger than today’s vinyls. There were no CDs yet.

My beginnings with electronic music go back to when I first started listening to the radio—basically forever. There were very influential programs with great presenters like Fernandisco, Toni Aguilar, and the great Joaquín Lucky (rest in peace), and later Luis López. They introduced new music and truly built musical culture—something I think is missing today.

I also spent many hours recording cassette tapes. If I didn’t like something, I would cut the tape and splice it back together the way I wanted.

What always caught my attention were synthesizer sounds, repetitive rhythms, and strong kicks, usually between 120 and 134 BPM.

Artists like Depeche Mode, New Order, Mike Oldfield, INXS, Simple Minds, and Jean-Michel Jarre stood out during that time.

Strongest influences and references in your career.

My influences have changed over time. In the 80s, those who shaped my taste were the creators of Max Mix: Mike Platinas, Toni Peret, José María Castells, and Quique Tejada.

They created electronic music compilations that were cutting-edge at the time. With very limited resources, they produced incredible megamixes—pure art in my opinion. Their music selection ended up being what everyone listened to.

In the 90s, everything evolved when I saw DJs like Jesús del Campo (Óxido), Fran Na (La Capilla), Ike, Oscar Mulero, and Rudi. That’s when I realized DJing wasn’t just about playing one record after another—you could create something more.

They used mixers with independent EQs, removing bass, adding hi-hats, manipulating frequencies depending on the energy they wanted to transmit. That fascinated me and became something I pursued: creating unique sound transitions.

Around 1994–95, I started buying my first underground techno vinyls. That marked a new era for me, with new influences like Jeff Mills, Oscar Mulero, Robert Hood, Derrick May, and Richie Hawtin.

Your experiences in radio and your view on radio today.

My experience in radio has been only in recorded format, not as a live host—though I’d like to try it. I’m very perfectionist, so I believe things should be done properly or not at all.

It was very positive. I spent nearly two seasons on MAXXIMIX Play Live, recording a weekly session. It was a challenge due to my limited free time, but I made it work.

I also collaborated with Radio Kosmos in Germany and another station in the Netherlands—both broadcasting online.

After many ups and downs in my life, especially personal and health issues, it wasn’t until the last 10 years that I could really focus on music. That period brought me consistency, friendships, knowledge, and growth as a DJ.

What are the Lights and shadows of the profession, in your opinion?

I don’t want to create controversy, but I respect everyone’s way of working—as long as there is respect for the profession.

Today, it sometimes feels like a fair attraction, where what truly matters has been pushed aside. The audience often lacks a real reference of what a DJ represents.

The golden age of music has passed, and it’s sad to see how evolution can lead to decline, where anything goes just to fill events.

For me, culture is created by artists, producers, and DJs, and they should be supported. Talent, effort, technique, and consistency should be rewarded—but that’s not always happening.

The best: Passion, humility, fun.
The worst: Arrogance, envy, ego, and negativity.

Who would you like to work with and who would you repeat with?

There are many artists I’d be honored to work with: Jeff Mills, Oscar Mulero, Tensal, Takaaki Itoh, Robert Hood, Speedy J, Underground Resistance…

I would gladly repeat with: Bassdrum, Jorge Silva, HD Substance, Nacho Decoder, Willy, Iñaki Villasante, Dr. Kielmannsegge, Ivan Soya, DJ Carlos, DJ Peter, Mario YL, Oskar, DJ Deneb, Álvaro Riaza, DJ Angulo, Jeff Panama, Sven, Nils, Haro…

I’d like to thank them all for their support.

Story of a song.

SURGEON – “La Real.” A true classic. It still gives us chills today. I like using it in my sets even though it’s old.

Some Anecdotes from your career.

One night at DJ Café in the Canary Islands, a trumpet player (Haro) connected a Korg Kaoss Pad and started playing live while I mixed. It was incredible. We did many more sessions like that—it added a very elegant touch, especially with deep house.

What are the Different audiences you’ve encountered.

I’ve played in clubs, festivals, street art events, and raves.

Raves were my favorite—some in caves, others by the sea in paradise-like spots in the Canary Islands. People performed with fire, used diabolos, painted themselves with fluorescent paint… unforgettable moments, especially the sunrises.

After those nights, I would wash all my vinyl records carefully—they looked like they’d just finished the Dakar Rally… hahaha.

What do you still want to achieve in life?

A lot. I want more time to learn and explore new goals. Every day I learn something new. I move slowly, but steadily.

How would you improve the music scene in Spain?

The key word is SUPPORT.

Culture is built by artists, producers, DJs, and media. Supporting local artists is essential—through education, events, media, and marketing.

It’s not about competing, but contributing with humility and respect.

In countries like the Netherlands, DJs and producers are respected as artists. DJing is also an art—you don’t have to be a producer too.

There’s still talent today, but we need to value effort and creativity, not just follower counts.

What Hobbies and other music do you like?

My favorite hobby is listening to music. I enjoy classical music and jazz. They share mathematical similarities with electronic music.

I love Miles Davis, Ella Fitzgerald, Bill Evans, Frank Sinatra, Billie Holiday…

Music has always been my companion in life—through good and bad times.

I also love motorsports: F1, Rally, MotoGP, though I don’t have much time for it anymore.

What are your future projects?

I collaborate with Operation Room Madrid, performing in their events (streaming and live). I’m very grateful for their support.

If you weren’t a DJ what would you do?

I would still be working in transport, which is my main profession.

AI: help or threat?

I don’t fully understand technology, but I see AI as a tool. However, anything that replaces human creativity and effort may do more harm than good.

Any Advice for beginners?

Do it for yourself—for passion, not for others.

Don’t expect anything from anyone. Focus on building your identity—musically and professionally.

This is not just playing tracks—it’s storytelling. Sound narrative.

Work hard, learn constantly, surround yourself with knowledgeable people.

Remember: everything is created twice—first in the mind, then in the booth.

And no matter how much we know, we always ignore more.