As dance music continues to grow worldwide, but especially here in America, the landscape is beginning to become crowded. It’s more difficult for artists to capture a worldwide audience and cultivate a pure fan base, but don’t tell Henry Saiz that. Hailing from Madrid, Saiz is an artist who has been fully engaged in his craft since before he even began to make a name from himself. Drawing from all he encounters, his influences are as vast as they are wide, ranging from the classical soundtracks of Kubrick films to black metal; ABBA to Aphex Twin. Rather than being pigeonholed by way of genre, Henry’s approach to his production work has been more focused on the emotive elements of music as a whole, shirking standard house music signatures all the while blending elements of techno, electro and film scores.
It’s no surprise that with this approach to production, it only took a handful of releases on Spanish imprints like Software and Paradigma Musik for the industry to take notice in 2007. The following year, Henry was tapped by none other than John Digweed to craft remixes for his progressive monster ‘Gridlock’ to be released on Renaissance, one of the industry’s most hallowed brands, thus giving Henry the global platform from which his enveloping style continued to gather momentum. Also in 2008, while still releasing music with Paradigma, he struck while the iron was hot and set up his own imprint, Natura Sonoris, giving him an outlet for his numerous side projects, most notably Hal Incandenza, as well as a means to shine a light on other like-minded talents like Canada’s Jessy Somfay and Douze from France. This also became a means to support fresh new producers such as Madrid based Cora Novoa and Ryan Davis from Berlin. The ideology behind Natura Sonoris is as refreshing as Henry’s unique approach to producing, that being music that not only works on the dance floor but also challenges the mind.
For the next few years, Saiz wore his passion for his craft on his sleeve, which was made very evident by the quality of his never-ending stream of output for not only his own label, but he also had releases and remix credits on labels that include Armada, Ultra, Sudbeat and Hope, to name a few. But none was more breakthrough than his remix of Guy J’s ‘Lamur’ on Bedrock, a track singled out by Radio 1’s Pete Tong as one of his Essential New Tunes for 2009. During this time period, having gotten on the world’s radar, Henry launched The Labyrinth, a duel-pronged media outlet as both an online show and blog, creating a method of connection with and for his ever growing and geographically scattered fan base, as well as a soapbox from which he aligned himself with fellow minded artists via guest mixes such as Paradigma label boss Marc Marzenit, Sudbeat head Hernán Cattáneo and fellow Bedrock artist Guy J.
In a move that had defined the careers of other DJs before him, names like James Holden and Apparat, Henry was tapped in late 2010 to craft the next installment of the critically acclaimed Balance series, and he seized the opportunity to shatter any preconceived notions of what a mix compilation was up to that point in history. Drawing from his skills as part perfectionist, part magician, but pure artisan, the nineteenth installment of Balance spanned 31 tracks over two discs, with over twenty of them retouched by Henry by way of production, remix or re-edit, included field recordings done when he was a teenager and left the listener with an interpretation of the genre they never knew could exist. It was an instant classic and still sits in the top of many critic’s lists of the most important studio mixes to date.
While still cranking out top notch productions and remixes, including one of the biggest tunes across Ibiza in the summer of 2012, ‘Our Discovery’ on Natura Sonoris, Henry announced he was working on an artist album and took to his blog to request field recordings from his fans to be integrated into his craft. Finally released last year, ‘Reality Is for Those Who Are Not Strong Enough to Confront Their Dreams’ was released to critical fanfare, once again challenging the structure of what the industry had to that point deemed an artist album, clocking in just over 90 minutes and ranging from sublime orchestral string movements to solid dance floor gold. Taking almost two years to create, it was a labor of love that rewards the listener each time they indulge in the lush soundscapes only Henry can conjure. To take this on tour, he has yet again redefined what a DJ tour can encapsulate, opting for a hybrid of live performance and traditional DJing.
On March 8th, Chicago will be the last of a six city North American tour for Henry Saiz, and Aural Matrix is proud to be able to present a man at the top of his craft to his midwest fans. They will invade Primary Nightclub (5 West Division Street) and ensure everything is in its right place to enable an evening of emotive electronic bliss. Also on hand to compliment the headliner with be another global producer who calls Chicago home, Nick Stoynoff and Aural Matrix residents, Jon Quinn and Jade DJ. With a solid night of support on the ready, Henry will not only mount his live PA, but he will also man the decks as well. Discounted tickets will be available at www.residentadviosr.net and are highly recommended as it’s not everyday when Henry Saiz brings his magic to town.
About Aural Martix
Continuing to break ground in Chicago, Aural Matrix’s focus is clear from the headliners they have sought out, those being world-class talents which massive followings overseas, but underground superstars here in the States. From Pole Folder to Deepfunk, Luis Junior to Cid Inc., their appreciation for the craft by way of musicianship is evident, filling a void left by a lot of large scale club nights throughout America. Not yet a year old, their discerning palate indicates a dedication to curate a quality of sound that drips with class and will never go out of style.
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