The final part of the spring trilogy brings the sweetest surprise of all: Gavioli Embassy comes of age with a new soundtrack! On May 18, we will be able to dance for the first time to the Martin Audio installation, tailored to the curves of the Izola seductress, which will from now on drive the blood through the veins of even demanding club...
The final part of the spring trilogy brings the sweetest surprise of all: Gavioli Embassy comes of age with a new soundtrack! On May 18, we will be able to dance for the first time to the Martin Audio installation, tailored to the curves of the Izola seductress, which will from now on get the blood pumping through the veins of even the most demanding club audiophiles. It will be taken on its first all-night test drive by none other than its legendary resident Valentino Kanzyani – with a new party concept for eccentric hedonists.
Behind the title Back to the Future hides the ambition of a periodic rotation of the musical time machine, in which the electronic avant-garde join hands with the main pillars of Valentino's 22-year-old creation. He will start out contemporary, sensual and slow, but then progressively increase the tempo towards the more intense dynamic rhythms that characterized his earlier work. In between, he will weave in pearls that were so futuristic at the time of their creation that trends catch up with them only with a delay of several years, and he will place everything in a suitable visual setting. In short, Valentino returns to the scene of the crime, where he will combine the classic sound of Ambasada Gavioli with his vision of modern sonic eclecticism and hint at where he can take us in the future. Of course, there will also be music from the recently released Valentine's first self-titled album, Love & Gratitude, which was released by the influential Cadenza label.
To ensure that the dose of freshness is really right, E/Tape will take care of it in Privee, which will guide us through the most casual spheres of modern electronic experiments until morning.
