‘Everything you do in life affects your music if you do music with passion. It's

YOU in there, with everything good or bad inside’.


Mauricio Barembuem (aka Barem) perfectly personifies the new breed of electronic musician who has

grown up in the digital age, using intuitive software programs like Reason and Ableton to

spontaneously express ideas and emotions. On-line distribution has also made it possible for them to

reach out and connect with audiences across the globe, no matter where they are - Buenos Aires for

example, where Barem grew up amid the hustle and bustle of a city on the edge.

His teenage years were spent playing blues and rock guitar in bands but this always meant

compromise. He longed for a purer form of self expression and eventually found it through electronic

music, fascinated in particular by the way some DJs could impose their own personal vision onto the

music they played, elevating it to an art form. It was exactly the inspiration he needed and Barem was

soon experimenting with sampled loops and buying records (7th City, Spectral, Perlon and of course

Minus). However, becoming a techno producer/DJ in Buenos Aires was easier said than done with

gigs were few and far between. He was close to quitting a few times but found the right people at the

right time and the solid advice they gave kept him motivated and focussed on his goal.

It was to be a defining moment and from that point on his induction into the scene was fast and

frenetic. He released the Kleine EP on the free net label Unfoundsound in July 2005 with the track Suki

grabbing the attention of many prominent DJs, before graduating to Foundsound with his first vinyl EP

- Campo Madness in May 2006. Meanwhile, his relationship with Minus was already taking root. Richie

Hawtin encouraged him to submit some demos after hooking up in Buenos Aires, one of which – Opal,

appeared on the Min2Max LP which kick-started a period of non-stop touring across the US and

Europe as demand for his live performances grew. Two Minus releases then followed in quick

succession. 2007 saw the release of his Never Better Than Late EP before 2008’s superb Kolimar EP

signalled a distinctive evolution of his sound, adding organic, house inflected grooves to his repertoire.

Listening to both EPs, it’s clear Barem concentrates most energy into creating the powerful bass lines

that underpin his work. His expansive use of reverb and delay create space for subtle percussive

elements to skip and snake while distant, sometimes eerie melodies occur on random, secondary

levels as a result of these interacting elements.

Some tracks just sound right from the first moment you experience them to the point where it’s often

hard to appreciate the intricacies that lie within. Whether on outstanding remixes like Fuse’s

Substance Abuse from last year’s Plus8100 retrospective or his recent outing on Foundsound with the

epic Heyday, it’s all about keeping things simple and staying true to the old school, minimalist

approach that first got him hooked, his definition of which is both insightful and considered:

‘’…Minimal is not really a sound... it's just a way of making music. It represents good taste, stylish

sounds, the underground, afterhours… Whatever native roots you have, whatever music you like or

liked in the past, it all fits in there and it's not dying in my opinion. It's just arrived at the point where

we’ve rediscovered how free and amazing the concept and the reasons behind it are…’’

Which goes some way to explain his decision in 2008 to step back from performing live to once again

concentrate on DJing, infusing his sets with warm, Latin rhythms as he blends his favourite tunes from

a cross section of electronic genres past and present. His sets have graced some of the biggest

events around – the Detroit Music Festival, Timewarp, Miami, Ibiza, ADE…not to mention 2009’s

Contakt special at Brixton Academy and the Minus North American bus tour.

Looking ahead, expect a lot more touring and even more production from Barem. More information at



Tracks #1 1
Releases #1 2
Tracks in Top 10 2
Releases in Top 10 10
Tracks in Top 100 17
Releases in Top 100 30
Days in Top 100 Tracks 551
Days in Top 100 Releases 805
These stats concerns the main Top 100 and the Top 100 for each genre. Data for tracks start on November 1st 2012, and data for releases start on January 1st 2014.