QUAZAR are pioneers of the first house and techno generation of the early 90’s. Formed in Amsterdam by producer Gert van Veen, QUAZAR debuted in 1990 with the 12 inch ‘The Seven Stars/Day-glo’, which became an underground hit all over the world, from the UK and Germany to The USA, Goa and Australia. It’s still considered as one of the ultimate classics of the original rave-scene.
‘The Seven Stars’, a wild and exciting musical voyage, full of instrumental crescendoes and rushes, is a hard hitting techno-track that set dance floors on fire with its fierce energy.
The raw persuasive power of the a side and the acid tinged ‘Moon Turns The Tide’ is balanced by the gentle, melodic ‘Day-glo’ – a predecessor of the later minimal style and a favourite of Ricardo Villalobos, that unexpectedly became just as popular as ‘The Seven Stars’.
The Seven Stars EP has recently beene rereleased on vinyl, with the rerelease of the first QUAZAR album ‘Seven Stars’ imminent.
‘The Seven Stars EP’ 12″ presents remastered versions of the three tracks on the original record plus a 2024 QUAZAR remake of ‘The Seven Stars’, mixed by Dutch house legend Olav Basoski.
You mentioned playing with House Of Venus at Berlin Independence Days alongside Moby and LFO. What was it like being part of such a legendary lineup in the early days of rave?
I remember that event vividly. It was a beautiful autumn day in Berlin in 1990. It was a great party, though the lineup didn’t feel ‘legendary’ at the time because these were all brand-new acts. LFO had just had their first hit that year with “LFO,” which was also big on Amsterdam dance floors. I don’t actually remember their set. And Moby was completely unknown then—this was before his first hit, “Go.” He was a very nice, polite, and super shy guy. This was his debut as Moby, but when he got on stage, he lost all his shyness and transformed into a raving madman, haha. His manager, who was next to me, was flabbergasted. He’d never seen Moby like that, haha. I especially remember Berlin Independence Days because Mixmaster Morris told us about the emerging rave scene in the UK and how the music was getting harder and more intense. Morris also mentioned QUAZAR’s “The Seven Stars” as one of the hot tracks at the moment. I was so amazed that I didn’t even tell him I’d made that record, haha.
You had a vivid dream about the seventh star right after working on the track. Do you believe certain creative moments come from somewhere beyond yourself, or was it just a lucky coincidence?
Yes, I totally believe that some creative moments come from somewhere beyond yourself. When you’re really “in the zone,” it sometimes feels like your fingers have a life of their own. Many times, it’s felt like a musical idea just fell into my lap, as if it came from the sky. I’ve had that with “The Seven Stars,” “Day-glo,” and a track I called “The Treasure” because it felt like discovering musical treasure. In those moments, music is truly magical.
How did it feel to hear “The Seven Stars” sampled in Grand Theft Auto Online? Did it surprise you that the track still had such an impact all these years later?
I was amazed! Not only was an illegal bootleg of “The Seven Stars” (under the name “Techno Dust” by Rick Wilhite) played by Moodymann, but it also ended up in GTA. It felt like an honor that these artists used my music, and it proved that “The Seven Stars” is a timeless track. Still, it would have been nice if they’d given me credit too 🙂
What was the story behind choosing the name QUAZAR? Did you instantly know it was the right fit for your project, or were there other names in the mix?
For all my house projects in 1989 and 1990, I used a different name that would fit the music on the record. House Of Venus, for instance, was a real (Chicago) house record. The flash of energy that is “The Seven Stars” also needed a name that would fit the music: QUAZAR (with a Z), a cosmic flash of light with the power of millions of suns.
“Day-glo” was made during an intense creative rush. How often do you find yourself in that kind of flow state when producing music, and do you have any rituals to help get into it?
When you’re creating music, you’re in such a different state of mind than in everyday activities, so it helps, or is even necessary, to first get into the right mood. If I’ve just had a business meeting, I really have to get back to the world of music and inspiration. Meditation might help, or otherwise smoking a joint. Hash and weed, which have been semi-legal in the Netherlands since the ’70s, have always been part of my creative process, as with most of my musical friends in Amsterdam. It helps you get into the music, get in “the zone.”
You’ve worked with some amazing collaborators over the years, like Olav Basoski. How has your approach to collaboration changed from the early ’90s to now?
I’m not sure my approach to collaboration has changed that much over the years. To me, it’s the best—the most satisfying: to get together with other people and jam. Since my teens, I’ve played in bands, making music together with other musicians. If it goes well, 1 + 1 = 3, that’s for sure. I actually had to learn to create on my own. I was so used to starting an idea and then having someone else respond to it, bouncing off ideas. Over the years, it became a bit easier for me to work solo, but I still think that creating music with others is the most inspiring. It’s a heavenly way of communication.
You mentioned using old psychedelic recordings in your tracks. Are there other old experiments or unreleased material that you’re itching to dig into for future projects?
I played in a psychedelic guitar band in the late ’70s, where we recorded hours of strange, experimental music. After the house revolution of the ’80s, when samplers became affordable, I bought my first sampler and immediately realized its potential. Instead of sampling records by others, as most producers did, I started digging into my personal music collection: the many tapes with strange soundscapes. That’s still the way I use sampling: to reuse snippets of my musical past. Both “The Seven Stars” and “Moon Turns the Tide” are filled with samples and colors from my personal psychedelic history.
You recently played a show at ADE to celebrate the re-release project—how was that experience?
It was a fantastic night! My friend, producer Julien Chaptal, hosts a monthly night at an intimate Amsterdam club, Doka, called DELS (Doka Electronic Sessions). Julien only invites live acts, many with modular setups. This ADE edition was completely sold out and a big success. QUAZAR has been a live act since 1991; I play with no laptop on stage, only hardware, and presented a one-hour jammed mix of QUAZAR classics alongside some brand-new tracks. Doka has a great sound system, and I could totally get into the music. I’m still buzzing from that night.
You’ve seen the rise of house and techno from the underground to mainstream popularity. How do you feel about the current state of electronic music, and where do you think it’s headed?
It’s unbelievable how big house and techno have become. What I don’t really like is how business-oriented everything is now. It’s way more about the money than when QUAZAR started in the early ’90s. But maybe that’s unavoidable—a part of the evolution of popular styles. And it keeps changing and evolving. Who would have thought that when house music started in the ’80s, it would still be around, and bigger than ever, 40 years later? Luckily, the underground and deep underground scenes are still doing well too. There’s a lot of great music to find, even if you have to dig a little deeper.
Looking back, what’s one piece of advice you’d give to your younger self when you were just starting out with QUAZAR in the early ’90s?
Haha, that’s a tough question. I’ve been thinking about it for days. But okay, my advice to my younger self would be: “Don’t let the ‘advice’ of others, especially businessmen, confuse you. Only you know which way to go. Follow your intuition and heart. You know best what’s good for your music, your spirit, and your soul.”