Graham Newby returns as Tambores En Benirras with a new set of remixes from his acclaimed album ‘Ondas Horizontales’. We preview exclusively the My Friend Dario remix of ‘Templos Del Sol’ and talk to Gripper about the project.
There are few producers who manage to bridge worlds as seamlessly as Graham Newby. Known to many as DJ Gripper, his latest incarnation as Tambores En Benirras is a project born not on the beaches of Ibiza, but in the industrial coastal town of Barrow-in-Furness. From that unlikely backdrop, Newby channels something entirely different: a sound rooted in decades of DJing and studio craft, shaped by a love of Balearic rhythm, cosmic ambience and communal dancefloor spirit.
In the autumn of 2023 he released ‘Ondas Horizontales’, a finely detailed collection that quickly established itself as a modern Balearic classic. Hazy, sun-kissed, and endlessly immersive, it felt like a love letter to both the islands and the open-ended possibilities of sound. Now, 18 months on, that vision expands with ‘Ondas Horizontales Remixes’, a trilogy of reworks crafted by a hand-picked circle of friends, heroes and rising voices.
The second chapter in this series carries the spirit of NuNorthern Soul, with interpretations from Mike Salta, Marshall Watson and Aim. Each offers a unique angle, but it is the contribution from My Friend Dario that takes centre stage here. Knights of the Turntable is proud to present an exclusive preview of ‘Templos Del Sol’ the My Friend Dario Remix.
Track-by-Track Review
Alma Hablando (Mike Salta Remix)
Mike Salta opens the EP with a delicate yet driving interpretation. He stretches out Newby’s original chords and airy female vocalisations before introducing a chunky house groove. The remix balances warmth and rhythm, giving the track a languid energy that feels equally suited to sunrise sets or late-night floors.
Templos Del Sol (My Friend Dario Remix) – Exclusive Preview
My Friend Dario takes the original into hypnotic territory. Locked-in percussion, spectral vocals, and restless TB-303 lines create a slow-burn groove that is immersive without ever feeling overcrowded. The track flows like sunlight refracting over water, perfectly capturing the Balearic spirit of space and patience.
Molokono (Marshall Watson Remix)
Marshall Watson brings a grandiose, psychedelic edge to Molokono. Twisted acid lines and bustling breakbeats recall the peak of mid-90s progressive house, while a wall-of-sound production pushes the track into exhilarating territory. The remix is expansive and heady, a dramatic contrast to the more meditative pieces on the EP.
Mi Sueno Vibe en Reverb (Aim Remix)
Closing the EP, Aim turns Newby’s original into a playful yet hedonistic journey. Slow-motion shuffles, echoing French spoken word snippets, and trippy Warp-style synths float over a breakbeat rhythm that ignites the soundscape. It flits between intimacy and peak-time energy, leaving the listener suspended in a space both reflective and ecstatic.
Ondas Horizontales Remixes Vol. 2 is filled with impressive interpretations. It shows how Newby’s vision as Tambores En Benirras continues to inspire artists who share his fascination with texture, groove and emotional resonance.
With that in mind, we sat down with Graham Newby to talk about the evolution of the project, the ideas behind Ondas Horizontales, and what it means to find Balearic light on the industrial edge of the UK coast.
Your Tambores En Benirras project feels deeply connected to the quieter, more reflective side of Ibiza. How did the island’s sunsets, beaches and sense of stillness influence the sound you found for this project?
The project first came together during the lockdown of 2020. I’d previously worked on a variety of genres under various pseudonyms, and my personal situation during that period was certainly a reflective one.
I think a lot of people including myself took that time to take a step back, spend time soul searching, and ultimately reset. I found an escape creatively, and by fixating on idyllic situations and far away places and it helped the mental anguish of being a 55 year old type one diabetic and having to quarantine for the best part of a year. The music that came out of that quarantine and became the first Tambores En Benirras album, Orbe Dotade was a ‘throw out the rule book’ journey of experimentation with the ultimate goal of allowing my mind and spirit to escape the rigid confines of a room in northern England. Similarly too it was a metaphor for escaping the cultural confines of my hometown Barrow-in-Furness, an isolated industrial town with limited connectivity to the outside world, other than the DIY philosophy I’d always worked to.
The music needed to be free spirited. It had an air of melancholy due to the situation but also an air of optimism. It needed to celebrate the simplest of things, the things we take for granted, life, love, nature, waves lapping the shore, the sun coming through an open door on a summer morning. The transcendental escapism, the bigger picture behind those simple things were the feelings I held on to and tried to express in the music.
I think these things form the basis of what you could call a Balearic spirit. The celebration of these gifts through music is the island’s way, and so I think the connection with Ibiza was made subconsciously and naturally.
I sent the music to Phil Cooper, never as a pitch, more just to see what he thought of it.
I’d known Phil for a while through his early 00’s Ibiza based Plug Promotions company and brought him up to Barrow the previous November pre covid lock down.
I think the spirit I’d tried to capture in the music fitted perfectly into that Balearic world that Phil has occupied for some time living in Ibiza.
So much so, the music with input from Phil regarding the artwork and Tambores moniker seemed to fit perfectly into a very Balearic world, without ever trying to be that.
I find that’s the beauty of music – a time, a place and a situation can be soundtracked by a piece of music and suddenly become part of that situation.
To hear the tracks from the first album being played at places like Cafe Del Mar, Hostal La Torre and Pikes made perfect sense.
When it came to writing Ondas Horizontales, the main question was ‘how do I make this different to the first album, but still retain the qualities that defined the artistic character of Tambores’
Those qualities were subtle, progressive and evolving arrangements, musicality and a slightly non conformist and left-field attitude, again a discarding of rules. Or maybe an ignorance of musical structure, the spirit and sense of surroundings being the ultimate guide.
I spent a lot of time in 2021 transfixed by early morning sets at Pikes whilst stopping in Cala Mastella, in the woods by the beach. The late night tranquility fuelled the inspiration and allowed me to find the place and the emotions I wanted to try and put to music.
Ibiza is often seen as a global symbol of clubbing, yet the Balearic downtempo sound has always existed in parallel. Do you feel that side of the island is under appreciated, and do you see yourself as a custodian of that tradition?
I’ve always made downtempo beats, from early excursions on Octamed and Amigas and feel that slower tempos give the space to tell a story.
To listen to a DJ telling a musical story in beautiful and natural surroundings is certainly where it’s at for me.
Certainly as a DJ and music collector, my taste has always been eclectic and immersive. I grew up by the sea, with sand under my feet and childhood memories of endless summers, open skies and beautiful orange sunsets. The soundtrack to those summers was always eclectic and the joy of listening to (or even playing) interesting, different, new music that sets the tone in a Mediterranean climate is one of life’s joys.
I personally think this is overlooked by the general Ibiza visitor. The social media groups and inbound flights are always filled with chatter of the latest super club and dancing til dawn which is great, albeit generally fuelled by intoxicants and teen spirit. The tempo of the island’s heartbeat for me is much slower though, no need to rush, take a moment to take it in and you’ll be rewarded.
There’s definitely a niche scene for the more downtempo and eclectic sets though. It’s what I’ve always searched for on visits. The fact it’s more off grid and less commercially visible for me is a good thing. By definition the more chilled soundtracks lend themselves to more intimate environments and smaller audiences, There’s as much energy, emotion and electricity in the air as an audience hold their breath as a final note fades and the sun disappears as there is on the biggest dancef-loor, it’s just comes in a different package.
Whilst, I suppose places like Cafe Del Mar sit atop of the pile in terms of venues, individual DJs carry the torch and I’ll always encourage people looking for a slightly different Ibiza to hunt these DJs out. I won’t name names as it would be unfair, but a bit of research will open some rewarding doors.
Ondas Horizontales was created during a time of profound personal change as you adjusted to losing your sight. How did that experience alter the way you hear music, and the way you translate memories of Ibiza into sound?
I think the loss of my vision has changed the way I make music and turned the process on its head. The downside being everything takes a lot longer and any technical obstacles, once a minor problem due to an engineering background become mountains to climb.
It’s hard to explain but I’ve never been a natural musician. I used to play guitar and currently mess around placing fingers one at a time on keyboards (not necessarily in the right place) but I enjoy the process of making sound do interesting things. I enjoy space in music but I enjoy lots of sounds interplaying and occupying the same space at the same time.
I enjoy musicality that fits an emotion and the process of achieving that is the challenge. It’s more a process of using production and carefully crafting sounds rather than sitting down and jamming. That can work to build an outline but I love how experimentation can shape a sound and an emotion.
The Tambores music takes the feeling and the emotion as the starting point. It’s about seeing and feeling a situation and then trying to make sounds, rhythm, space and arrangements express that situation or emotion and convey it to the listener.
I’m always asked the question does losing sight improve hearing? I’d say yes, but I think what’s happening is the brain uses less of its capacity to process the visual data it’s receiving and so that spare capacity can be used to process the incoming audible data it’s receiving a little more. Less physically better hearing, more like increased free brain space to devote to sound and its meaning.
I’m always thankful to be here, regardless of any inconvenience caused by the sight loss. It can feel soul destroying at times, like being in a straight jacket, unable to max out any goals or ambition or even just complete simple tasks. I’m extremely lucky though. Nobody is dropping bombs on me. In the bigger picture it’s unimportant, and people in far worse situations achieve so much more. That generally sorts my head out and I’ll roll my sleeves up and get in with it.
You have spoken about daydreaming, visualisation and memory shaping the album. Do you see Ondas Horizontales as music from the mind’s eye rather than the physical world?
I certainly think the first album was more minds eye influenced. Less in terms of a real physical location, more a mental escapism to a better place and time. This year is the 40th anniversary of my first Ibiza visit and have spent memorable times on the island right up until the first Tambores LP was written in 2020 and so any kind of mental escapism would be focussing on a melting pot of those experiences.
Ondas Horizontales was hugely influenced by time spent on the island following that first release. You can get into the arguments of what is reality and consciousness but whatever they are they’re connected, but can exist separately. The minds eye can interpret reality in many ways, I try and keep that minds eye fixed permanently on the positive, good vibes and love, regardless of the reality in front of me. I think people can exits in that minds eye state, regardless of physical surroundings. Some people would call it daydreaming, but I’m a dreamer at heart.
Phil Cooper has built NuNorthern Soul into one of the most respected Balearic labels, and your partnership with him seems very natural. What was it about Phil and the label that made it feel like the right home for your Tambores project?
As I mentioned , I’d known Phil from the early 00s when he promoted material I was making for the Ibiza label, Upskirt.
Prior to reconnecting I’d been listening to his podcasts and NNS All Stars sessions online. I used them as escapism though, never really checking the tracks or what was playing.. purely as entertainment. That’s rare because I listen to everything with one critical or inquisitive ear. It felt good to switch off yet still be immersed in wonderful music without it being part of the ‘job’.
I think that aspect was vital as it kind of worked on a different level. I was obviously aware of the label but again only as a punter. I think any connection was totally subconscious and natural. I sent him the original music as a mate to listen to. It was a very difficult personal time, for both of us, and I thought sending him some weird new music could maybe provide some brief escapism as it had done for me making it. Things worked out well though and he had the vision to make it available to others through the label and it was the biggest moment of my professional and personal career when he invited me onboard. Phil has just put up a blog recalling the time spent in lockdown and how his daily livestreams brought a community together. I think there’s definitely a community built around the NuNorthern Soul label, it’s artists and it’s followers. The attraction for me outside of the logistics of releasing music is that it’s built on a very natural connection and camaraderie, away from self promotion, ego or algorithms. Someone described the label to me as small but perfectly formed – that’s hard to achieve and it strikes a chord with me.
I’ve been lucky enough to be included in Phil’s takeovers at Pikes this year and it’s been a beautiful thing.
Your next release on NuNorthern Soul is a set of remixes of Ondas Horizontales. How did it feel to let other artists reinterpret such a personal body of work, and were you surprised by what they heard in the music?
The album was a very tranquil piece of work. I’d been listening to lots of classical music and marvelling at the seemingly unorthodox arrangements, time signatures and musical sharp turns. I’d always wanted the themes from the album to be more accessible to those who maybe preferred a beat or something more uptempo.
The feedback I’d had from esteemed producers was humbling and so I knew the people who ‘got’ the record. I approached some of those as well as some friends who’s contribution I thought would be good artistically and who I knew would be able to stretch the boundaries in interesting ways.
I wanted it to be organic too in how it was assembled. So deadlines became very blurred and it probably took longer than expected to be honest, but the results are exactly as I imagined and more.
Someone else’s interpretation of your music is a special thing and it was more about the people onboard rather than what they did sonically. It’s a varied melting pot of flavours and I think it’s full of craft and genius. All 3 EPs work for me on so many levels, and I’m excited to release them into the wild
Collaboration is often central to the Balearic ethos. How has working with Phil and the wider NuNorthern Soul community helped you to expand or deepen your vision for Tambores En Benirras?
Through the releases and work with a Phil, the musical influences are everywhere now. I think the main difference is I know these people and their work personally. The list of artists on Phil’s label is actually insane. It’s the best of the best for me and to be talked of in the same breath musically and to collaborate on some of the remixes is a total honour. It’s confidence boosting and affirming in the extreme, but a lot of the time I think ‘is this real’. Either way it’s helped me through a difficult time that I kind of dread to think what might have been if things were different.
I went into covid, lost my club, my recording studio, my business and my eyesight but because of Phil and the good people in his musical family, I’m able to make music and have friends who enjoy listening to it. It’s as simple, and as profound, as that.
The textures in your music, field recordings, pedal steel, dubby atmospheres, organs, often feel more like landscapes than songs. Do you see yourself painting with sound rather than writing tracks in the traditional sense?
That’s a perfect summation. I’ve always seen music as an almost visual medium, ironically. Attention to detail at every level is a feature of great art in any form. Detail, texture and space is hugely important for me. Tiny detail can hit like a ton of bricks if the timing and intention are right.
The instrument or the notes aren’t that important. When I’m producing I’ll take the mood and try to find sounds or notes to manifest that mood and make it exist in the real world. It takes me a lot of time because 99% of the work is trial and error, experimentation and deep diving into endless possibilities. Very cathartic but a long process.
I’d always said that my generally very long, very fluid DJ sets cover a lot of genres. Usually with juxtaposing genres that shouldn’t work together. Yet I’d always say the tracks are the same colour, or shades of one colour or sometimes blends of colours. It’s how I put the Tambores albums together. Like a sculpture or painting, bold shapes to set an outline adding layers and detail to make the sonic picture. Or like a book or a film, with different scenes and chapters, braying pace and intensity, peaks and troughs, arranged into a narrative of the artist’s choosing. That process can reward the susceptible listener who’s tuned in, that’s a big part of the raison d’être for the shape and feel of the records. It’s a cliche to say it’s story telling but the right story at the right time can be life changing. I’ve experienced that and I’ve always wanted to present music to other people in that way.
Much of your work has been described as “horizontal listening,” designed for stillness or reflection. Do you think this way of listening is especially important in today’s world, where most people consume music in such a hurried way?
Yes. I can’t really focus on anything short and sharp, it just bounces off me.
I must have a long attention span haha. Tik Tok and doom scrolling sound bytes just put me on edge. Stillness allows the mind to breath and it’s a rarity in the modern world. I force myself to walk everyday to create headspace and rebalance everything. It’s weird with reduced vision, I build a mental picture of everything so my eyes don’t have to work on things they can’t do, which ultimately leads to all sorts of mental negativity. I need to clear that headspace immersive music is the way I do it. It’s hard to read or watch TV, so dropping down a few gears with a chilled or weird or provoking soundtrack is how I relax.
I’ve always enjoyed the long game musically. If I’m buying music to play out or listen to at home I jump straight into the 10 minute plus tracks and enjoy being taken on a journey.
You have residencies in Ibiza and Amsterdam. How do you carry the Balearic spirit with you when you are away from the island, and how does it shape the spaces you play in elsewhere?
When I first came to Ibiza in 1985 it was literally a life changing experience, and I’ve tried to carry that excitement and enthusiasm with me in whatever I’ve done.
It’s always been a place where you can be yourself without too much prejudice or judgement, and I’ve never played music to please other people, it’s always been my taste on my terms.
There are plenty of DJs willing to compromise, I try and keep it simple by playing interesting music that creates a mood. Luckily in the places I play, that works and I know the people that frequent those places like it and feed back into the creative loop that is a DJ set.
I’ve had to reduce my workload because of the eyes, and more so than ever it’s about quality over quantity.
I find Amsterdam has a very similar feel to what I’d call underground Ibiza, very cosmopolitan, very accepting, open and hungry for new music. I felt myself grow as a person and a record selector playing these locations. They’ve allowed me to experiment musically and grow into a position where I’m confident in what I do and I can introduce new music to people who will appreciate it and in turn influence me.
If Ondas Horizontales and the Tambores En Benirras project represent the beginning of a new era, what direction do you see this journey taking next?
Writing the last album, I made a conscious decision to keep it super chilled but with those same qualities that I felt defined Tambores En Benirras. I’ve spent the last 12 months working on the 3rd studio album, which again keeps those traits as it’s foundation but changes direction again. As an artist I’d never be happy just doing more of the same, the canvas is blank and can be filled in a million different ways and I find that exciting.
The definition of Balearic music is pretty broad in my book and I’ve enjoyed pushing some boundaries with the previous work, so without giving too much away I’d say expect more of that but with a different focus. Personally I thought Ondas would be too out there for people. I spent a lot of time throwing disclaimers out before it was launched. I think I’m probably going to be doing the same for the next one to be honest haha.
You can pre order ‘Ondas Horizontales Remixes Two’ via Bandcamp here and whilst your on check out ‘Remixes One’ here.
