Jack Carter – X Marks The Spot (Original Mix) [TECH-HO– USE]

Jack Carter - X Marks The Spot (Original Mix) [TECH-HO-- USE] X Marks The Spot' is an impressive introduction to Jack Carter, bolstering tenacious energy that will infect the crowd with an endless Tech-House groove.Jack Carter – X Marks The Spot
With Ibiza Summer season opening almost here, Tech-House crews such as Abode are packing their bags and finalising their tracklists. Jack Carter’s freshly-baked ‘X Marks The Spot’ is a last minute addition that should undoubtedly make the final cut. Having come off a few recent releases with THUNDR and Milky Records, his latest endeavour has been endorsed by Do What We Want Records. Bringing an intensity that would compliment a Michael Bibi & Hot Since 82 Studio 338 set, ‘X Marks The Spot’ is a certified peak-hour crowd pleaser.

Carter got involved in producing and writing music soon after leaving formal education. Initially venturing into a range of genres, he found his feet with Tech-House, being inspired by the underground scene of London, a leading exporter of the genre. The idea for the ‘X Marks The Spot’ came from Project X, arguably the poster ‘house party’ film. Carter and his pals had made it a habit to to shout the phrase ‘To the break of dawn yo’ from the film when at the club, so it comes as no surprise the sample eventually became part of a studio session. The track certainly lives up to the spirit of the 2012 flick, with the rolling bassline flowing in to kick off the festivities. The vocal sample melts into the bull-necked sub-bass that hovers in the lower EQs. With a breakdown that ferments a brooding percussion build up, the listener is rewarded with a hulking drop that sends the club into turmoil.

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Maayan Nidam – Don’t Know Why (Original Mix) [MINIMAL]

Maayan Nidam - Don't Know Why (Original Mix) [MINIMAL] 'Don’t Know Why' was Maayan Nidam's first of four releases on Perlon. It's a funkadelic Minimal track for those searching for a free-spirited groove.Maayan Nidam – Don’t Know Why

To influence a person is to give him one’s own soul’ proclaimed Oscar Wilde in his book The Picture of Dorian Gray and Other Stories. That can certainly be said of the indomitable Perlon Records. With a propensity to release experimental and obscure cuts, it’s possibly the most influential Minimal label of them all. Releases such as The Mole’s ‘Lockdown Party (DJ Sprinkles’ Crossfaderama)‘, Minimal Man’s ‘The Chicken Store‘, and Binh’s ‘Noah’s Day‘ are just drops in the ocean of the many far-fetched bombs released. A lot of their cuts like Margaret Dygas’ ‘Even 11‘ are purely for after-hours or headphone listening only. Many of these have been release on their Superlongevity series. Seeing label stalwart Sammy Dee drop cuts by Egoexpress and Guillaume & The Coutu Dumonts at The Egg last summer was a reminder why their acclaimed Get Perlonized parties receive such high fanfare. Their more conventional 4/4 releases certainly get equally as much praise. Israeli by birth, a Berliner via New York and Amsterdam, Maayan Nidam is a producer synonymous with trippy drugged out releases. Having previously released albums on Candeza, and Powershovel Audio, her most recent third LP ‘Sea of Thee‘ landed on Perlon. ‘Don’t Know Why’ was her first of four releases on Perlon. A groggy affair, it is quintessential for DJs looking to calm things down on the dance floor whilst keeping a stomp.


The track chugs at a 120 BPM, much like how Clive Henry plays his sets. Woody drums tap away giving a makeshift off the cuff jamming production. Feel-good tambourine claps jingle with brightness. It displays power in its raw simplicity, much like Motown tracks like Marvin Gaye’s ‘How Sweet It Is‘ or Bill Wither’s ‘Kissing My Love‘. Alongside this is the powerfully floppy electro-tinged bass. It’ll ensure not one body stands stiff in the building. Basslines like this make tracks skittish. Audion’s fine catalogue as well as Tommy Vicari Jnr’s phenomenal ‘Moy Lally In D‘ bring a similar rubbery dance. Due to the slower BPM, the cut makes it the nifty DJ tool to transition out of an Electro or Nu Disco cut. The longer the track goes, the louder the womps get. It’s a jolting experience. Rickety pianos tinkle in, bringing a countenance to the shindiggery. Being an odd incision, it’s one normally heard in the overcast weather soaked music of Christopher Rau, Moon or Benjamin Brunn. This works, however, and you can see a Ricardo Villalobos’ type figure playing along whilst on the dancefloor. Or in this case, singing along to the drawling ‘Don’t Know Why’ Vocals. An intoxicating affair.


Maayan’s Boiler Room sets are well stocked in similarly funkadelic tracks. Unfortunately the cameraman doesn’t give the crowd much attention, because they’d surely be locked in Alice’s Wonderland. Nidam has stated that her music is inspired by the phenomenon of dreams. Whatever dream breathed life into this track was certainly one of untroubled spirit.