DJs such as Magda, Joris Voorn, Paco Osuna and Guti all like to edit tracks live. Their styles of mixes are characterized by chopping up and remodelling tracks at will. You cannot get away with playing a track for 20 minutes straight without it permeating exhilarating energy. Our previously reviewed Vladimir Dubyshkin’s ‘Overland Train‘ is one example. Another is a track that was played by Dubfire in his 2017 Time Warp mix. Step forth Maksim Dark’s ‘Laplander’. This 2018 release was a perfect fit for Dubfire’s SCI+TEC label, with it’s penchant for sleek, robotic Big-Room releases. Hungarian collaborators’ Paul Strive & Zenbi’s ‘Wanna Tell You‘, or Rosper‘s’ ‘Revenge‘ are a few which carry similar bleak candour. ‘Laplander’ is a cavernous release, bringing predatory ardor akin to label boss’ Dubfire’s hit-release ‘Roadkill‘. Hailing from Russia, Maksim has released Techno on a slew of labels such as Sian’s Octopus as well as Der Hut. Being included in his third release on SCI+TEC, this stalwart Techno track will blow hearts and minds.
Maksim’s 2018 collaboration with BOHO ‘Octopussy‘ was likened by Progressive Astronaut to being ‘a dark and Alien track that casts a spell over you and will be stuck in your head forever’. A homogenous tone can be applied to this track. With a title of ‘Laplander’ you can be sure it was inspired by the harsh, panoramic nature of the Artic climate. Beginning with a gentle touch percussive pattern, the intro brings an allusion to the forthcoming proceedings. Trembling with fervour, the opening bassline induces sentience, conceiving a techno-advanced environment. Pulsating cluttered sonar bleeps add to this bane world. An eery string synth splays itself. Eventually, a scourging modulated synth rockets up and down the octave with largesse. It is a truly jolting experience, reminiscent of Maetrik‘s best cuts. As the components repeat in a loop, the bass and synth elements increase in loudness within the mix. Maksim is a master manipulator at infernal vocals, as can be traced in many of his other productions. A vocal appears to croon either ‘West Phenomenon‘ or ‘Voices Nominal‘. The brusque nature of the sample makes it hard to make out. What is for sure, however, is the fact that this chant helps create insensibility on the dancefloor. The chimes that play in and out before the break down are neurologically invigorating. All before being swept away by leviathan modulation. Continue reading →
One Reddit user crowned Pan-Pot as the ‘Nickelback of Techno’. Though, it is true that the duo from Berlin have enjoyed recognition worldwide, I don’t believe the Redditor in question has ever heard of their timeless, ground-breaking releases such as ‘Charly‘. Pan-Pot’s Second State Audio is a label like Drumcode and ARTS releasing Techno-flavoured cut curated for festivals like Dimensions or club venues like The Steelyard. The unit can claim responsibility for helping catapult Amelie Lens’ career into the stratosphere by releasing her first 3 EPs. Impressed by the SUM 2 compilation featuring slamming cuts by Wigbert, Marco Resmann and Tobi Neumann we waited with keen anticipation for the next compilation. Appearing at track 3, DEAS’ ‘Friday Rain‘ instantly made us froth at the mouth. Perfect for building a set just like the SCI+TEC release ‘Revenge‘ by Rosper, it conveys the same savageness. Here again on this 2018 release DEAS provides a vehemence in his production. Best served for the Techno festival masses of ADE, as well as technical soundsystems belonging to such as London’s 93 Feet East. Red Bull label’s DEAS production style is deep and melancholic. You certainly get a bit of that, plus more on this remix.
Pan-Pot’s original track features a stomping bass, alongside random percussive bits and a veil of 303 drum soundscapes. Zaps that come like bolts from the Greek god Zeus help pickle the brain. DEAS instantly ramps up the feeling by expanding the bass. This creates a wall to wall of atmospheric dread. A tribal drum pattern will help mix out of something not so greyscale such as Artbat’s ‘Prometheus‘. Ironically or not, the EP cover is that of a space helmet. Squelching echoed modulations help the track shoot the abyss. Alien-sounding, it’s a striking sound when paddled alongside the stringed arps. The track can be deemed as being drenched in a maximum amount of reverb. By the time the claps kick in, the pulses that reverberate around entrap the senses. Those bolts mentioned before? They then spurt back in at will, causing an absolute carnage. It’s a fireball of menace, only to further throttle the dancefloor once the tunnelling pulses fire again. Continue reading →
Seeing FJAAK’s humorous Facebook profile picture, gives you the impression of why their music is so brash. It’s ironic that they would remix one of the most brash men in existence, just going by name alone, DJ Hell. A highly influential German institution, the International Deejay Gigolo label boss has a penchant for not giving a toss. Being sued by Arnold Schwarznegger for brandishing him in his techno label. Frequently using provocative risqué EP covers. Relationships with the High Fashion Elite, Karl Lagerfield and Donnatella Versace. Making tracks with Bryan Ferry and Puff Daddy. With such diversity of interests, and willingness to push the boundaries, Hell has helped bridge the gap between Electroclash scene and Techno. Way back in 2013, when asked by Housecult for their picks for artists to look out for, FJAAK quote Attu, Willie Burns and The Analogue Cops for their ‘Raw but powerful sound!’. Fast forward to 2018, and FJAAK’s sound would be described as more than that. Released this year, FJAAK turn the original into a belting Techno cut. So good, Nicole Modabeaur played it twice in her recent Awakenings ADE B2B with Dubfire.
Speaking with District Magazine, Felix, one of the techno trio members, comments that his biggest influence was Bone-Thugs-N-Harmnony. This affinity for booming bass has leaked into their sound. As seen on their remix of Missing Channel’s ‘Onslaught’, and their own original ‘Keep The Funk‘, the sub bass they produce rivals the best. The bass modulations heard in the track move with an inexorable propulsion. Very similar to ‘Ninex 9-C‘ by Maetrik. The original tracks sombre synth rails are dialed up 50 notches, bringing voluble buoyancy. Akin to Sleeparchive or S:VT’s. Emotional, the organ synths from the original have been put through a grinder causing catharsis to counterbalance the doughty nature of the track. Distorted noises and triple time drums complement the track, showing FJAAK’s full compliment of skills on analogue machines. Continue reading →
Added onto the 2004 re-release of The Dream LP to coincide with the re-release of the ‘Penetrate Deeper’ mix album, it’s a track certainly for the dreamer.
Deep Dish Presents…. Prana – The Dream (Skylark Remix)
Before Dubfire became an NBA All-Star DJ of the underground dance music world he ran one of most revered Techno and Minimal Record Labels, SCI+TEC. A major influenc on the scene, it pioneered the ‘Big Room’ sound in the late 00s. He was one half of house music duo Deep Dish. Famous for a slew of hits, including Say Hello and Flashdance, Dubfire & Sharam were a great duo who included different styles from Rock to Progressive. The ‘Prana’ project also included collaborators Brian Transeau (BT) and famed techno producer John Selway. Some tracks can destroy classic tracks. This remix by Skylark, a Nic Fancuilli and Andy Chatterly collaboration project, is a Deep House track that is a real sideshow to the originals, and complements it like a Lexus does a high end Toyota. Added onto the 2004 re-release of The Dream LP to coincide with the re-release of the ‘Penetrate Deeper’ mix album, it’s a track certainly for the dreamer.
Using elements from each mix of ‘The Dream’, Skylark streamline the best elements to make a smooth and dreamy rendition. At a party-starting pace hats, and tribal drums seen in a Defected Records release initiate proceedings. Continue reading →
Oscar L is making huge waves in 2018 with his cavernous Techno track ‘Monster Tube‘ getting huge play this festival season. Joseph Capriati opened with it during his Awakenings Festival set recently to aplomb. Released on Adam Beyer’s Drumcode Record’s sister label Truesoul EP ‘Multiplayer’, ‘Monster Tube’ was just one of a few recent Spaniard’s banging peak-time cuts. ‘Primewire’ is a destructive howitzer, that deserves all the accolades available on the table at the DJ Awards Ibiza if there ever was an award for the ‘Techno Tool of the Year’.
The track seems primed for the apex shenanigans Ritchie Hawtin or Dubfire to renovate during one of their sets. Double-note bass bounces with the fervour of a late-running express train and ensures heads are bopping. A powerlifting start that would normally be found on a SCI+TEC release, gives the track a real oomf from the off. The knocking percussion adds the final molecule needed to complete the chemistry of a robust rhythm. Filtered ratchet noises hover around your head to raise your appetite for some fierce Techno. Hi-hats can really make a track and the ones on display are premium. The cherry on the cake however is the ‘doing’ like bleeps that any fan of Minus would appreciate. Continue reading →