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 →
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 →
When we reviewed Doomsday By UK rising Techno sensation Billy Turner, we didn’t realise we’d be reviewing him again so soon. But then I saw his incredible set at London festival Eastern Electrics. When even the mrs keeps saying ‘Oooh I really like this’ you know it simply needs to be done. Distributed by Social Experiment Records, ‘Flush’ is yet another absolute weapon in his ever-expansive arsenal of hits. Released recently in August 2018, it is a hypnotic and doozy slammer. Last year, Social Experiment’s Head Honcho Johnny White aka Art Department picked him out as the one artist to look out for this year. ‘Flush’ certainly asserts this as it unfurls its hazy sound.
In his interview with London Warehouse Events, Billy describes being influenced by darker vibes. With his remixes of Anja Schneider, Dense & Pika, Arnaud Rebotini already in the bag, Flush crafted a new meaning of such concept. Taking inspiration from likes such as Markus Suckut or Planetary Assault Systems, his signature bounding bass is expansive and rumbling. Gyrating percussions start building a tension to the track. Metallic murmurations hummer in the back, similar to those seen on his belter ‘Doomsday’. Furious hats snippet in and out whilst mangled shrills pulsate. Robert Hood talks about what real trance is in his Red Bull Music lecture. ‘Flush’, is a showcase in that. Luxuriously smooth, the whooshes are like cascading flumes of smoke coming from a Icelandic Geyser. The fervid pads send the track down into a whole new realm, bringing an acquiesce for more.
You can see why it was released on the label. Listening to Art Department’s ‘Renaissance‘ or fabric mixes, you’ll appreciate he enjoys a deeper tech set. With other artists like the profound DJ Qu, as well as prodigals Moreon & Baffa being released, ‘Flush’ is a great fit. Our select track to punish the dancefloor.
Marcel Dettmann’s remix of Adam X’s original track is what it is – a song so perfectly crafted for the dance floor. It’s more brash than a Trump-Kanye lovechild. Released in 2010 on Chris Liebing’s CLR label as part of a series of EPs, it really does make you feel like you’re in a Closed Timelike Curve, surrounded by a pounding bass.