Fraxinus
Position [Displacement]
Boomkat Product Review:
High grade hard drum bangers from Fraxinus, long in the works but finally ready for hungry clubs on his newly minted label; Powerplant
Loaded with buffed up new iterations of gear first previewed years ago, ‘Position [Displacement]’ is a definitive solo statement by the UK producer who came thru mid decade with the Her Records gang, helping shape their omnivorous approach to techno as informed by UKB, Jersey/B-More, and dancehall. These six new zingers find their feet in the midst of a scene ripe for his style, deploying meticulously engineered and propulsive bullets that are bound to pique interest across the increasingly trampled-on borders of club music.
As played by M.E.S.H. as fair back as 2017, ‘Source Code’ appears here, subtly retuned for optimal wallop and swagger, while the lethal dancehall techno payload of ‘Pass One’ is absolutely gasping for big room devastation with devilishly timed dynamics and cavernous, offset kicks. On a more playful flex, ’115 (Kondo)’ is defined by its twirling, laser cut lead and effortless rolige, while ‘Larch’ feels like Oni Ayhun doing hard ass gopnik techno, replete with accordion, but his craftiest rhythms are saved for the two bookends with oodles of tightly wound drums in the Leonce-like pressure of ‘Overland’, and the insectoid sidewinder ‘Laced.’
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Boomkat Product Review:
High grade hard drum bangers from Fraxinus, long in the works but finally ready for hungry clubs on his newly minted label; Powerplant
Loaded with buffed up new iterations of gear first previewed years ago, ‘Position [Displacement]’ is a definitive solo statement by the UK producer who came thru mid decade with the Her Records gang, helping shape their omnivorous approach to techno as informed by UKB, Jersey/B-More, and dancehall. These six new zingers find their feet in the midst of a scene ripe for his style, deploying meticulously engineered and propulsive bullets that are bound to pique interest across the increasingly trampled-on borders of club music.
As played by M.E.S.H. as fair back as 2017, ‘Source Code’ appears here, subtly retuned for optimal wallop and swagger, while the lethal dancehall techno payload of ‘Pass One’ is absolutely gasping for big room devastation with devilishly timed dynamics and cavernous, offset kicks. On a more playful flex, ’115 (Kondo)’ is defined by its twirling, laser cut lead and effortless rolige, while ‘Larch’ feels like Oni Ayhun doing hard ass gopnik techno, replete with accordion, but his craftiest rhythms are saved for the two bookends with oodles of tightly wound drums in the Leonce-like pressure of ‘Overland’, and the insectoid sidewinder ‘Laced.’
Boomkat Product Review:
High grade hard drum bangers from Fraxinus, long in the works but finally ready for hungry clubs on his newly minted label; Powerplant
Loaded with buffed up new iterations of gear first previewed years ago, ‘Position [Displacement]’ is a definitive solo statement by the UK producer who came thru mid decade with the Her Records gang, helping shape their omnivorous approach to techno as informed by UKB, Jersey/B-More, and dancehall. These six new zingers find their feet in the midst of a scene ripe for his style, deploying meticulously engineered and propulsive bullets that are bound to pique interest across the increasingly trampled-on borders of club music.
As played by M.E.S.H. as fair back as 2017, ‘Source Code’ appears here, subtly retuned for optimal wallop and swagger, while the lethal dancehall techno payload of ‘Pass One’ is absolutely gasping for big room devastation with devilishly timed dynamics and cavernous, offset kicks. On a more playful flex, ’115 (Kondo)’ is defined by its twirling, laser cut lead and effortless rolige, while ‘Larch’ feels like Oni Ayhun doing hard ass gopnik techno, replete with accordion, but his craftiest rhythms are saved for the two bookends with oodles of tightly wound drums in the Leonce-like pressure of ‘Overland’, and the insectoid sidewinder ‘Laced.’
Boomkat Product Review:
High grade hard drum bangers from Fraxinus, long in the works but finally ready for hungry clubs on his newly minted label; Powerplant
Loaded with buffed up new iterations of gear first previewed years ago, ‘Position [Displacement]’ is a definitive solo statement by the UK producer who came thru mid decade with the Her Records gang, helping shape their omnivorous approach to techno as informed by UKB, Jersey/B-More, and dancehall. These six new zingers find their feet in the midst of a scene ripe for his style, deploying meticulously engineered and propulsive bullets that are bound to pique interest across the increasingly trampled-on borders of club music.
As played by M.E.S.H. as fair back as 2017, ‘Source Code’ appears here, subtly retuned for optimal wallop and swagger, while the lethal dancehall techno payload of ‘Pass One’ is absolutely gasping for big room devastation with devilishly timed dynamics and cavernous, offset kicks. On a more playful flex, ’115 (Kondo)’ is defined by its twirling, laser cut lead and effortless rolige, while ‘Larch’ feels like Oni Ayhun doing hard ass gopnik techno, replete with accordion, but his craftiest rhythms are saved for the two bookends with oodles of tightly wound drums in the Leonce-like pressure of ‘Overland’, and the insectoid sidewinder ‘Laced.’
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Boomkat Product Review:
High grade hard drum bangers from Fraxinus, long in the works but finally ready for hungry clubs on his newly minted label; Powerplant
Loaded with buffed up new iterations of gear first previewed years ago, ‘Position [Displacement]’ is a definitive solo statement by the UK producer who came thru mid decade with the Her Records gang, helping shape their omnivorous approach to techno as informed by UKB, Jersey/B-More, and dancehall. These six new zingers find their feet in the midst of a scene ripe for his style, deploying meticulously engineered and propulsive bullets that are bound to pique interest across the increasingly trampled-on borders of club music.
As played by M.E.S.H. as fair back as 2017, ‘Source Code’ appears here, subtly retuned for optimal wallop and swagger, while the lethal dancehall techno payload of ‘Pass One’ is absolutely gasping for big room devastation with devilishly timed dynamics and cavernous, offset kicks. On a more playful flex, ’115 (Kondo)’ is defined by its twirling, laser cut lead and effortless rolige, while ‘Larch’ feels like Oni Ayhun doing hard ass gopnik techno, replete with accordion, but his craftiest rhythms are saved for the two bookends with oodles of tightly wound drums in the Leonce-like pressure of ‘Overland’, and the insectoid sidewinder ‘Laced.’
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