DJ/producer/composer, born in 1984, based in Utrecht (The Netherlands). Has his own production company called 'Phynn Productions'. Signed to Black Hole Recordings.
Finne Jager (Phynn) has clearly been one of the most consistent and versatile trance musicians in my mind. His debut into trance came with his remix of Ernesto vs. Bastian's "Who's The Starter?" in 2003. That remix employed a style of uplifting tech-trance that seems more visible in his tracks like Tempest and the Stop 9.5 Salvation Remix, whereas his following original productions during 2004-2006 were decidedly more melodic (such as Escape, Lucid, and High Tide, to name a few.) Fictivision vs. Phynn - Escape (Phynn Mix) became Phynn's most resounding contribution to the trance scene during late 2003 and much of 2004, and for me also remains his most stunning work yet.
Why is Phynn so versatile? In my mind, he just brings forth many ideas into a motley collection that will leave you well aware of the characteristically aggressive bassline as it fades into your headphones. They range from the melodic and atmospheric to the intense and tech-trance influences. Sometimes we get a combination of all of these attributes. For instance, Escape is melodic, but intense. Tempest is more like tech-trance with a clear atmospheric slant during the strings break. Close Encounter throws in some dissonant stabs one might hear in a deep house song, but it is set to the tempo and energy level of a trance song. His remix of Fictivision's Out of Orbit use some acid riffs. And his newer works, especially on the Metamorphosis album, experiment with the progressive and electro influenced styles that were quite common circa-2008, veering away from the more structured buildup-breakdown patterns seen before. Spacewalk in 2009 was a kickback to his more uplifting style from previous releases, suggesting that Phynn's ideas are constantly going through cycles. A cursory run down of his discography should say that we're presented with an interesting dichotomy of ideas, all noticeably well produced and well thought out.
If I could summarize Phynn's style in one word or sentence, it would do it an injustice, because he tends to avoid sounds that are overformulaic or sounding like rehashes of tracks he has done before. Each release is guaranteed to sound different from the last one. His basslines are almost guaranteed to be very intense, which is one consistent theme of his, but the peculiar thing is that he always works around this framework for each song. The bassline is a given, and then, the rest of the sounds must conform to the bass in some unique way.
Phynn's earlier works demonstrated a tendency towards darkish energy by using melodies that are deeply moving, but not overemotional or saccharine (Escape, Tempest, Close Encounter.) His more emotionally uplifting songs (Lucid, for instance) I'm not quite as thrilled with, to be honest, despite that they seem to be everyone's favorites. Though, they remain testaments to Phynn's clear talent and quite good, despite my deep affection for the more subtle melodies in his darker songs. For me, this makes him one of Black Hole's greatest assets and one of my all-time favorite producers.
Why is Phynn so versatile? In my mind, he just brings forth many ideas into a motley collection that will leave you well aware of the characteristically aggressive bassline as it fades into your headphones. They range from the melodic and atmospheric to the intense and tech-trance influences. Sometimes we get a combination of all of these attributes. For instance, Escape is melodic, but intense. Tempest is more like tech-trance with a clear atmospheric slant during the strings break. Close Encounter throws in some dissonant stabs one might hear in a deep house song, but it is set to the tempo and energy level of a trance song. His remix of Fictivision's Out of Orbit use some acid riffs. And his newer works, especially on the Metamorphosis album, experiment with the progressive and electro influenced styles that were quite common circa-2008, veering away from the more structured buildup-breakdown patterns seen before. Spacewalk in 2009 was a kickback to his more uplifting style from previous releases, suggesting that Phynn's ideas are constantly going through cycles. A cursory run down of his discography should say that we're presented with an interesting dichotomy of ideas, all noticeably well produced and well thought out.
If I could summarize Phynn's style in one word or sentence, it would do it an injustice, because he tends to avoid sounds that are overformulaic or sounding like rehashes of tracks he has done before. Each release is guaranteed to sound different from the last one. His basslines are almost guaranteed to be very intense, which is one consistent theme of his, but the peculiar thing is that he always works around this framework for each song. The bassline is a given, and then, the rest of the sounds must conform to the bass in some unique way.
Phynn's earlier works demonstrated a tendency towards darkish energy by using melodies that are deeply moving, but not overemotional or saccharine (Escape, Tempest, Close Encounter.) His more emotionally uplifting songs (Lucid, for instance) I'm not quite as thrilled with, to be honest, despite that they seem to be everyone's favorites. Though, they remain testaments to Phynn's clear talent and quite good, despite my deep affection for the more subtle melodies in his darker songs. For me, this makes him one of Black Hole's greatest assets and one of my all-time favorite producers.