Finestrat reinforces the cleaning of rural roads to improve safety and prevent fires
07/10/2026Two years have passed since the release of his first techno production, “Puig Campana,” by Finestrat-based DJ Vic iOrka. Now comes “La Font De Molí EP,” the latest chapter in the catalog of Black Codes Experiments, the record label of renowned DJ Cristian Varela.
The release of “ La Font De Molí EP ” took place on Friday, October 2nd, across multiple platforms including Spotify, Apple Music, Beatport, and Traxsource. It features four tracks where hypnotic tension, driving percussion, and the raw essence of techno take center stage: “La Font de Molí,” “When I was in New York,” and “Poker face,” with its original version plus a remix by renowned DJ and producer Cristian Varela. As Varela himself described it, “These are original productions that explore different territories of the dance floor, from deep rhythmic structures and dark atmospheres to a direct and powerful club energy.”
Mayor Nati Algado welcomed DJ Vic iOrka to the town hall to congratulate him on his second release, once again under the Varela record label. “There are many ways to promote Finestrat and its main landmarks, such as Puig Campana or, in this case, the Font del Molí. Techno music is another way to gain international recognition. And that’s precisely what DJ Vic iOrka is achieving on the world electronic music scene. We are very proud of his accomplishments. We encourage him to keep going, to continue creating, drawing inspiration from such emblematic landmarks as the Font del Molí.”
For his part, Vic iOrka explained the creative process in which he used authentic ambient sounds. “In the track “When I was in New York,” I included real sounds from the city of skyscrapers; in “Poker Face,” there are percussion sounds recorded with the actual poker chips; and in the case of “La Font del Molí,” as with “Puig Campana,” I title my productions after unique places in Finestrat that are very special to me.” Finally, iOrka expressed his enthusiasm for this second release: “It encourages me to keep creating, to keep producing. In fact, I’m working on a new creation, “Vela Púlsar,” inspired by the sounds of pulsar stars. Never give up.”
PRESS OFFICE (7/10/2026)
More about Vic IOrka:
Vic iOrka, 50, is a DJ from Finestrat with a long and distinguished career spanning three decades, primarily playing electronic music, which has taken him to prominent clubs in New York. He has also spent a decade as a radio host on online stations broadcasting from the Big Apple. “Puig Campana” was his debut album. Released in September 2024, it was downloaded by internationally renowned DJs such as Richie Hawtin, Sam Paganini, Paco Osuna, Ilario Alicante, Marco Bailey, and Joseph Capriati, among others.
In the case of “La Font del Molí”, released on October 2nd, it has already been downloaded by Gary Beck, Pacou, Joseph Capriati, Marco Bailey, Drumcomplex, Ilario Alicante, among others.
In addition, iOrka has other independently released productions such as “El Techno Molí”, “Veneration of the sun” and “Alien Invasion” which can be downloaded on the Bandcamp platform. https://viciorkanyc2024.bandcamp.com
How to find him on Instagram: https://www.instagram.com/vic_iorka_nyc/
More about the production “La Font de Molí EP:
Black Codes Experiments opens a new chapter in its catalog with Vic Iorka’s EP, La Font De Molí, a four-track release built on hypnotic tension, driving percussion, and the raw physicality of techno. Through three original productions, Vic Iorka explores different facets of the dance floor, moving between deep rhythmic structures, darker atmospheres, and the direct energy of the club.
The EP opens with “La Font De Molí,” a track that immediately establishes the release’s character. Fluid percussion and a driving bassline create a sense of continuous movement, while carefully evolving layers generate tension without disrupting the hypnotic flow. There’s something almost mechanical about its progression: elements appear, disappear, and return transformed, allowing the groove itself to become the central narrative.
“Poker Face” takes the energy into more direct territory. Punchy percussion and a persistent rhythmic pulse give the track a physical weight, while subtle details beneath the surface keep the arrangement constantly alive. Designed around repetition without becoming predictable, it captures that moment when the dance floor synchronizes into a single, collective beat.
With “When I Was In New York,” Vic Iorka adds another dimension to the EP. The track possesses a more atmospheric and evocative character, balancing its driving rhythms with a sense of space and movement. Its gradual development lends the production a cinematic quality, while remaining firmly connected to the club scene.
For the final cut, Cristian Varela offers his own interpretation of “Poker Face.” Varela takes the rhythmic DNA of the original and reconstructs it from the inside out, intensifying the percussion, manipulating the tension, and introducing the kind of detailed sonic movement that has become a hallmark of his productions. The groove remains at the center, but the architecture surrounding it becomes sharper, deeper, and more unpredictable as the remix progresses.
