Twenty years later, that triplet synth melody from Oxia’s Domino still owns dancefloors. The 2006 original has racked up more than 150 million Spotify streams across its versions, and Armada Music keeps bringing it back for new generations. This time the label handed the job to New York producer Ares Carter, whose official remix slots the classic into the current melodic techno conversation.
The hardest part of touching a record this recognizable is the hook itself. Carter started there and worked through several versions until he found a bassline that could sit underneath the melody without competing with it. Once that foundation locked in, the rest of the track almost wrote itself. The remix keeps the original’s central triplet line intact while letting Carter’s production take the wheel—rolling low end, cleaner modern textures, and the kind of patient build that works in both peak-time sets and longer progressive journeys. Early support has already come from Mita Gami and Adam Ten, and the release sits alongside Space 92’s earlier 2026 remix as part of Armada’s ongoing series revisiting the track.
“Being asked to remix OXIA’s ‘Domino’ is a true honor. It’s such a legendary record, so I really took my time with it,” Carter says. “I went through several versions before finding a bassline that sat right underneath that iconic triplet synth melody, but once it clicked, the rest of the remix almost wrote itself. I wanted to stay true to what made the original so special while bringing it into the current era in my own way.”
Carter’s path to this moment runs from an under-18 club residency in New York City to headlining major festival stages. He spent time as the official DJ for iLoveMakonnen, which sharpened his sense of what actually moves a room. That experience led to gigs at Electric Zoo NYC, Mysteryland USA, and Diplo’s Mad Decent Boat Party, plus support slots for Diplo, Kygo, Martin Garrix, Steve Aoki, and Lee Foss. By 2019 he was on the main stage at Ultra Music Festival in Japan and Korea and headlining super-clubs across Seoul, Shanghai, Hong Kong, Macau, and Tokyo. More recent runs have included Awakenings, Mysteryland, Elrow Marbella, and Ibiza rooms such as Pacha, Amnesia, and UNVRS. His catalog already carries support from Jamie Jones, Joseph Capriati, Keinemusik, Black Coffee, and John Summit. “Faking” on Spinnin’ Records has cleared three million streams, his official remix of The Chainsmokers’ “Push My Luck” passed two million, and the club-ready “Next To Me” collaboration with iLoveMakonnen landed on Oliver Heldens’ Heldeep label.
Melodic techno keeps expanding because producers can take emotional, recognizable hooks and rebuild them with contemporary low-end weight and longer-form structure. Catalog remixes like this one do double duty: they introduce Carter’s sound to listeners who already know Domino by heart, and they keep a twenty-year-old record relevant without sanding off the edges that made it stick. For independent artists watching this cycle, the practical next step is getting the music onto the same platforms where these remixes live. DistroKid handles the distribution side cleanly—upload once, land on the major DSPs, and keep a larger share of the earnings. You can grab 7% off membership here: https://distrokid.com/vip/seven/2058328. It is a straightforward way to put new tracks in front of the same audiences that are still chasing that triplet melody.
What do you think of Carter’s bassline approach to such a recognizable record? Drop your take in the comments.
