German trance producer and DJ Timo Maas has no problem admitting that he seeks "evilness" in his music. He attempts to explain through a thick German accent and near perfect English, "It’s like...heh, heh, heh [makes an evil laugh to demonstrate]. It’s that, but you’re still smiling when you feel it. You’re not sitting in the basement and talking about the devil and shit like that – that’s rubbish. It’s just that my music appeals to a little bit of evilness that is in all of us."

Since Americans are not ones to shy away from their darker side, it’s clear that Maas, whose first gig in the States was just over a year ago, will have no problem fitting in. That’s especially so considering the fast-emerging domestic trance scene that is opting to embrace more intelligent acts like fellow German Paul van Dyk and Americans Sandra Collins and Deepsky over more exposed British DJs like Paul Oakenfold. Maas admits there is something going on in the American scene.

"It’s definitely a very, very big thing," he says. "You Americans don’t realize how big it can be."

And that’s why in the last few months Maas and his manager, Hope Recording partner Leon Alexander, have spent a lot of time across the Atlantic. Sure, DJs like Oakenfold may have opened up the market, but it will be more progressive artists like van Dyk and Maas – he uses the words "deeper," "darker" and "more funky" to describe their sound – who will be most influential in the end. Maybe it’s a German thing.

Maas himself has been spinning records for 17 years and has been heavily involved with trance music since 1993. Today, the intelligent and physically imposing figure is best known for his lonely and epic single from Hope Recordings "Der Schrieber" (roughly translated as "pusher") and the genre-defying hit "Mama Konda" – a Top 20 club hit in both the U.S. and U.K. Other notable singles marked by Maas’ decidedly German sound include his hit single’s sequel "Vila Nova," "Eclipse," "Riding on a Storm." and a textured remix of Azzido Da Bass’ "Doom’s Night." Currently, his epic mix of Green Velvet’s "Flash" is making the rounds.

In England, Maas caught his break through an affiliation with Alexander and partner Stephen Satterthwaite, who first brought him in to spin at their legendary progressive house club, Lakota, in Bristol. "Those gigs in the early years with Leon were a turning point for my whole understanding of music," explains Maas. "No one really realized who I was, but people just came because of the music. That was the first time people gave me a chance to play outside of my commercial music. I always played a little bit more progressive – as soon as something worked in my set, I changed it every time. It’s the same with the music I produce. As soon as something works, I change it. Hey, it must be. I play so many DJ gigs and it would be so boring for me to just play a set. There has to be something interesting in it for me as well. I play the music for me and for the people – not just for entertainment. It’s a joint venture between us. I have to like the music as well."

So what’s next for the quickly ascending Maas? A new Kinetic single for one thing. "Ubik," an infectious, break-driven track with remarkable vocals, is expected to hit just before presstime. Then later in September a full-length album, Music for the Maases, will be released on Hope Recordings.

As far as breaking into America’s DJ circuit, Maas recently accepted a residency at New York mega-club Twilo every other month with Deep Dish. After the successes that trance-oriented jocks like van Dyk and the Sasha and Digweed team have built from the club, Maas knows that the sky’s the limit.

"It is one of the best clubs in the world," he proudly admits. "It is the biggest, biggest step for me in my career."