Drip fed through the internet’s vast web - over the course of several months EP I came to be fully formed. The mysterious DRUGUSE presented six ghetto tracks clearly inspired by the classic chicago productions but infused with a more modern LA beat scene sensibility.

HOOD RICH LIFE still remains the releases “smash hit”. The drums are quickly obscured by melodic twinkles and a tsunamic bassline. Combine these qualities with the singalong potential and you’ve got yourself a platinum certified classic in the making. Goodies can also be found in the other five tracks in the EP - my personal favourite has to be the off kilter THIRSTY ANTHEM. Vocals swirl around submerged kicks in stark contrast to the previous sharp edges of HOOD RICH LIFE.

JACK댄스 - 11th April

If you’re a bit sick of every day life and 5-panel clubbing then it might be worth checking out JACK tomorrow night in Dalston. I’m going to be playing down there along with Ana Caprix, Crack Stevens, Tiqqun and 2shy. Last time it was great, carefree clubbing for the selfie generation and I expect no different this time. If you can make it, make sure to holla - I’ll be front and centre as always.

Machine Girl - Ghost (Sinistarr Remix)

In true Dred Collective style, off the back of the highly acclaimed WLFGRL LP it was only natural to follow it up with a bundle of remixes from 16 different footwork producers. Split over two releases, there are contributions from DJ Earl, DJ Clap, Footmerc, Nonfuture and many more but undoubtedly the stand out contribution comes from Sinistarr.

It’s hard to tell what to expect when a new Sinistarr tracks pops up in your Soundcloud feed. Drawing inspiration from a wide variety of sources - it’s always a pleasure to see an artist experiment outside of their comfort zone again and again. His remix of Ghost is wonderfully understated. It draws from the rich detroit ghettotech history with a beautifullly simple 4x4 kick patter interspersed with regular stabs from the original mix.

I think that my internal bodyclock has been permanently normalised to regard anything beneath about 150bpm as slow but I can understand why straight rhythms at 155bpm can be seen as head banging. You would be hard pressed to find anyone to describe this slow builder in such a derogatory fashion. The simple loop is enriched every 16 bars with an additional element, each listen gives new appreciation to this basic structure and the force it brings to a brilliant track.

It’s an open secret that this track has had it’s own tab in my web browser for the last two weeks. With the ghettotech influenced mix for Silk/Juice from a few months ago and recent releases on Architecture Records and return to None60 the last few months have been fertile times for Sinistarr fans. Little remains but to kick back, load up your portable music device and wonder where he will take us next.

Nangdo - Burnin

In a bold strategic move, #TOMCREW recently shed the hashtag and relaunched as TOMCREW. Now living the “No ###. No gimmicks.” life whose else to turn to but Nangdo for their first post-rebirth release.

The Berlin resident and WeBoogie affiliate has been responsible for some earworms in the last year. This five track solo release proves to be no different. On the first listen, Movin Fast immediately stands out as the highlight of the release. The introduction threatens a more free-form production but the sample is immediately reeled in before regularity is only disrupted by an over-exuberant kick sequence. In the final third, everything comes back together to a melodic finale - the kind which Nangdo is particularly known for.

Those lucky enough to be in Berlin can catch Nangdo and DJ Earl tonight at We Boogie. It’s probably too late now but don’t say I didn’t tell ya!

Long Clothing & We Buy Gold Present: Trancework

If there was one genre which had previously escaped the footwork refix treatment it was trance. Luckily or unluckily depending upon your tilt, that has now changed. Long Clothing has joined forces with We Buy Gold to co-ordinate a free 20 track compilation that revisits all your favourite Ibiza trance anthems and gives them a contemporary slant.

I am a fan. That really goes without saying. The scene has begun to divide in the last few months. On the one hand labels such as Exit records have been prolific in exploring the autonomic footwork connection. Producers such as Fracture, Deft, Coleco, Stray and Rockwell are all bringing an exceptionally high production value to an exciting cross over. For lack of a better name, Joy Juke is the push to the other direction.

Ironic gunfingers are replaced with ironic apparel. Appealing to members of the selfie generation, the music goes hand in hand with the carefree ideals of the post-internet age. True to the original Chicago style, samples are flipped ruthlessly and without pretence - Kpop and chiptune are as fair game as classic RnB. The persona is as important as the music and artists are rewarded for self-awareness and subtle irony. One of the most popular artists DJ Paypal, chooses to adopt a tongue-in-cheek veil of anonymity and whilst not having an extensive back catalogue has developed a large fan base through the interaction with his fans.

Trancework clearly fits into the latter category. Some have questioned if the curators are serious about the compilation. Couple the concept with the release date (1st April) and you can see why people may be sceptical about the merit of the project. After all, cheese is not especially know for it’s longevity. Most music these days is as best ephemeral - this should be not be taken as pretence but an observation that the internet has made it difficult to make an impact longer than a week.

Trancework has resonated for a reason other than timelessness. The mainstream is currently experiencing a peak in the popularity of house music of all varieties - many have claimed that their brand of interesting electronic club music is the antithesis to this movement but ultimately, media coverage does not equate to grass roots participation. The whole aesthetic of Joy Juke acts as an antithesis to the mainstream and as a result, the music when pitched against the usual sits in much sharper contrast.

That context shines a different light on the compilation. Not one which highlights the intricacies of the 20 tracks or the intrinsic artist value but a light which illuminates the surrounding scenery and allows us to appreciate it for what it is. Ultimately, what’s inside the package is irrelevant for people will probably only remember “that trance remix compilation” rather than the goodies which lie inside for each of us to discover.