Genre categories, ‘related artists’ and the narratives around music rarely do justice to the individuals and communities pushing musical movements forward. At the heart of every sound, album, track and mix are a network of influences, expressions and experiences which shape where that music comes from and why it has the impact it does.

Many institutions in the music industry are taking much-needed and long-awaited introspection into the ways artists are under-served by the industry around them & how Black artists’ huge contributions to music are downplayed, sidelined or exploited at their expense.

In our New Systems x Creator Stories series, Black creators take over the Mixcloud platform to shape the narrative around their sound, sharing their perspectives through a 1 hour audio piece and interview on their creative communities, influences, inspirations and vision. By giving creators a blank canvas to shape the conversation around their sound, we aim to help put more of a spotlight on the creators and communities pushing audio culture forward.

Juke Bounce Werk co-founder DJ Noir puts together a mix of classic and rare tracks exploring Chicago’s dance culture, from house to juke, footwork and more – before herself and Jae Drago sit down with footwork originators DJ Clent & RP Boo to talk the history, present and future of this music, its meaning and how artists, dancers and listeners outside of Chicago can connect with the creators at the heart of the sound.

Listen to the full interview and mix below and scroll down to read the transcript of the conversation.

What story were you telling with your audio piece?

DJ NOIR: I wanted to showcase the origins and influences of what would later become Chicago Juke and Footwork. Showcase some of the early innovators and originators like Cajmere, DJ Greedy, DJ Deeon. And ultimately DJ Clent, RP Boo, DJ PJ and Rashad.

What are some highlights from the mix?

DJ NOIR: Obviously Cajmere’s ‘Percolator’ which seems to be a signature track across the board, spanning I don’t know how many generations now. That’s a track that you will hear in probably everybody’s mix who’s well-versed in these genres. But also highlighting quite a few tracks from DJ Greedy who’s also an OG. Maybe not as well known as some of the others in the global world but that’s someone who’s showcased here as well as DJ Milton who was also one of the pioneers.

Over to DJ Clent and RP Boo, what tracks were you surprised to hear in the mix?

DJ CLENT: Hearing DJ Greedy because he doesn’t get the accolades that a lot of other DJs/producers have got over the years. He’s also the person who taught me and put me on.

RP BOO: For me it’s DJ Slugo’s Eris because that was a nicely done track. At that time it was something that was kind of different from his style. 

The mix combines a number of different but connected styles all rooted in Black Chicago’s dance culture. From Cajmere’s ‘Percolator’ & Ghetto House from DJ Deeon through to Juke and Footwork from DJ Clent, RP Boo, DJ Rashad and more. How would you describe the connections between these styles? 

RP BOO: The connection between all these styles is hereditary. It’s coming out of the House generation with drum machines and it all still lines up with the four to the floor. ‘1 2 3 4’ – no matter how many times the genre was getting ready to change, it still kept that edge. Even as it sped up in due time, it still had these connecting points with each-other because it had the four to the floor with the clap.

DJ CLENT: For me I would say the connection is it’s all Chicago underground music. It’s all the music that you wouldn’t hear in your local club or your local radio station. It’s something that you’d have to be at those parties or those events to hear or even buy a mixtape.

There’s a track in the mix that references clothing brand K-Swiss. What’s the story behind that track?

DJ CLENT: The best person to really give this story is not here with us – DJ Rashad, rest in peace. But to my understanding we used to do these parties at the Hudson 111th and Wabash and it was called the YMCA. The girls would come in with their all white K-Swiss shoes. 30, 40 dollars. Real cheap. So DJ Cliff did the vocals on it and Rashad was like ‘Man, I’m gonna make a track about it.’ Soon they were like, ‘That chick got on that K Swiss.’ After that track, all the females stopped wearing K Swiss.

Do you remember the first time you heard it, when it was first played in the club? 

RP BOO: For me it was a little different when I first heard it. I heard it outside. Clent and them were all there doing their thing at 111th. What made this track really fit, as Clent said, was that they used to have those shoes. I used to call them bust down baller shoes. When that track came out, they stopped wearing them. 

DJ CLENT: I can’t remember the exact first time. But one of the first times that he did play it everybody just turned around and started looking at people’s feet. And the next party you don’t see no K-Swiss.

DJ NOIR: It’s come back now it’s kind of a nostalgia thing, now people are proud to wear it.

DJ CLENT: In Chicago even right now people are posting pictures of K-Swiss shoes asking if they can wear them.

RP BOO: I used to rock K Swiss. I used to love them. I stopped wearing them before the track even came out but they killed them.

DJ CLENT: I know from the Midwest. I can speak for the Midwest. After that track came out sales went down. That’s why I said they killed that.

Chicago footwork describes both a genre and a dance. You were both dancers as well as DJs and producers. Clent you’ve spoken about how dance crews in Chicago influenced your innovations with Ghetto House. Is this connection still strong? Do you think it’s important for the music to stay close to the dance scene?

DJ CLENT: For me, it used to be that way but then after the parties stopped and we’re not really playing the music out no more I pretty much use my mind. I’ll start a track and then I’ll have to sit back bouncing my head listening to it and have to picture someone footworking to it as we can’t preview it at a party. So I’ll picture Eli footworkin or Q footworking or a Terra Squad member and if it makes them dance and the track also screams ‘DJ Clent’ then it’s a go.

I think the culture should come closer together in terms of the dancers, the DJs and all the different crews and push as one culture versus all the separation.

RP BOO: For me it’s due to our heritage and dancing background. As Clent said, it was all in my mind but as I’m creating the tracks and playing them, due to me having this dancing background, I dance to it. I still do it but it’s not as I used to. But if I see that I can dance to it then I have my own bounce with it.

We used to do the parties back when everything was still strong at Route 66 and all these other places & the dancers were the people we gave it to. If I see them doing what they do then it’s like saying you’ve got to speak who you are. Whoever the producer is, you’ve got to have your signature on it. 

The best part about it, as Clent would say, is the dancers pick up on it and what embraced them more was that it was Beatdown. You’d have myself, Clent, Rashad all doing our thing and everybody had more than one flavour that made them bounce, but we all had that dancing background so we knew what worked for us.

DJ CLENT: There was a dancer called Nick’s The Man from Gutter Thugs. Whenever we played, he would kill it. So I purposely made a track that would go on-beat and off-beat to see if he would catch it and he killed it and I was done. He murdered that track

What was the importance of including your own voices as well as sampling in your music? 

RP BOO: Well, for me, it was what got me started. Clent and them were doing their thing and when I did ‘Baby Come On’, I had an idea in my head that I wanted to get some neighbourhood girls to do adlibs on it but nobody wanted to and I didn’t know too many people and everybody was mic shy. So one day I just started chatting my own stuff and I didn’t like my voice but I just started doing it and stopped being afraid, not knowing it would take off.

It’s a great and beneficial thing because then you can speak your mind. You might want to say something catchy but if you speak your mind more clearly, you don’t know what new sayings you might come up with, what new expressions and once you catch it, you’ve got that voice – just put it out there. It works, it’s beneficial and it helps you to understand who you really are and break the ice of really exploring your mind.

With the sampling, is it mainly a percussive piece? 

DJ CLENT: Well, for me, I think Boo would agree with me on this one too: I got in an argument with someone about him having this big, gorgeous studio with all these keyboards and sound modules and this, that and the third. At the time, all I had was a Boss 660 and a JS-30 sampler. So basically a drum machine and a sampler. 

He was playing all these different sounds and saying your little toys can’t do this, your little toys can’t do that. I was mad. I go home and go through some records and I found a horn and that’s when ‘3rd World’ was made. ‘3rd World’ was actually a sample. If it wasn’t for me being mad and wanting to use the sampler for more than it was actually designed to do –

That’s what creates innovation?

DJ CLENT: Exactly, and then Boo can agree with this too because at that time we didn’t have keyboards.

RP BOO: Nah, we didn’t.

DJ CLENT: All we had was a drum machine and a sampler. So if we wanted some strings or if we wanted a synth sound we had to sample it from what we grew up from. My mother and father were DJs so I heard soul and funk all my life, so we just grabbed some of that and to this day it’s still a staple of what me and RP do.

RP BOO: To add about the sampler part, there’s a track I did called ‘The Yodel’. You hear me singing, ‘It’s just a yodel man’, but the sound that plays is really nice. It sounds like a sample but it’s not. It’s all me disguising my voice to make this sound so people would swear it’s a sample but it’s all vocals.

DJ CLENT: And we did that a lot, Boo. I was fortunate enough to have my children’s mother say a lot of my samples. This one particular time we were into it she wasn’t in the studio so I had to sing a lot of female samples myself. That’s what we did. We tried to change our voice and make our voice sound different to what people are used to. Majic Myke did a lot of my vocals and my children’s mother and if they wasn’t around and I was in track mode I had to do what I had to do.

Boo, you’ve spoken about how important expressing your individuality but also expressing history has been in your music. How do you think the sound of Chicago footwork reflects its musical history and how does your own music reflect your musical history?

RP BOO: Chicago has deep down roots of our music creators that a lot of people would never, ever know. I learnt history dealing with my father who was playing for Prince for 6 years. But it was from secrets that I found out about my grandfather who always smiled in my face but I was too young to catch onto it. He was one of the people who ran Chess Records. His background is gospel, jazz – Mississippi down to Memphis – they always talk and say just because you hear dance music, it goes far back to gospel so learn your roots. Pay attention to anything you can find in this music. 

Chicago is very well known for hidden artists or people that play dramatic roles in production and that’s a gift that we’ve got. A lot of other people in Chicago have their gift but I was blessed to be told that and it helped me identify who I am because my father told me.

But dealing with production and music, always keep an open heart. If it’s working for you, that doesn’t mean you can get comfortable. There’s nothing new under the sun and when you stop, the world is gonna keep evolving, so everyday that you have breath, that you work, move your fingers and have that open mind because you’ll never know what you’ll explore. At this point in time, we could create a whole new genre at any given second. More than one.

DJ NOIR: That’s what I love about these mixes that you’ve been doing, and the one you did last night. You went back to this old soul and funk era and it was like an education. You can hear the samples of very well known footwork and juke tracks and realise where they came from. One of your sets earlier in quarantine – it was like a whole education on sampling basically. You were getting on the mic saying ‘I think you know where this is from’ and ‘You know, DJ Rashad sampled this’ and it was so great because people don’t know where this stuff comes from. I think it’s really awesome when you guys showcase that, because that stuff is even older than y’all so the new kids now really have no idea where these references are from.

JAE DRAGO: Clent does another kind of education as well . We don’t even have to talk about it – Clent will give the whole history, from ghetto house until juke and footwork!

DJ CLENT: To speak on what you were talking to Boo about, I want to commend him because Boo is not orthodox. He’s unorthodox. He’s not gonna sample all the time and it’ll play straight through. He’ll chop it or he’ll put it on a back beat or he’ll let it fall off beat. His way of thinking is totally unorthodox and untraditional which makes him translate way further than anybody else because all the typical person thinks is ‘I’m gonna sample this and let it ride through the sample’ but Boo might put it on the back beat or the front beat, or the one or the three.

DJ NOIR: Completely different from the original.

JAE DRAGO: Us looking from the outside, we could see the competition progressing and pushing as time went on. We could see RP Boo just changing the game and everything shifting and DJ Clent with ‘Blood on the Leaves.’

DJ NOIR: Even with the younger kids, DJ Earl would be like ‘This is my ode to RP Boo’ and it’d be the way he’d do the vocals or the drums. 

JAE DRAGO: And then DJ Rashad, God rest his soul, was a known competitor. 

DJ CLENT: I’ll tell you where all that stems from. That stems from the Beatdown days. The parties were going on and it was a friendly competition amongst me, Boo and Rashad. 

Boo would kill the party this week and then we’d make him play the track about 4 times because it was so cold and then next week Rashad would win and he’d play his new track. Every week we’d need to have these new tracks and sometimes this person would win, sometimes that person would win. 

As years progressed that energy is still within us. We’re not in competition anymore but that energy is still there where you’re trying to outdo what you did the previous week. What Boo did that really changed the game is when he did ‘Get ‘Em’. You have to know how to play that track. If you don’t know how to play that track you will fall off.

DJ NOIR: There are a lot of Boo tracks like that.

Clent, you’ve spoken about how a key part of your music is putting in a strong feeling or energy that translates directly to the person listening. How would you describe the ‘energy’ of Chicago footwork, as well as the energy of your own music?

DJ CLENT: The energy of Chicago footwork is because we make this music to go straight to the feet. But for me – everybody that knows me knows that I’m a very emotional person. Whatever I’m going through is gonna translate in that track and I want it to translate into that track because I want to pour my heart into it and give the listener or the dancer a chance to feel where I’m coming from and see my point of view. That’s pretty much what it is for me.

How would you describe the influence these Chicago artists and styles of music have had and are having on global music culture right now – from your own releases and style to their impact on producers and DJs around the world?

RP BOO: A lot of influence because, as we’re travelling, we all got a chance to go out and present it, other than what people hear via the Internet. As they started hearing our shows and sets – even after Rashad, they might have thought that was just one style of footwork or whatever they want to call it. But when I come over or when Clent came over, they see everyone has a different perspective. They were like, this is better than what they expected. But for us it’s old. To them it’s new. 

That’s why we’re so ready to give back and go out because we see what it does. Back here in the States, in Chicago, it’s more of ‘Okay, we’re making all this music. Nobody’s gravitating to it.’ But when we go overseas, we take the same old stale dull tracks they hate here and we’re like ‘Y’all on this?’

DJ NOIR: They go wild!

RP BOO: In other words, we’re sure our future’s in front. Other people overseas are embracing it and it’s driving other producers that are even switching genres or it’s motivating them. Being a part of the OGs from the Beatdown Crew that’s one of the greatest things that I’ve witnessed. It’s still alive. Now it’s more outside of Chicago that’s embracing it and that’s what’s making us grow more and produce more and say, ‘Okay, our work will not go down in vain.’

DJ CLENT: For me it’s, like you said, the travel and the influence. It would be like listening to ‘Percolator’ in the 90s and then hearing Deeon’s ‘Put It In Yo Mouth’ with the same ‘percolator’ sound but he flipped it his way. 

It’s one of those things where it just transcends. Because to us it’s old, but to other people across the globe it may be futuristic. A lot of people have taken hints of what we do over here and they make it their own. I think that’s dope.

DJ NOIR: Like you guys said, we’ve all had the opportunity to travel and play this music outside our respective cities and the way people receive it depending on where you go is very different. 

In Japan, they’re very much on top of it. They do their history and their homework. They know about more tracks than some people we know in Chicago! They’re very deep and in tune with the culture, the dance side and the music side. 

When you go to Europe, they’re very knowledgeable about the music but they don’t have the dance culture connection so they’re receiving it differently than, say, someone from Chicago or people from LA or people in New York would receive it. Sometimes people would come up to us and say, ‘I really enjoyed this set but I don’t know how to dance to this music’ or ‘I thought that was so interesting but I don’t know what to do.’ I think it’s cool that the music makes people think they need to do something or that they feel compelled to do something.

JAE DRAGO: We were lucky to present it as best as we could as Chicago presenting in L.A.

DJ NOIR: Building a bridge for footworkers – some of them from Chicago, some of them not – to come and show a little bit of what it’s about in an environment with other music styles being played. We figured that was the only way to do that because they had no idea what Chicago footwork was. So when you have the jungle guy there and the dubstep guy there, they’re all gonna come and they get exposed to this great time. So many people got put on that way, because they came expecting something and then they left with more.

RP: Right.

DJ NOIR: Finding creative ways to expose the music outside of the home base has been really fun and challenging for us to do because some people have never heard anything like it before.

JAE DRAGO: And finding the balance of letting it be exposed but also respecting the foundation of where it comes from.

DJ NOIR: And educating people on who the people were that started it. Long work that has to be done.

JAE DRAGO: That’s a whole call in and of itself.

RP BOO: For y’all it is.

DJ CLENT: I’m grateful for the bookings you’ve done with me and I’m also grateful to you guys for helping with my first tour.

DJ NOIR: We couldn’t go without you.

JAE DRAGO: We weren’t going to be the educators. We needed a master teacher.

RP BOO: Y’all have y’all ways of working your magic. When I played Tokyo Beat, L.A. the first time, it showed me. 

I found out what my total purpose was with travelling. While I was spinning, Creation Squad were doing their thing, but then I noticed people were just drinking. But as soon as I stop, they were like ‘What?’ and people started talking to me and I said, ‘Wait a minute, I understand what it is that I do.’

That’s what I tell people who DJ – you’ve got people that don’t know how to dance, but you have people that do dance. Let the dancers do their thing, but there are the other people standing there who heard something about footwork from someone else and now they’re there. 

We are people that teach, that give lectures. We speak through the music. Tokyo Beat was the first night that I caught on that if ain’t nobody moving, I’m in professor mode. They’re just there studying, analysing. And then they speak afterwards like, ‘Hey, we need to talk!’

JAE DRAGO: That’s absolutely why when we were being presented with opportunities in Europe, we were like, ‘Let’s make sure that Clent gets put in front and we go with him.’ 

We needed a master lecturer, someone who was going to break it down correctly. Then we could back it up. As much as we’re good DJs at what we do, we’re not Clent, we’re not RP Boo. We can explain it so much but having one of y’all really teaching the masterclass I think is important. That’s why we’re here too.

This one’s for DJ Noir. In your interview with DJ Mag, you touch on the difficulties and erasures that can come when styles innovated by Black people are marketed globally in a way that minimises or excludes the originators of that sound. You mention the example of jungle & drum & bass (part of what is sometimes called the ‘hardcore continuum’). How are you seeing this played out with the Chicago ghetto house continuum?

DJ NOIR: I see it playing out in that of a lot of Europeans taking elements of Chicago footwork and polishing it, making it engineered for radio and the dancefloor and in turn kind of watering it down a bit to make it a little more, say, marketable. We see a lot of those DJs at the forefront of that playing and dabbling in Chicago footwork and getting booked for these types of events but you don’t also see Clent being added onto the booking or other people who should be in those spaces being included. You like the sound, you like that energy but you’re not going back to the source. You’re just taking it on and saying this is a new style, we’re gonna do this and call it footwork. 

I have a problem with that. A lot of people have a problem with that because this is where money starts becoming an issue. When people aren’t getting paid or aren’t getting booked for these shows but there are people who haven’t created the sound now changing or watering down the sound and making a career on it, this is exactly what happened with jungle & drum n bass in the 90s.

JAE DRAGO: And Chicago House and Jazz…

DJ NOIR: This has all happened over the last 7, 8 years – a very short span of time – because of the Internet, because of how fast the internet is and its accessibility. You can hear something, emulate it, go into the studio and make your own version, put it out and be touring within 12 or 18 months. I’ve literally seen it. I’ve seen people buy a controller, learn how to DJ it, get onto the sound and they’re on tour. They’re not taking DJ Clent on tour. They’re playing DJ Clent’s music on that tour, but no one’s going back.

That’s kind of what prompted the DJ Mag article – a discourse I was having with a younger person on the scene. I mentioned Beatdown House and DJ Clent and the person said, ‘Who’s Beatdown House? Is that a new footwork crew?’ I said, ‘This is the problem, because you’re operating and functioning in a scene you’re calling footwork and you’re asking me who a pioneer and an innovator is.’ It kind of blew up on the Internet and DJ Mag reached out to interview me. It’s happened in other scenes but they wanted to know how it related to what y’all are doing.

As an L.A based collective, what can you share about how you work with these Chicago artists and your role in the growing global culture they continue to influence? Is there anything you’ve learned about how local and global scenes can interact with each other without erasing the black artists at the heart of the genres?

DJ NOIR: It’s very easy. With the Internet there’s really no excuse. With the Internet you can reach anybody at any time. You can find the email, you can hit them on Facebook, you can start a conversation, you can make a booking, you can throw a party. 

When people tell me, ‘They’re not accessible to me, I can’t reach them.’ I say ‘No, we did it, we did it every week for 4 years. We’ve gone on tour, we’ve taken people with us. You can do it.’ 

So, there’s no excuse. All these guy are great guys, great people. You can reach them at any time. It’s not hard to reach out to RP or Clent.

JAE DRAGO: As we like to say in LA, shit ain’t hard

DJ NOIR: Don’t be scared. They’re not gonna bite

Hearing this Chicago music from L.A, what drew you to connect with it?

DJ NOIR: The energy basically. It reminded me so much of the same energy that grabbed us during the Jungle era of the early 90s. To discover that those two movements were happening simultaneously at the same time, with them becoming like parallel universes – for a DJ, you couldn’t ask for more inspiration. I think that we really felt motivated to expose our community to the music and the culture. That’s what inspired us to start throwing events and building a crew and everything else.

Boo and Clent, as two of the key creators and innovators of Chicago footwork, what is a key thing people should know when they listen to this music?

DJ CLENT: Feel the energy. The transference of energy. That’s what it is for me. Let it touch your soul, because a lot of what we do is soul-driven. We pour a lot of energy into this music and try to touch the listener or dancer at their soul.

RP BOO: For me, like Clent said, that’s the main ingredient. But understand what it is that you’re listening to. Become one with it. That’s all you have to do. 

It’s not gonna be an overnight success. You can take a track you like and just work with it. That’s how Nick’s The Man was able to do what he did with Clent. He studied that person he was listening to and became one with that track. If it says something – like if it says how to move your body – that’s what Clent is saying. You’re about to understand that soul. It’s soul-driven. If you’re soul-driven and it’s telling you something in the battle, listen to what it’s saying – then it’ll be a double explosion.

JAE DRAGO: Then you do the blend and it’s a conversation between two tracks and then it’s a real conversation.

RP BOO: Two faces. Something that we haven’t talked about is that me, Clent, Rashad – the Beatdown Crew – we were known for this: how many people who came in with new speakers and we set their speakers on fire.

DJ CLENT: Homer’s still mad at me till this day for that.

RP BOO: Soul-driven.

JAE DRAGO: That’s why they call it the heat.

Seeing the influence Chicago footwork is having globally, how do you see the music developing in the future?

RP BOO: No one can predict the future. As long as it’s enjoyable, we’ll see it and embrace it as it comes, but still I would not drop no anchor on what I expect to see. I just expect to see enjoyment all the way through. 

There are enough people that are supportive of what we do, plus those that are still active like myself and Clent. Whatever the future brings we’re there. The best thing is to always feel okay being in uncomfortable situations related to what you cannot predict.

DJ CLENT: For me, I really don’t expect anything. What I wanna see is a united front to really push the genre forward instead of all the separation. I think that’s what it’s gonna take for us to propel the genre or propel the scene. I think there’s too much separation for a style of music and a style of dance that all of us love. We all have this in common but if we stand together and push the genre forward, then we’ll get the new sound or new feeling because we’ll be adding more people to the culture.

DJ Noir has talked about setting a new standard for how artists around the world share opportunities with the originators and innovators of their genres. What’s one thing you’d like to see more in the way global music scenes interact with Chicago?

DJ CLENT: I think they should just reach back. I’m a very open person. I’m very easy to contact. On Facebook – I’m trying to switch to Twitter – or Instagram. It’s really nothing to reach out to me and say, ‘Hey, I’ve got an idea’ and we work from there. 

RP BOO: For me, it’s just reach out. Send me an email and be specific with what you want to know because the best way of educating is actually having a conversation. I’m always open. I’ve seen what things can happen from just one person with a good listening ear. Don’t be afraid. We’re human. We’re not Hollywood. We like to interact with people. Don’t be afraid.

DJ NOIR: I think seeing y’all collaborating in the way you’ve done with us. Coming to the event being willing to come to the events. Clent has mastered a project for Kush Jones, offered advice, given energy and I think it goes a long way when y’all open yourselves up to people who honestly just want to learn and be a part and want to uplift and encounter those people. Great things can happen.

JAE DRAGO: That’s something we’ve actively talked with European people and people in other cities about. Chicago’s open for business. It’s easy – it’s not difficult. Everyone wanna act like it’s difficult.

DJ NOIR: Honestly, you guys are the easiest people we work with

JAE DRAGO: It just makes zero sense. We always throw it straight to you.

DJ NOIR: More collaboration in general. When shows do come back, I’d like to see more old school DJs on the lineup with new school DJs or more events like DJ Clent’s Beatdown Picnic.

RP BOO: Oh yeah.

JAE DRAGO: The Beatdown Picnic should travel the world.

Who are three creators you’d like to spotlight?

RP BOO: Kode9, DJ Marfox & Surly

DJ CLENT: Kush Jones, DJ Swisha, EQ Why

DJ NOIR: DJ Corey, DJ Corey & DJ Corey!

RP BOO: Corey’s cut from the same cloth.

JAE DRAGO: DJ Clent’s son. 

DJ NOIR: He is the future! DJ Corey, DJ Earl & DJ Manny.

JAE DRAGO: And I’d add DJ Acey.

Who would you say are some artists to watch coming out of Chicago?

RP BOO: I’d say Acey without a doubt.

JAE DRAGO: When I heard that Rocky track? Oh my god.

RP BOO: Other than him I’d say Corey. And another one off Clent’s mix that’s making noise is EQ Why.

DJ CLENT: For me, and not being biased, my son DJ Corey.

JAE DRAGO: On the dancing and the tracks!

DJ NOIR: Yeah.

DJ CLENT: Then DJ Acey and DJ Earl.

JAE DRAGO: Earl’s new record is really good.

What’s coming up from yourselves that we should look out for? 

RP BOO: There’s a new album coming out next year and I’m working on another new project that’s gonna follow up after the album. It’s more of a trio with a different sound, not strictly footwork. It’s gonna be the new mind of Mr Kavain Space.

DJ CLENT: For me, we’re bringing Beatdown Radio back. Me and Corey also have an album coming out. Next year, we plan to return with the Beatdown Picnic – the Litnic. It’s gonna be three days and we want to bring in DJs from other places at a location where we can go further into the night. That’s pretty much what it’s gonna be and as the details come out, you guys will know.

Juke Bounce Werk recently released their latest 45 track compilation JBDUBZ Vol. 8. Follow them on Instagram, Twitter & Mixcloud for more.

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