this is 1/2 of a set i played recently at a release party. could be better, could be worse. tried to throw some footwork in the mix too. all in all: still keeping it bouncy, punchy and cunty. hope you enjoy it!

playn something between 140 and 145 bpm

thanks for listening and shaking your ass with me,
xoxo - T

Autoscooter Tapes 002

Gucci Mane - I Think I Love Her × Amadeezy - Broke Ass Motherfucker (No Serivce)

Gucci Mane - I Think I Love Her (Mas edit)

Gucci Mane - I Might Be (Mas edit)

Yo Gotti - Rake It Up (Mas edit)

Means the World to Me

The spectrogram corroborates the genre bias: a stable sub-floor with a disciplined low-bass shelf, transients that read as short, bright striations in the upper mids, and a relatively tidy top end—more functional sheen than splashy sizzle. It looks like you’re prioritizing kick definition and machine-funk syncopation over wideband gloss. That’s the right call for electro; the point is swing, not sparkle.

Curation shows a sense of narrative without resorting to obvious “classic → edit → reboot” tropes. You use heritage markers sparingly (Cybotron as anchor, Detroit signifiers via Godfather) and let contemporary hybrids do the heavy lifting: grime MC grain via Flowdan inside a techno shell; UK juke DNA via Addison Groove to freshen a breaks-centric palette; post-dubstep house from Pearson Sound as a breathing valve. The two DJ Godfather cuts function like stitched hinge points—one early to establish the Detroit clock, one later as a reset that keeps the low end honest.

Transitions (as inferred from the envelope dips and the spectral “tilt” changes) tend toward mechanical precision rather than big dramaturgy. Think equal-energy swaps and mid-band handoffs more than white-noise risers into pancaked drops. That plays into the mix’s argument: club music as kinetics, not melodrama. When it does flare—the HudMo/Thys/Nikki Nair material, or Klock’s steel-frame pulse—the surrounding density drops just enough that the larger synth architecture reads as an event, not merely “the next loud thing.”

The UKG pocket near the end (Thunderkats, Roll My Dice, KMK) is a useful detour; spectrally you can see the mid-bass buoyancy lift while sub stays seated, which freshens nervous-system fatigue after extended 140–150. Closing with Strategy & Visages’ “Lewis Capaldi” is a deft bit of gallows humour: title-level misdirection fronting a colder, pressure-locked sound. It leaves a clean afterimage rather than a victory lap.

What works
Consistent low-end discipline. No obvious sub blow-outs; kicks articulate cleanly across selections with very different provenance.

Contemporary-forward but historically literate. You nodded to the canon without turning the set into a museum tour.

Structural pacing. The waveform shows clear terraces and valleys; the energy isn’t crushed flat. That keeps fast tempos from reading as grey.

What to push further
A single mid-set “airlock.” One extended reduction—longer than a standard 16/32—would sharpen contrast even more and let a signature entry (e.g., the Klock/Flowdan cut) arrive with real optical zoom.

A textural zag. There’s room for one deliberately off-grid piece (electro-adjacent but timbrally anomalous: early Drexciya B-side grit, a dub-engineered interstitial, or something rhythmically orthogonal) to reset the listener’s ears before the final run.

Technical appendix (from the visuals)
Waveform envelope: step-like terraces rather than a brick—consistent with controlled gain staging and intentional breakdowns. Peaks don’t look clipped; headroom appears managed rather than slammed.

Spectrogram (log-freq): persistent, even sub-band with periodic mid-band swells; high-band energy appears transient-led, not smeared. Reads as kick-and-bass-centric programming where hats and tops punctuate rather than carpet the mix.

If you want, I can take lighter samples across the full file and add two more figures: a segment-by-segment brightness trace (spectral centroid) and a coarse tempo correlation plot. But the main story is already clear: fast, functional, and present-tense electro with Detroit bones and UK musculature, paced for bodies rather than headlines.

2025 - 11 - 11  |  DJIC |  Caution: Dancefloor Mode

- [ SPECIAL JIT EDITION ] -

Tim Exile - Family Galaxy
Chris Korda - The Man Of The Future
DJ Assault - Hoes Get Naked
313 Bass Mechanics - Niggaz Want Money
Kraftwerk - Nummern
Erik Travis - 365 TDM
DJ Godfather - Bang Bang
Dopplereffekt - Infophysix 
Drexciya - Neon Falls 
Aaron Carl - Drive (I-75) 
Galaxy 2 Galaxy - Timeline 
DJ Rashad - Compute 
DJ Rolando - Jaguar 
Aux 88 - I Need To Freak 
Assembler Code - Simulant
Reptant - Lizard Eyes
Woody McBride - The Birdman
DJ JM - Charge
Ugandan Speed Trials - Untitled (B1)
Blawan - Fram
Ides - Untitled (B1)
Player -  Untitled (B1)
WK7 - The Avalanche

RC NETWORK XIII

Where You Been? (Prod. phillip)

Brent Faiyaz - F The World (313 remix)

Brent Faiyaz - Been A Way (Miami Bass edit)

1/4 D&B, 1/4 EDM, 1/4 FMU, 1/4 R&B

100% TDS

313, 734, 303, 716, 718, 202... 613?

youtube.com/@djindustrialcomplex

Imported from the Golden Triangle, carried in soldiers' caskets

Message me for any track/edit and i'll send free
*HouseParty*
Detroit 
DJ/Producer

Voltage controlled experiments

電圧制御実験

----------------------------------

Find old mixes here 
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