Who wants to hear a long story about a techno song? No one? Great! - I remember the first time I heard @joy__kitikonti’s seminal 2001 techno banger “Joyenergizer” - it was as if my entire DNA had been unwound and rewritten. Seriously - it had that level of an impact. I had never heard something that so beautifully encapsulated everything I love about dance music - the playful mischief, the pro-production, the sheer intensity that - just when it feels like it’s going completely off the rails, it sticks the landing so hard your jaw drops; the ability to be both high-art and totally fucking batshit crazy. - Unfortunately, I never played it once I started to be booked because I was still trying to establish myself in queer clubs and knew that most promoters I worked w/ weren’t exactly keen to book a DJ who plays a record that - like most great art - is still VASTLY polarizing. You either LOVE Joyenergizer, or you think it is unadulterated ear-punishment. Not to mention the shift fidelity and stark drop in BPMs since it’s 2001 release made it extra hard to sneak in without people being like “ok what... what is he doing?” (Sea of gay heads nodding disapprovingly) - So when @djfreejak took the spirit of the original and updated it so beautifully, I finally found the perfect opportunity to bring it back into my regular rotation - even if I occasionally have to run a Britney Spears acapella over it at the start just to trick the gays into giving it a chance haha 😈 I always KNEW in my heart that if they just *gave it a chance*, they would go off just like I did way back in 2001, listening to it on the carpeted floor of my old apartment on Hollywood and Orange. The neighbors fought at the weirdest hours. Crack. - Flash forward 22 years, and @trixiemattel and I walk into @atlantaeagle to a hyper-receptive and READY crowd, largely thanks to Trixie’s widespread appeal among cute people with good taste, and in the back of my head I’m immediately like “omg, can I finally play Joyenergizer? Is this the time?!” Well, long story short (too late) it went off. In this clip you can hear Trixie adding new percussion to it by riding a sample of “Call Me Mother” over the outro.