try the remix the initial was the best

125 BPM, 4/4, The groove communicates assured forward motion — not urgency, not struggle, Drums are tight and economical: a short, controlled kick with no sub bloom, creating confidence through restraint, Claps are dry and precise, reinforcing structure rather than excitement, Hi-hats shuffle with swing to imply movement and time passing, never rushing, The bass is repetitive and grounding, acting as an anchor rather than a melody, It loops with intention, suggesting stability, discipline, and clarity, No bass runs, no emotional lifts — just consistency, Chord stabs are minimal and filtered, appearing briefly to signal awareness, then disappearing, They never resolve dramatically; they hint, then step back, This avoids melancholy while maintaining depth, Percussion is subtle and human: light conga taps, wood textures, shakers — used sparingly to suggest life inside the system, not chaos, FX are functional only: gentle filter sweeps and noise lifts every 16 bars to mark time and prog

125 BPM, 4/4, The groove communicates assured forward motion — not urgency, not struggle, Drums are tight and economical: a short, controlled kick with no sub bloom, creating confidence through restraint, Claps are dry and precise, reinforcing structure rather than excitement, Hi-hats shuffle with swing to imply movement and time passing, never rushing, The bass is repetitive and grounding, acting as an anchor rather than a melody, It loops with intention, suggesting stability, discipline, and clarity, No bass runs, no emotional lifts — just consistency, Chord stabs are minimal and filtered, appearing briefly to signal awareness, then disappearing, They never resolve dramatically; they hint, then step back, This avoids melancholy while maintaining depth, Percussion is subtle and human: light conga taps, wood textures, shakers — used sparingly to suggest life inside the system, not chaos, FX are functional only: gentle filter sweeps and noise lifts every 16 bars to mark time and prog

125 BPM, 4/4, The groove communicates assured forward motion — not urgency, not struggle, Drums are tight and economical: a short, controlled kick with no sub bloom, creating confidence through restraint, Claps are dry and precise, reinforcing structure rather than excitement, Hi-hats shuffle with swing to imply movement and time passing, never rushing, The bass is repetitive and grounding, acting as an anchor rather than a melody, It loops with intention, suggesting stability, discipline, and clarity, No bass runs, no emotional lifts — just consistency, Chord stabs are minimal and filtered, appearing briefly to signal awareness, then disappearing, They never resolve dramatically; they hint, then step back, This avoids melancholy while maintaining depth, Percussion is subtle and human: light conga taps, wood textures, shakers — used sparingly to suggest life inside the system, not chaos, FX are functional only: gentle filter sweeps and noise lifts every 16 bars to mark time and prog

Groovy deep house with a warm, rolling bass and a playful, late-night feel in the lane of Jay Tripwire and Grant Dell, Opens with filtered kick, shuffled hats, and a rubbery bass hinting at funk rather than austerity, Spoken vocal appears early as rhythmic phrasing, loose and confident, sitting slightly behind the beat, Around the first minute the groove locks in fully: bass becomes bouncy and melodic, percussion gains swing, and short chord stabs add a subtle garage feel, Vocals return in small, time-stamped fragments, playful rather than serious, creating call-and-response with the groove, Midway through, energy dips briefly to let rhythm breathe, with claps, hats, and bass still moving — no empty breakdown, From there the track lifts into its most danceable phase: bass is round and infectious, groove feels cheeky and physical, vocals punctuate rather than lead, Toward the end, elements strip back gradually, keeping movement until the final bars so DJs can mix cleanly

Groovy deep house with a warm, rolling bass and a playful, late-night feel in the lane of Jay Tripwire and Grant Dell, Opens with filtered kick, shuffled hats, and a rubbery bass hinting at funk rather than austerity, Spoken vocal appears early as rhythmic phrasing, loose and confident, sitting slightly behind the beat, Around the first minute the groove locks in fully: bass becomes bouncy and melodic, percussion gains swing, and short chord stabs add a subtle garage feel, Vocals return in small, time-stamped fragments, playful rather than serious, creating call-and-response with the groove, Midway through, energy dips briefly to let rhythm breathe, with claps, hats, and bass still moving — no empty breakdown, From there the track lifts into its most danceable phase: bass is round and infectious, groove feels cheeky and physical, vocals punctuate rather than lead, Toward the end, elements strip back gradually, keeping movement until the final bars so DJs can mix cleanly

Minimal deep house with a restrained, late-night feel in the lane of Jay Tripwire and Grant Dell, The track opens sparse and curious, built around a soft, rounded low end and gentle off-beat movement, leaving plenty of air for spoken words to sit like rhythmic fragments rather than lines, The groove gradually becomes warmer and more confident, but never busy; bass remains simple and hypnotic, percussion human and understated, with subtle swing rather than precision, Muted dub chords appear briefly as texture, never stepping forward or resolving melodically, A lighter moment emerges where weight drops away and breathy female tone drifts through, intimate and friendly, adding warmth without narrative, The track then settles into its most grounded state, steady and calm, where a single spoken phrase can loop naturally without pressure or urgency, Toward the end, elements gently fall away, leaving space, low end, and atmosphere, allowing the final words to land softly and the track to clos

0:00 – 1:00 | DJ INTRO Filtered kick and sub only, shuffled hats slowly opening, no vocal for first part to allow clean mix-in, Bass hinted but not fully present, Atmosphere builds gradually, no melody, just groove forming, ⸻ 1:00 – 2:00 | GROOVE SET Bass locks in fully, warm and bouncy, Percussion gains swing, First spoken vocal fragments enter loosely, not every bar, sitting slightly behind the beat, Feels observational, detached, cool, ⸻ 2:00 – 3:00 | HOUSE FLOW Muted chord stabs appear, gousey / garage-leaning, Groove becomes confident and danceable, Vocals return in short timed phrases, playful rather than serious, acting as rhythmic punctuation rather than narrative, ⸻ 3:00 – 3:40 | BREATH / RESET Energy dips without stopping movement, Kick stays in, bass slightly filtered, Hats and percussion keep people moving, Vocal minimal or absent here — space for the room, ⸻ 3:40 – 4:40 | MAIN LOCK Bass at its most infectious and physical, Full groove, peak dancefloor section