Premiere: Oliver Osborne forgoes peak time elements on 'That Yea Baby Track'

Not every track needs to be a banger, in fact, DJs that keep their set in 6th gear from start to finish can often be remembered as playing flat. The concept of 'killing it' is a novice approach, regularly delivered by the ever-rising wave of beginners being thrust into the spotlight too soon. Armed with a flash drive full of Beatport Top 100 selections, months of bedroom controller rehearsals and the support of their 'recently converted from EDM' friends, they lay waste to DJ booths around the globe. A well-paced set should ebb and flow, with peak time moments appropriately distanced from one another. How one fills the gaps between is what separates the best from the rest.

Producers may also heed this warning, as they often find themselves in the neverending cycle of trying to craft groundbreaking masterpieces. This approach can be futile, and result in a limited or stagnant volume of output. Oliver Osborne is well versed in this subject, knowledgeable of the fact DJs need solid tools alongside their collections of dance floor weapons. Tools may lack the flash and pizazz of weapons, but they are equally important in getting the job done. 'That Yea Baby Track' is a perfect example of a well-crafted tool. A spatial groover that can send the listener into a sedated trance, carrying the dance floor through the valley that separates the peaks on either side.

Osborne's inspiration for his latest release also comes from an experienced position. As a fan of D'n'B and jungle producer Dillinja, Osborne was inspired by the artist's consistent output. "Everything he touched had this really solid grungy sound, his drum programming was top-notch, and at one point he was releasing a track a week under five or more pseudonyms," he said. Osborne's latest 'That Yea Baby Track' even takes its name from the inspiration provided by Dillinja's work, a homage to 'That Amen Trk'. Both tracks work in their respective genre, nothing monumental just quality dance floor burners.

On 'That Yea Baby Track', Oliver puts his experience to work. Punctuated percussive programming combines with dreamy waves of glitchy frequencies that find harmony in a perfectly polished product. The vocal snippet pans gently from side to side, emulating the movement one would expect to experience on a hypnotized club floor. The track forgoes any sort of long drop or builds up, instead focussing on the unity of its elements to shape the spaces of the listeners' soundscape. 'That Yea Baby Track' finds its identity in the harmony of its components, with big room elements and peak time banger sounds left on the cutting room floor. Osborne displays a nack for his craft, composing a release for refined ears. 'That Yea Baby Track' finds strength in its versatility and lends itself to various applications in a set.

The remix is provided by former Hong Kong mainstay IXA, and exhibits the producer's range in a breakbeat rendition. The B-side offers up Osborne's take on using 3rds, with 'Did you know I already know'. While Osborne set out to create a tool, he also understands that not all DJs are versed in the use of these releases. But he is able to crack a smile and find solace in the fact that only "a small handful of fuck-heads will get it."

'That Yea Baby Track' is released via Osborne's own imprint Eyes To The Front on June 24.