Waifs & Strays “You Decide”

Before the production pair was forced to split, members of the club floor were already taking in Waifs & Strays with open arms. It’s been a year since former groove abettor Rich had to bow out, and there’s yet to be a single second where it seems like Amos Nelson was left shorthanded. The Bristol-based gent is now firing at will with mega movers already popping up on imprints including Suara, MadTech and Food Music. His most recent outing only further proves his momentum is one that can’t be curtailed, as his You Decide EP finds a home on Skream’s Of Unsound Mind behind last year’s Just Don’t Know EP on the label.

Two new originals come stock on the release, along with a crunchy remix of “Work on You” courtesy of Montel, with the title cut being offered up as a premiere on Insomniac today. This tasty tune has been making its rounds on the four-floor front for quite some time now, but you can’t blame it. Huge horn phrases rove the room while the so-good-they-sting stabs go back and forth behind a bed of shuffling drum sequences. We’ve already made up our minds: Waifs & Strays is here to stay.

Available June 15 via Of Unsound Mind.

Describe the best setting/activity to hear this track.
Dancing in the sun with your mates. It was written as a summer tune to be played outside!

Who is the ideal person to remix this track?
Derrick Carter. It’s pretty bumpy, jacking house music and was really made with his style in mind—that jacking Chicago sound. So, I guess if anyone was to remix, it would be him.

How do you measure the success of a track?
Crowd reaction—always. Nothing else matters. Sure, it’s nice for it to sell well, but ultimately, the reaction on the dancefloor is why you make dance music!

Creatively, how did the work on this track stack up to previous studio sessions? Was this more challenging to complete than others?
Actually, not at all; it was done really quickly! Sometimes things just flow really well and the tune writes itself. I started as I always do, with the beats and the bassline, but as soon as I had the horn in place it was really easy to finish. The main tune was done in about three hours! It’s really great when that happens, because you know the tune is a good one and has a really good flow to it. It doesn’t happen that much, though!

Have you played this one out in any of your sets? If so, what was the response?
I play this a lot, actually. I made it about a year ago and play it most sets when things are a bit more bumpy and housey, rather than in the more driving, techy sets. It always gets a great reaction, people always asking what it is. When I sent it to Skream, he said it was one of the most-played tracks of this set for the last six months—which really blew me away!

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