Fish “Calling” (Doctor Jeep Remix)

Saucy Records has been riding on a mean streak this entire year, and it’s gotten to the point where I can blindly get behind any release they stamp their name on. No joke. With a baffling repertoire that consistently stays out in front, the UK imprint has shown they know how to call ‘em before the rest of the world even knows what’s good. Bristol’s Fish is their latest prize catch, and he is quick to submerge us in the murky depths of breaks with a vicious joint that’s baited with loads of low-end.

Among a legit list of remixers, Doctor Jeep was paged for the affair. The NYC resident has been causing ripples in the bass scene with a full-ranged output that goes completely off the rails. He cuts no slack with his rework, either, as he sets the line with a vocal hook that sucks you in, before a slimy lead and choppy percs swallow you whole.

Available December 2 via Saucy Records.
Were you impulsive on this track, or did you have a sketch in mind before you started?
I had the general idea of putting the “calling all dancers” vocal right before the drop, as that’s what immediately stood out to me in the original. I really wanted this one to be an in-your-face, bass-heavy drop to really surprise an audience if it came out of nowhere in a set. I always get a rush from those types of tracks when raving.

Describe the best setting/activity to hear this track.
At Outlook Festival on the Moat stage—I definitely had that in mind when making this. It’s a long, narrow stage with 15-foot speaker stacks every 10 feet, and it’s so foggy that you can’t see the DJ at all. It’s very disorienting and perfect for getting lost in your own head.

What’s your favorite sound/synth/effect/etc. used here?
I like the main wiggly lead that comes in at the drop—love hearing sounds like that on a good sound system. It feels like it’s worming its way into your brain.

What were you doing when you came up with the idea for this song? Did you drop what you were doing and get to work, or did you make notes and get to it when you could?
I actually came up with the idea and finished the track in three hours while on the bus back home from a festival in Baltimore. If I’m not sleeping, traveling to and from gigs is when I’m most productive, since I’m not getting distracted by the internet at all. I feel like when you can bang out a tune in that short amount of time, you don’t go back and endlessly fiddle with it—something that still plagues my creative process to this day.

How do you measure the success of a track?
Success is such a hard thing to quantify. I guess my definition of it would be seeing how people react to it in the club. If people are going mental to it, you’ve made a banger. On the flip side, I also think that you clearly have a good thing going if many DJs are playing it. I definitely have tunes that are more niche than others, so only a few people play them, and then I have tunes that a wide variety of people play regularly. If the track is still getting rinsed out six months after it’s come out, that’s a good sign.

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