Hot Picks: Modat Shares 10 Raw And Wonky Club Records That Shaped His Sound
- Undrtone Blog
- 8 hours ago
- 4 min read
DJ, producer and Johnny Johnny Records boss Modat has never been particularly interested in overthinking the process. His approach is rooted in making music for clubs, following ideas wherever they lead and keeping enough personality in the finished product to make each track stand apart.
That philosophy runs through ‘Dashin’, his debut EP for Radio Slave’s REK’D. Across four tracks, Modat moves between dubbed-out house, acid licks, wonky low-end, stripped-back grooves and modular experimentation, while traces of the sound he previously explored as Nico Mendez unexpectedly find their way back into the picture.
His Hot Picks tell a similarly wide-ranging story. Starting with deep house discoveries and raw ’90s rave energy before moving into minimal grooves, eccentric electronics and contemporary favourites, these ten records reveal plenty about the sounds that continue to shape Modat behind the decks and in the studio.
Channel X & Meggy – Monday
“This was one of the first proper deep house records I remember coming across. My friend Jane Jaya played it at her night Depth Charge and my ears pricked up instantly. The quirky percussion, Meggy's vocal and probably one of the thickest basslines I'd ever heard – it's just such a fucking cool groover of a record. I still play it out every chance I get, which probably says enough.”
Barbara Tucker – Stay Together (Ravin' Mix)
“I first heard this years ago on the E.S.P. for Superior Raving compilation and it's stuck with me. It's got that effortless groove that only an elite few records seem to possess, paired with this cool, squelchy saw bass that just rolls underneath everything. The way it builds and gradually unfolds into this kind of organised chaos gives you that proper old-school warehouse rave energy. I love it. a superb classic from Strictly Rhythm.”
Pizzaman – Trippin' On Sunshine (Impulsion Big Pizza II Mix)
“This one just packs so much raw energy. It's unapologetic, unfiltered club music with no fucking about, it just gets on with the job. There's something about records from this era where the rough edges are part of what makes them hit so hard, and this is a perfect example. Pure rave fuel.”
B-Code – Feel Good (Hard Club Mix)
“Keeping with the raw theme, this just captures the '90s to a T for me. It's one of those records that makes the hairs on the back of my neck stand up. A proper tin pan stomper with all the roughness, energy and character you want from a true OG club record. Nothing overly polished, nothing trying too hard, just fucking class.”
Frankie Goes To Hollywood – Relax (New York Mix)
“Bit of a curveball compared to the selections so far, but I mean, what can you say about this record? It's timeless and an absolute belter of a set finisher. I remember closing a night at Flat 01 in Glasgow with it and even the bar staff ended up on top of the bar swinging their shirts above their heads. Pure hands in the air stuff.”
Mathew Jonson – Return Of The Zombie Bikers (DJ T. Edit)
“Moving into stuff that's a bit closer to what I'm playing currently, this probably comes from that part of my taste that was shaped by Erol Alkan, The Bloody Beetroots and that whole world. It's fucking HUGE. When that bassline melody kicks in during the break... sheeeesh. I love how simple the record actually is considering how much power it has. I played it recently at La Cheetah and it absolutely wrecked the joint.”
John Tejada & Justin Maxwell – The Name Rolls In
“This one's got so much quirk to it, and it reminds me of some of my earlier stuff where just having fun with sound was the point. I think that mad mouth-vocal sound comes from Delay Lama, this ridiculous free singing monk plugin. It's a really fun record and you can almost hear John and Justin having a laugh while making it. Sometimes that's all you need.”
Iz & Diz – Mouth (Brad Peep's Remix For Friends)
“This one taps into the more minimal side of my taste. It reminds me of a lot of the older stuff I explored through artists like Monkey Safari, Andhim, Stimming and Super Flu – that way of using these melancholic little stabs to pull a surprising amount of emotion out of something that's still fundamentally a club record. It's a really clever tune with loads of space and personality, then later this ridiculously groovy little solo creeps in and takes it somewhere else entirely. Proper smart record.”
Horror Inc. – The Vanishing
“Another proper minimal groover, this time from the obviously renowned Perlon and their seemingly endless catalogue of ridiculously good music. The use of those choir vocals against this really thin, almost ghostly drone is so clever. It somehow feels effortless and absolutely jam-packed at the same time, if that makes any sense.”
Burial & Four Tet – Moth
“Had to finish with this one. Moth is one of those records that everyone should come across if you are in the game. That looping melody just keeps pulling you back in while all these loose, imperfect little bits of percussion move around it. It's melancholic, warm and euphoric all at the same time, almost like the feeling of remembering a really good night rather than actually being there. Burial & Four Tet are a perfect pairin. Just two incredibly distinct identities meeting in the middle. Just a beautiful fucking record.
This is the kind of record that gives me imposter syndrome. If I could produce shit like this, I would.”
From Barbara Tucker and Pizzaman’s raw ’90s energy to the eccentric minimalism of John Tejada, Horror Inc. and the unmistakable atmosphere of Burial and Four Tet, Modat’s selections share the same disregard for unnecessary polish that runs through his own productions. Groove, character and ideas come first. It makes ‘Dashin’ feel less like a deliberate exercise in referencing the past and more like the natural result of everything that has found its way into his record bag along the way.
Modat
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