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Tag: Dry Cleaning

  • The Tricky Thing About Vinyl DJ Gigs + Set List from Footsie’s 5/16/26

    Fontaines D.C. Romance on vinyl in DJ booth at Footsies in Los Angeles (Photo: Liz Ohanesian)
    The last song of the night at Footsies, “Favourite” by Fontaines D.C.

    It’s pretty rare that I play vinyl sets these days, but, last night, I packed up two record bags to play at Footsie’s for my pal Malvada’s party, Acid Rain. It was a good night. The rumor I heard while standing next to speakers was “blah blah blah punk show blah blah blah shut down” and so a bunch of people headed over to the bar instead. Footsie’s was packed, roughly, from 11 p.m. until the lights came on and the last note of the last song (Fontaines D.C. “Favourite”) played. 

    Vinyl is tricky to DJ for a lot of reasons, but the one reason people don’t really mention is that it’s a challenge to play a vinyl set that doesn’t sound retro. A lot of times, retro is the goal of the party, so it works. If you’re just playing a general alt/indie/whatever set on vinyl, that’s not the case. It happens, though, because used ‘80s records are still plentiful in L.A. shops and new vinyl releases, when you can find them, are pricy relative to what DJs actually make. (Also, there are people who get really rude when you don’t play KROQ’s greatest hits of 1986, but we’ll save that rant for another day.) 

    Point being, I usually only buy new releases on vinyl when they’ve become my personal favorites and when I feel like I can play them out at some DJ gigs. In the past few weeks, I picked up copies of the latest albums from ADULT., Dry Cleaning and Kneecap, so those all made it into last night’s set. 

    The upside of vinyl, at least for a DJ who has been around for a minute, is that you’ll inevitably come across some records that you haven’t played in a long time, or, maybe, ever. I pulled The Faint’s Danse Macabre for last night’s gig because, back when it came out, at least five songs off it were hits at the clubs where I DJed. It actually is an important album for the early 2000s, but one that’s been overlooked in the years since. The Bloc Party song in last night’s set, “Tulips,” is one I probably haven’t played since the ‘00s. IDK why. 

    Set list for last night is below. Songs from the past year or so link to other references here on Beatique. 

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  • Listen to the May 2026 Edition of Beatique

    Beatique May 2024 mix cover


    The May, 2026 edition of Beatique is up on Mixcloud right now and I hope you’ll give it a listen. This month’s set includes a few current club hits from the likes of Sextile, Fcukers and Alice Glass, an electroclash throwback and a big ol’ ‘90s club banger. There are also a couple 1960s/early ‘70s jams and new tunes from Tomora, Kneecap, Fontaines D.C. and more.

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  • February 2026 Beatique Mix: New Tunes from ADULT. and Kneecap + More

    Beatique February 2026 mix cover

    It’s time for the February edition of Beatique, which is now up on Mixcloud and embedded here. Again, I’m not posting the full set list because some things should be a surprise, but it does include a couple new songs that I want to mention. Last week, ADULT. released “No One Is Coming,” the lead single from their forthcoming album, Kissing Luck Goodbye. There is so much tension packed into this song that it feels like being trapped inside a nightmare, which is probably also a good description America right now too. I have a feeling that’s the point. Also last week, Kneecap dropped “Liars Tale,” the first song from their next album, Fenian. It’s dark and it’s brutal and I love it. Between ADULT. and Kneecap, I think my rage soundtrack will be covered this spring. 

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  • Album Review: Dry Cleaning ‘Secret Love’

    Album cover of Secret Love by Dry Cleaning

    “Hit My Head All Day,” the first single and lead track from Secret Love, the latest album from Dry Cleaning, has been in DJ queue for months now. It’s a song that I keep meaning to drop into a set, but for some reason haven’t yet. It’s such a weird little jam, a slice of ‘80s-style post-disco for the 2020s doomscroller with echoes of Flying Lizards and Dominatrix and the title repeated throughout the song. It’s slow— languid, really— which is probably why I haven’t played it out yet, but the groove is tight. It actually feels like you’re dragging yourself through another day of bad news to the beat of a world that’s on the verge of collapse, which is a very fucked up way to describe a song that you like, but its also art. It’s not supposed to be all hands-in-the-air escapism all the time. And there’s a catharsis that comes with that. 

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