Yet first impressions can be deceptive. Give it another spin and it makes a lot more sense, oddly enough. Sure, from a strictly formal point of view, Dinky plays it very safe in terms of structure: the mix opens with beat-less ambiences, builds up slowly, gets its groove on in the third quarter, and then gradually comes down. But this just goes to show how well thought out the mix is. Opener ‘Lost in the Forest’ sets the lively mood: a gentle piano line shows up, surrounded by echoing vocal snippets and hypnotizing pads, momentarily suggesting that the mix will eventually engage into deeper shapes of house…but then, the syncopated yet pristinely executed rhythms of ‘Horizontal’ suddenly remind you that Dinky remains part of the Chilean minimal Berlin diaspora after all. As far as introductions go, the dancer-turned-DJ sure knows how to titillate and bewilder in equal measures.
The mix then rapidly oscillates, as promised, between radically minimal moments from Guillaume & The Coutu Dumonts or Villalobos’ remix of Innersphere’s ‘Phunk’ and deeper cuts à la Tom Tom Groove or Matt O’Brien; then it climaxes, albeit expectedly, with the acidic ‘The Stick Up’ by Samuel L. Session and Radio Slave’s ever towering ‘Bell Clap Dance’, only to come down for more than fifteen minutes with the likes of Cassy (the quite playful ‘Toya’) or Dinky’s own quietly bouncing ‘She’. Overall, the whole mix consequently reads perfectly like a well-written college dissertation, but as unsurprising as it may sound, sometimes, there is some sort of effectiveness in exactly meeting (instead of exaggeratingly defying) expectations.
When Crosstown Rebels started this series, it obviously aimed (as the Lazarus & Styles mix demonstrated) for free-for-all eclecticism, but I guess you could say it didn’t suit the label very well. Turns out, then, that it might be Dinky’s classically structured and well-organized selection that will bring some clarity and direction to the future Crosstown DJs willing to get lost a little.