Long ago, in a past life…somewhere far, far away. I worked in logistics.
Hardly the most glamorous job I ever had, but it paid well (at the time) and taught me how the world worked. My office was in the least interesting part of town imaginable. The only saving grace? A few nearby boutiques run by friends, misplaced there just like me.
I didn’t identify with my coworkers, except for one. They thought I was an alien for demanding a Haworth chair in my blue-collar warehouse setting. I got it, stirred up a fuss, and continued driving a lift truck (begrudgingly), navigating a 24-foot box truck, and returning to the office with one AirPod in and pretending I didn’t work there.
Occasionally, I’d take it out to talk to Vic Johnson, the guy who ran the meter machine. Vic, now a lifelong friend, is the most technical and experimental DJ I’ve ever met.
Vic One
During this time, I threw a party called Rapid Fire. The tagline was simple: “Dance or Listen.”
We wanted people to dance, but we also wanted to challenge ears while curating music that fit the vibe of the night. Selfishly, it guaranteed a great turnout for my DJ sets when I was active in the scene. And it worked.
We had a core group. I headlined, with our friends Zac and Ben playing shorter sets before me. We had overlapping crowds, but we ensured that where we were was the place to be.
Our sets blended scenes, Vic Johnson kicked things off. 30 minutes, Boiler Room style. A rapid-fire mix introducing Grand Rapids to the sounds of LA, England, the Netherlands, and Chicago. Seth followed, delivering intricate, highly technical techno. Ben, Zac, and I rounded out the night with increasingly accessible selections.
Vic’s sets, though, were something else. He composed and played Chicago Juke. A chaotic, niche genre with a cult following. Repetitive syncopated drums between 150-160, chopped up soul samples and the house, rap and soul blended. It’s a harsh genre though, step brother to rap – more like ghetto tech. It’s like black metal: if it’s not for you, it really isn’t. And it never will be.
The Return: I Got Joints 3: The Final Boss
Now, Vic is back with his most accessible and warm project to date. I’m here to talk about it, not to review it. I’m not qualified to critique this genre.
So, why am I writing about it on Time 2 Live Again?
Because above all, T2LA is about fun. I want people to listen to something different, to enrich themselves. Just like a luxury watch or an unforgettable sushi experience in central London. It’s not for everyone. And that’s exactly the point.
Track-by-Track Breakdown. Not a review
1. Synergy Spaces
Chaos. The snapping snare, the signature triple tom, and an 8-bit synth feel like a Hudson Mohawke arcade game. I’m drinking a Macallan 12 while tidying my office. Its complexity matches this track perfectly. That’s high praise if you appreciate The Macallan.
2. Color Coded
A choppy, haunting sample kicks things off, reminiscent of Wu-Tang Clan. This feels less experimental and more like The Alchemist producing within this genre. The detuned sub-bass is warm and sits beautifully in the mix. I’m listening on Bowers & Wilkins Px7 S2s, and the soundstage is impressive.
Then, a switch-up…Crispy and southern-fried. Think styrofoam cups and deep-fried Chicago soul food. Anyone else miss Honey’s Chicago?
3. Native Tongues
The build-up to a final boss moment. Randomized delayed arpeggios dance over a heavy open hat and complex snare patterns. It feels like heavy rain hitting a window, cascading droplets, pavement roars in the background.
This track becomes a sensory experience. Imagine Brian Eno meets Yeezus.
4. Gladiator Standup
The tracks blend seamlessly now. I first heard this on a foggy walk. It felt eerie then, and it still does. A sweeping deep bass alters the drum syncopation at 4:12, shifting into a Project Pat-style groove. And that’s a very good thing.
5. Let Me Cook
Spooky. Like a merry-go-round that’s jumped off the track, but the kids are still on it.
At 1:25, nostalgia kicks in. This reminds me of the Midwest urban roller-skating scene. Just as I settle in, Vic throws us back into the Haunted Mansion. Then it clicks: he’s taking us back to the eerie carnival setting of Jordan Peele’s Us.
Or at least, that’s my interpretation.
6. Touched by God
Rumbling bass. A divine sample. Warm, golden, yet still haunting. Heaven and hell are on full display. I’m here for the heavenly portion and the drum rhythm.
7. Hyphenated
A departure. A high-pitched synth pierces through…haunting, but expensive. When the drums hit, it’s Massive Attack meets dream techno.
This could score an Iris Van Herpen show. That should be Vic’s next goal.
8. I Took the Mask Off
Buffering…
No, wait, that’s just the complex sampling. I’m trying to catch the pocket, then the snare hits. I lose it. Find it. Lose it again.
A haunting old sample brings us back to reality. This is Kid Cudi Moon Man nightmare territory. An experience. Not something I’d play while working. There’s too much going on. But in this case, that’s a good thing.
9. This is Automatic
At first, it’s a conventional Vic track. But the journey up to this point has been anything but conventional.
At 2:30, I’m not convinced. But the ambition is there. The distorted bass isolates, grounding us in what we came for: complex dance music for people who actually know how to dance.
As the bass cuts out, Vic pieces it all back together. Then, just when you realize he’s pulled it off—the track ends.
That’s the genius of any good movie or video game:
Leave them questioning the ending.
Keep them wanting more.
Bravo, my friend.
Final Thoughts
Vic Johnson’s I Got Joints 3: The Final Boss is a masterclass in genre-blurring. It’s not just Juke—it’s an experience. So, take a listen. Challenge your ears. And most importantly, have fun.
Check out the album here :
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