New Video: London’s Punks Jump Up and Their Old-School, Chicago House Leaning New Collaboration “Give It To Me” with the Legendary Robert Owens and Josh Caffe

Comprised of a native Londoner, Joe Attard and Swedish-born and London-based David Andersson, the London-based electronic music act and production duo Punks Jump Up (PJU) come from a punk, dance, street art, street fashion background. The project can trace their origins to the anything goes parties they put on in East London — and in the four years of the project’s existence, they have released a number of singles that have been released through renowned indie electronic labels such as Kitsune and others, as well as a number of official remixes of Miike Snow, Oliver, Moonlight Matters, Two Door Cinema Club, St Lucia, Lykke Li, Gossip, Robyn, Ladyhawke, Crystal Castles, Chromeo, Tiga, Joakim, Ladytron, Yelle, In Flagranti, The Supermen Lovers and Peter, Bjorn, and John.

Along with their remixes, the duo have an growing international profile as they’ve toured across the European Union, the USA, Chile, Brazil, Mexico, Australia, China, Singapore and Jakarta.

The duo’s latest single “Give It To Me,” a collaborative effort between PJU, London DJ and promoter Josh Caffe and legendary house music vocalist Robert Owens can trace its origins to when Attard and Andersson were clubbing  and run into Caffe and Azari and III’s Cedric. Before long, the quartet of friends and associates wound up at an after party when the guys in PJU had asked Caffe if he could contribute vocals on a new track, which was heavily inspired by The It’s “Donnie,” a classic, Chicago house track, which featured the vocals of Robert Owens, who contributed vocals to several beloved classic house tracks including Frankie Knuckles‘ “Tears,” “I’ll Be Your Friend,” “Bring Down the Walls” and others. Now here’s where things get interesting: Caffe agreed to the collaboration, and while the duo of Attard and Andersson played “Donnie” for Caffe, Caffe informed the duo that he was not only good friends with Owens but that he could give Owens a call and see if he would like to join in.

The end result is an incredibly upbeat, club-banging track that owes a great, sonic debt to old school house, as the song is comprised of skittering drum programming, wobbling, tweeter and woofer rattling bass, layers of cascading synths, blasts of horn parked with soulful vocals. If this track doesn’t make you want to get up, dance and throw your arms up in the air in complete joy, then there’s something deeply wrong with you.