When it comes to booty music, Baltimore is the new Detroit. Which makes this Friday a collision of old and new, with DJ Blaqstarr representing Baltimore club and DJ Starski representing Detroit ghettotech. You remember ghettotech, right? At the start of the millennium there was a flash of attention for the sound, with its raunchy lyrics and accelerated beats, a perverted child of '80s electro and excess porn. Over the last few years the same attention has shifted to Baltimore club, another regional product that has made inroads in the club underground, with an entire wave of club production centered around its now overly familiar breakbeat.

Both ghettotech and club got their start by black producers for primarily black audiences, before eventually migrating out of their initial confines. In the case of ghettotech, hypersexual lyrics gave tracks a bit of novelty value among DJs, many unaware that the "popping" referred to in the lyrics was a result of the genre's popularity in Detroit strip clubs. As with any other novelty, interest eventually wore off for much of the newly adopted audience.

While it lasted, the rise in ghettotech's cultural stock gave Detroit DJs like Starski the opportunity to act as ambassadors for the genre. Starski, half of the duo Starski and Clutch, produced "Belle Isle Players" and the CD Don't Stop 'Til You Jit Enough, two hallmarks of the sound. He's also been involved with labels like DJ Godfather's Databass Records and Twilight 76. Starski's regarded as a favorite in "the D," so if anyone's got the pedigree to show where electro-bass has gone since the spotlight moved away, it's him.

On the other hand, the club sound is currently at a critical period. There's no shortage of MySpace producers taking the stuttered club break and applying it to everything from Justice to Michael Jackson, usually with mediocre results, dulling the luster of the once-fresh sound. Then there's DJ Blaqstarr, producer of Young Leek's "Jiggle It," who takes the club template and molds it into something refreshingly original. Yes, you can still hear "the break" on his King of Roq CD, but it's often chopped or subdued, and sometimes it's entirely absent. The CD proves that club is a production aesthetic rather than a set of rules—exactly the injection the genre needs lest it recede back into a merely regional phenomenon.

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In jam-band-related news, EOTO are playing Saturday. EOTO consist of Jason Hann and Michael Travis, two members of the String Cheese Incident. For this project the duo have taken their jammy aesthetic to electronic music, creating entirely improvised sets of live, looped samples. Jam-band members switching to electronic gear wouldn't be noteworthy on its own, but the fact that the output is actually worth your time is. Rather than masturbatory noodling, Hann and Travis's tracks show a surprising degree of direction, building, peaking and flowing with an internal cohesion that quells any misgivings about their musical background. recommended

DJ Starski plays Electric Avenue Fri Feb 15, CHAC Lower Level, 10 pm–2 am, $10, 21+.

DJ Blaqstarr plays Sing Sing Fri Feb 15, War Room, 10 pm–2 am, 21+.

EOTO play Mon Feb 18, Nectar Lounge, 8 pm, $8 adv, 21+.