In a realm where DJ mixes are perpetually shared online, Joseph Seaton — known as Call Super — has reverted to something more tactile. Their new project, ‘A Rhythm Protects One’ (or ‘ARPO’), is not a digital release, but a physical mix CD, a format that feels nearly revolutionary in 2025. For Seaton, this choice stems not from nostalgia, but from a belief that music should be held, rather than merely streamed.
“It wasn't about preserving the past,” Seaton clarifies. “It's crucial to have more than what's available online. When you possess something physical, your relationship with it changes completely. Different formats serve diverse intentions and expressions, each requiring different levels of effort. I believe this is vital for the future—not merely as a nostalgic gesture, but for us DJs and our listeners to appreciate the various depths that exist beyond the online scene.”
Since emerging in the early 2010s, Seaton has been one of the most quietly innovative figures in dance music, blending jazz-trained instincts with experimental electronics and club energy. Their music under the Call Super and Ondo Fudd names has transcended genre boundaries with a poetic, handcrafted feel — music that resonates with life, even when produced by machines.
This duality is present in ‘ARPO’, which Seaton envisioned as both a mix CD and an album — featuring twelve entirely new tracks, some from their established aliases and several from newly introduced ones. “I enjoy having different aliases,” they state. “This connects to a cherished aspect of dance music that I think is often overlooked today. Much of our world is slickly branded and carefully calibrated for maximum growth. Introducing some chaos into that is a positive thing; it makes a statement against it.”
Seaton intended ‘ARPO’ to evoke the experience of a classic mix CD — one that demands attention, with an unknown tracklist that listeners would replay repeatedly until it became embedded in memory. “I aimed for it to resemble a mix CD,” they add. “Others have done this before — the Ricardo [Villalobos] fabric mix CD has been referenced often. While I appreciate being compared, I wanted the tracklist to appear as if it came from different artists.”
This sense of heritage is profound. During their upbringing, Seaton was influenced by the legendary era of fabric and Journeys by DJ — where mixes were seen more as immersive experiences rather than mere playlists. ‘ARPO’ embraces that same dedication to immersion. “After my last album, heavily focusing on electro-acoustic audio work, I was eager to create music that aligned with my DJ experience. Once I had a few pieces I enjoyed performing, I realized I didn’t have much to express through another solo 12” release, but I had plenty to say regarding club and listening culture that I could convey with this release.
“I had club recordings I liked that could have been released as mixes, but I hesitated to contribute to that endless cycle. We need more people releasing physical mixes, so I prioritized that. The CD format is designed for this purpose, and it’s unfortunate that it has faded. It’s not just a sign of the times. Vinyl, which is much older, is sustained by the culture surrounding it.”
Seaton's intent to ground music in the physical realm extends to ‘ARPO’s design. They collaborated with Daniel Mason — the designer behind Spiritualized’s ‘Ladies and Gentlemen We Are Floating in Space’ packaging — and Dekmantel’s Jan Tomson to create a triple-gatefold digipak focused on dance notation. A rotating volvelle wheel displays artists and track names, reminiscent of medieval tools used to chart celestial bodies. It's a striking reminder that listening can still be a tactile ritual, even in a digital landscape.
Accompanying the CD is a zine titled A Rhythm Protects One, which celebrates mix CDs, routines, and rituals, featuring contributions from artists like Batu, Eris Drew, Shanti Celeste, Ogazón, Skee Mask, Parris, Darwin, Kiliopatrah Jones, and DJ Northern. Batu penned an essay discussing afro house and the significance of the CD format in its evolution — resonating with Seaton’s belief that tangible mediums foster a more intentional connection with music.
When asked if a slower, more mindful listening culture can persist in the streaming era, Seaton hesitates. “I’m unsure. I feel quite frustrated by our music consumption patterns,” they confess. “This might be a stretch, but how we consume music influences the kind of music that is produced. I’ve encountered tracks from some beloved artists that didn't resonate with me as deeply when they released albums or songs that felt insubstantial or incomplete.
“Much music now seems crafted for minimal listening. There's not much depth. I find that frustrating because these songs are strong, yet they haven’t been refined to the extent that they would have been if recorded and engineered, say, in the
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In a realm where DJ mixes are perpetually shared online, Joseph Seaton — widely recognized as Call Super — has reverted to a more tangible approach. Their most recent