Nashville producer username first heard footwork music when DJ Rashad’s “It’s Wack” played on a Grand Theft Auto V radio station. Bay Area producer Marsh crane’s introduction came when he stumbled onto Knxwledge’s VATOGATO tapes on Bandcamp. Their journeys to the Chicago dance genre reflect the stylistic approaches that set them apart from their Midwestern compatriots; where RP Boo and co.’s minimalism emphasizes the persistent rhythms that sustain a dancefloor, username and Marsh crane embrace a busier, Zoomer-inspired sound, hashing underground rap microgenres and recognizable samples into dreamy collagist fantasies.
After a slew of collaborative tracks in 2025, OVERTIME arrives as the friends’ first joint project. For 30 minutes, the producers mostly paint with a warm, lively palette, whisking fragments of IDM, ghettotech, and house into a hypnotic swirl. The music’s dizzying rhythmic variation is skillful and studied enough that its humor can’t be mistaken for gimmicky internet caricature. The intensity rarely lets up, and no sample feels off-limits; it’s a notably fresh take on footwork capable of introducing the genre to a new generation of listeners.
No score yet, be the first to add.
While username and Marsh crane approach footwork as outsiders, they’re a part of a web of internet artists sourcing similar material. Parts of “Report,” like the spaced-out intro that drops unexpected marching drumrolls on offbeats, read as their take on the sstep microgenre created by ivvys-led hip-hop collective #stepTeam. When the track gets more frantic, with extra jittery hats and piercing crashes, it feels more aligned with traditional footwork. The seamless blend of rhythms makes it apparent that sstep is practically a variation of footwork—one that pulls a few layers back to make space for an emcee. It’s fascinating to hear these communities interact.
Footwork often uses samples for comedic effect, and with username and Marsh crane this element is center stage. Take DJ Clent’s “gimmie head,” where skittering drum patterns accent a sample of a man asking for fellatio. Part of why it’s hilarious is the content itself, but it’s also how much the sample gets spammed. OVERTIME’s wittily self-referential “Repetition” understands this tradition, shuffling through vocal samples of Lil Wayne saying “repetition,” “record spins,” and “rotation.” Even the melodramatic orchestra stabs around Wayne’s voice sound ironic, like they came ripped off a hoop mixtape from the late aughts. The voice of G Herbo insisting you “take a nap” over the ethereal pads of “Nap” sounds more comforting than a threat of violence ever should. When mixtape-era Drake vocals get this treatment on the beautiful, warbly “Never Switch,” it sounds weirdly erotic. The duo’s sense of humor shines through, highlighting how unserious contemporary hip-hop culture can be when displaced from its original context.
On “Overtime,” the duo places flowery, melancholic plugg-esque piano chords under Millie B’s “M to the B,” a song any brainfried 20-something would remember from TikTok’s quarantine era. The disparate components are bound by hefty percussion hits and an angelic vocal sample that sounds like trying to remember a distant memory. The title track gets at what username and Marsh crane do best on OVERTIME—meld sarcasm with sincerity, finding that grey area of emotion that comes with ingesting more information than you can process. You can play it in your headphones and cry about what’s been lost, how just five years can feel like a lifetime. Or you can put it on your speakers and get the fuck up.
