John Creamer & NOAM (NYC) discuss new release

Issued on NYLOVE, ‘White Powder Dreams’ marks a powerful New York alliance between John Creamer, NOAM (NYC) and Vivian Sessoms, bringing fresh life to Farley & Heller’s 1997 deep house classic while preserving the emotional intensity that made the original so enduring. Anchored by a thoroughly addictive bassline and rolling, hypnotic pads, the new version leans into deep tech pressure with a distinctly human core. Vivian Sessoms’ emotive, blues-inflected vocal sits at the centre of the record, transforming it into what feels less like a cover and more like a trance-like mantra about yearning, deliverance and hope. It is, in every sense, a love letter to New York’s underground: physical, cinematic and emotionally charged. As NOAM describes it, the track channels ‘Late-night New York: gorgeous, tense, comforting, dangerous’, a mood that seeps into every detail of the production.

The release is rounded out by a carefully curated remix package that reflects both the city’s history and its global reach. Argentina’s Anhauser brings a lush, progressive reimagining, Retrotech tap into raw basement-rave energy, and NYC house stalwart Rissa Garcia delivers a more spacious, hypnotic interpretation built on classic house sensibilities. Together, they reinforce Creamer and NOAM’s shared philosophy that ‘We don’t chase trends—we chase impact’, focusing on weight, restraint and emotional pull rather than fleeting ideas. The result is a record that feels timeless yet current, built to hold a room, change the temperature of a dancefloor and linger long after the night ends. We caught up with the guys just as the release dropped to learn more…

What sparked the idea to revisit ‘White Powder Dreams’ and bring this classic into a new era?

John Creamer: Farley & Heller and Angel Moraes are a massive parts of me growing into house music.

NOAM (NYC): We’re obsessed with the original—especially Angel Moraes’ remix. That record taught a whole generation how to hold a room. We rebuilt it in our language: low BPM, sub-forward, hypnotic pressure, modern weight. Same mood, harder hit. And for UpAllNight—about to become a label—“White Powder Dreams” is the perfect flag to plant.

John Creamer: We first produced the song with the acapella from the original version for fun and homage, then decided that we should make it more real and that’s when Vivian came in.

NOAM (NYC): We wanted the emotional punch of the original vocal—but as a fresh, all-original record. Bill Coleman (Peace Biscuit) brought Vivian into the orbit, and she delivered a performance that doesn’t ‘feature’—it leads. She gave the track its human heartbeat.

What atmosphere or emotion were you aiming for when you approached the new production?

John Creamer: Just a heady underground vibe. Something that made sense with the vox.

NOAM (NYC): Late-night New York: gorgeous, tense, comforting, dangerous. The groove is steady and relentless, but the air is cinematic—like the city is breathing on your neck. It’s made for househeads who want to feel something while they move.

Vivian’s vocal is powerful and soulful. Can you tell us a bit about how her original performance shaped the direction of the record?

John Creamer: Vivian did a great job, she sounds perfect. The music was done prior to her coming in and when she came in, it just clicked.

NOAM (NYC): We built the chassis first—then Vivian turned it into a song. Her phrasing sits right in that midrange lift where the track peaks emotionally, so we carved space and let her lines land like a hook, not decoration. After she cut it, the record had gravity.

This release feels like a love letter to New York. How much did the city’s energy influence the mood of the track?

John Creamer: That’s because Angel was such a NYC staple and influence on everyone involved so it needed to happen. Angel, Angel Angel (RIP)

NOAM (NYC): NYC is a contrast, and the mix is a contrast: clean punch + dirty romance. The low end is heavy and physical, but the atmosphere is dreamlike—like a subway ride to a rooftop sunrise. It’s polished, not sterile—raw, not messy.

You’ve reworked many iconic records across your career. What made this particular Farley & Heller classic the right one to reinterpret now?

John Creamer: Again, Farley & Heller influenced me back in the 90’s with their Vox productions. They had a very NYC underground sound that real NYC heads identified with.

NOAM (NYC): Because it’s not just ‘a classic’—it’s a body memory. And right now people want records that feel made by humans, not disposable content. This one already had yearning and danger; we just updated the speaker physics and kept the soul intact.

You’ve spoken before about making music from emotion. What emotions led the creative decisions on ‘White Powder Dreams’?

John Creamer: I mean for me, this is drug related. Good or bad, it’s part of the industry and that’s it.

NOAM (NYC): Longing. Obsession. That moment where desire turns into clarity and you stop pretending you’re fine. The track loops like a thought you can’t drop—because that’s what the feeling does.

The track has a hypnotic, trance-like feel. Was that intentional from the start or something that emerged in the studio?

John Creamer: Emerged in the studio (Mushrooms) ;)

NOAM (NYC): Intentional. This record doesn’t chase you—it pulls you in. We focused on micro-movement: tiny shifts in percussion and tension that keep dancers locked for minutes at a time.

This project also brings in a global remix team. What stood out to you about how each artist interpreted the record?

John Creamer: I have a personal relationship with each remixer and believed that each one of them deserved to work on this. Very happy with the results.

NOAM (NYC): We picked remixers who understand: a remix is a point of view, not ‘more drums’. Retrotech leaned into the classic Creamer & K spell. Anhauser pushed momentum and pressure. Rissa brought a straight house swing—different angles, same emotional center, still White Powder Dreams.

Your history with New York’s underground is deeply rooted. Did those early influences resurface while making this release?

John Creamer: Yes, those influences are why I make house music. This is why this song exists for me.

NOAM (NYC): Those rooms are John’s legacy—I learned from the floor. The influence is discipline: patience, tension, groove that doesn’t blink. Add my wider palette (rock, dub, electronica, film) and John’s hip-hop DNA, and you get our sound: house for bodies, built with real culture behind it.

Tell us a bit about the current New York scene. Do you still get out dancing as much as you did?

John Creamer: Just keep it real.

NOAM (NYC): NYC is split: smaller pockets of new blood, and mega-venues looping ‘safe’ headliners. People drink less, which can actually make the floor sharper. I still go out—just more intentional. The dancefloor is still the only review that matters.

Dance music evolves fast. How do you keep the essence of a classic while still making it feel current for today’s floors?

John & NOAM: We don’t chase trends—we chase impact. Keep the emotional headline, upgrade the mechanics: weight, clarity, pressure. If you’ve never heard the original, this still feels like a discovery—because the groove is built to move people, not just impress DJs.

What do you hope listeners feel when they hear this version of ‘White Powder Dreams’?

John & NOAM: First: they dance. This mix is built to hold a room—long-form, hypnotic, and physical. Then whatever comes with that—release, nostalgia, trouble, joy—we want it to hit. When someone tells you a track changed their night, that’s the whole point.

Was there a particular moment in the studio when you realised the track had found its identity?

John & NOAM: We had kick, perc, vocal—good parts, no spine. Then I wrote the bassline and it snapped into place—instant ‘that’s it’. After that, we stopped searching and started protecting the record.

The original mix has a ‘yearning’ and ‘narcotic’ pull. What techniques or elements helped you achieve that tension?

John & NOAM: Restraint and controlled discomfort: chords that don’t resolve, space that feels like memory, repetition that becomes obsession. And that low end—sub + bass doing the heavy lifting—so even when it’s dreamy, it has gravity pulling you forward.

Looking back at your long career, where does this release sit for you creatively?

John Creamer: It’s up there with some of my best work.

NOAM (NYC): John’s the historian, but I’ll add this: we’re making records meant to last, not trend. This feels like the past and future shaking hands—timely, timeless, and built for househeads who actually live in the music.

Finally, what can listeners expect next from you, NOAM and the UpAllNight project?

John & NOAM: More heat, less noise. Carefully chosen originals and remixes that translate everywhere—clubs, cars, headphones, sunrise walks. And with UpAllNight moving into label mode: sharper vision, bigger rollouts, and music that puts the dancefloor first every time.

Keep up with John Creamer on Instagram 

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Buy/listen to the release here