While trolling around on the web Friday mid-day, desperate to find the latest fuming minimal tune (that will toss your manners out of the window) and maybe serve as the Facebook post of the day, you see that name, that name that keeps cropping up, that looks and sounds like some sort of mystical spell. That's it: Droog.

As we damn well know, though, attempts to flaunt your dance music across the interwebs is usually a flop. Because la crème de la crème is not for the rhythm inert slogging around social networks. It's found on the floor. In the case of the Droog, the godfathers of the sweet milky LA summer center that is the Culprit Sessions atop the Standard rooftop downtown, it's found poolside as The Big Orange's ever-distinct witching hour takes stranglehold over the wiggly. 

The pool is clean, for now, there’s space dedicated to a mini Oktoberfest, so you know you’re going home with hiccups and a pressing bladder, and most importantly, Droog is DJing. The trio of Andrei Osyka, Brett Griffin & Justin Sloe not only master a perfectly synchronized set, judging by the crowds enchantment, but the gents issue out a throbbing farewell to our slinking into fall summer. 

Ah, we love to reminiscence on the past. Now for those unfamiliar with one of LA's finest products, get out your pens and paper. Last week, Crosstown Rebels’s Rebel Rave 2 was released, where the three-piece collective mixed disc three, and if you’re in town, swing down to Vaguard on Friday, where they will be firing-off their transcendent tunes, alongside Tiefschwarz. Finally, Droog will be joining Flaunt this weekend at Get Lost for Art Basel, which will thump all afternoon and into the night Sunday at the Electric Pickle. Get Ready. Get Lost. Get involved in Droog's Q & A below. 

You guys are the kings of the Culprit Sessions. Describe to us what constitutes a witching hour that's unique to LA?

The rooftop session is just that nearly perfect combination of the natural setting and the musical content: when you're suspended seemingly mid-air, surrounded by downtown LA's skyscraping towers of glass, with all the typically Californian elements on view, with some of our favorite dance music as the soundtrack - it doesn't get a whole lot better than that. The sunset on that rooftop with some proper deep bassline-driven tunes is kind of a signature experience.

Describe your upcoming studio partnership with Martin Buttrich. What's special about it? 

Everything. This is an opportunity to really create a proper recording environment, fully professional and collaborative. It's exciting to think this could be a true production hub for our extended clan of talented friends.

How have you seen the dance game change in LA over the last several years?

It's just become more varied and a bit more interesting, not just our house/techno niche; disco, dubstep, "electro" sub-scenes are booming. There is just as much shitty mainstream dance music around, though, more popular than ever. Doesn't effect us though.

What is the most sexy thing a person can do in 60 seconds?

Write a world class bassline that will make the girls lose their minds on the dancefloor. Something like that.

The latest Rebel Rave disc is bananas. Describe your collaborative process with the label? Where were the challenges?

We've worked with the label in different way for years, whether bringing the fellow Rebels to play our parties, playing Rebel Showcases as far back as 3 years ago, finally releasing a full EP on the label earlier this year. It seemed like a logical extension of our growth with the label to mix this CD. We had a very condensed time period in which to do - that was the biggest challenge, but the Rebels catalogue of the past 18 months is the well of top notch dance music which made the track selection process a bit less convoluted. Making the CD was one long sleepless week in the studio but it was well worth it.

What are your thoughts on those that insist electronic tunes aren't 'real' because of the automation, or electronic element?

A perpetual debate, do machines have soul? Well, machines don't, but some people using them do and that's all that matters. Of course, being able to sing and play actual instruments are a set of skills worthy of ultimate praise, but you can imbue your music with plenty of authenticity without those skills.

With the artists you choose to release or work with, what's the uniform or consistent theme in their work? 

A bit of good old-fashioned depth, some people call it "soul" but in a broader sense. And not the imitation, ersatz stuff, but a set of authentic music references that goes deeper than some overused "borrowed" disco sample. On the most basic level, we look for music that immediately stands out from the glut -  not in a gimmicky, attention-grabbing way, but on its own merits.

You are on tour, 10 dates, and can only pack a duffle bag. What's in it?

Socks, underwear and t-shirts (clean, preferably); two pairs of sunglasses, a thick ass book (about music, preferably); lotsa deodarant, earplugs; nothing too clever comes to mind, actually.

Finally, in light of Get Lost next week, what's your favorite thing about Miami?

Even for people spoilt by LA's year-round warmth, the winter in Miami is perfect. Balmy!