Purple People Producers

Now that the dubstep wave has swept through the US at full speed for a few years now, the harder styles --which still remain most popular-- have settled in, which has paved the way for other low-end dubstep styles to gain recognition and further integration. These styles were typically less popular with the massive domination of mid-ranged rave anthems. They became increasingly less so after some producers started feeling marginalized in a way, and began to avoid the dubstep label altogether. Although still embracing the “space/bass/pace” ethos dubstep originally nurtured, these artists moved the label of their experimental bass music into a vague, eclectic, and temporary realm. DSF awards had classed it even so basic as “120-140 BPM”. Regardless of this dichotomy the scene on the whole is healthier for of it. That's because those alternative styles which had remained in the bass-heavy 140-area are without a doubt still dubstep. No matter how you want to slice it up and label things… it’s all still dubstep. DnB, Grime, UK Funky, Moombahton and Techno have all become factors at play as well, but that doesn’t mean dubstep’s influence should go unacknowledged simply because it’s so obviously penetrating within EDM today.

So then, before going off topic I was alluding to dubstep's appeal beyond it’s original scope. It’s infiltrated itself from the commercial ends all the way to the left-field underground; well beyond more than just ravers and party people too. This inevitably led to an ‘acquired taste’ for bass-weighted material for the masses. It created a familiarity with the sound that was not readily available to break through in the earlier stages of the global distribution of sonic pressure. Instead, over the 5+ years since, the scene has been clouded by those dominant dance-floor decimators. But now that these harder styles have settled-in, those sub-sets are rising in notoriety enough to breakout on their own.

On a cultural take --which this blog is about-- I think it’s good having producers come through being well-rounded, and mixing various related styles and genres. This positive diversification gets further enhanced if these producers also bring multi-dimensional selections to their DJ sets as well. It would be a huge plus for the scene in general, which harbors the heavier mid-ranged wobble disproportionally, (for better or for worse depends on perspective). One of these sub-styles was the “purple” sound, which I had reviewed last month via an 805 loke, Toro 43’s EP release. As previously posted, “purple” is what I defined as, (via Rebel-Elite Toro 43 feature):

["Anyone unaware of a difference, these are just my words but I believe they sum it up well: The concept of “purple” comes from the heavy synth-laded production work, labeled such to purposefully differentiate it from dubstep. The color term is because the synths are rich, 'colorful' textures. Personally, I refer to it as "purple" not "purple dubstep" as some rightly can. Besides the obvious dubstep traits, and those additional grime attributes, I also associated it with Wonky; (think Scotland’s Hudson Mohawke and Rustie). With purple, you can hear the color in it. Whereas dubstep in it’s original (now muddled) concept, was classed in a dark, black-voided spatial ethos. Purple was meant to counter that idea, and create synthetic light in the extended space created by the patterns of production that dubstep was spearheading at the time."]

So as you can tell it’s hardly a new sound having gone 2008 and strong. But in regards to a proper execution of these characteristics on west-coast productions… they always came few-and-far between. Whereas Toro 43 has pushed this for a while now… he’s also not recognized in other areas of production in the dubstep scene (yet his Moombahton is kicking off right now though!). Other, more-recognized producers on the south-coast have started coming through. I view these bass-producers as exhibiting a wider painter’s palate for their musical canvases. Over the past couple weeks I’ve noticed it being embraced by a few select in the LA-area. And when I mention west-coast bass, don’t get it twisted with the ease-vibed bass music that came from glitch; that which is being facilitated by Do-Lab type crews. What I’m on is 140-bass still though, rooted in the original dubplate culture, dubstep and jungle both derive from.

Lavanda Summa by Toro 43

One of these producers is the extremely diverse Ashtrobot. He just broke out heavily in the LA bass scene last year, and just a few months ago produced a few hip-hop tracks for Kendrick Lamar, further propelling himself upward in the industry. Ashtrobot has not shied away from the purple qualities either. He just gave out a free tune sampling the ASAP Rocky’s “Purple Swag” vocals. Coming heavy nonetheless, the synth textures in the tune separate the sound from the overtly intense rave wobbles --which you should know, the producer also throws down relentlessly.

PURPLE SWAG ASAP ROCKY -ASHTROBOT FLIP by ASHTROBOT

Another producer-DJ is Direct Feed, an old-school selecta representing the LA-area for years as Dotcom. Direct Feed has of late been pounding out everything from DnB, to Moombahton, and Dubstep… and everything in between like Drumstep, Moombahcore and now, “purple”. As I mentioned earlier, if these diverse productions can also be played in tandem with various, eclectic DJ selections, the entire bass scene will benefit immensely. Direct Feed is just that guy. I’ve had the opportunity to MC a few of his sets, and was always impressed by his selection and technical ability. He creates a crowd-pleasing edifice as a 6ft+ producer towering behind the decks. Earlier this week he made his first “purple” experiment, and put it out to the public. A remix of one of his favorite tunes at the moment, The Weekend’s “Rolling Stone”. This one came off ultra-chill, on some deep vibezing shit. Basslines massage the mental, over the sexy vocals one you always get from The Weekend.

The Weekend - Rolling Stone (Direct Feed's purple edit) by Direct Feed

Direct Feed had relayed to me that he and had become keen on the sound through Ashtrobot, a neighbor of his in Long Beach. It seems while the rest of LA drives through smoggy grey skies, the LBC is blazing up the beach to purple sunsets. Must be that weed thang. Lemon season all the time. Wish I had more to share, but I think it’s still nascent as far as productions, on the south-coast. I think it’s because the glitch-style, developed on the west-coast and BC, has become its alternate for those more-subtle bass vibes. Regardless, I hope these artists continue to push this purple sound. It’s been far too long coming. P.E.A.C.E.

Artist Feature #5 - Seven Lions x Lexo

Over the past few months, I’ve been waiting on a release project from a Santa Barbara-area native, and one of the few talented producers in our coastal paradise. In these technologically innovative times we live in, it’s clear that everyone wants to be a DJ. In a 21+ college and beach town like SB, they are everywhere. Producers on the other-hand, despite the rapid tech advancements in this field as well, still requires long studio work, high expense, and of course, an abundance of artistic creativity in order to break through to new listeners effectively. Quality productions seem especially hard to come by in Santa Barbara, where just an hour down the way is the megalopolis of Los Angeles, I've seen to too many 805 talents breakout, then bitter-sweetly --and with best wishes-- watch as they depart for better opportunities. But as the city gains a wider EDM scene in general, the producers have steady been churning out. Last month I posted my fourth artist feature profiling Toro 43’s debut release, the purple-electric "Lavanda Summa" EP which you can check out and download, here. Now again it’s my pleasure to bring you top quality production from another Santa Barbaraian, Seven Lions.

I had been hyped on this release for a multiple reasons. First, Seven Lions is the new pseudonym for progressive-house Producer/DJ Jeff Montalvo's dark-side, who has been consistently rising in notoriety. He released his first EP last year, a 5 track effort entitled "Movement", available on Beatport via Elliptical Recordings. This progression reached a climax when DJ Tiesto gave radio-play to his track, “Under Pressure”. Any release from Jeff Montalvo is something to track down. With a disciplined drive and high standard for quality music, the output is always a listening pleasure. Secondly, as mentioned, Seven Lions is the alternate identity for the heavier, bass-oriented side of Jeff Montalvo. Before entrenching himself in the world of EDM, Jeff was originally a metal head as a yout. As the transgression of American dubstep came sweeping through, it was only a matter of time until metal lovers found common ground.

This is no surprise since dubstep treats the genres before it like a harem, developing strong relationships with eclectic influences. Such crossbreeding has occurred regularly in dubstep with hip-hop, DnB, dub-reggae, electro-house and the west-coast beat-scene. The first time I heard Jeff Montalvo’s dubstep was upon our introduction, after Professor West had dropped a dubplate of his at a Santa Babylon show last year. At the time, Montalvo was still experimenting with the sound, having made a remix series of sampled metal tunes into dubstep. His EDM productions, which tend to be house or trance with a progressive flare, may seem at odds with the heavier, raved-out dubstep sound... but to Montalvo, it was really no long ting. Lastly, I was looking forward to the upcoming release because he had relayed to me that it would feature a partnership with a south-coast rapper, as well as a few other vocalists.

That rapper was Lexo the Great. Although currently residing in the LBC, Lexo is also from north-county Santa Barbara area. The 805 has always played an integral role in his musical and personal development, so I was pleased to hear the collaboration would feature another 805 loke. Similar to Montalvo, the last couple years have been precipitous of big things for Lexo the Great. In 2010 he released a respectable 4 mixtapes on top of a street album, dropping several videos along the way. In 2011 he performed with rock-reggae sensation Iration on their So-Cal Tour and SXSW. This momentum culminated into Lexo releasing his latest single “Another Day” feat. Iration, which is available on iTunes, here. Continuing in positive fashion, Lexo is making massive steps on his new album, working with reggae icon and Grammy Award winning producer, Native Wayne Jobson. I was just recently booked alongside Lexo in Malibu this past month and got to see him live. With a genuine character and vivacious stage presence, it solidified Lexo the Great as a charismatic performer in addition to a recording artist. And I look forward to rocking mics with him again, this time in Santa Barbara on August 12^th @ Statemynt Lounge.

805 pride aside, in actuality this release will get play well beyond city limits. The "Keep It Dirty" EP stays true to the name, with Seven Lions' production work going into serious head-banging wobble frequencies alongside Lexo’s party rocking bars which are always on point, and keep the dance-floor moving. In dubstep, the vast amounts of hip-hop vocals (original or remixed) in the scene these days, I like it when a producer doesn’t go over the top by layering vocals all over the mid-ranged drops. Instead, Lexo’s vocals work in tandem with the track’s drops, hyping up long beat-laden intros, or breaking out on the breaks before Seven Lions sets it off again with the second drop. Seven Lions, as a classically trained practitioner, puts a high emphasis on melodies. As such, he generally doesn’t find synchronicity working with rappers for this reason, and typically prefers sung-vocals to work with... or nothing at all. With this format and chemistry on the “Keep It Dirty” release, Seven Lions’ arranges the tunes to be consistent quality, while maintaining unpredictability throughout the entire tracks. This is especially evident on the one track I wasn’t granted a dubplate for, and happened to be my top rated on the EP.

The tune, entitled “Back Down” was last to be recorded due to a feature from Michael Peuschel of Iration. Lexo licks off two dope 16s between drops that both build-up & breakdown like a warning alarm for incoming bass bombs. Then following the third verse section comes Peuschel’s thirty-second instrumental guitar solo. The track not only maintains a heavy production, but also manages to do so while echoing hip-hop, to “brostep”, to rock/reggae styles all at once. In the multifaceted evolution of dubstep, ‘progressive’ is almost a non-use word in this rapid changing and dynamic sonic environment, but with Seven Lions, it’s certainly applicable. His ability to encapsulate these different aspects of dubstep’s hyper-evolutionary character into a single amalgamation, showcases his innovative production styles. Further adding to a maintained interest throughout, the duo brings in relief features such as the aforementioned Peuschel, the lovely Sarah Clark, and one of Lexo’s mandem, Fedie Demarco, who features on the bonus track; a Watts remix of the EP’s stomper riddim, “Fully Loaded”. Best of all, as it's Seven Lions' debut release, the decision was made by both artists to release this top-notch product for FREE. So the next time you hear the name, you’ll know what’s up!! Grab the EP for free via Seven Lion’s SoundCloud, or directly down below. And don't forget to get that sick cover art by graphic artist Cliff Nelson, who also did the art for Montalvo's Movement EP.

And an EP release wouldn’t be proper without a party, right? And sure enough Seven Lion’s and Lexo will be lighting up the sound system at Statemynt Lounge on August 12^th, for the Keep It Dirty Release Party. This is going to be a rager, with an ace line-up of mixed-genre EDM. In addition to Seven Lion’s headline act, the night will include sets from DJ's Rene (Underground Souls), 9FTOFSMOKE (BluntBros.FM), as well as Zander, a wicked glitch-bass Producer/DJ who is also collaborating with Lexo. Just got word that they will be showcasing an unreleased tune at the show! Come in early and celebrate the summer with us, as well as this massive release of bass-weighted pressure. Support your local talent. Again, download the EP below, for free, and check out www.jeffmontalovo.com and LexotheGreat.com for future updates and material. P.E.A.C.E.

Lexo and Seven Lions - Keep It Dirty (Free Release) by Seven Lions

Post-Grime

Just finished up my first proper mix… On that MC-to-DJ ting. Some cool down vibes via sub-bass pressure reverberating your mental; sans the midrange wobbles. Any trigger happy LFO tunes in my mid-levels are replaced by ace vocals. Blends of easy ‘purple’ vibes, deep half-step rollers and neo 2-step grime riddims, all laced up with 140 vocalists; be they rappers or singers. I decided to call this “Post-Grime” for multiple reasons. But before that, let me start of by saying this label isn't a label, just the title of the mix. It's simply a term to describe something; a pattern. So don't take it as a re-label fashion at all, it's just art, yo. Although these styles crossover into different classifications... for all intensive purpose, "post-grime" is really just "grime" music... please understand this foremost.

Now, my motive for the post-grime statement: First, the obvious derivation coming from the recent influx of a “post-genre” branding which has been heavily used in particular reference of the 140 offshoots of UK garage; dubstep, grime, 2-step, bassline-house, UK funky, and most recent, the ominous “future garage”. In some ways, this mentality recalls the spirit of dubplate culture, which speed garage and then later 2-step, had inherited from the jungle days when they shared two-room venues. Unfortunately, the influence has gone wayward in the digital age with the decline of vinyl dubplates, but also a lack of the cultural understanding by people who simply liked the music, and saw no cultural connection or any need for a connection. A shame, but no fault of theirs. All aside, the principles of anti-traditional, forward thinking production values remained from the dubplate-era, and is further enhanced by the vast amounts of musical influences and sonic technologies interacting with one another nowadays.

“Post-Grime” also speaks to a more musically inclined definition of the same concept. As mentioned, all the 140 genres have been cross-pollinating amongst each other, and it has only accelerated of recent. Where grime has always been very vague in the definition of what constitutes “grime”, the emcee was always the deal-breaker. Not any emcee mind you, a grime MC. Put a grime artist on UK funky, dubstep, ‘purple’, and even some hip-hop or reggae… it can be labeled grime to a certain degree, and hence the crossovers begin. This idea also holds true to this mix. It’s interlaced with various different, yet related-genre styles, with constant vocal features by an array of diverse grime emcees. Think, “Post-Genre with an MC”.

Now amongst the classifications of “post-genre” branding, grime is the least likely to be considered so. These “post” labels are typically applied when its predecessor has collectively lost its way, as most music styles and cultures inevitably do. In fact, grime is probably the most healthy it’s been since its inception in the early-2000s. Of course, the same can be said for its sibling sister dubstep. But while the Croydon star child is enjoying mass success, it has completely transformed from its original production principles. Think, “Jungle to DnB without the name alteration.” If that's success to you, then we just belong to different schools of thought. ‘Niche’ aka Bassline-House, another UKG offspring of the Midlands UK, has all but fallen off. But artists brought up through the grime scene have had more chart-tunes this past year than ever before. Skepta, Tinchy and Chipmunk all had massive years, though not always putting out grime, they are indeed a legacy to be lauded and supported. The grime-bred pop-stars are best epitomized by Tinie Tempah’s global chart success, have just recently received the BET award for best international artist.

Grime’s not just in the pop charters either. Dubstep’s massive appeal on the airwaves has also helped grime artists and producers, such a the respective P-Money and True Tiger, gain exposure in the at massive festivals, raves and cubs. The rise of the Butterz label, run by Skilliam and Elijah, have given grime its vinyl back, and the imprint is building a quality discography and paving the way for more instrumental releases, which were sorely lacking in the emcee dominated mixtape-era just a couple years ago. And just last year, finally a North American, Tré Mission out of Toronto, ascended the implausible act of breaking out within the UK scene domestically. But there are reasons as to the aversion of the grime label…

I wanted to avoid a general application of “grime”; again for multiple reasons. Foremost amongst them was my audience. I’ve decided to push ‘this sound’, whatever you want to call it. And as opposed to my success in pushing dubstep for a few years now **Note: strickly as an MC//Promoter**. I’m not really aiming for those ravers either. This shit for the hip-hop heads. I’ve immersed myself in this enticing, fresh 140 BPM hotbed for over 3 years now, and have pretty much stopped listening to hip-hop. Even before my style altered, my taste already had. Hip-hop just seemed to have lost the edge it always had as I started to feel I had heard it all before in some fashion. But I never stopped loving hip-hop. That's because, as KRS-One proclaimed, “I AM HIP-HOP”. Any music I listen to applies this urban street culture I’ve always been apart of, and it always will. So instead of trying in vain to expose the grime scene to Americans, it's better to start it off fresh, for the time being. Pushing "grime" just isn’t effective, and usually loses more listeners than it gains. For some odd reason, grime is a tainted name. I think it may have something to do with the abrasive, raw production style and hardcore, violent wordplay. But I actually believe it’s because it’s marketed (usually in vain) to the EDM ravers, especially stateside. (That's why as an introductory mix, I'm attempting to appeal to new listeners by I avoiding the harder, raw, high-energy grime tunes). True, dubstep and jungle both have solid roots in hip-hop, but only to a certain level… but grime pushed those boundaries between EDM and hip-hop further than ever before. With that, EDM ravers also tend to not be hip-hop heads either… there is only so much subculture to go around in one’s life. So fuck the rave, this that street bump shit. Night crawlin’ riddims. Not to say that you can't skank out on this, cause that's what grime is too! Keeping it raw and street, while still keeping people breaking out on the dance-floor. This is the beautiful balance of grime music.

But it’s not just that behind my “Post-Grime” concept. You see, similar to jungle music before it, grime isolates itself to its central hub, London. It cannot realistically be accessed by an outsider… you almost have to be brought in by the existing establishment; the controllers. So essentially, I will begin to expose this music stateside --not just through DJ sets, but through original productions, vocals (without British accents), and events. But with my status, I will never be accepted amongst the meaningful, core artists in the grime scene. Upholding this LDN isolation, I truly believe this to be one of grime’s biggest detractors, and has unfortunately limited a music that had so much potential on the outset. So “Post-Grime” attempts to avoid the grime label, while still remaining true to the culture, even if in an oppositional way. If they want to close themselves off to outsiders, then I’d rather not call my style “grime” in return. I’ve come to believe this will help break the sound transnationally, as listeners here will inevitably trace back to the UK original sound. Also, as I try to introduce this new style to all my hip-hop heads, many of which just do not get down with dubstep or other EDM --myself often included-- a vague, temporary label will help facilitate its own forward progression, with no strings attached.

Expect much more of this sound… cause I’m going all in. Currently working on some tunes with a few producers in South Cali. I wanted to use this mix as the kick-off for my stateside “post-grime” push. Mixes will get a bit hard and more "grimy", but I wanna ease it on ya, get me? All I ask of you, the listener, is keep an open-ear and an open mind. Even though it’s quite a divergent and unaccustomed sound… I just know you’ll feel it. So let this mix introduce you to my wonderful world of “Post-Grime”, cause this is just the beginning. P.E.A.C.E.

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*If your vibezing off this, and want to know more about grime, check out rebel-elite's intel, here.

**The Post-Grime mix has been taken down on my SoundCloud and replaced with Post-Grime:DEUX. However, here is a download link to the original concept mix.

Post-Grime by Hoodzpah

Artist Feature #4 - Toro 43

Summer has finally arrived! In SB, you can still count on the A.M. June-gloom rolling in, almost as dependable as the afternoon sun that's sure to creep out. But this particular grey morning I was pleasantly surprised to get a bit of light and color through my speakers. My top-rated local DJ amongst the 805’s relatively small pool, Toro 43 (formerly Bless the Sinner), just put out his first release which he’s giving to all of us. Even though I was surprised just now to come across it, I really wasn’t taken aback to realize man had already put it out last month. Toro 43 aka Danny Mesa, is a straight talking, unpretentious Santa Barbara native and old-school 805 selecta. So as a humble individual --which speaks to an authentic character-- it also makes him the last person to be pushing his music so heavily on other people. Luckily, his music speaks for him. In a relatively small town, generic dubstep is everywhere, complete with with over-the-top LFO bass wobbles in a scene where a preference for dance-floor familiarity has overtaken a drive for anti-traditional innovation. This is expected in a smaller peripheral-city, but in my experiences Toro 43 always kept an eclectic, unparalleled selection, while rocking heavy dance floors with his mixing and live-act sets of bass-weighted pressure.

His sound selections had always appealed to me, whether it be glitch, grime, DnB or electro influences behind the vaguely labeled “dubstep” overtone which people often attach to a lot of bass DJ's various styles these days. On that personal level, it was probably because Mesa was the first to embrace the “purple” sound which I was heavily into at the time in came out. That was the sound Joker and Kulture displayed on MAH's Generation Bass in late 2008, just before I met the man that is Toro 43. For some reason, I’ve come across a lot of heads that seem intent of describing the comparisons and contrasts with dubstep and its various off-sprung sub-genres. I guess I could understand that, but it would be difficult for me to describe, or rather 'not-ascribe', a difference between the overarching label dubstep entails at large, and another one of the many sub-genre titles. But with "purple", specifically the pioneering work of Joker, I always considered it in many ways to be more grime when I first fell in love with sound. So I never felt a need to differentiate it from dubstep, as it was never apparent to. Even though in the many ways it retained some character of the London star-child at its base, the Bristol-lead purple sound was always separate to me. Which was then followed up by Ginz, Gemmy, Guido and Starkey becoming strong sound pushers of the purple movement.



Anyone unaware of a difference, these are just my words but I believe they sum it up well: The concept of “purple” comes from the heavy synth-laded production work, labeled such to purposefully differentiate it from dubstep. The color term is because the synths are rich, 'colorful' textures. Personally, I refer to it as "purple" not "purple dubstep" as some rightly can. Besides the obvious dubstep traits, and those additional grime attributes, I also associated it with Wonky; (think Scotland’s Hudson Mohawke and Rustie). With purple, you can hear the color in it. Whereas dubstep in it’s original (now muddled) concept, was classed in a dark, black-voided spatial ethos. Purple was meant to counter that idea, and create synthetic light in the extended space created by the patterns of production that dubstep was spearheading at the time. Now as I’ve said, it can legitimately be called dubstep as well, but it should be noted, this is not a conflicting juxtaposition either. These days, the cross-pollination of 140 genres is undeniable, and probably the most diverse and exciting in the current EDM environment. As an original regional pusher of the sound via his productions and live/mixed sets, Toro 43’s art bleeds with diversity and excitement. But until more recent, the latter had been his trademark: DJ mixing and live sets. But Toro’s high standard and quality-over-quantity mentality toward his own productions have finally seemed to reach equilibrium.

The EP is a 6 track digital giveaway entitled “Lavanda Summa”. The kick off track of the same title, Spanish for “Lavender”, alludes to the purple frequencies forthcoming on the release. Sure to sonics, the opening track is a synth-lead propulsion with colorful overtones. The unimaginative could call it ‘daytime dubstep’, a perfect choice for a relaxing beach day in the summer. The next track "Licorce" comes on, if not decidedly darker, certainly deeper. That summer's day falls toward sunset, a “lick-a-spliff-off” moment when you’re content knowing the nights vibes are just around the way. On comes a tingeing swath of an electrified, guttural sub-bass reminiscent of the glitch-inspired type I’ve been hearing from Do-Lab affiliated artists in Cali; but maintaining a purple/dubstep continuity, which leads into cross-pollinated blend to his work which just generally can’t be classed in full. After so many inspirational sounds coming out around the globe, the boundaries between genres have become so porous they've almost become worthless. The third track, "Baby Food" gets even darker yet, more akin to a traditional dark stasis-inducing pressure of Croydon-esk dubstep, which Toro then releases in waves of sharp, ragged basslines upon the drop.



Moving on into the only remix on the EP was the producer’s rendition of the Bassline-House’s massive hit, “Heartbroken” produced by T2. The northern “niche” music of the midlands UK never really caught on stateside, probably derailed by the advent of the similar, domestic Fidget-House scene. As a consequence, Toro’s use of the now-classic vocal by Jodie on the original feature, creates a fresh reception for a lot of the west-coasters I’ve shown it to... as a good remix should. The remaining tracks onset the summer’s darkening evening sky. What separates the “Lavanda Summa” from a 'traditional' purple productions (for lack of a better word in a hyper-evolving forward-driven scene) is the electro-infused production values it retains, while still being inherently of a “purple-dubstep” quality. That shouldn’t say it’s what separated Toro’s release from the UK-originated style, what it did however reveal to me is the similarities of the massive and diverse sound that has become "electro" (which I'm honestly not very familiar). Nonetheless, the EP seeps with a static electricity, epitomized by closing track titled “Square Meal”, which simotenously builds-up and relieves a constant pulsating tension, giving the EP its dark, dance-floor mover. And just as the EP comes to a close, it seems the summer’s night has arrived... but now so has Toro 43.

His first release is long coming, and it surely lives up to the work Toro has put in over years. When I caught up with him earlier this spring, he relayed to me even bigger things on the horizon. The South and Central Americas EDM scene has been blowing up the last decade, inspiring a taste for electronic-latin-funk around the world. Toro 43 has ventured into bass-heavy experimental Cumbia sounding production work, as well as familiarization with the rapidly expanding Moombahton sound. I’ve yet to hear any of it, but if it’s anything like Dutty Artz’ NYC Tropical sound I favor so much, it would seem Toro 43’s productions are tailored for me. But it’s not… it's simply just good music with an innovative approach. Behind the creative-artist of Toro 43, lies the intellect of Danny Mesa. A conversation with the producer will reveal a pure love for music, while being able to convey in substance exactly what he it means to him. But true to his work, he usually prefers to let the music speak for him. So download the EP for FREE off www.toro43.com, with cover art any Santa Barbarian will adore. (Mesa is also a graphic designer). Grab some of his ill mixes while you’re at it. And be sure to keep up to date with all his sounds via Toro 43's SoundCloud. This year man is sure to be making major moves throughout 2011. And in the meantime, Happy Solstice... now let’s bring on the Lavanda Summa. P.E.A.C.E.

TORO 43 Presents Lavanda Summa EP by Toro 43

DOOM x AK - 6.8.11

© AK

Hypes been abuzz in the fashion world for 2011. No, it’s not Kate Middleton or her hot sister. Urban fashion icons Akomplice have once again teamed up with the musical curators of our grimy, urban environments. Akomplice prides itself on the creative inspiration that drives its clothing line. In their words, the apparel they create attempts a “positive impact, provoke thought, and communicate about issues.” As we all know, hip-hop has been the cultural movement most evocative of these ideals. So when a classic, innovative, and conscious hip-hop apparel company collaborates with a representative artist… it’s a mad ting. Keeping in line with images and thoughts conveyed in their art, the aritst’s AK collaborate with no doubt share these forward thinking traits. Detail is another crucial aspect of Akomplice that I've admired for a while. Their tendency to use simplicity in some instances actually comes across as being a component to an overall complexity toward the meaning they are trying to convey. Get me? No worries.

Last time I linked up with AK on the interwebz was when they teamed up with Hiergolyphics on the wicked Varisty Hoodie (still available online). Check out that piece covering the release reception, here. This time, the peeps at AK linked with DOOM. Formerly MF Doom, the rapper has been an underground legend for years. His easily distinguishable, kicked-back flow and ace lyrical content has blessed DOOM with a loyal following and mass appeal without any major label assistance. Even more impressive than his personal work is his other collaborative works. In addition to Akomplice, DOOM has collaborated with Danger Mouse as well as Wu-Tang; notably producing tracks for Ghostface, as well as Think Differently's compilation which featured DOOM and RZA on the experimental “Biochemical Equation”. Pushing it further forward on the left-field urban tip, DOOM, a former British ex-pat collaborated with Dabyre, which included offical remixes from FlyLo and Kode9. Massive respect to DOOM on that one, as the LA beat scene and the stateside dubstep were still relatively nascent at the time.

© AK

So as it is... a collaboration between DOOM and Akomplice is simply something to anticipate. But what exactly are we waiting for? That’s just it… no one knows, that's part the hype. The project remains a mystery as the fruits of this gauranteed-sick collab are sealed inside a wood box, with the DOOM and AK logos branded beautifully on the exterior. Don’t have a crow bar to pry it open? That’s cool, Akomplice got you covered with an engraved one matching the box's complimentary artwork. So you want to wait to find out what’s inside?? Well since that’s no fun, this purchase will only be available for 1 day on their online store. But hurry up, cause the clock is ticking and you don’t want to be without this. Whatever “this” may turn out to be. Done know!

© AK

Additionally, the item will be available at the AK’s storefront location in partnership with your Fuzion, on State Street, Santa Barbara. AK just hosted their summer release party, with some sick threads from their new collection. Patrick McCarney and the AK team blessed Santa Barbara with some ILL hip-hop with some ILL hip-hop acts throughout the night, imported from AK's former HQ in Colorado. Fuzion also brought back KC badman, and SB resident Chadillac, always kickin' the flavor in your ear. Following some high energy performances, an after-party at Tonic featuring a fashion show with some hot models modeling this summer’s hottest apparel. Be sure to cruise through Fuzion every first Thursday and check out some amazing art, clothing and music with some awesome people. The new Fuzion x AK partnership is sure to elevate both companies stature in this 805 coastal paradise. My bwoy X-seed was the first in-line for the event, and always lookin' out for their supporters, the crew HOOKED him up with madd gear. So get down there July 7^th and party proper with the AK and Fuzion boys. And don’t forget to pre-order your mystery DOOM x AK piece TODAY. Check it... the clock is ticking!

Dabrye - Air ft. DOOM (Kode9 Remix)

Day Of Reflection

I don't even feel like posting really, but I found this day to be quite poignant and so I couldn't resist. When I woke this morning, I fully expected the onslaught of hype on the interwebz regarding the death of Osama bin Laden. Even before I learned any details of his death, I felt acts of celebration, conspiracy, and pure ponderance would immediately come forth. Sure enough, they did. Though it became quite annoying, I very much understand the significance of this event, no matter however symbolic it may have been. Knowing the transformative power they hold, I've tried to gauge the effects of social networks over the past year. Today, it was my lens to view the fallout following the death of the America's public-enemy #1. I've learned to curtail my political statements over the last few years, but observing the diversity of viewpoints was just as entertaining as participating. Amongst the conspiracy statements, the lack of photos topped the list with complete disregard for any sensitivities of the gruesome images and their repercussions, especially when issues of national security are invovled.

I watched a daytime host talk about how she wanted her child to watch today's events so she understand the significance. Do we really need a viral image of a man with his head blown off, especially when the glamourous photos of Prince William's wedding still in circulation?? Also amongst the hype was burying him at sea. Beside eliminating the manifestation of a shrine by his followers, the government chose to respect the religious process. This may seem so outlandish for such an evil person, so perhaps you personally may not respect such things, likely being a completely secularized and consumerist individual much like myself. But it was not out of respect for OBL, but more critically, the growing 2 billion Muslims the world over do care... Bin Laden may not have shown us any respect in his fueled hatred, but does that mean we should respond with equal hatred? In a time when America's image in the Middle-East has been heavily tarnished, the government's handling of the incident had to be carefully accessed from all respects. And the rapid burial? Muslim law dictates it must be buried in 1 day... so, c'est vie, mon amis. I hope the forthcoming information allays these suspicions... but I haven't seen it all myself, either. Honestly, my position on conspiracies, not that I don't believe governments are capable of mad shady shit, but rather, I'm more into cover-ups that serve the open, usually stated interests of their sources. In an interview I saw today, the legendary Immortal Technique said, "I myself, *laughs*, don't like to get into conspiracy, so I just say that, while I can't come here and say to people, 'oh I know exactly what happened', then I know that the govenrment's version [based on these gov't fallacies] is definitely not true." --This well-put statement encapsulates my outlook very well. I've gotten the opportunity to witness Tech grow positively, as both a revlutionary artist and individual. They are clearly one in the same for him. He's a true inspiration. Check that interview, here.

(Revelers take to the streets outside the White House).

But enough on that, that's just my 2-cents. As I've said, I'd prefer to avoid the of geo-politics on this (note: I'm also quite passionate about it). When I was watching the celbratory remarks in the day's media, I was a bit disheartened. Not to suggest people shouldn't feel as they do, I mean, who's to say how another should feel? This abstractness is especially true on such complex issues the world offers us today. But alongside the vast displays of celebration, I found some very refreshing commentary as well, such as a friend Lydia who said simply and beautifully, "I don't celebrate the death of anyone. Fuck. That." Considering that 70,000 people die in a day this remark was blatantly regarding Bin Laden which solidified a few things for me. First, the bare significance of this event, as well as the power of social media, and finally the normally odd celebration of someone's death. Then there were the more poetic remarks, my particular favorite being an MLK Jr. quote which I saw numerous times today, which apparently was made up and circulated as the civil rights leader's words. Like I said, 'the power of social media'.

‎"I mourn the loss of thousands of precious lives, but I will not rejoice in the death of one, not even an enemy. Returning hate for hate multiplies hate, adding deeper darkness to a night already devoid of stars. Darkness cannot drive out darkness: only light can do that. Hate cannot drive out hate: only love can do that." -- Unknown, Martin Luther King, Jr Impersonator"

This is how I felt today. And I was nowhere near expecting it. People that know me, know my passion for all the circumstances involved in global events, Islam, and politics. Instead of lighting a fire within, surprisingly, I was immediately saddened instead. These celebrations of the ultimate demise of such a maniacal and sinister person, who sowed so much unnecessary carnage and misery... brought nothing but emptiness to me. But as I think about it, is Osama bin Laden really any worse than the some of the people we lock up around the world? Although the powers that be block all UN resoultuions banning capital punishment under international law, only 53 countries still practice the death penalty, with 95 having abolished it all together. Aside from any statisitcs, it was simply a human emotion that clocked me. Following these few inspirational words amongst this 'negetive-celebration' throughout the day was inspiring. Feeling this energy I do what I always do: Blast some tunes.

Immediately coming to mind was my favorite D&B tune by Shapeshifter. I was put onto the New Zeleand group by a good friend of mine who caught their live sets while visiting down-under. Tripping on acid, my boy told me of the group's singer and his soulful voice of a demi-god. Shapeshifter is predominately a live band and as such, their recordings are akin to that of a typical band. The end-product creates a genuine, live atmosphere in their music in an era where computer-based studio music is the standard. The video here is actually not Shapeshifter, but a cover by Portuguese group Afro-Reggae. I chose this because today demonstrated our need to come together, irrelevant of cultural belonging, language barriers, or national borders. We can only bring change to the world for the better if we can step in unison. Afro-Reggae's version is a perfect reminder of a universal message which can transcend time and space through music. The lyrics are translated in the video, so please give them a read. Also, I've put up the original Shapeshifter version below as well. Today was an emotional day for many people, but we must examine ourselves following this symbolic event, to find a way forward. If we can work toward this, hopefully we will never again have to celebrate the death of any human being with such zeal. P.E.A.C.E.

Shapeshifter - Bring Change (Original)

Hoodzpah - Pop Prospectus (Mix)

**Proto-Practice Mix**

So I got the oppurtunity to record my 2nd mix today. Still a proto-mix get learned on this tip. Check the 1st one, here. Recently, I've been entranced with those fringe, shifting boundries between commerical, mainstream urban music and the indepdenent, underground realm; the latter of which I'd always been a fervent endorser. Having ridden the wave of dubstep for a few years now, the observable success of the genres standing in popular culture has been incredible, primarily because it ascended on it's own. The impact of dubstep has hit the the charts heavily in the UK and now steadily seeping in to the US market (Google trends: Skrillex v. Skream). The list of massive bass acts at Coachella was daunting. The multi-day festival is as one of America's largest, and most influential; still regarded as an all-popular music platform. Now, aside from the phenomenal success being enjoyed by these dubstep heroes (or foes if you like), dubstep is not generally DJ'd in the club-oriented, popular fashion. It's either dropped to close out electro sets, or other various styles/speeds of pop music, or rather, it's played with horribly-produced remixes that are selected and championed because of the sample choice of the original. However negative I view this trend, the general public, (generally listening on desktop speakers as well), eat it up. As consequence, average up-and-comers find an easy route to popularity virally via YouTube and blogosphere outlets... and the cycle continues. The other tacit delivery of club-oriented dubstep, is the traditional form of straight bangers and anthemic raters for the bro childrens. This hardcore style is what I'm avoiding as I'm already a participant in that scene, and looking to promote other aspects of UK urban bass music from which dubstep derives and provide to it people who are normally put off by dubstep. Now, with enough danceable 140 bas tunes in the top 100s, I'm inclined to try a different style. It's actually surprising different, since it revolves around very popular tunes. I think coming from an underground background enables for it, Fruther, being an emcee; my obvious trend toward vocal oriented bass music, which typically chart over instrumental product. Talk dubstep's prominence all day, but the transgression of grime emcees becoming pop-stars has been equally impressive. Despite the degradation of those artists' original fan-base, they quickly embrace swaths of followers in the commerical atmosphere.

My recipie: I sought to combine all the previously mentioned types of popular music belonging to, or influenced by dubstep and grime's rise into the spotlight. I used other types of top tunes and half-step bass charters (predominately from the UK charts). I also used remixes; however my remixes are by well-respected, ace producers in the scene. When I used a popular wobble track, I found more harmonie in the overall tone of the set by excluding many of the heavier dubstep drops. This sound idiotic I know, but some of those tunes are very well structured, until the mid-range wobble drops and destroys any subtle beauty. Intertwined with the other types of Bass-Pop tracks I've employed, it creates a darker appraoch to club music, yet maintaining a very familiar Pop-appeal throughout. Whether or not this is something people would be interested is beyond me, but this being only the 2nd mix I've done, my technical ability probably overshadows my track selection and execution. Anyways, understanding this concept, I hope you'll enoy the selections regardless of my nascent abilities. I'm just an emcee, yo! Also, Kate Middleton and Prince William finally got hitched eariler today, becoming the Duke and Duchess of Cambridge, which happens to be the former stomping grounds where I discovered the wonderful world of dubstep and grime. I wanted to give my sonic congratulations, and as these are predominately UK-Pop tunes currently hitting the charts, I felt it was appropriate. Please enjoy the selection as well as your weekend.

Pop Prospectus by Hoodzpah

9FeetOfSmoke - Fumarbahton (Mix)

(© EOS Lounge, Santa Barbara)

"Moombah, Moombah, do-ba-dee-doo... 9FeetOfSmoke back to Moombah you."

Last year 805 DJ/Producer 9FeetOfSmoke began experimenting with Moombahton, while people still had no clue as to what it was. Playing it out at Santa Barbara’s clubs to mild reception, could it be that the dubstep selector/producer was simply onto something too soon? Yes, nearly as simplistic as David Nada playing Afro Jax at half-speed and pioneering a genre out of it. For those who aren’t familiar, Moombahton originated at a high-school ditch party in 2009 by Dave Nada, who then advanced the slowed-down Dutch House style that is now Moombahton and continuing to spread virally. A few weeks back, DJ Mackle appeared on 9Ft.’s radio show, “BluntBros.FM”, and transitioned from some dubstep tunes into a Joker moombahton remix. When the BluntBros forum was eating the sound up, its was no surprise 9Ft. would begin rethinking Moombahton’s appeal nearly a year later. Recently, L.A.’s Relentless Audio label-mates, Direct Feed and Rob Bliss, have begun pushing Moombahton as well. With the dubstep community now taking notice of the sound’s slow, dance-floor appeal, the limits of Moombahton are still not yet visible. Speaking of Direct Feed, he is having a remix-contest for Chromeo’s “Hot Mess”, and it’s a wicked Moombahton production too. So go to beatportal, spin it, then vote it up in the contest, here.

(© EOS Lounge, Santa Barbara) (© DFHY)

Taking another shot at this fresh house music, last week 9FeetOfSmoke dropped a new mix hot of the decks, featured below. He’s also experimented with some Moombahton productions and is looking to demo more of his dubstep tunes in the coming months. Check the prods on his soundcloud. On his show, he spins everything from Metal to Moombahton, and Dubstep to Kenny G. His radio show put on alongside his blunt brothers, Rtrd and Badmin, every Tuesday from 7-10PM PST, on iPhone or via BluntBros.FM You can also catch him playing with Santa Babylon shows on the regular, including “Bass For Boobs” in Santa Maria on April 15th, “Santa Babylon Soundsystem” @ Tonic on April 27th, and “I Love L.A.” on April 17th at The Airliner, LA. Further, the BluntBros radio show, will feature a special 4-20 smoke out broadcast with a mash-up of genres by past guests and talented Santa Barbara selectas, with plenty of blunts to go around. Tune in and smoke out. P.E.A.C.E.

Fumarbahton by 9FEETOFSMOKE

Artist Feature #3 - Durrty Goodz

Earlier this year, the UK network MTVBase aired a special about the UK’s best emcees of 2010, which was determined through a panel-points system. It was widely publicized and developed into quite an event, and rightly so, considering the UK's urban talent pool is finally being recognized globally. Twitter and blogs went abuzz with all-out rejections of certain people, as well as new suggestive lists written up. Of the new entries, there were expectedly a few constants. Ghetts, Kano and Dot Rotten fans appeared on forums with severe expletives as to why they should have been put on. Ghetts even took it further releasing a music video dissing the panel and the selected. But another name also surfaced with regularity: Durrty Goodz. The difference with him, however, was a lack of ludacracy on those same forums regarding his omission. It wasn’t surprising; in fact, it's almost become expected.

Doogz has been the most underrated artist since grime had artists of recognition to begin with. Personally, I’ve never understood this. One factor may be his rapid-style which may lose listeners; yet I find it to be one of the most punctuating and clear dialects within British grime. Maybe it’s his refusal to sacrifice his musical style for money, having rejected numerous label deals. Perhaps it’s his output consistency, which is relatively minimal in the hungry-for-moar mentality of grime fans. This would seem to be the best hypothesis, however no one can really knock Doogz' work ethic. That’s because when his releases are put forth, it’s a fucking mad ting. The quality-over-quantity discussion runs ramped over the waves, and Goodz is the primary example of the former. Whatever the reason, it has become standard practice to deny Durrty Goodz the due recognition. But every time ‘a season, man comes out of seclusion to shake up the scene and silence all critics. It’s these moments of musical reverence as to why I maintain that Goodz is the most underrated of artists, the best MC alive on the planet, and maybe single most talented rapper since Tupac. There I said it. Now let me give a run down on why this is the case.



First, if you haven’t read my initial review on Goodz back in early 2009, check it here. As a stated then, Goodz uses banging dubstep and grime tracks to bestow himself to listeners. Though whereas many grime emcees use pop or house beats to gain favor, Goodz does it on the flip-side using ace producers of grimey, bass-heavy, dark-sythed tracks. This has allowed the rapper to stay true to himself, while bulding a dedicated following, primarily asserting himself as a grime artist. Meanwhile his counter-parts tend to be percieved as selling out toward commercial ends. His speed, clarity, and variance define him as an undisputable top-rated lyricist in the trade, sans national borders. What makes a good emcee overall, and especially in the grime scene, is all brought out in Durrty Goodz.

WAR: In recent years grime has moved away from the battle antics that made it so popular to the public eye, as it illuminated the skills of unheard British talent. Wiley’s infamous Eskidance event was one of the single most popular showcases of grime talent. Wiley steady built his reputation clashing, and annihilating emcees on his own platform. That is, until Goodz came along to become the only emcee to clash Wiley and win outright. The years after that, war dubs toward the emcee became more difficult as he regressed off the radar. Even then, if put to the test man will clash and beat anyone. Props.

VERSATILITY: Doogz has demonstrated his versatility time and time again. He has said he considers all of the urban music genres to be hip-hop, in its original sense. And like so, he released his album last year to critical acclaim. KRS-1 vocal samples litter the album, which features appearances from Steve Marley, Caron Wheeler, and Goodz brother Crazy Titich. Goodz also released it as a free giveaway online. The album’s depth solidified Doogz as not only a grime emcee, but a lyricist all his own. Prior to that, his Axiom EP had him riding DnB tempos with ease, as well as the legendary “Switching Songs II”, which had him changing his delivery and style over classic garage riddims. The follow up release “Ultrasound” was equally versatile featuring tracks of 4/4 electro (mocking the scensters), R&B, grime and dubstep.



DEPTH: Goodz' music runs deep. His musical references substantiate this, having the anthemic tune “Give Me The Music” arranged with a single corus, put at the end. Blackdown revealed in his column that this was an homage to Stevie Wonder, demonstrating Goodz’ perspective of musical history in the youth-built grime scene, whom often seem to disregard those transcendental, street-expressive experiences of the past. “Switching Songs Pt. II” showed a methodical equilibrium between Goodz’ ‘versailty-as-concept’ and the song as a variable, interdependent canvas. Dot Rotten’s hidden production “Real Talk” runs deep emotionally as well. The incarceration of Goodz and his brother is one of grime’s most tragic tales. Goodz was put on trial alongside his half-brother, Crazy Titch for murder. Doogz was to be acquitted while his brother, a rising star within the nascent grime scene, was given a life sentence.

As a result to his tribulations, Goodz has grown into a true artist creative a substantial message to his listeners. While a lot of his counter-parts relish in negative street portrayals of bare hype, Goodz calls for an end to this negativity, which underlie the real talk and imagery his music evokes. True to form, Doogz again gets deep into creative procedure with “Jail Tales”, in which he draws comparisons of the music industry and it’s glorifications of illicit lifestyles and imprisonment, to those of his own honest reflections of jail and it’s repercussions. His BBC video freestyle is a must watch. Though his singing isn’t his status marker, his conceptualization and delivery is top-notch with metaphors and similes sublime.



Now Goodz is back. And when it seems he can no longer elevate his status, he drops a fucking bomb on the entire grime scene with hype in excess. Seemlessly integrating all the previously covered qualities of Goodz, recently he has remarkably showcased them all in one tune. In an impromptu session, Goodz had put it out there on Twitter he wanted to come into Sama’ show. Sama was actually not planning on going live that night, but with Goodz being quite the rarity, appropriate accommodations were arranged. But listeners tuning in to ear some live bars from Goodz wouldn’t get such. In promotion of his upcoming release, “Overall”, due out in early May, he came through with a few teasers tracks from the album. Included was his just released single “Oi, What You Looking At?”, which featured a well produced, if bizarre, video set in a futuristic, hobbesiean environment with Goodz at the top of the food chain. The tune that shook the Kiss studios, however, and stirring far bigger waves was “Battle Hype”. The entire interview can be played, below.



Those characteristics of depth, conceptuality, versatility, and war with a fervent lyricism, become apparent in this massive 11+ minute sonic-event. First kick it off, he bigs up “all the artists featuring”, saying they are critical to the grime scene. Then all hell ensues. Riding a simple Silencer riddim which harkens back to the old days of battle sets, Goodz’ intro set’s up a battle amongst grime’s elite; an epic battle featuring Skepta, Ghetts, Wiley, Dizzee Rascal, Kano, D Double E and Crazy Titch. At first the radio quality diminished the sound, but it wasn’t quite clear who was spitting. Then I realized it was actually Goodz. All the featured artists were Goodz. He was impersonating the emcees, used their staple flows and vocal tones to recreate a conceptual battle with the scene’s top talent; including Goodz paring himself. Matching various artists up with one another, Goodz incredibly executes these artists with accuracy. His versatility changes command with each series of bars exchanged. Then Crazy Titch to close it out?! Maaddd ting.

The beautiful aspect of Battle Hype is that he wasn’t directly aiming at these artists. He even reiterated with Sama that he was giving a nod of respect to these artists. Even so, 'he was sending' came the rebuttals… the ambiguity is fascinating. Following Ghetts’ “Who’s On The Panel” release just one day after the MTVBase special, Ghetts made a sly marketing move by releasing a tune w/ video the very next day. Likewise, Goodz knows the time is right for grime, and causing a stir like this with an indirect, passive-aggressive, but no less damaging manner, was simply genius. Further, it’s well known no one wants to directly send for Goodz. So even if someone did respond back, they would still have an uphill battle, and with Goodz off radar being an actual artist, as opposed to tweeting 24/7, there is little to take charge with him personally.



The fact he utilized so many emcees in his tune, while being a sort of relative-outsider within the top ranks (but no doubt still within them), he’s enabled himself to puppeteer a massive par without being clearly able to retaliate effectively, while by design also building massive internet hype for his forthcoming album. Genius. Seems Durrty Goodz once again is on point to elevate his stature as a music artist. It may seem a bit overzealous to suggest he’s the best rapper since Tupac, but that’s simply because he’s also the most underrated… so you just done know. So make sure you cop the new album "Overall" in May; guaranteed to be a certified banger. P.E.A.C.E.

Durrty Goodz Interview + Battle Hyper Debut on Logan Sama (Radio)

Hoodzpah - Grime-State (Mix)

**Proto-Practice Mix**
So I’ve finally gotten around to recording my practice mix. I recently acquired CDJs and thought it was time to throw some tunes together. No, unlike half the male populace between the ages of 16-26, I’m not trying to promote myself as a “DJ”. Mind you, these are the same people espousing the “every one’s a rapper” doctorine of the early 2000s. Now it’s on them. But unlike a lyricist, technology has leveled the playing field within the required skill set. There is no longer a breaking-point between those who have an ear for music, dance floor fluidity and so forth, and those who would never develop technical or beat-match skills, and the subsequent dance-kinetics involved, if they didn’t have a visual on their computer showing them how and where to do so. That said, even though advances in music technology have enabled a massive influx of people attempting the DJ thing, they can still rock a dance-floor, simply because of that technology (and also because ravers/club-goers typically couldn't give a fuck). So I’m not trying to knock the techs or the DJ. Keep doing it, I love the fact more people can now have more access to music, and sharing it. What I'm saying is, the past notion and prestige that a the “DJ” label once had, should be erased from our culture hence forth. It’s just not special anymore. So if your one of these mans, please stop putting yourself on a pedestal cause this ain’t 1997, and most you have no actual talent; your Serato developers did... but by all means, keep pushing and power to you. And actual DJs, try and lighten up on the tech-savy newer entrants... you can't change the inevitability of human advancement. Using enhanced technology in divergent, original ways is a step forward, as opposed to just bitching.
As for my mix here, I was getting to a point where listening to music was less enjoyable, knowing full well I had the ability to manipulate it to my own ends. I chose to get CDJs for their practicality over vinyl in regards to accessibility, and foremost so I could bypass the use of a computer, learning to beat-match solely on sound. Further, being a dubstep emcee I often watch these “DJs” --most actual, some fabricated-- rinse out the latest bro-step bangers, I'd become wayward with genre. Being above all else a fan of the genre before any sort of participant, I was quickly disheartened and put-off by the “robots fucking dinosaours” noise, which had so massively mutated the scene since I had left England in 2008. So this particular mix holds true to myself as dubstep emcee, as it is a grime-step mix. There are plenty of bangers, with a softer touch toward the end. The underlying theme being an obvious grime/artist centric aspect. Now I’m not saying I wouldn’t accept a booking as a DJ, but it’s mainly to show all these other bitches that making a simple mix ain’t that hard, and many people should stop fronting like your on some next level magical shit; the typical DJing thing. Cause it ain’t no moar… real talk. Props to the real selectas still, a shame it's become so sordid. Don't think these words are in any way geared towards you. If I did play a live set, it would be to emcee over my own selections, cause as I said, the brostep just ain’t pleasurable for me as it is for those robots. Emceeing over my own selections would be a step DJs should note: If your going to try and penetrate this day in age, you need to develop originality and unique ability in your sets. Otherwise, it just come down to marketing which, it seems, the less artistic and less musical people seems to thrive at. So best get to innovating. For my particular role, this day in age I view emcees still keep it analog while all the DJs gone digital, and I got something to say about that. So just enjoy the mix for what it is… good music. P.E.A.C.E.

Grime-State by Hoodzpah