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.

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

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