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

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)

Santa Babylon Spring Roll Call

(© HighBird Productions).

Spring is now blooming, and into 2011 Santa Babylon continues ‘booming’ in reciprocity. Since solidifying a firm standing in Santa Barbara through 2010, the clique has broadened their regional scope toward our passion for all types of bass music. Situated on a periphery to LA, 2010 saw Santa Babylon infiltrate heavily into State Street’s top venues, working with DJ Mackle & Sabatage’s Nightowl Brotherhood team, as well as the Jungle Juice Krew, to hold down the city. We also hosted a few nights in EOS’ goddess lounge, and last month hosting 6BLOCC at Tonic. The crew has sought to provide a balance between new listeners, adoptive because of the sound’s evolution of recent, and those who preferred skanking out to unheard sonic innovation, in dark, near-empty rooms; days now gone. For 2011 we our continuing that connection and forward momentum as we linked up with the highest rated up the central coast, while continuing to bring you big names from Los Angeles.

This Saturday, we kick off our first spring appearance alongside our bass-weight brother Danny Style, at the 2^nd annual Good Vibrations Festival. If you caught Santa Babylon’s “Whiskey Wobblers” show a couple weeks back, you’ll remember the SLO selecta shaking bottles back-bar. Hosting parties under the name “Syncopation”, Style with affiliate Dionysius, are steady building a scene up there, having made their night a staple event, which we had the pleasure of experiencing in February. Big up. And in an ill display of trans-county unity, we will be going b2b with man at HighBird Production’s “Good Vibes” at Earl Warren show-grounds.

(© HighBird Productions).

A massive 3 stage festival holding headline acts such as 6BLOCC, E-40, Ray Fresco, Passion Pit (DJ set), and LAZRTAG. SB Snaps, amongst numerous others will be covering the 6,000-capacity event. Tickets can be purchased from either their strong street team, many still offering pre-sale prices, HighBirdProductions.com, or at CRSVR’s SB storefront on State St. We looking FWD>> to rocking out for our supporters on this massive venue and system, rain or shine. (I kinda wanted to get hype in the rain, but it looks to be shine!). Outs to HighBird for the opportunity. Keep an eye on them for future events as they do it up proper. Oh, did I mention the main-stage will feature a full Funktion-1? Proper.

Following that weekend, we’ll be headed to Dubsonic where a young, but determined few, operating as P.R.I.M.3., have set up shop in Santa Maria. With a huge reception --highlighting the party-hungry atmosphere up there-- it would seem these cats are carving out a good niche in their respective locality. April 1^st, Dubsonic 2 presents Step Correct w/ that badboy Hoodzpah. Additionally, they are bringing down Lytic to rinse out the Santa Maria steppas. This one is gonna be hot.

(© P.R.1.M.3. aka P.R.I.M.E.)

DJ Lytic, alongside our Syncopation affiliates, is one of the top dubstep selectors in SLO at the moment. Lytic has had a phenominal run this past year; throwing sick parties, elevating within the central-coast DJ circuit, and similar to us in the south, facilitating the ascension of an EDM scene within his regional purview. True to rep, he is throwing a wicked party in mid-April, called “Bass for Boobs”. I must give a nod of commendation to Lytic (EltroLytic Productions), for combing a non-profit charity organization with an EDM event. (Something I’ve always wanted to do). This event is in partnership with the Keep A Breast Foundation’s “Music for Awareness” program, set for April 15th . Good intention aside, the line-up is packed solid with 2-stages of amazing talent. The event will feature nationally recognized We Bang, Lucky Date, and K-Theory. Santa Babylon crew will be in full effect, closing the night out at the bass stage.

(© KipGFX & ElectroLytic Productions).

After a busy April, we then gear up for summer, heading into the coming months preparing Santa Babylon shows throughout SB, as well as continuing up and down the south-coast. Check us at Apocalypse in May, featuring headliners Direct Feed and Rob Bliss (check this wicked mix featuring with my favorite stateside-dubstep MC). The two co-founders of the Relentless Audio label will be featuring alongside Santa Babylon crew for a night of madness. We'bve also locked down a State St. location for our next resident-event. Keep posted with the home team, and we look forward to seeing you on the dance! P.E.A.C.E.

Santa Babylon Roll Call (Confirmed Dates Only):

3/26 - Good Vibes Music Fest - 6BLOCC // E-40 // Passion Pit // +++
[Santa Babylon on Reggae/Dubstep Stage @ 3:15-4:20PM]
4/01 - DubSonic 2 - [Step Correct x MC Hoodzpah] // Lytic
4/15 - Bass for Boobs - We Bang // Lucky Date // K-Theory // +++
[Santa Babylon closing out Bass Stage at 3:00AM]
4/20 - *Blunts Up*
4/27 - Santa Babylon - 21+ Event, SB 805 [MOAR T.B.A.]
5/28 - Apocolypse - Rob Bliss // Direct Feed // [Step Correct x Chadillac x MC Hoodzpah]

Estimated Damage: A Six Block Radius

Cooking up some Chicken Tetrazzini manaña... and it's on! This Wednesday, Feb. 23^rd Santa Babylon presents 6BLOCC. Rocking heads all night, all long. Come kick off 2011 with the home team, party starts at 9. 6BLOCC aka R.A.W. is the LA originator. Personally, being granted the opportunity to spit for him is a humbling experience. For those unfamiliar, 6BLOCC is a double-droppin’ badman and unparalleled technical turnbalist. Starting out a hip-hop head in ‘85, he went on to reign supreme as R.A.W. in the US Jungle scene. He released “Ragga 2001” which became a landmark joint for the stateside sound on the global stage. His west-coast method behind the decks earned R.A.W. worldwide tours, mass exposure, and respect amongst the UK elite.

In 2006 he decided to try his hand at dubstep and reinvented himself as 6BLOCC. With dubstep still nascent in the US, in 2008 he mixed the now seminal LoDubs compilation 'ANALOG CLASH', which was the first release of bass weight bangers featuring producers in both Americas, exclusively. With output on labels such as Lo Dubs, N2O, Tribe Steppaz UK, Bootshake UK, La Dubstep Nostra, and the popular white label War Recordings, 6BLOCC will set the bar for Santa Barbara’s dubstep scene, with a bass that is felt for six blocks. Salsipuedes Riviera to Cabrillo Waterfront. Westside San Andres to Upper State. SB, can you feel it??

http://www.6blocc.com/

Troll us on Facebook: “ Santa Babylon”

Outs to our boy Akaida for the video/interview.

Also blazing out night will be your bassline bredren, Santa Babylon clique: ERS-ONE + STEP CORRECT + 9FEETOFSMOKE + MC HOODZPAH + CHADILLAC. This special Santa Babylon is a not miss... SB Steppas, step up!! Boomin' inna 6 block radius. P.E.A.C.E.

Artist Feature #2 - Tré Mission

© Tré Mission // LaunchPad

"Okay, okay." I've been tracking a Toronto talent’s moves for the past year, and with a drive for progress with an intellect to achieve it, man is on an impressive mission. At first, my initial draw to the Toronto emcee/producer, Tré Mission, was based upon the novel-appeal that he’s a Canadian grime artist. What would it sound like? What could it sound like? For those without knowledge of grime, this is a heads-up to yous. Grime is commonly acknowledged as one of the most complex and broadly defined genres in modern music, with a wide range of musical styles and production techniques. Blackdown’s “hyper-evolution” idea is solid, suggesting the inventive approaches in the early 2000s, by DIY youths in LDN, allowed such drastic innovation by forgetting the larger, historical music continuums, and simply began inventing on a limited musical breadth to its influential development. Whether this was a positive or negative effect to grime overall is irrelevant. Grime’s hyper-activity in regards to a forward thinking, anti-traditionalism, remains the reason for such exponential growth and experimentation. With a blank canvas, doing away with standard hallmark sounds, grime quickly developed a sound that would ascend to it's own unique, self-standing horizon. This understanding is critical in regards to ascertaining the broad scope of the grime definition as it begins coming out of occultation to listeners abroad after a tumultuous, but nonetheless incredible 10 years of music.
Sadly, most Americans still don’t get it. Even with the explosive influence and recognition dubstep has given all UK urban music in the past few years, grime’s reception remains blurred. In all actuality, this is understandable. First, because Americans think they grasp everything, so the concept that grime can't really be replicated outside of it's cultural havens is beyond them. It's part of what makes American people so outwardly successful, we think we can do anything. To suggest we are exempt from something... we ain't having it. Also, accurately articulating the essence of grime is difficult, thus attempts to explain any conceptual nature of the genre's sound or cultural aspect, comes to no avail. *(disclosure: I’m American). Also, since grime changes so much, the interpretation is never clear. Dizzee and Lady SOV’s earlier exposure came in the form of hip-hop. With the continued EDM revolution, and the trend of grime emcee’s jumping on dubstep, is restructuring grime's image to outside observers. So at the moment, I’m forced to observe with a shake of the head, a continued misconception of grime. Aside from the old-school bass heads and selectas, the new dubstep mibbies tend to simply catch an MRK1 set with his Virus mandem, and instantly brush-off everything else within the audio puzzle that is grime. Now, --laughably but notably-- the ravey, Manchester "grime-step" influence has shed light on grime to a new generation, however marginal that sub-aesthetic is to the whole genre. Interestingly, this has now become an undocumented, yet popular American perception of grime as opposed to the hip-hop affiliations it once garnered comparisons to.
The complex breadth grime holds in its name only facilitates more confusion. In America, I fear grime is dangerously close to being incorrectly labeled as a sub-genre of dubstep with falsely classified; “fast” or “double-time” emcees spitting over dubstep (not sure about Canada). Although it once frustrated me, I’ve now come to simply grin and bear it in reservation, as my stellar passion is whitewashed in overzealous wobbles, often distorting some phenomenal rapping. Don’t get me wrong, the grime-step sound is absolutely welcomed, (I spit grime bars primarily for my 805 dubstep clique, Santa Babylon). But grime as a label has implications to its image. And this is a culture too. So “grime-step” is beneficial as long as it respects the first-half of its nominal title.

(Tré Mission rippin' up a Rude Kid beat with a freestyle for SB.TV)
The other, far more relevant misconception garnered by an American’s perspective is that grime is foremost a culture, much like hip-hop in its day; before eroding itself through commercial interest seeping of ignorance, and decaying the less profitable ‘roots as culture’. This is understandably what makes grime so difficult to comprehend to someone on the outside listening in. In all its ambiguity, there has been one constant in grime’s experimental expanses: It’s maintained a limitative, localized nature to its UK origins. Grime even had difficulty expanding beyond London at its initial conception, and most other facets of British life, LDN still remains the creative hub for creativity for grime, as northern MC’s preferred to hop on Niche and now UKF. Until rather recent --now aged the span of a decade-- it remained almost exclusively, a nationally-bound, indigenous subculture. Well, not so exclusive anymore thanks to Tré Mission.
As I earlier alluded, it becomes so difficult to export the grime sound outside of its epicenter, LDN. This is primarily because of its strong tie to culture. Nonetheless, like all good yet marginalized music, the reception of grime abroad undoubtedly does occur, however benign that regional impact. But what’s more impressive than a good UK artist having a relative hit in N. America, is for an individual listener to receive it, explore it, adore it, then innovate relentlessly upon it. This is made possible regardless of national borders, being made possible by internet 2.0; blogs, social networking, and production-software proliferation in which globalization enables. This is the track Tré Mission has wisely chosen. If done properly, an artist can create a product which can successfully be imported back to the UK without sacrificing any authenticity in calling it grime. So the reason having a Canadian breakout is well, just straight up exciting for one of the world’s most interesting sounds of the 2000s and into these coming years. Because even though grime is intrinsically British, the subculture’s principles composed within its general definition does not disqualify it as executable abroad, if the artist is able to understand and then genuinely assimilate to the subculture. Similar to Australian ex-pats of Britain who have brought grime to Australia, --although Ozzie hip-hop is leading the way down under, not its grime. In this rapid, accelerating global-socio climate, it’s no different than any former-national emigrating to take up residence in a different culture.

To boot, subcultures are becoming ever stronger in terms of identity, often having a national origin but no national bounds. The internet has become a global diplomatic visa. Logan Sama defines grime (as I do), as “a culture and an ethos”… and "as long as artists retain the attitude, vernacular, style, and slang [of grime],” to this influential Kiss100 DJ, holding to those principles still qualifies as ‘grime’. To those outside grime's realm, his show is the single-most influential, being the only premiere, legal radio show dedicated to the cult sound. And in the past weeks, Sama be droppin’ Tré Mission on the regular. Now back on the artist, [I covered the idea of international grime in depth, here, referencing the brief but crucial Sama piece, here].

© Tré Mission

So visiting GF last spring, I came upon Tre’s free promo mixtape “Don’t Think”, released in May 2010. As an American trying to innovate upon my own experience with grime heavily at that time, I had to give this an immediate listen. To be completely honest, a sensation of angst came over me, as I hadn’t been aware of any grime artists in N. America, and this would definitely set the bar for my personal attempts to come. Props to Eligh’s effort “The Brother’s Grime”, but I don’t consider that album grime really at all. Created with an innovative perspective rooted in the UK sound, it fails to capture the critical cultural aspect that grime inherently is> Like other N. American attempts, the output “formula-ed” --to quote Loefah-- as dubstep has sadly managed to do. Whereas dubstep’s spirit resided in its culture at one point, it has now since divorced itself of the musical style as genre. The former dubstep culture then found an undefined and multifaceted direction and is all the happier for it.
© Tré Mission

For dubstep's sibling, on the other hand, grime maintains pride through its culture and strives to keep its title, even when an artist is entering commercial ends. It’s important not to disaffect their initial support base, as the scene is quick to reject any pseudo-output. With the harsh reactions of grime fans, I was surprised by Tré’s welcomed reception amongst the UK heads on GF. He labeled it grime accurately, where so many N. American attempts have failed. Established American DnB emcees, many whom have transitioned to dubstep, have for the most part understood this and stayed away from the grime label. Unfortunately, some still mistakenly do so, which only adds to my concern that the grime label in America will may be degraded as its popularity grows stateside; with exception to the possibility of an authentic representation gaining ground and establishing grime’s spirit, depth, and reality that makes grime so uncompromisingly special. (Again, I don’t speak for Canada, mais je suis Québécois).

Tré can safely be labeled as a true pioneer for transatlantic grime, in addition to some of productions of Philadelphia’s Starkey. Although interspersed with hip-hop, Tré’s initial promo clearly overshadowed my just one in the chamber --as grime. But in that blurry definition of “grime”, Tré is absolutely a grime emcee where mine may be debatable. Instead of solely critiquing Tré Mission in the fashion of a journalist (like most bloggers have and will continue to do), my perspective allows for me to conduct a comparative review. To promo the Toronto emcee properly, I can approach it from a contrastable level, since Tré is a similar case-study to my approach. Moreover, man straight slews me on all principles of Sama’s attributions “about what makes grime… grimey”: Keeping intact the slang, vernacular, style and attitude of grime. This can only be accomplished by authentic entrance into the cultural aspect of grime, which is difficult to do… it almost comes to you, as opposed to finding it.


(Video for Tré Mission hit tune prod. by Deeco and put out "Don't Think") © Tré Mission

First off, Tré Mission is a producer, which as RZA says, “…you must master the technology, if not then you’re either a slave to the technology itself, or a slave for the ni**a’s you need to run it for you.” On top of that, his Bang Society and SSTAR affiliations exposed him to grime productions in closer proximity than myself, in which my reliance rests on experimental dubstep producers. This will be critical for Tré as he develops his sound toward elevating within the ranks of the grime’s heavy hitters. He also produces hip hop (“Blackberry Livin’”/”Name Tag”), which the “Don’t Think” promo offers. Despite the initial grime success, his hip-hop should not be overlooked either. As a Canadian, his slang comes naturally in correlation with his UK counterparts. Where I picked up my slang after more than a year of living there, in contrast, Toronto carries a similar argot which made grime a natural candidate for the rapper under Sama’s characterization of the music. Let’s not forget, however symbolic and worthless the titles, British Columbia is still under the dignified head-of-state role of Queen Elizabeth back in Westminster, as Canada is a common-wealth state much-like Australia. Just saying. Now fast-FWD nearly a year, I’m sure Tré has long forgotten his promo. Unlike many rappers at large, Tré’s unique position allows for further growth and implementations of grime in his experimental ‘genre-via-location’ boundaries he’s pushing. This effect is allowing him more diversity and innovation in his bars: he’s becoming “grimier.” This is why the established stateside hip-hoppers (as I referenced to Eligh earlier) are hamstrung by making authentic grime… they already have their identity.

Tré is 19, and like myself, is still improving and innovating upon a style that is totally different, yet strangely familiar to our own accustomed urban sound. In Tré’s case, this became evident of recent as his precisely timed releases to the scene started leaking systematically. He just dropped a free 5 track mix-tape last week, “The Practice Mission” which demo’s his progression as a grime emcee. Taking advantage of dubstep bangers (“Blood"/"Slang”) and pure grime instrumentals (Hello, Good Morning Remix) his style as a grime emcee is set, retaining an innovative Toronto flare separate from the obvious accent difference. The accent is pivotal though as it’s what ignites an initial interest, and can be attributed to his recent success back in Britain. The foreign sound of his Toronto style sets him apart from UK emcees, and can makes him arguably more grime than some of the UK counterparts. Reason is, grime is simply a huge experiment in itself; he is adding a fresh flavor while still retaining himself as an undeniable grime artist. That notion of DIY innovation which Tré sustains is a huge part of what grime really means.

At 19 years old, he’s getting play from Sama (Kiss) and MistaJam (Radio1). He’s just gone to LDN and is appearing on Sama’s show this Monday with JME. In addition to an interview, Tré dropped an exclusive featuring Wiley that will be given away with the purchase of his first release “Maxin Everything”, (out February 20^th). He’s also currently in LDN for his first gig headlined by Tempa T and Scorcher. In an interview with an SB.TV affiliate, Tré revealed how he and Wiley linked up, with the godfather of grime flying out to Toronto to work with the up-and-comer. He’s also forged alliances//friendships with JME and Skepta as well. Seemingly unstoppable in these coming weeks, he’ll also be releasing an instrumental EP of Canadian grime productions in which he’ll have a host of UK talent jumping on. Riddim version?? We can only hope. In the spirit of defining grime, this adds to Tré’s vernacular. Still steadfast in representing his Canadian heritage, his UK vernacular as a requisite for grime is further attained in an authentic fashion, allowing the Toronto rapper to transcend one of the hardest parts for a grime artist to achieve if they are representing outside of Britain. To do so genuinely and without living in the cultural motherland requires an open-mind and intellect that commands massive respect.
First UK showcase in Brighton, England. 2.11.11. © Tré Mission

For myself, I maintained my level of the vernacular as it became routine from my dwelling in urban Britain. [Big up Simbad Fresh and Restoration-Camp CB1]. Naturally, it comes along faster when living in the setting, especially as I purposefully immersed myself in exploring the scene. For Tré, a lot of his use in Toronto slang actually derives from vernacular in urban Britain. But the more he maintains connections and rapport in which he’s been building with stars like Wiley and BBK, he can only get more grime. In this theoretical sense, once again Tré is actually able to get more “grimy” as he continues his creative growth, in the terms of vernacular at the least (as well as non-assimilated UK slang). This cannot really apply to the British grime artist at a comparable level, as they tend to already be ‘grime or not’ from a youth. Perhaps artists like Plan B have similar shifts in vernacular as they grow into an artist, but compared to Tré Mission, not so.

Examining Tré’s attitude and style is the most interesting aspect of his foray into becoming the top Canadian grime emcee, as it opens up another avenue for him to project himself with grandeur, aided with a voice carrying the very apparent accent differential which instantly piques one’s attention. One of grime’s primary attitudes is “reppin”. Originally reserved for East-LDN where grime was pioneered, it quickly spread throughout the UK where the further outside the center, the harder to rep. Tré Mission’s recent release features a song “Canada” in which he reps the obvious. H.E.N.C.H. and Virus Syndicate sent out grime waves once coming out strong for Bristol and Manchester, respectively. But making a grime tune reppin’ all Canada, and in proud opposition to America as the hook suggests, Tré can create a far bigger impact for reception. Currently it’s rather unrecognized, but it’s actually an interesting juncture in the whole history of grime, one of those moments which can be epitomized through one artist.

Although a Canadian grime artist teaming up with some of the UK’s elite to further his exposure is great, conversely, their also looms opportunities to successfully tap the North American market for those globally-marginalized legends which have been relegated strictly to UK popularity. They are also collaborating for a chance to capitalize on a very unique juncture in the N. American reception of grime, allowing a fresh way to market outside of their domestics. This route hasn’t really been tried effectively before. Skepta and Jammer teaming up with Shadetek was a light in the tunnel which quickly faded from view, although I still rate “Reign” as one of Skepta’s finest. Now a prospect of return seems possible... BBK in N. America?? Bros better know.

Tré’s style on the “Practice Mission” demonstrates his creative ability as a lyricist. Eventually he says this will transcend into on-coming development in productions, concepts and songwriting with grime. With all the cards he has to play, Tré is definitely the one to keep your eye on, and leaps ahead of anyone else this side of the Atlantic. The impact of his combination of beats and vocals are a force to take into consideration on a mass scale for the close-knit grime community. His first release was originally a single, “Maxin Everything”. However, a pushed backed release date will now include a few remixes of “Maxin Everything” as well as his collaboration with Wiley “Can’t Be Controlled”, all will be available at a low-cost because, as Tré says, “I love the fans”. Keep track of his forthcoming releases such as the instrumental project as well as “The First Mission” via his Twitter and Facebook accounts: @TréMission. Also check his people at SStar TV. Or see www.nosuchthing.ca. Please support the “Maxin Everything” single-pack, available through digital distributors, February 20^th. You’re not just supporting an artist, you’re supporting a movement. P.E.A.C.E.Tré Mission - Canada

New Decade, Moar Bass

"Here's to a deep, fearless and beautiful 2011... Forward we march." Burial (via MAH)

Happy 2011 world! As seasons change and cycles start anew, we enter a new decade. What it shall bring, only jah is privy. But if the analysis of last year amounted to any indication, it’s that dubstep --and Santa Babylon along with her-- is rolling deep. First, our 2010 recap:

It’s hard to say which skyrocketed first, the 2010 brostep takeover, finally reaching into the mainstream rave scene, or rather, was it Santa Babylon’s explosion, situated in a peripheral city which is currently undergoing an EDM-slanted club-music revolution of its own. It’s clear they are definitely linked... and co-dependently. Our crew broke into a steady traction through mid-2009 at our favorite local café, Muddy Waters. Hype and anticipation would inevitably outgrow the place. A wonderful spot, but fire permit limits, wasteman extraordinaires, and SB’s growing EDM evolution forced us -blessedly- to search for a new residency in 2010. (To be honest, hippie B-Boys centered in a cipher of moshing bros, with fine artwork on the walls of a narrow café, is not a good business model either).

*To end 2010, we decided to pay homage to our beginnings by building a monument*

*Santa Babylon Bass Bins @ Muddy Waters, SB.*

Santa Babylon closed out the '09 year with "Autumn Dubfest", a two-room Dubstep~Reggae collaboration featuring Pawn and Kemst of SMOG. That momentum would propel us into uncharted territory for bass music in SB. In just this past year, the sound has come so far, being able to adapt to an expandable franchise section of Santa Barbara’s mainstream entertainment market; more so than Jungle/DnB ever managed to at least.

And so the year began... it seemed in an uncertain state after leaving MW, as we were setback by failures on two initial-venue procurements. Luckily, as last resort, Statemynt had nothing planned that night and was willing to give it a shot. Little did we know it would blow off so proper. All-crew-only line up. We were blasting filth out of bass-bins into Santa Barbara’s up-scale city-center, State Street. Though changing at the moment, the club option standard in SB remains commercial, radio music. For a Santa Babylon party, I’d often go outside to watch the puzzled, perplexed, and curious expressions of pedestrians as they passed our by our venue: Lights on low, lasers on high, and an omnipresent sub-bass that pummels unrelentingly. 2010 would feature us exploding into our own, elevating those viral-spreading excessive rave wobbles that dubstep had become. However basic the sound production and DJ selections have become --or for an unbiased neutrality; “different" than it had been-- it unabashedly still destroys at the raves. Now, one can catch global megastars, like LA’s homegrown 12^th Planet and his SMOG crew taking stage on-line ups featuring Rusko or Bassnectar at places like Coachella, as well as LA’s select, ultra "massives".

*Video-work courtesy, Akaider*
©

As a Santa Barbara's premiere bass crew, we held our 805 flag high, representing our musical talents and style, up and down the Cali coastline from San Luis Obispo multistage outdoor-undergrounds, to Los Angeles premiere dubstep events such as “I ♥ L.A."

Back home, we continued to expand beyond our residency at Statemynt, playing Tonic’s seasonal “Summer Sunday Session” as well EOS multiple times, taking dubstep head-on into direct competition with the commercial chart-toppers at SB’s primary clubs. And it wasn't easy mind you, losing some of our core-supporters who some how believed we had "sold out", when the only thing that was 'out' was our own billfolds. Then there were those typical club-goers who just weren't having it. No respect... But FWD>>we marched.

*Rins'em out each and every bassline.*

*Step Correct + Hoodzpah aka 'Each & Every'*

*Check the first WIP from Ea'N'Ery:*
Undertow - Each and Every (Step Correct & Hoodzpah collab)


We also reciprocated the inter-county connections, putting on parties with headliner acts such as: KNORSQ (SubChamber//6K), Emu + Dustmite (SMOG), APX-1 (Tonz of Drumz // GhettoLife). In addition to, Dumbsteppaz (Dubfront), Blang (Bell Ringer), Direct Feed (Jungle Riddim//Relentless Audio) and Portland boss-man, Jon A.D. (LoDubs). In addition to LA’s heavy hitters, we established strong local ties with 805 DJs Professor West, Mackle, Pursuade, Lowkey, Diamonds & Guns and SB’s wicked new talent: Chadillac.

*Video Courtesy of Dustmite*
©

We are kicking the year off correct with an all-out bass assault through January. First off, we invade Whiskey Richards alongside Chadillac. Hailing from Kansas City, man is quietly expanding his sound throughout the city in addition to icing some ink into people by day as a tattoo artist for 805 Ink.

Chadillac remains humble, yet confident in himself, exploring his new-found locality within our south-coast paradise. Pure love for his selections bleeds through speakers with original style and technical edge. You can expect big collaborations with Chadillac + Santa Babylon for 2011, as well as his solo efforts around town and all the way back to K.C. Chadillac holds a weekly dubstep night, "The Sunday Grime" @ Whiskey Richards. Our Sabylon event is this Friday, Jan. 14, 2010 and will feature Cadillac and W.R. co-resident, MI².

*"Holy shit!! Is that DJ Chadillac?!" Naa... just Jesus :( *

*Chadillac @ Santa Babylon's Halloween Special: "Night of the Living Bass" Statemynt, SB*
*DJ Chadillac @ Whiskey Richards, Sundays Weekly*

Proceeding that local-oriented event, we head back to the goddess lounge at EOS. Always exciting to play there, the venue retains a well balanced formula of elegance and class, combined with an unpretentious, carefree atmosphere that one should expect on a night out. That will take place on the 1.21.10, a week to the day of the Whiskey Dicks debut. Following that we will participate in a huge night put on by the Nightowl Brotherhood. The supreme college-night collective will bring you LowKey, Santa Babylon and APX-1 on 1.27.10. Our boy APX got a taste of Santa Barbara when we featured him in June (here), and the city surely wanted him back. Now you got it. Following January, we are off to San Luis Obispo for “Syncopation”. Put on by Danny Style and Dionysius, with sound provided by DJ Lytic's FunDip Productions. The SLO scene has been steady expanding from its nascent EDM roots which favored electro, into a more eclectic diversity now including popular dubstep, glitch and DnB events. We are looking forward to showcasing ourselves once again for the SLO steppas who always come ready to party. Keep out for Syncopation’s DJs coming down to SB to rock out in the near future too <-Big-up! *Don't forget to style up for EOS. Alongside the house slelecta, DJ Hogg, droppin' on some underground 4x4! That's 1.21.10 in the Goddess Room. Sparx holding down the front *THIS FRIDAY.*



*Santa Babylon @ Syncopation, 2.2.11* *Library Lounge, San Luis Obispo, CA*

In addition to spreading the bass virus up and down the west-coast, Santa Babylon has also turned our focus to the production-side. Both Step Correct and 9FeetofSmoke have been separately putting tracks together, and it seems 2011 will finally have their respective first releases put out. Following a summer promo video, Hoodzpah has opened some doors to collaborations with various producers, (check vid here). Aiming to make 2011 a breakout year, there also looms a possible collaboration with his British bredren, Simbad Fresh (Restoration Camp), representing Hoodzpah’s former residence in the United Kindgdom via CB-1. He has also began spinning, and will have a set on Universal Sound Stream radio soon. (TBA). 9FT has teamed up with his his DFHY brother, RTRD (formerly CityMavrick) to bring you "Blunt Bothers Radio" every Tuesday night, 6-10PM. Our crew also put out a mix featuring sets from all 3 Santa Babylon selectas! Check that mix out below. So that’s a wrap… we are all looking forward to a progressive year of bass music in the Santa Babylon crew... we hope you'll join us.

Lastly, we’d like to thank all the talent who have participated in providing Santa Barbara with quality bass music on the regular. Outs to our homeboy, DJ and videographer, Akaider. The rudeboy has been our strongest link to Los Angeles, and a true supporter of our crew from the get-go... We will certainly want you back soon, brother! In the meantime, holla at them Brazilian galdem, booom! Outs the all the talent, local or outsourced, for converging together for the simple goal of putting on a good party, and showcasing our subculture to the mass-culture. And finally, big shout out to all the SB steppas who have come out. Old-school junglists, OG dubstep massive, and all those, "never heard it in my life, but that bass drew me in" people. Without you all, it would not be possible. Big tings for 2011 so keep on the look out. All Santa Babylon 805 Bass represent! P.E.A.C.E.

Santa Babylon Roll Call:
1.14.10 - Santa Babylon hosts Whiskey Richard's, SB
1.21.10 - Santa Babylon hosts Goddess Room, EOS, SB
1.27.10 - SB Nightowl w/ Lowkey, Santa Babylon, APX-1
2.2.10 - Syncopation presents Santa Babylon, Library Lounge, SLO

*Santa Babylon Crew Mix (Chrono):*
*9FTofSmoke, Step Correct, ERS-One*