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.

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

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

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