December 21st, 2012 marks the end-date of a
5125-year-long cycle of the Mayan calendar. Whether you believe in a positive
spiritual transformation or the end of the world, various astronomical
alignments and numerological formulae have been proposed pertaining to this
date. Although, none have been accepted by mainstream scholarship... and why?
Because we keep it underground yo!
Friends, fam and foes! Santa Babylon goes out in style for the all-city crew with some of the illest music on the planet. Babylon will burn this holiday seazon, so keep
them trigga-fingers locked with the home team. We got guns.
Santa Babylon presents:
LUNAR KINGDOM An old school 805 selector debuts full circle for a new
era. A veteran of his "Lunar Kingdom" renegade parties in Santa Barbara's
mountains, its only fitting to have man open up on our winter solstice.
Representing LA, ROYL also has a healthy local connection to our area. His unique style is welcomed to his Santa Babylon debut, after having effectively slayed most venues throughout our coastal paradise. Having opened for the likes of Griz, Gramatik, and Kraddy, ROYL provides something fresh for urban bass music, by keep a well-balance of bubblin' booty club, bass-heavy hip-hop, and groovy EDM
joints.
Resident Santa Babylon DJ (and bad ass artist) has ran
the party in SB for over 3 years now. His blend of southern hip-hop and
dubstep, long before EDM's new-found obsession with trap music, had made the
transition second nature for the Kansas City native. Don't expect strictly
bass-ridden dancefloor bombs, but also some serious hood shit. Check
him out on BluntBros.fm radio Wednesdays & Sundays @ 10:30AM-12:30 & 8-10PM, respectively. soundcloud.com/chadillacgreen
- - -
WABBLE
The SB native returns to Santa Babylon fresh off his
solid release single, "Falls the Sky" ft. Meliss FX. Wabble has
supplanted himself in LA the last year or two, steadily climbing the beatport
charts and setting himself up for a massive 2013. Should the world end, you
will find yourself skanking out to the freshest bass music this side of the
American Riviera.
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.
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.
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.
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.
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 lastmonth. 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.
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.
"Moombah, Moombah, do-ba-dee-doo... 9FeetOfSmoke back to Moombah you."
Last year 805 DJ/Producer 9FeetOfSmoke began experimenting with Moombahton, while people still had no clue as to what it was. Playing it out at Santa Barbara’s clubs to mild reception, could it be that the dubstep selector/producer was simply onto something too soon? Yes, nearly as simplistic as David Nada playing Afro Jax at half-speed and pioneering a genre out of it. For those who aren’t familiar, Moombahton originated at a high-school ditch party in 2009 by Dave Nada, who then advanced the slowed-down Dutch House style that is now Moombahton and continuing to spread virally. A few weeks back, DJ Mackle appeared on 9Ft.’s radio show, “BluntBros.FM”, and transitioned from some dubstep tunes into a Joker moombahton remix. When the BluntBros forum was eating the sound up, its was no surprise 9Ft. would begin rethinking Moombahton’s appeal nearly a year later. Recently, L.A.’s Relentless Audio label-mates, Direct Feed and Rob Bliss, have begun pushing Moombahton as well. With the dubstep community now taking notice of the sound’s slow, dance-floor appeal, the limits of Moombahton are still not yet visible. Speaking of Direct Feed, he is having a remix-contest for Chromeo’s “Hot Mess”, and it’s a wicked Moombahton production too. So go to beatportal, spin it, then vote it up in the contest, here.
Taking another shot at this fresh house music, last week 9FeetOfSmoke dropped a new mix hot of the decks, featured below. He’s also experimented with some Moombahton productions and is looking to demo more of his dubstep tunes in the coming months. Check the prods on his soundcloud. On his show, he spins everything from Metal to Moombahton, and Dubstep to Kenny G. His radio show put on alongside his blunt brothers, Rtrd and Badmin, every Tuesday from 7-10PM PST, on iPhone or via BluntBros.FM You can also catch him playing with Santa Babylon shows on the regular, including “Bass For Boobs” in Santa Maria on April 15th, “Santa Babylon Soundsystem” @ Tonic on April 27th, and “I Love L.A.” on April 17th at The Airliner, LA. Further, the BluntBros radio show, will feature a special 4-20 smoke out broadcast with a mash-up of genres by past guests and talented Santa Barbara selectas, with plenty of blunts to go around. Tune in and smoke out. P.E.A.C.E.
**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.
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 2nd 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.
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 1st, 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.
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 alwayswanted 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.
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]
"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.*
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'*
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
Rounding out the summer in raw fashion, the Santa Babylon clique is back on tricks. There's just two weeks until Black Rock City, when the physically temporary, yet soul-everlasting, metropolis is erected once again in the Nevada desert... Burning Man. So one last party for all the SB locals before the Burn was deemed necessary. Friday, August 20th @ Statemynt club, Santa Babylon presents Burning Man "Pre-Compression". With an all-city line-up of DJ's, this event will hopefully relieve the exciting angst all my Playa people are feeling as the closing countdown to the Burn comes nigh. Though I finally have the fiscal freedom to attend, Hoodzpah will not be hitting the Playa because of formal education responsibilities. Although, something dwelling within is telling me The Burn would educate a twenty-something kid exponentially more so than college ever could. Nevertheless, I feel a certain level of contentment creating a Pre-Compression event for the 805 burner massive. Since joining the Babylon crew, I've gained experience through observation and interaction on throwing parties. With this in thought, the dons of our bass team, Step Correct and ERS-One, allowed your boy Hoodzpah to take reigns and front-man this particular one-off. (Once again, bless you twos for that). Rest assured to the Babylon regulars, everything has been locked down and the usual bass-bombed chaos is sure to ensue on State Street once again. The guidance of the Step and ERS along with assistance from our lovely galdem is going to make this one poppin' party. So get that bass face engaged and ready to rage, Babylon "Pre-Compression" is gonna rock your fucking headtop. Bar none.
Three local crews collaborating with the Santa Babylon clique for this one. Underground Souls, coming off a wild, glammed-up summer, including an ridiculous July 4th event, will be represented with DJ Level. Taking you back with an all-vinyl Trip-hop and Acid Jazz, this will be a set of a certain rarity from one of SB's baddest DJs on the block. An EOS regular and underground legend, Level will have some wicked material to drop on your dome, in a form atypical to his usual club sets.
(DJ level always brings the party. All vinyl, all night, always).
Making his State club debut, Diamonds & Guns will represent the nascent burner crew The Family. True to the name they are a tight-knit group with arms wide open to those of a similar nature. Get at them at the party regarding where they will be camping at BRC. Familiar with his style, D&G will have some banger dubstep club riddims that will lay you out and keep the night progressing into madness. Talent unheard by a lot of SB locs, I guarantee the showcase with Santa Babylon by this Mexican selectah will surprise many. Be prepared for sonic assault.
(Diamonds & Guns on some beats, basslines and sunshine).
Headlining the night until the place shuts us down will be CityMavrick. Then proceeded in tandem by 9FeetOfSmoke, aka DrVktr, both soundbwoys representing D.F.H.Y. (DudeFuckingHellYeah!). D.F.H.Y. theme camp has gained a reputation on the Playa for their wicked party dome, supplying a musical range of Black Metal to Dubstep. They're camp will be located at 9:00 and Detroit and consists of Burners from all over the map. They are not too miss at this year's Metropolis on the Playa; it's a Black Rock City designated landmark insane asylum. True to fashion, CityMavrick will be dropping bombers at prime-time for "Pre-Compression". Followed up by his D.F.H.Y. blunt brother and Santa Babylon selectah 9FT to steady melt your face. Raw flesh off the skull making the dance floor slick in the darkness... tread lightly, but step hard.
(CityMavrick rocking w/ MC Kemst at S.M.O.G, LA).
Our Babylon Babes will be in full effect. This time we are taking it up a notch with six of Santa Barbara's sexiest dancers: Aya, Catalyst, Eeve, Coyote, Daisy and the illuminating Firefly. These go-go's love bass wobbles as much as us! We will have platforms set up in back area for them to demo their graceful hooping skills. Yet another attraction to inundate you throughout the night. They're hoop and poi aesthetics will also alleviate the traffic congestion on the limited Statemynt dance floor, which has gotten a bit hectic as the Santa Babylon reputation rises.
(Catalyst of Pyro Nation and straight outta Babylon).
In addition, for the first time we will be providing vendors as well. Our dancing girls, AyaPapayaand CoyotePheonix will be teaming up together to provide all the burners and fashonistas with wicked jewelry, headwear and other prime accessories to look fly on the Playa. Check out and even pre-order some of their gear on the tagged links. Nikki representing Save Rose Clothing will also provide some of her tees to sport. So don't for get that cash rules.
(Coyote's dance and design skills will be pulsating "Pre-Com").
This is sure to be an amazing night and proper send-off to all the SB burners. Chest pummeling beats will melt your face so hard, its gonna feel like Playa dust grinding your eyeballs. Don't forget to sport your desert gear! Moar Lasers. Moar Bass. MOAR LIFE. 805 represent!! Black Rock City or BUST. P.E.A.C.E.
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