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.
Earlier this year, the UK network MTVBase aired a special about the UK’s best emcees of 2010, which was determined through a panel-points system. It was widely publicized and developed into quite an event, and rightly so, considering the UK's urban talent pool is finally being recognized globally. Twitter and blogs went abuzz with all-out rejections of certain people, as well as new suggestive lists written up. Of the new entries, there were expectedly a few constants. Ghetts, Kano and Dot Rotten fans appeared on forums with severe expletives as to why they should have been put on. Ghetts even took it further releasing a music video dissing the panel and the selected. But another name also surfaced with regularity: Durrty Goodz. The difference with him, however, was a lack of ludacracy on those same forums regarding his omission. It wasn’t surprising; in fact, it's almost become expected.
Doogz has been the most underrated artist since grime had artists of recognition to begin with. Personally, I’ve never understood this. One factor may be his rapid-style which may lose listeners; yet I find it to be one of the most punctuating and clear dialects within British grime. Maybe it’s his refusal to sacrifice his musical style for money, having rejected numerous label deals. Perhaps it’s his output consistency, which is relatively minimal in the hungry-for-moar mentality of grime fans. This would seem to be the best hypothesis, however no one can really knock Doogz' work ethic. That’s because when his releases are put forth, it’s a fucking mad ting. The quality-over-quantity discussion runs ramped over the waves, and Goodz is the primary example of the former. Whatever the reason, it has become standard practice to deny Durrty Goodz the due recognition. But every time ‘a season, man comes out of seclusion to shake up the scene and silence all critics. It’s these moments of musical reverence as to why I maintain that Goodz is the most underrated of artists, the best MC alive on the planet, and maybe single most talented rapper since Tupac. There I said it. Now let me give a run down on why this is the case.
First, if you haven’t read my initial review on Goodz back in early 2009, check it here. As a stated then, Goodz uses banging dubstep and grime tracks to bestow himself to listeners. Though whereas many grime emcees use pop or house beats to gain favor, Goodz does it on the flip-side using ace producers of grimey, bass-heavy, dark-sythed tracks. This has allowed the rapper to stay true to himself, while bulding a dedicated following, primarily asserting himself as a grime artist. Meanwhile his counter-parts tend to be percieved as selling out toward commercial ends. His speed, clarity, and variance define him as an undisputable top-rated lyricist in the trade, sans national borders. What makes a good emcee overall, and especially in the grime scene, is all brought out in Durrty Goodz.
WAR: In recent years grime has moved away from the battle antics that made it so popular to the public eye, as it illuminated the skills of unheard British talent. Wiley’s infamous Eskidance event was one of the single most popular showcases of grime talent. Wiley steady built his reputation clashing, and annihilating emcees on his own platform. That is, until Goodz came along to become the only emcee to clash Wiley and win outright. The years after that, war dubs toward the emcee became more difficult as he regressed off the radar. Even then, if put to the test man will clash and beat anyone. Props.
VERSATILITY: Doogz has demonstrated his versatility time and time again. He has said he considers all of the urban music genres to be hip-hop, in its original sense. And like so, he released his album last year to critical acclaim. KRS-1 vocal samples litter the album, which features appearances from Steve Marley, Caron Wheeler, and Goodz brother Crazy Titich. Goodz also released it as a free giveaway online. The album’s depth solidified Doogz as not only a grime emcee, but a lyricist all his own. Prior to that, his Axiom EP had him riding DnB tempos with ease, as well as the legendary “Switching Songs II”, which had him changing his delivery and style over classic garage riddims. The follow up release “Ultrasound” was equally versatile featuring tracks of 4/4 electro (mocking the scensters), R&B, grime and dubstep.
DEPTH: Goodz' music runs deep. His musical references substantiate this, having the anthemic tune “Give Me The Music” arranged with a single corus, put at the end. Blackdown revealed in his column that this was an homage to Stevie Wonder, demonstrating Goodz’ perspective of musical history in the youth-built grime scene, whom often seem to disregard those transcendental, street-expressive experiences of the past. “Switching Songs Pt. II” showed a methodical equilibrium between Goodz’ ‘versailty-as-concept’ and the song as a variable, interdependent canvas. Dot Rotten’s hidden production “Real Talk” runs deep emotionally as well. The incarceration of Goodz and his brother is one of grime’s most tragic tales. Goodz was put on trial alongside his half-brother, Crazy Titch for murder. Doogz was to be acquitted while his brother, a rising star within the nascent grime scene, was given a life sentence.
As a result to his tribulations, Goodz has grown into a true artist creative a substantial message to his listeners. While a lot of his counter-parts relish in negative street portrayals of bare hype, Goodz calls for an end to this negativity, which underlie the real talk and imagery his music evokes. True to form, Doogz again gets deep into creative procedure with “Jail Tales”, in which he draws comparisons of the music industry and it’s glorifications of illicit lifestyles and imprisonment, to those of his own honest reflections of jail and it’s repercussions. His BBC video freestyle is a must watch. Though his singing isn’t his status marker, his conceptualization and delivery is top-notch with metaphors and similes sublime.
Now Goodz is back. And when it seems he can no longer elevate his status, he drops a fucking bomb on the entire grime scene with hype in excess. Seemlessly integrating all the previously covered qualities of Goodz, recently he has remarkably showcased them all in one tune. In an impromptu session, Goodz had put it out there on Twitter he wanted to come into Sama’ show. Sama was actually not planning on going live that night, but with Goodz being quite the rarity, appropriate accommodations were arranged. But listeners tuning in to ear some live bars from Goodz wouldn’t get such. In promotion of his upcoming release, “Overall”, due out in early May, he came through with a few teasers tracks from the album. Included was his just released single “Oi, What You Looking At?”, which featured a well produced, if bizarre, video set in a futuristic, hobbesiean environment with Goodz at the top of the food chain. The tune that shook the Kiss studios, however, and stirring far bigger waves was “Battle Hype”. The entire interview can be played, below.
Those characteristics of depth, conceptuality, versatility, and war with a fervent lyricism, become apparent in this massive 11+ minute sonic-event. First kick it off, he bigs up “all the artists featuring”, saying they are critical to the grime scene. Then all hell ensues. Riding a simple Silencer riddim which harkens back to the old days of battle sets, Goodz’ intro set’s up a battle amongst grime’s elite; an epic battle featuring Skepta, Ghetts, Wiley, Dizzee Rascal, Kano, D Double E and Crazy Titch. At first the radio quality diminished the sound, but it wasn’t quite clear who was spitting. Then I realized it was actually Goodz. All the featured artists were Goodz. He was impersonating the emcees, used their staple flows and vocal tones to recreate a conceptual battle with the scene’s top talent; including Goodz paring himself. Matching various artists up with one another, Goodz incredibly executes these artists with accuracy. His versatility changes command with each series of bars exchanged. Then Crazy Titch to close it out?! Maaddd ting.
The beautiful aspect of Battle Hype is that he wasn’t directly aiming at these artists. He even reiterated with Sama that he was giving a nod of respect to these artists. Even so, 'he was sending' came the rebuttals… the ambiguity is fascinating. Following Ghetts’ “Who’s On The Panel” release just one day after the MTVBase special, Ghetts made a sly marketing move by releasing a tune w/ video the very next day. Likewise, Goodz knows the time is right for grime, and causing a stir like this with an indirect, passive-aggressive, but no less damaging manner, was simply genius. Further, it’s well known no one wants to directly send for Goodz. So even if someone did respond back, they would still have an uphill battle, and with Goodz off radar being an actual artist, as opposed to tweeting 24/7, there is little to take charge with him personally.
The fact he utilized so many emcees in his tune, while being a sort of relative-outsider within the top ranks (but no doubt still within them), he’s enabled himself to puppeteer a massive par without being clearly able to retaliate effectively, while by design also building massive internet hype for his forthcoming album. Genius. Seems Durrty Goodz once again is on point to elevate his stature as a music artist. It may seem a bit overzealous to suggest he’s the best rapper since Tupac, but that’s simply because he’s also the most underrated… so you just done know. So make sure you cop the new album "Overall" in May; guaranteed to be a certified banger. P.E.A.C.E.
Durrty Goodz Interview + Battle Hyper Debut on Logan Sama (Radio)
(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.
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 --asgrime. 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.
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 moregrime 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.
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 20th. You’re not just supporting an artist, you’re supporting a movement. P.E.A.C.E.Tré Mission - Canada
(Yup, that's me, still on that baggy, saggy jeans tip, haha. London, 2008).
Love at first sight? Ha. Certainly not. Recently I'm feeling like the idea of true love between people is just an expressive conduit we just label as truth because it fits so well. Perhaps those vividly brilliant moments of happiness, so often haphazardly swept upon us, are a reflection of the environment and personal reception with those we shared them with at the time. As for myself, such a particular experience came from an unknown city in a foreign culture. But this phenomenon may manifest at any occurrence of a shared, elated experience. A place that blossoms a sentiment of love toward one, or even multiple individuals. I would never usually believe in love at first sight. Standard. But c'est le vie... and it's one big trip. Those who have garnered a flash of instant attraction, which was then built upon into an ensuring relationship, and eventual eternity may seem so. After all, such an extended scenario undoubtedly seems meant to be. But I'm no high, late-night cynic blogger. I have experienced love at first sight... I think.
An instant, though no less strange attraction occurred absolutely. I was never to know if I loved her. Regardless of my inconsistent feelings that will continue to shift from yesterday into tomorrow, I know there was definitely love involved. If you haven't noticed already, my personal expression of love in the present has shifted with each word scrawled in this post. I should probably stick to music where I can relay those sentiments much better. No worries, there is plenty soul-striking music in this one 'ere.
Now back to my original concept about love initiated, or even just developing, "at first sight". My ambiguous idea (as if I can think straight on this) suggests those heart-felt moments of love are more so based on the connection of 'loving life' (happiness), and allowing that to transcend into a connection with those people you're surrounded by and sharing such energy. That's quite obvious on itself. But that undeniability reels out of control when the idea of a soul-mate style love between two individuals is put in the spotlight. Could cupid really aim efficiently on a crowded, smoke-and-laser filled dance floor, in a dark labyrinth after downing a couple pints of pilsner? Really??
So then the hasty memory proceeds. Dancing to some dirty bass after being surprisingly swept off a back-alley concrete curb by what seemed like a sleek vampire in true fashion who likes to watch things burn. Super sexy in her dancing threads; black pants, on black skate shoes, on a black top. So simple. Her true physical elegance was yet to be witnessed... like goddess status-- no joke. With barely words spoken we kissed. There was no emotion at all. But my drawl toward her remained. "Who the fuck is this?", kept leaping through my head. After that night, her image would be a primary thing revolving in my mind for weeks. However, I was giving little concern to the environment I was in. A U.S. kid in a foreign country connecting in a wordless world of the illest-electronic beats on the planet, and sharing this moment with another foreign stranger carrying the attitude of a Russian bad girl in her graceful 2-step. A multiculturalist named Rozé, who was actually quite sweet when tastefully sampling life's nectar on her own terms. She owned her element and anyone that tried to step into it. Being used to plastic Cali girls in my native upbringing, this one was everything I never got to see and single-handedly changed my perception on my type of woman. Her other hand was holding a cocktail.
Without getting easily carried away with my recollection, I can't help but feel it actually derives from the particular time and space I was in... and a blessed nostalgia that continues to follow. That personal place in the world that will never be replaced and can never be brought back. That was the love I was longing for and that I found in her. That's perhaps why I feel such strong feelings for someone I met 3 years ago. I barely even knew her. I had much longer and"intense"relationships (in the traditional-contextual sense of the word) around the same time period, but Rozé had the ability to erase all of those lovely women in a heartbeat. Little did I know our last kiss that night would be one of the very few in our ever so strange relationship. Two planet's colliding but only one takes the hit. Her lukewarm reception was blatantly evident, often frustrating and mind-bending at times. Yet I was allured by it, never really knowing if I even warmed to her. But to not be requited didn't matter in the end. It was that illicit pleasure I craved for. I mean, for no one else could I imagine buying my own packs of cigarettes, which happened to be her favorite brand, just to share one with her... and I don't even smoke. Because just like a cigarette, I wanted that momentary high with complete disregard for the consequences.
All I know is those memories of that city will never be the same without her. I don't think I loved her, but then again I've contradicted that numerous times already in this story. For someone who enjoys controlling a situation, this adorable and perplexing creature was the most interesting, exciting and enticing person I've ever met... and I had absolutely no grasp. Who will come next, Jah only knows. But that city I love so much, and those people I also cared for so dearly, which created moments in time that will never be completely captured; these are all encapsulated in Rozé. So if that's what love a first sight is, then it most definitely can happen. And it ain't no long ting, trust me. Bless.
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Below is a song I've been hooked on ever since I was shown it earlier this summer. Definitely my favorite joint so far this year. The rapidly rising artist, Theophilus London via Brooklyn, NY generates sounds of earlier hit genres like funk, eletro, soul and punk, melding them into progressive reusability, while maintaining that be-easy signature hip-hop vibe. Certainly not one to take your eyes off in the near future. A charming man indeed. My south-coast creepers can catch Theophilus London at HARD Summer 2010 this Saturday, August 7th in Los Angeles.
In pure rhythm with my post, his spectacular video "Humdrum Town" is about how going back to a certain place -- a country, a city, a street -- can and will be forever altered once that one you loved it with is gone. I originally got into this tune in Brooklyn coincidentally. Authentic yes, but I'd I'll prefer to take it back to the CB-1 and blast my headphones on a badboy BMX. Thinking of her it's a different city, but change is the only thing that's constant.... so ride on. P.E.A.C.E.
Many were recently disheartened to hear about the upcoming departure of BBC Radio1's experimental bass host, Mary Anne Hobbs. Anyone who knows me personally, knows I'm a heavy fanboy of hers. Normally I'd reject with embarrassment and complete deniablity such a label. But with Mary Anne, I can't hide the truth: I absolutely adore her. I most definitely would not be in the subcultural realm I am today without her weekly guidance on global bass music. So let me tell you the story of a naive kid stranded on a far away island...
After moving to the UK, I was actually introduced to dubstep that first week in January 2008. At the time, it was quite unavoidable in Britain as opposed to the US, which was en route to materialize to the almost comparable level it is today. A friendly stranger whom I'd met dropped off a copy of Kode 9 and Spaceape's "Memories of the Future". Although I liked it for exposing me to those deep, dark, tripped-out qualities, I still think it was a bit heavy as an introduction to dubstep from an American novice. (I now rate it as one of my top bass albums ever). After coming to love those plowing, guttural basslines I still tended to treat it as strictly party music. Which was totally welcomed at the time, especially dwelling in the authenticity of urban Britain. Where a bit of acid or ketamine made even the most deep and desolate of dubstep feel like "party music.
It wasn't until August of '08 that dubstep would become entrenched in me. That same stranger whom blessed be with the sound, had by then become my best mate. He gave me a mix which he explained that I just had to check out. The normally articulate, expressive rollerblader didn't even have words for it... just left it for me listen. That mix was the now infamous "Generation Bass" on Mary Anne's show. For the those unfamiliar, in 2006, the now trademarked dubstep pioneers of today had come together on MAH's show to produce a legendary set known as "Dubstep Warz". In tandem with Mary Anne's heavy work with Barcelona's Sonar Festival, this show became one of the pivotal moments in dubstep's still burgeoning history, helping precipitate it's ignition to eventual world-wide stardom.
(Mary Anne Hobbs @ Sonar Festival Barcelona, 2010).
Anyways, for summer 2008, MAH had gathered all of the same producer-DJ's of Warrior Dubz; Mala (Digital Mystikz), Skream, Kode 9, Vex'd, Hatcha, Loefah and Distance. She asked each of the preceding to choose a special up-and-coming artist to champion. A symbolic torch passing if you will; the hype for this show was eagerly anticipated and massive recognition would surely follow. This one-off two hour event -- all alone underneath the stars with a spiff in hand-- single-handedly made me a full-throttle bass head. An eclectic line-up indeed. Joker and Kulture became and still are my favorite producers, one respectively introducing the "purple" sound to the world, as the latter rescinded into poet irrelevance; albeit with true unsung classics under belt. Not an old-school UKG head till way later, Oneman's garage overtones opened and blew my mind. Chef, although not producing at the time, went on to mix the classic Dubstep Allstars series and is still a ascending internationally. Starkey rocked Maida Vale studios, making the transcontinental trip and representing the rising US scene. Cyrus (Random Trio) closed it out creating a deep, nightmarish environment just as dubstep began moving away from those traditional qualities.
(Mary Anne Hobbs @ WMC Miami, 2010).
After that show I began tuning in weekly. I remember leaving the clubs a bit early on Wednesday nights just to come home, spark up, and post-party with MAH woman. When I was unwilling forced to come back stateside in 2009, having withdrawals and cultural re-shock, Mary Anne gave me two hours of solace. When I'd miss a show I'd feel at a loss as if missing an important doctor's appointment. She always kept everyone ahead of the game. Her gentle laugh intoxicating, her voice as soothing as the deep dubplates provided. When she ventured back to Cali, where she used to reside years earlier, her West Coast Rocks special with XLR8R demonstrated her foresight ability of sonic aesthetics by producers that broke the rules and re-energized the global movement. Exposure of LA's Low End Theory boys and SF innovators like Lazer Sword began a powerful exchange of ideas back to the origins of the UK, and infecting everywhere else along the way. It was undoubtedly taking place without Mary Anne, she simply provided her audience with a panoramic lens to view the global, subcultural movement of bass-weighted material.
When I inevitably made it to Low-End Theory, I was finally granted the opportunity to see her live. Down from SB, I was alone in LA on a Wednesday night after leaving my credit card and passport with the bar at S.M.O.G. the night before. It was a random occurrence that also happened to coincide on birthday. Finally meeting Mary Anne and induced by her gravitating personality and warm, congenial manner, only solidified my admiration for her. The set was outstanding. And when I mentioned I had come down from SB and it was my birthday, the queen granted me a sweet kiss on the cheek... best B-day gift ever.
(Mary Anne Hobbs and Hoodzpah @ Low End Theory, 2010)
Now she's moving on... as she posted a full statement on her MySpace this week:
"Last week I resigned from BBC Radio1, after an amazing multi-dimensional 14 year career. The great freedoms the BBC have given me as a broadcaster, have allowed me to help break so many confrontational artists as diverse as Slipknot and Skream, and of course, the whole genre of Dubstep in recent times. My current Experimental show is in peak condition, it’s never been stronger. And although it’s a very emotional decision to leave the show that I love so much, it’s also an optimum moment to bow out, at the very top of my game. My work for Radio1 on the Breezeblock, Rock Show, many fascinating documentaries about everything from David Bowie to Dubstep, on daytime, at festivals and award ceremonies, has been exceptionally rewarding. These have been glory days not just for me, but for all the artists who have shared my BBC platform, and of course, the listeners everywhere from Beijing to Berlin, Baltimore to Blackpool, who shared a great passion for future sound. I will continue to DJ live, work in film, and curate at Sonar festival in Barcelona. I have also accepted a new job mentoring and teaching students at the University of Sheffield’s Union Of Students radio station, TV station and the newspaper that operate out of their superb Forge Media Hub, which presents me with a really exciting new challenge. My last show on BBC Radio1 will be broadcast: September 8th>>9th … Wednesday night >> Thursday morning… 2-4am www.bbc.co.uk/radio1/maryannehobbs Thank you so much for listening." --Mary Anne Hobbs
No, thank you, Mary Anne. Your show became a staple in my life for a good spell. It will be sad not to hear that lovely, gratifying voice, but we all wish you the best in your future endeavors. You mean the world to so many people, the world over, personifying our passion for music and culture so unique and unparalleled. Can't wait to catch you back in LA for some live action! P.E.A.C.E.
Political flurry has exploded across Britain with the May 6th elections. The stoic people of this industrialized island nation, so used to dwelling in the traditional platform of a 2+ party system with an even more traditional political system, are watching this years election with special interest. Due to the rise of the Liberal Democrats over the past weeks --based on stellar performances in the first ever televised debates, from their fresh, articulate leader, Nick Clegg-- political efficacy has soared in Britain. That was demonstrated yesterday when Brits took to the polls in the closest-fought election in a generation, with a voter turnout of 65.2%. The outcome is even more surprising, having officially been declared a "hung Parliament." Not since 1974 has a hung Parliament occurred, in which no party has overall control of the Commons (326+ MP seats). Now the parties must create a coalition government with one another, which can be an uproarious task, especially noting the marked differences in ideology and policy in a diverse political culture.
The election has upended long-standing political certainties. What appeared to be a Conservative (Tories) victory has become a defeat for the reforming, energetic leader David Cameron. The centre-left Liberal Democrats did even worse than pre-polling indicated, but their pivotal role in forming a coalition still makes them the kingmakers to be appeased. And tarnished Gordon Brown could remain Prime Minster even though Labour has incurred its work electoral showing in decades. Queen Elizabeth, as head-of-state, is charged with the task of ultimately inviting someone to become Prime Minister. As a simple figure head, the Queen must tread lightly on political issues. With no written constitution, history deems the Queen allow the sitting PM to try to form a government first. ('Government' in Britain simply translates as cabinet or administration). But a massive public back lash against Gordon Brown, who was obviously obliterated after 13 years of Labour rule, may fuel discontent toward Britain's adored Queen. I'm sure she wants no part. Despite the media hype attributing the Tory and Lib Dem's rise to their young, charismatic leaders, I believe it's more a back-lash against Labour who has dominated the political environment since the '90s. But perhaps Britain's unreformed political system and the ideological divisions with in it, could lead to continued Labour rule. Following the aftermath of selecting a new PM, my hope is that they nice up US-UK immigration. I gotta get back, son!
Taking you lot back with a grime classic from Manchester representative and Virus Syndicate affiliate, Skittles. Although the Mankunion hit "Blair" is a bit dated targeting the now-ousted Tony Blair, it seems fitting for the moment. As he says, "So we're seeing the end of Blair, yeah? But know this is for all you politicians." Skittles is without a doubt one of the most under-rated grime artists in the scene. Using his music with a keen ability to translate messages into true substance, Skitz does away with the tired hype-talk of a typical grime emcee. If you haven't heard this throw back from a few years, just kick back with a spliff, heed the outstanding lyricism, and watch the political turmoil unfurl. P.E.A.C.E.
Skittles - Blair
^Give that a listen; grafted off his debut LP "Two Pints of Brandy and a Packet of Skittles." But also check this little ghetto-fab video which actually came out dope. The audio quality on the vocals is a bit distorted, so if your not familiar with N. English accents or grime flow cadences, check the above track first, then load up the video. It's got a slight difference in instrumental composition, so it's a fresh sound on a classic tune. Not to mention the video subject matter, featuring Skitz himself, is straight wicked.
Came across this 69-year-old British grandmother ripping up the Parisian club scene. DJ Ruth Flowers mixes techno, electro and dance hits with a dash of old school rock classics, garnering attention from Paris to Cannes. She is currently slated for an upcoming tour and a single in the works. It came as no surprise to me she's hails from Bristol; the people who always shake it up no matter the generational divide. It's not likely you'll find this geriatric superstar blowing up any massives, but her sunglasses at night chic certainly puts Corey Hart or Skepta to shame.
It's raining in beautiful Santa Barbara at the moment, which got me on a down-tempo vibe and thinking of London hailstorms. I must say I don't care much for UK hip-hop. To me, it often sounds out-dated and poorly produced compared to the diverse 'pioneer-experienced' American palate.
Artists such as Roots Manuva, Skinnyman, Braintax, Kaleshnakoff, Black Twang and Jehst (just to name a few) are some exceptional emcees/producers. I also really appreciate how the size and interconnectedness of the UK allows for these amazing hip-hop heads to collaborate together within their respective underground scene. A sentiment that I wish would happen more in the vast badlands of the US.
As a whole, however, I generally find UK hip-hop to be pretty weak... Or rather, not up to potential --that's potential, not standard-- considering their culture's ingenuity. I mean that as sincerely as possible knowing full-well Britain's urban scene is uncompromisingly outstanding. A full year back stateside from the UK, and still grime has managed to far surpass my listening interest over American hip-hop; something I never thought could happen. Trip-hop's now dated, but massive impact need not be mentioned. So Although I don't feel too much of Britain's hip-hop, there are still plenty of diamonds in the rain. But of all places... in Cardiff? P.E.A.C.E.
As dubstep spreads vehemently worldwide, producers have moved away from the early intentions of the music to create stomping dance floor anthems. The early use of the music was to create a dark mood of deep effect. “Deep dubstep” became the nominal term to describe these musicians as the genre transgressed toward the dance scene. Burial, a pioneer who launched dubstep to massive notoriety in 2006, would fall under the guise of deep dubstep; albeit the reclusive producer is without a doubt in his own tripped out musical realm. Some people might also call it “ambient dubstep,” but I dislike that term for the false implications “ambient” can induce upon a genre, especially an inherently movable, dance style like dubstep.
When DJ Distance was selected to choose his replacement for last summer’s Generation Bass, he epitomized this transitional sentiment perfectly: “The reason I picked Cyrus for 2008 is because of his production style really. It’s original; it just stands amongst the stuff at the moment which is all kind of dance floor. His stuff to me just creates a space, and like an environment, which is what dubstep is all about to start out with.”
Whatever surrounding deep dubstep seems to create, that notion of building an environment with the music, similar to minimal techno, is the hallmark of that original dubstep quality. To note, these hybridized subgenre labeling for dubstep, are highly arguable.Dubstep is barley definable in its own right, still being at a relatively infantile, and extremely innovative and experimental stage. My personal use of such terms is simply to express a most universally precise assertion of my experience, in regards to these sounds, in hoping you can share my elation for what is currently being developed underneath the global barrage of bass-weight bangers.
Lately I’ve been listening to a similar sect of such environmental-shifting tunes, what I like to call “Space Bass.” I contrived the term to describe those ultramodern, cosmic auras being created within the scene. I first noticed it with Starkey’s Ephemeral Exhibits, released late last year. The Philadelphia-based producer demonstrates a rare ethereal side of his abilities, with a celestial journey into Low-Earth Orbit that would bring any astronaut on the International Space Station to a zero-gravity boogey. The outro-track, appropriately titled Spacewalk, would be a prime choice for a NASA selectah’s closing track to reload as the sunrises over the Earth, signaling the astronomical tomorrow has arrived and thus ending a literal ‘out-of-this-world’ party.
Veteran electro producer Anthony Rother’s just released, double-CD debut for the German-based Telekraft label, takes us further into the deep void of space bass. Staying true to his German roots, he maintains the 4/4 pace. The album, entitled My Name Is Beuys Von Telekraft, also seems to introduce us to an extraterrestrial alter-ego representing the dark side of Rother. Man takes advantage of lo-fi technique and mechanized vocals to create an extraordinary futurist, outer space environment. His relentless basslines release a cascade of high energy particles through the deep, empty ambiances like solar flares in the magnetosphere. That’s a serious warning for the biochemical damage your body may incur when this guy hits the set on an 800-Watt sub-system.
As technology continues to expand our knowledge of the universe, there’s sure to be more sonic output of cosmic expression, as music remains a primary outlet for the inquisitive questions and conditions of tomorrow. Today, deep dubstep is one of the few genres with the innate ability to encapsulate that vibe. So rock on, Earthlings. “Space Bass” has landed and comes in P.E.A.C.E.
If you listen to as much hip-hop as we do then you’re probably familiar with the following predicament: you’re listening to your favorite artist’s new album but the track you're on sounds oddly familiar. The lyrics are dope... but... then it dawns on you: it’s the sample. Obviously, hip-hop is a sample-based art form. Therefore, this kind of epiphany is nothing new to the hip-hop listener. From 2Pac’s Changes to Eminem’s Sing For The Moment, recycling music is the name of the game. But when two (or even three) of the artists your admire most cop the same sample the results can be polarizing. After all, you’re bound to prefer one over the other right? A previous loyalty to one artist might invoke distaste for a newly discovered group.I recently downloaded Wordsmith’s “The Pursuit of Harmony” off iTunes (get the album now if you haven’t already; shit is ill) and when listening to the track entitled Coalition I was sure I'd heard it before:
Wordsmith - Coalition
After listening to the song on loop 4 or 5 times in a frustrated attempt to identify exactly where the hell I’d heard the melody, it finally hit me: one of my all-time favorite groups, Sweatshop Union, used the exact same sample in their 2005 single God Bless, off “United We Fall”:
Sweatshop Union - God Bless
But the story doesn’t end there. The “original” is simply a sped up version of Füchse a track released in 1999 by German hip-hop group Absolute Beginner.
Absolute Beginner - Füchse
For all I know, this musical regression could go back even much further into the annals of hip hop history. But I think you get the point. What surprises me is the intolerance some people have when confronted with this sort of crisis of sampling. On YouTube there are accusations that Sweatshop Union “stole” the beat from Absolute Beginner. And I'm sure the avid Sweatshop fan might think the same thing when confronted with the Wordsmith track.
Point is, I didn’t drop the album and stop listening to Wordsmith. In fact, I found the parallel fascinating. It made me curious whether Wordsmith had heard Sweatshop’s track before recording his. Or, had both groups heard Absolute Beginner’s track independently. In any event, the identity of all three of these songs rests very heavily on the melody in question. Indubitably, problems arise when an artist recycles a sample. Being labeled unoriginal and therefore ostensibly untalented can ruin an artists career. Look at Vanilla Ice.
That being said, the existence of multiple interpretations of a single piece of music is not necessarily a negative thing; in fact, it often times enriches the listener’s experience. The incredible thing about hip hop is its innate ability to breath new life into music that has been overwhelmingly played out.Hip-hop could be viewed as a perpetual revival of music beginning with the conception of an original melody or beat, and the subsequent evolution of that piece of music (each evolution documenting how an unique group in history related to that particular piece of music).
Don't get me wrong, Füchse is quality track (and you should peep the music video if you haven’t) but both the Sweatshop Union and Wordsmith variations keep the beat fresh. Then again, I’m a firm believer that in music, better to have too many options than too few. The more important thing to take away from this, perhaps, is that, as someone once said: “there are no original ideas left in this world, only ideas to be evolved.”
A credo, perhaps, for the modern artist. And becoming more-so.
Finally, a little something I found interesting in relation to re-sampling. The top 8 most “overused” samples in hip-hop history. Check it out: http://audio.tutsplus.com/articles/web-roundups/8-most-overused-samples-in-hip-hop-histor
These days grime music is at a provocative juncture. The more popular of the UK Garage offspring has encountered an identity crisis. The braced explosion many in East London expected to occur in the early 2000s never happened. The fuse put out by a British downpour of critics who couldn't see the commercial potential of the emcee-dominated 2-step music, and consequentially rejected it. However, no one doubted the ability of this untapped British talent; the likes of Lady Sovereign, Kano and Wiley's abilities were seminally realized on the world stage. As a result, grime artists began to expand their sound for more mainstream appeal while moving away from the "grime" label-- some abandoning it all together.
Just this past year the music's attention seemed to reach a climax. The advent of grime emcees appearing on 4/4 electro-house beats propelled these artists to commercial success. Wiley and Dizzee's hit singles last summer reached the top of the British charts. The "electro-grime" phenomenon was short-lived however, and grime receded back into the underground where it was born, where it thrives.
Now some cats are claiming "grime is dead" just as Nas' ill stated remark about hip-hop in 2006 (how can hip-hop be dead if Wu-Tang is forever?). As opposed to its transatlantic counterpart, when grime is favored in a good light, everyone's a grime emcee... but when viewed negatively, people jump ship. Perhaps those dark, guttural sounds of the late UKG scene, ushered in by none other than pirate radio stations, are the key to grime's success. Some music, often the best kinds until exploited, are destined for these depths, where real heads who can relate to and feel the music will always be waiting.
DurrtyGoodz' newest 2009 release, "Ultrasound," is unabashedly dedicated to progressing those gritty displays grime originally became known for. But don't expect Durrty to accept any sort of underexposed, secondary role in the London urban scene. He's got the idea down for widespread success that the more well known artists at the moment don't fully grasp: That grime must be developed to that raw, abrasive sound in order to sustain a dedicated audience. He'll surely be felt from underground institutions who maintain a vast, global outreach within the culture. I first heard his TazBuckfaster produced "Destruction" on Mary Anne Hobbs BBC Radio 1, well-known to showcase the world's top experimental bass music. This is the audience that matters.
Empowered-- not hindered-- by an authentic grime sound, Goodz' release is sure to cause a stir within various urban tribes. The production from a litany of artists is top notch. His lyrical ability is indistinguishable from the typical, ragga-rooted grime definition and it doesn't matter what kind of track you put him on. Just like his chart-striving counterparts using 'hip-pop', R&B and funky-house foundations for grime, Durrty does it too, but on the flipside of the ambiguous genre's influential spectrum.
Primarily with wicked dubstep tracks as well as straight bass raters, Durrty blazes throughout the entire album. He does rep one commercialized track but boldly uses it as a satirical chance to do away with the four-to-the-floor electro sound permeating the scene. Man absolutely shines on this one too, demonstrating his cross-over ability which he systematically chooses to avoid. As a result, one should not underestimate Goodz' versatility as an emcee, but understand above all else, he is a grime emcee. Like-wise D&B, dubstep, and the other legacies of UKG have far more of a linkage to grime in terms of culture and music than the "big money sound" engineering, which I believe has undermined, to a certain degree, the uniquity of grime's potential since the outset.
Into 2009, the 2-step offspring of UK Garage have contiued to innovate with appeal. With dubstep spreading like wildfire around the global bass circuit, and it's four-floor sister, bassline, gaining prominence as a more commercially potent, female-friendly dance music, its no wonder Goodz would stick to this route when all the other avenues on grime's road to exposure are faltering. Once this electro-house fashion passes, I'm sure you'll see more dubstep and other bass producers collaborating more frequently with grime artists. But right now it’s Durrty Goodz to keep your eye on. So cop the album, up that bass, and blast that shit. Grime is far from dead. It's well alive and ready to kick your fucking head in. You just got to know where to look. P.E.A.C.E.
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