Lexo - "Gemini" (Seven Lions' "Deep Divide")

Listen up, eyes wide. This new joint here by the man they call Lexo the Great has been on heavy rotation. Accompanied by an impressive video, the tune “Gemini” is a certified banger. Seven Lions’ original non-vox mix entitled “Deep Divide,” gets a flipped rework by the Long Beach lyricist, creating a wicked concept tune boosted by visual aesthetics.

Lexo’s approach to the artistry with this comes in the vein of that, 'me-myself-and-I-neurosis' of a man on his hustle. As he engagingly expands upon it, Lexo manifests a sick mental head-fuck for listeners. I found it to be a fitting concept for the pensive nature of dubstep, which constantly fluctuates between pent-up bass pressures, which inevitably get released on the drop. The critical ‘dark’ characteristic of dubstep is apparent from the outset on this track. Lexo kicks it off in a conversation with those angel-and-devil avatars on both shoulders. That is, so to speak… they are actually just playing chess and ting, and having a chat. What’s so brilliant is that Lexo maintains the balance within himself in response to their conscientious advice. So in the end, neither of these voices gets to him, rendering the whole situation as a badman ting in his own right. Then, that Seven Lions drop hits to let you know.

This is actually the second collaborative project of Lexo and Seven Lions, a rapidly rising south-coast producer. The first was a debut EP entitled “Keep It Dirty”, which I reviewed here. Although I highly rated the original releases, I must say “Gemini” tops them all. The following verse section ups his ante as you see Lexo’s flow develop with the tempo, showcasing man’s diverse skill-set when he busts that multidimensional west-coast style in the year 2012. With the classic ethos of ‘space/pace/bass’ dubstep was built upon, that dark void of bass-weight lets Lexo use all the tools at his disposal. More importantly, he innovates upon what is already intrinsic to that west-coast flare. In the video, Lexo proceeds to enter a dark room occupied by a sexy rendition of Eden offering her sinful apple. Man lets you know straight away that this is his last verse, setting a metaphorical tone that stakes are high as he enters into a new direction as a dubstep artist: “This is the final test, I think we’re getting near, but all that riffraff kinda makes it hard to hear.” This interpretation may be a stretch, but since this is one of Lexo’s first original dubstep productions since venturing onto the scene, it’s his shot to take the right path for himself. Either way, it maintains the concept of the tune while complimenting Seven Lions’ production. When the seductive Eve speaks back, she personifies that demonic badman voice in his head with deep vocal filters over Lexo’s words to convey the interaction. Even though Lexo is talking to each of the personalities within himself, this particular tune epitomizes something unseen from Lexo (in his dubstep endeavors at least)… and a strong characteristic for any MC: his story telling ability.

The tune and video definitely take you on a journey; one marred by interjections from the voices in his head. The video is equally massive and attests to Lexo’s quality control abilities as he markets a new sound. He definitely knows who to work with, even flying to Ohio to shoot this bad ass video with director Jeffrey Moore of Axtravaganza Films.
 At this point, Lexo seems to cool out with the traditional west-coast hip-hop characteristics, as well as doing away with the unspoken ‘no-no’ of dubstep: don’t spit over the big bass drops. In the video, Lexo proceeds to slap the apple out of Eve’s hands, then spits over the drop in double-time. By his literal “taking it back and I’m flipping the script, it’s time for y’all to go,” Lexo has metaphorically done away with all critics, those same people embodied by the voices in his head. 

Taking control of the situation through his flow, he silences those who could never comprehend his new-found exploration of dubstep. By layering the double-time bars over the heavy drop for his “final test,” Lexo does away with any naysayers to this sound. Whether that chatter comes from the instrumental-preferred MC-free dubstep/EDM tip --or opposite, from the hip-hop heads still stuck in their own MC-dominant sonic environment. Closing it out proper, Lexo then fades out for another massive drop.
 Man is rising up quick, and considering that he is still relatively nascent to dubstep at large, there is definitely lots of headway for improvement and progress as he familiarizes himself with the sound. It took me a few years to hone the various vocals practices drawn out from 140 UK bass music’s ‘forward-thinking’ attributes. Lexo has demonstrated a quick adaptability, which has become a key trait in our rapidly altering, global EDM platform.

Seven Lions, aka Jeff Montalvo, is also kicking off big moves in 2012. He recently charted in the top 5 on Beatport for his contest-clinching remix put on by trance dons, Above & Beyond. You can cop this beautiful hybrid of trance and dubstep, here. Seven Lions has also just announced his participation in the UKF So-Cal tour. This company is by far one of America’s favorite UK promotions and his inclusion is to be applauded. The tour dates will hit all up the central-coast from San Francisco to Santa Ana and features a huge line-up of artists such as the UK’s Gemini and Koan Sound, in addition to another Cali loke, Bassex. Lions. Keep locked on that massive tour coming through in late-March into early-April.

Lexo’s pushing strong with shows throughout Los Angeles, including opening for another Mickey Avalon show at the Malibu Inn on St. Patrick’s Day (tickets here). Last year, Lexo had our crew come through one of these parties, and with nothing but beautiful woman on the Malibu coastline, it was straight vibezing. Keep locked on both these artists for 2012, as they will be making big moves in their own complimentary endeavors. Until then, keep up with that pressure and flip that script any chance you get. P.E.A.C.E.

Artist Feature #5 - Seven Lions x Lexo

Over the past few months, I’ve been waiting on a release project from a Santa Barbara-area native, and one of the few talented producers in our coastal paradise. In these technologically innovative times we live in, it’s clear that everyone wants to be a DJ. In a 21+ college and beach town like SB, they are everywhere. Producers on the other-hand, despite the rapid tech advancements in this field as well, still requires long studio work, high expense, and of course, an abundance of artistic creativity in order to break through to new listeners effectively. Quality productions seem especially hard to come by in Santa Barbara, where just an hour down the way is the megalopolis of Los Angeles, I've seen to too many 805 talents breakout, then bitter-sweetly --and with best wishes-- watch as they depart for better opportunities. But as the city gains a wider EDM scene in general, the producers have steady been churning out. Last month I posted my fourth artist feature profiling Toro 43’s debut release, the purple-electric "Lavanda Summa" EP which you can check out and download, here. Now again it’s my pleasure to bring you top quality production from another Santa Barbaraian, Seven Lions.

I had been hyped on this release for a multiple reasons. First, Seven Lions is the new pseudonym for progressive-house Producer/DJ Jeff Montalvo's dark-side, who has been consistently rising in notoriety. He released his first EP last year, a 5 track effort entitled "Movement", available on Beatport via Elliptical Recordings. This progression reached a climax when DJ Tiesto gave radio-play to his track, “Under Pressure”. Any release from Jeff Montalvo is something to track down. With a disciplined drive and high standard for quality music, the output is always a listening pleasure. Secondly, as mentioned, Seven Lions is the alternate identity for the heavier, bass-oriented side of Jeff Montalvo. Before entrenching himself in the world of EDM, Jeff was originally a metal head as a yout. As the transgression of American dubstep came sweeping through, it was only a matter of time until metal lovers found common ground.

This is no surprise since dubstep treats the genres before it like a harem, developing strong relationships with eclectic influences. Such crossbreeding has occurred regularly in dubstep with hip-hop, DnB, dub-reggae, electro-house and the west-coast beat-scene. The first time I heard Jeff Montalvo’s dubstep was upon our introduction, after Professor West had dropped a dubplate of his at a Santa Babylon show last year. At the time, Montalvo was still experimenting with the sound, having made a remix series of sampled metal tunes into dubstep. His EDM productions, which tend to be house or trance with a progressive flare, may seem at odds with the heavier, raved-out dubstep sound... but to Montalvo, it was really no long ting. Lastly, I was looking forward to the upcoming release because he had relayed to me that it would feature a partnership with a south-coast rapper, as well as a few other vocalists.

That rapper was Lexo the Great. Although currently residing in the LBC, Lexo is also from north-county Santa Barbara area. The 805 has always played an integral role in his musical and personal development, so I was pleased to hear the collaboration would feature another 805 loke. Similar to Montalvo, the last couple years have been precipitous of big things for Lexo the Great. In 2010 he released a respectable 4 mixtapes on top of a street album, dropping several videos along the way. In 2011 he performed with rock-reggae sensation Iration on their So-Cal Tour and SXSW. This momentum culminated into Lexo releasing his latest single “Another Day” feat. Iration, which is available on iTunes, here. Continuing in positive fashion, Lexo is making massive steps on his new album, working with reggae icon and Grammy Award winning producer, Native Wayne Jobson. I was just recently booked alongside Lexo in Malibu this past month and got to see him live. With a genuine character and vivacious stage presence, it solidified Lexo the Great as a charismatic performer in addition to a recording artist. And I look forward to rocking mics with him again, this time in Santa Barbara on August 12^th @ Statemynt Lounge.

805 pride aside, in actuality this release will get play well beyond city limits. The "Keep It Dirty" EP stays true to the name, with Seven Lions' production work going into serious head-banging wobble frequencies alongside Lexo’s party rocking bars which are always on point, and keep the dance-floor moving. In dubstep, the vast amounts of hip-hop vocals (original or remixed) in the scene these days, I like it when a producer doesn’t go over the top by layering vocals all over the mid-ranged drops. Instead, Lexo’s vocals work in tandem with the track’s drops, hyping up long beat-laden intros, or breaking out on the breaks before Seven Lions sets it off again with the second drop. Seven Lions, as a classically trained practitioner, puts a high emphasis on melodies. As such, he generally doesn’t find synchronicity working with rappers for this reason, and typically prefers sung-vocals to work with... or nothing at all. With this format and chemistry on the “Keep It Dirty” release, Seven Lions’ arranges the tunes to be consistent quality, while maintaining unpredictability throughout the entire tracks. This is especially evident on the one track I wasn’t granted a dubplate for, and happened to be my top rated on the EP.

The tune, entitled “Back Down” was last to be recorded due to a feature from Michael Peuschel of Iration. Lexo licks off two dope 16s between drops that both build-up & breakdown like a warning alarm for incoming bass bombs. Then following the third verse section comes Peuschel’s thirty-second instrumental guitar solo. The track not only maintains a heavy production, but also manages to do so while echoing hip-hop, to “brostep”, to rock/reggae styles all at once. In the multifaceted evolution of dubstep, ‘progressive’ is almost a non-use word in this rapid changing and dynamic sonic environment, but with Seven Lions, it’s certainly applicable. His ability to encapsulate these different aspects of dubstep’s hyper-evolutionary character into a single amalgamation, showcases his innovative production styles. Further adding to a maintained interest throughout, the duo brings in relief features such as the aforementioned Peuschel, the lovely Sarah Clark, and one of Lexo’s mandem, Fedie Demarco, who features on the bonus track; a Watts remix of the EP’s stomper riddim, “Fully Loaded”. Best of all, as it's Seven Lions' debut release, the decision was made by both artists to release this top-notch product for FREE. So the next time you hear the name, you’ll know what’s up!! Grab the EP for free via Seven Lion’s SoundCloud, or directly down below. And don't forget to get that sick cover art by graphic artist Cliff Nelson, who also did the art for Montalvo's Movement EP.

And an EP release wouldn’t be proper without a party, right? And sure enough Seven Lion’s and Lexo will be lighting up the sound system at Statemynt Lounge on August 12^th, for the Keep It Dirty Release Party. This is going to be a rager, with an ace line-up of mixed-genre EDM. In addition to Seven Lion’s headline act, the night will include sets from DJ's Rene (Underground Souls), 9FTOFSMOKE (BluntBros.FM), as well as Zander, a wicked glitch-bass Producer/DJ who is also collaborating with Lexo. Just got word that they will be showcasing an unreleased tune at the show! Come in early and celebrate the summer with us, as well as this massive release of bass-weighted pressure. Support your local talent. Again, download the EP below, for free, and check out www.jeffmontalovo.com and LexotheGreat.com for future updates and material. P.E.A.C.E.

Lexo and Seven Lions - Keep It Dirty (Free Release) by Seven Lions

Post-Grime

Just finished up my first proper mix… On that MC-to-DJ ting. Some cool down vibes via sub-bass pressure reverberating your mental; sans the midrange wobbles. Any trigger happy LFO tunes in my mid-levels are replaced by ace vocals. Blends of easy ‘purple’ vibes, deep half-step rollers and neo 2-step grime riddims, all laced up with 140 vocalists; be they rappers or singers. I decided to call this “Post-Grime” for multiple reasons. But before that, let me start of by saying this label isn't a label, just the title of the mix. It's simply a term to describe something; a pattern. So don't take it as a re-label fashion at all, it's just art, yo. Although these styles crossover into different classifications... for all intensive purpose, "post-grime" is really just "grime" music... please understand this foremost.

Now, my motive for the post-grime statement: First, the obvious derivation coming from the recent influx of a “post-genre” branding which has been heavily used in particular reference of the 140 offshoots of UK garage; dubstep, grime, 2-step, bassline-house, UK funky, and most recent, the ominous “future garage”. In some ways, this mentality recalls the spirit of dubplate culture, which speed garage and then later 2-step, had inherited from the jungle days when they shared two-room venues. Unfortunately, the influence has gone wayward in the digital age with the decline of vinyl dubplates, but also a lack of the cultural understanding by people who simply liked the music, and saw no cultural connection or any need for a connection. A shame, but no fault of theirs. All aside, the principles of anti-traditional, forward thinking production values remained from the dubplate-era, and is further enhanced by the vast amounts of musical influences and sonic technologies interacting with one another nowadays.

“Post-Grime” also speaks to a more musically inclined definition of the same concept. As mentioned, all the 140 genres have been cross-pollinating amongst each other, and it has only accelerated of recent. Where grime has always been very vague in the definition of what constitutes “grime”, the emcee was always the deal-breaker. Not any emcee mind you, a grime MC. Put a grime artist on UK funky, dubstep, ‘purple’, and even some hip-hop or reggae… it can be labeled grime to a certain degree, and hence the crossovers begin. This idea also holds true to this mix. It’s interlaced with various different, yet related-genre styles, with constant vocal features by an array of diverse grime emcees. Think, “Post-Genre with an MC”.

Now amongst the classifications of “post-genre” branding, grime is the least likely to be considered so. These “post” labels are typically applied when its predecessor has collectively lost its way, as most music styles and cultures inevitably do. In fact, grime is probably the most healthy it’s been since its inception in the early-2000s. Of course, the same can be said for its sibling sister dubstep. But while the Croydon star child is enjoying mass success, it has completely transformed from its original production principles. Think, “Jungle to DnB without the name alteration.” If that's success to you, then we just belong to different schools of thought. ‘Niche’ aka Bassline-House, another UKG offspring of the Midlands UK, has all but fallen off. But artists brought up through the grime scene have had more chart-tunes this past year than ever before. Skepta, Tinchy and Chipmunk all had massive years, though not always putting out grime, they are indeed a legacy to be lauded and supported. The grime-bred pop-stars are best epitomized by Tinie Tempah’s global chart success, have just recently received the BET award for best international artist.

Grime’s not just in the pop charters either. Dubstep’s massive appeal on the airwaves has also helped grime artists and producers, such a the respective P-Money and True Tiger, gain exposure in the at massive festivals, raves and cubs. The rise of the Butterz label, run by Skilliam and Elijah, have given grime its vinyl back, and the imprint is building a quality discography and paving the way for more instrumental releases, which were sorely lacking in the emcee dominated mixtape-era just a couple years ago. And just last year, finally a North American, Tré Mission out of Toronto, ascended the implausible act of breaking out within the UK scene domestically. But there are reasons as to the aversion of the grime label…

I wanted to avoid a general application of “grime”; again for multiple reasons. Foremost amongst them was my audience. I’ve decided to push ‘this sound’, whatever you want to call it. And as opposed to my success in pushing dubstep for a few years now **Note: strickly as an MC//Promoter**. I’m not really aiming for those ravers either. This shit for the hip-hop heads. I’ve immersed myself in this enticing, fresh 140 BPM hotbed for over 3 years now, and have pretty much stopped listening to hip-hop. Even before my style altered, my taste already had. Hip-hop just seemed to have lost the edge it always had as I started to feel I had heard it all before in some fashion. But I never stopped loving hip-hop. That's because, as KRS-One proclaimed, “I AM HIP-HOP”. Any music I listen to applies this urban street culture I’ve always been apart of, and it always will. So instead of trying in vain to expose the grime scene to Americans, it's better to start it off fresh, for the time being. Pushing "grime" just isn’t effective, and usually loses more listeners than it gains. For some odd reason, grime is a tainted name. I think it may have something to do with the abrasive, raw production style and hardcore, violent wordplay. But I actually believe it’s because it’s marketed (usually in vain) to the EDM ravers, especially stateside. (That's why as an introductory mix, I'm attempting to appeal to new listeners by I avoiding the harder, raw, high-energy grime tunes). True, dubstep and jungle both have solid roots in hip-hop, but only to a certain level… but grime pushed those boundaries between EDM and hip-hop further than ever before. With that, EDM ravers also tend to not be hip-hop heads either… there is only so much subculture to go around in one’s life. So fuck the rave, this that street bump shit. Night crawlin’ riddims. Not to say that you can't skank out on this, cause that's what grime is too! Keeping it raw and street, while still keeping people breaking out on the dance-floor. This is the beautiful balance of grime music.

But it’s not just that behind my “Post-Grime” concept. You see, similar to jungle music before it, grime isolates itself to its central hub, London. It cannot realistically be accessed by an outsider… you almost have to be brought in by the existing establishment; the controllers. So essentially, I will begin to expose this music stateside --not just through DJ sets, but through original productions, vocals (without British accents), and events. But with my status, I will never be accepted amongst the meaningful, core artists in the grime scene. Upholding this LDN isolation, I truly believe this to be one of grime’s biggest detractors, and has unfortunately limited a music that had so much potential on the outset. So “Post-Grime” attempts to avoid the grime label, while still remaining true to the culture, even if in an oppositional way. If they want to close themselves off to outsiders, then I’d rather not call my style “grime” in return. I’ve come to believe this will help break the sound transnationally, as listeners here will inevitably trace back to the UK original sound. Also, as I try to introduce this new style to all my hip-hop heads, many of which just do not get down with dubstep or other EDM --myself often included-- a vague, temporary label will help facilitate its own forward progression, with no strings attached.

Expect much more of this sound… cause I’m going all in. Currently working on some tunes with a few producers in South Cali. I wanted to use this mix as the kick-off for my stateside “post-grime” push. Mixes will get a bit hard and more "grimy", but I wanna ease it on ya, get me? All I ask of you, the listener, is keep an open-ear and an open mind. Even though it’s quite a divergent and unaccustomed sound… I just know you’ll feel it. So let this mix introduce you to my wonderful world of “Post-Grime”, cause this is just the beginning. P.E.A.C.E.

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*If your vibezing off this, and want to know more about grime, check out rebel-elite's intel, here.

**The Post-Grime mix has been taken down on my SoundCloud and replaced with Post-Grime:DEUX. However, here is a download link to the original concept mix.

Post-Grime by Hoodzpah

DOOM x AK - 6.8.11

© AK

Hypes been abuzz in the fashion world for 2011. No, it’s not Kate Middleton or her hot sister. Urban fashion icons Akomplice have once again teamed up with the musical curators of our grimy, urban environments. Akomplice prides itself on the creative inspiration that drives its clothing line. In their words, the apparel they create attempts a “positive impact, provoke thought, and communicate about issues.” As we all know, hip-hop has been the cultural movement most evocative of these ideals. So when a classic, innovative, and conscious hip-hop apparel company collaborates with a representative artist… it’s a mad ting. Keeping in line with images and thoughts conveyed in their art, the aritst’s AK collaborate with no doubt share these forward thinking traits. Detail is another crucial aspect of Akomplice that I've admired for a while. Their tendency to use simplicity in some instances actually comes across as being a component to an overall complexity toward the meaning they are trying to convey. Get me? No worries.

Last time I linked up with AK on the interwebz was when they teamed up with Hiergolyphics on the wicked Varisty Hoodie (still available online). Check out that piece covering the release reception, here. This time, the peeps at AK linked with DOOM. Formerly MF Doom, the rapper has been an underground legend for years. His easily distinguishable, kicked-back flow and ace lyrical content has blessed DOOM with a loyal following and mass appeal without any major label assistance. Even more impressive than his personal work is his other collaborative works. In addition to Akomplice, DOOM has collaborated with Danger Mouse as well as Wu-Tang; notably producing tracks for Ghostface, as well as Think Differently's compilation which featured DOOM and RZA on the experimental “Biochemical Equation”. Pushing it further forward on the left-field urban tip, DOOM, a former British ex-pat collaborated with Dabyre, which included offical remixes from FlyLo and Kode9. Massive respect to DOOM on that one, as the LA beat scene and the stateside dubstep were still relatively nascent at the time.

© AK

So as it is... a collaboration between DOOM and Akomplice is simply something to anticipate. But what exactly are we waiting for? That’s just it… no one knows, that's part the hype. The project remains a mystery as the fruits of this gauranteed-sick collab are sealed inside a wood box, with the DOOM and AK logos branded beautifully on the exterior. Don’t have a crow bar to pry it open? That’s cool, Akomplice got you covered with an engraved one matching the box's complimentary artwork. So you want to wait to find out what’s inside?? Well since that’s no fun, this purchase will only be available for 1 day on their online store. But hurry up, cause the clock is ticking and you don’t want to be without this. Whatever “this” may turn out to be. Done know!

© AK

Additionally, the item will be available at the AK’s storefront location in partnership with your Fuzion, on State Street, Santa Barbara. AK just hosted their summer release party, with some sick threads from their new collection. Patrick McCarney and the AK team blessed Santa Barbara with some ILL hip-hop with some ILL hip-hop acts throughout the night, imported from AK's former HQ in Colorado. Fuzion also brought back KC badman, and SB resident Chadillac, always kickin' the flavor in your ear. Following some high energy performances, an after-party at Tonic featuring a fashion show with some hot models modeling this summer’s hottest apparel. Be sure to cruise through Fuzion every first Thursday and check out some amazing art, clothing and music with some awesome people. The new Fuzion x AK partnership is sure to elevate both companies stature in this 805 coastal paradise. My bwoy X-seed was the first in-line for the event, and always lookin' out for their supporters, the crew HOOKED him up with madd gear. So get down there July 7^th and party proper with the AK and Fuzion boys. And don’t forget to pre-order your mystery DOOM x AK piece TODAY. Check it... the clock is ticking!

Dabrye - Air ft. DOOM (Kode9 Remix)

Hoodzpah - Pop Prospectus (Mix)

**Proto-Practice Mix**

So I got the oppurtunity to record my 2nd mix today. Still a proto-mix get learned on this tip. Check the 1st one, here. Recently, I've been entranced with those fringe, shifting boundries between commerical, mainstream urban music and the indepdenent, underground realm; the latter of which I'd always been a fervent endorser. Having ridden the wave of dubstep for a few years now, the observable success of the genres standing in popular culture has been incredible, primarily because it ascended on it's own. The impact of dubstep has hit the the charts heavily in the UK and now steadily seeping in to the US market (Google trends: Skrillex v. Skream). The list of massive bass acts at Coachella was daunting. The multi-day festival is as one of America's largest, and most influential; still regarded as an all-popular music platform. Now, aside from the phenomenal success being enjoyed by these dubstep heroes (or foes if you like), dubstep is not generally DJ'd in the club-oriented, popular fashion. It's either dropped to close out electro sets, or other various styles/speeds of pop music, or rather, it's played with horribly-produced remixes that are selected and championed because of the sample choice of the original. However negative I view this trend, the general public, (generally listening on desktop speakers as well), eat it up. As consequence, average up-and-comers find an easy route to popularity virally via YouTube and blogosphere outlets... and the cycle continues. The other tacit delivery of club-oriented dubstep, is the traditional form of straight bangers and anthemic raters for the bro childrens. This hardcore style is what I'm avoiding as I'm already a participant in that scene, and looking to promote other aspects of UK urban bass music from which dubstep derives and provide to it people who are normally put off by dubstep. Now, with enough danceable 140 bas tunes in the top 100s, I'm inclined to try a different style. It's actually surprising different, since it revolves around very popular tunes. I think coming from an underground background enables for it, Fruther, being an emcee; my obvious trend toward vocal oriented bass music, which typically chart over instrumental product. Talk dubstep's prominence all day, but the transgression of grime emcees becoming pop-stars has been equally impressive. Despite the degradation of those artists' original fan-base, they quickly embrace swaths of followers in the commerical atmosphere.

My recipie: I sought to combine all the previously mentioned types of popular music belonging to, or influenced by dubstep and grime's rise into the spotlight. I used other types of top tunes and half-step bass charters (predominately from the UK charts). I also used remixes; however my remixes are by well-respected, ace producers in the scene. When I used a popular wobble track, I found more harmonie in the overall tone of the set by excluding many of the heavier dubstep drops. This sound idiotic I know, but some of those tunes are very well structured, until the mid-range wobble drops and destroys any subtle beauty. Intertwined with the other types of Bass-Pop tracks I've employed, it creates a darker appraoch to club music, yet maintaining a very familiar Pop-appeal throughout. Whether or not this is something people would be interested is beyond me, but this being only the 2nd mix I've done, my technical ability probably overshadows my track selection and execution. Anyways, understanding this concept, I hope you'll enoy the selections regardless of my nascent abilities. I'm just an emcee, yo! Also, Kate Middleton and Prince William finally got hitched eariler today, becoming the Duke and Duchess of Cambridge, which happens to be the former stomping grounds where I discovered the wonderful world of dubstep and grime. I wanted to give my sonic congratulations, and as these are predominately UK-Pop tunes currently hitting the charts, I felt it was appropriate. Please enjoy the selection as well as your weekend.

Pop Prospectus by Hoodzpah

Artist Feature #3 - Durrty Goodz

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)

Estimated Damage: A Six Block Radius

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

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

http://www.6blocc.com/

Troll us on Facebook: “ Santa Babylon”

Outs to our boy Akaida for the video/interview.

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

Artist Feature #2 - Tré Mission

© Tré Mission // LaunchPad

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

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

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

© Tré Mission

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

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

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


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

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

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

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

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

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

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

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