Purple People Producers

Now that the dubstep wave has swept through the US at full speed for a few years now, the harder styles --which still remain most popular-- have settled in, which has paved the way for other low-end dubstep styles to gain recognition and further integration. These styles were typically less popular with the massive domination of mid-ranged rave anthems. They became increasingly less so after some producers started feeling marginalized in a way, and began to avoid the dubstep label altogether. Although still embracing the “space/bass/pace” ethos dubstep originally nurtured, these artists moved the label of their experimental bass music into a vague, eclectic, and temporary realm. DSF awards had classed it even so basic as “120-140 BPM”. Regardless of this dichotomy the scene on the whole is healthier for of it. That's because those alternative styles which had remained in the bass-heavy 140-area are without a doubt still dubstep. No matter how you want to slice it up and label things… it’s all still dubstep. DnB, Grime, UK Funky, Moombahton and Techno have all become factors at play as well, but that doesn’t mean dubstep’s influence should go unacknowledged simply because it’s so obviously penetrating within EDM today.

So then, before going off topic I was alluding to dubstep's appeal beyond it’s original scope. It’s infiltrated itself from the commercial ends all the way to the left-field underground; well beyond more than just ravers and party people too. This inevitably led to an ‘acquired taste’ for bass-weighted material for the masses. It created a familiarity with the sound that was not readily available to break through in the earlier stages of the global distribution of sonic pressure. Instead, over the 5+ years since, the scene has been clouded by those dominant dance-floor decimators. But now that these harder styles have settled-in, those sub-sets are rising in notoriety enough to breakout on their own.

On a cultural take --which this blog is about-- I think it’s good having producers come through being well-rounded, and mixing various related styles and genres. This positive diversification gets further enhanced if these producers also bring multi-dimensional selections to their DJ sets as well. It would be a huge plus for the scene in general, which harbors the heavier mid-ranged wobble disproportionally, (for better or for worse depends on perspective). One of these sub-styles was the “purple” sound, which I had reviewed last month via an 805 loke, Toro 43’s EP release. As previously posted, “purple” is what I defined as, (via Rebel-Elite Toro 43 feature):

["Anyone unaware of a difference, these are just my words but I believe they sum it up well: The concept of “purple” comes from the heavy synth-laded production work, labeled such to purposefully differentiate it from dubstep. The color term is because the synths are rich, 'colorful' textures. Personally, I refer to it as "purple" not "purple dubstep" as some rightly can. Besides the obvious dubstep traits, and those additional grime attributes, I also associated it with Wonky; (think Scotland’s Hudson Mohawke and Rustie). With purple, you can hear the color in it. Whereas dubstep in it’s original (now muddled) concept, was classed in a dark, black-voided spatial ethos. Purple was meant to counter that idea, and create synthetic light in the extended space created by the patterns of production that dubstep was spearheading at the time."]

So as you can tell it’s hardly a new sound having gone 2008 and strong. But in regards to a proper execution of these characteristics on west-coast productions… they always came few-and-far between. Whereas Toro 43 has pushed this for a while now… he’s also not recognized in other areas of production in the dubstep scene (yet his Moombahton is kicking off right now though!). Other, more-recognized producers on the south-coast have started coming through. I view these bass-producers as exhibiting a wider painter’s palate for their musical canvases. Over the past couple weeks I’ve noticed it being embraced by a few select in the LA-area. And when I mention west-coast bass, don’t get it twisted with the ease-vibed bass music that came from glitch; that which is being facilitated by Do-Lab type crews. What I’m on is 140-bass still though, rooted in the original dubplate culture, dubstep and jungle both derive from.

Lavanda Summa by Toro 43

One of these producers is the extremely diverse Ashtrobot. He just broke out heavily in the LA bass scene last year, and just a few months ago produced a few hip-hop tracks for Kendrick Lamar, further propelling himself upward in the industry. Ashtrobot has not shied away from the purple qualities either. He just gave out a free tune sampling the ASAP Rocky’s “Purple Swag” vocals. Coming heavy nonetheless, the synth textures in the tune separate the sound from the overtly intense rave wobbles --which you should know, the producer also throws down relentlessly.

PURPLE SWAG ASAP ROCKY -ASHTROBOT FLIP by ASHTROBOT

Another producer-DJ is Direct Feed, an old-school selecta representing the LA-area for years as Dotcom. Direct Feed has of late been pounding out everything from DnB, to Moombahton, and Dubstep… and everything in between like Drumstep, Moombahcore and now, “purple”. As I mentioned earlier, if these diverse productions can also be played in tandem with various, eclectic DJ selections, the entire bass scene will benefit immensely. Direct Feed is just that guy. I’ve had the opportunity to MC a few of his sets, and was always impressed by his selection and technical ability. He creates a crowd-pleasing edifice as a 6ft+ producer towering behind the decks. Earlier this week he made his first “purple” experiment, and put it out to the public. A remix of one of his favorite tunes at the moment, The Weekend’s “Rolling Stone”. This one came off ultra-chill, on some deep vibezing shit. Basslines massage the mental, over the sexy vocals one you always get from The Weekend.

The Weekend - Rolling Stone (Direct Feed's purple edit) by Direct Feed

Direct Feed had relayed to me that he and had become keen on the sound through Ashtrobot, a neighbor of his in Long Beach. It seems while the rest of LA drives through smoggy grey skies, the LBC is blazing up the beach to purple sunsets. Must be that weed thang. Lemon season all the time. Wish I had more to share, but I think it’s still nascent as far as productions, on the south-coast. I think it’s because the glitch-style, developed on the west-coast and BC, has become its alternate for those more-subtle bass vibes. Regardless, I hope these artists continue to push this purple sound. It’s been far too long coming. P.E.A.C.E.

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

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

9FeetOfSmoke - Fumarbahton (Mix)

(© EOS Lounge, Santa Barbara)

"Moombah, Moombah, do-ba-dee-doo... 9FeetOfSmoke back to Moombah you."

Last year 805 DJ/Producer 9FeetOfSmoke began experimenting with Moombahton, while people still had no clue as to what it was. Playing it out at Santa Barbara’s clubs to mild reception, could it be that the dubstep selector/producer was simply onto something too soon? Yes, nearly as simplistic as David Nada playing Afro Jax at half-speed and pioneering a genre out of it. For those who aren’t familiar, Moombahton originated at a high-school ditch party in 2009 by Dave Nada, who then advanced the slowed-down Dutch House style that is now Moombahton and continuing to spread virally. A few weeks back, DJ Mackle appeared on 9Ft.’s radio show, “BluntBros.FM”, and transitioned from some dubstep tunes into a Joker moombahton remix. When the BluntBros forum was eating the sound up, its was no surprise 9Ft. would begin rethinking Moombahton’s appeal nearly a year later. Recently, L.A.’s Relentless Audio label-mates, Direct Feed and Rob Bliss, have begun pushing Moombahton as well. With the dubstep community now taking notice of the sound’s slow, dance-floor appeal, the limits of Moombahton are still not yet visible. Speaking of Direct Feed, he is having a remix-contest for Chromeo’s “Hot Mess”, and it’s a wicked Moombahton production too. So go to beatportal, spin it, then vote it up in the contest, here.

(© EOS Lounge, Santa Barbara) (© DFHY)

Taking another shot at this fresh house music, last week 9FeetOfSmoke dropped a new mix hot of the decks, featured below. He’s also experimented with some Moombahton productions and is looking to demo more of his dubstep tunes in the coming months. Check the prods on his soundcloud. On his show, he spins everything from Metal to Moombahton, and Dubstep to Kenny G. His radio show put on alongside his blunt brothers, Rtrd and Badmin, every Tuesday from 7-10PM PST, on iPhone or via BluntBros.FM You can also catch him playing with Santa Babylon shows on the regular, including “Bass For Boobs” in Santa Maria on April 15th, “Santa Babylon Soundsystem” @ Tonic on April 27th, and “I Love L.A.” on April 17th at The Airliner, LA. Further, the BluntBros radio show, will feature a special 4-20 smoke out broadcast with a mash-up of genres by past guests and talented Santa Barbara selectas, with plenty of blunts to go around. Tune in and smoke out. P.E.A.C.E.

Fumarbahton by 9FEETOFSMOKE

Santa Babylon Spring Roll Call

(© HighBird Productions).

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

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

(© HighBird Productions).

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

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

(© P.R.1.M.3. aka P.R.I.M.E.)

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

(© KipGFX & ElectroLytic Productions).

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

Santa Babylon Roll Call (Confirmed Dates Only):

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

Estimated Damage: A Six Block Radius

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

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

http://www.6blocc.com/

Troll us on Facebook: “ Santa Babylon”

Outs to our boy Akaida for the video/interview.

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

New Decade, Moar Bass

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

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

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

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

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

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

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

*Video-work courtesy, Akaider*
©

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

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

*Rins'em out each and every bassline.*

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

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


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

*Video Courtesy of Dustmite*
©

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

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

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

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

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



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

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

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

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

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

Love, Actually?

(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.

- - -

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.


This video says everything I can't...



Felt - Woman Tonight

The Real Queen of Britain

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.