TRASH MENAGERIE » Dubstep

Monday, November 15, 2010

Richie Balboa and Will Streetwise Promo Mix

After 3 years of performing together in clubs from from Beijing to Miami, Streetwise and Richie Balboa finally decided to put together a DJ mix for public consumption. This 55 minute mashup covers styles from Hip Hop and Ghetto Funk to Breakbeat, Dubstep, Electro and Drum n Bass.

For those not familiar with these two UK based artists here’s a little heads up.

Streetwise’s background has taken him on a tour of almost every dynamic in the music and he now finds himself at the forefront of the Ghetto Funk scene through his website www.ghettofunk.co.uk. His productions under the Dancefloor Outlaw brand were released on Shanghai Disco, a sister label of the infamous Hot Cakes owned by DJ Deekline. Support from the likes of Krafty Kuts, DJ Yoda, Cuban Brothers and A.Skillz has shown The Outlaws to be firmly at the forefront of the Ghetto Funk sound. This year has also seen Streetwise take on a whole host of remix work for the likes of Tinie Tempah, Dubpistols, Fresh, The Guilty Hands and Dogtown Clash. With more releases and an imment tour of Australia, 2010 has been a busy year.

Richie Balboa has spent the last five years DJ’ing everywhere from Tel Aviv to Timbuktu. In 2010 he won the best breakthrough DJ award at the international breakbeat awards and soon after was recruited by Juno to personally craft their breakbeat podcast series. As well as DJing he manages NSB Radio – www.nsbradio.co.uk – an online radio station broadcasting the entire spectrum of broken beat music live 24/7, managing a roster of DJs based in every corner of the globe. The future see’s his production debut expected in early 2011 whilst continuing a busy live schedule, check www.richiebalboa.com for more details.

Richie Balboa and Will Streetwise Promo Mix Tracklisting

[soundcloud]http://soundcloud.com/richie-balboa/streetwise-balboa-promo-mix-2010[/soundcloud]

  1. Grinny Grandad – Good Girl (A Skillz Remix) (Streetwise Edit)
  2. Dancefloor Outlaws – Regualte (GFunk)
  3. Nick Thayer Feat NFA – Grey Sky Blue
  4. Dancefloor Outlaws – Get Your Boogie Down (Outlaws VIP)
  5. Dancefloor Outlaws – Magic Badness Ride
  6. Drummattic Twins – Crazy Love (Peo De Pitte 2010 remix)
  7. Kelis – Accapella (Plump DJs Mashup – Balboa edit))
  8. Gramophonedzie – Why don’t you (Krafty edit)
  9. Beat Assassins vs Miss Dynamite
  10. Bass Kleph vs Dizzy Rascal
  11. Vinyl Life – Hi Tops
  12. Big Daddy Kane – Raw (Stanton Warriors Remix)
  13. Ils & Baymont Bross – I Wunda
  14. Uffie – MCs can kiss (Far too loud remix)
  15. Chuckie / LMFAO – Let the bass kick vs Miss Dynamite
  16. Dead Prez – Hip Hop (Streetwise Edit)
  17. Deadmau5 – Technology (Streetwise Edit)
  18. Basement Freaks – Booty Jam
  19. Utah Saints – Getting Better
  20. Katy B – On a mission (Streetwise Edit)
  21. TI – ED209
  22. Lofty Longtigga – The Phone Rant
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posted by Keith Wilson at 2:19 pm  

Monday, August 23, 2010

DJ Rupture Presents: CIAfrica

What do you think about when you think about Africa? What do you hear when you listen to Africa? And, what does one write about when they write about Africa? These questions are important questions. Single dimensions are rampant in many visions of Africa, particularly concerning the political and economic instability of many African nations. However, these common struggles don’t equate singular cultural expressions, an easy lens to pick up when few alternatives are offered.

African musics vary immensely, though what is often brought to the U.S. ear is a window of African music that shines with a Pop brightness most easily digestible by short attention spans and a low tolerance for abrasion. African music is Amadou & Mariam, Ladysmith Black Mambazo, Fela Kuti, Ali Farka Toure, and all those groups Paul Simon and Peter Gabriel worked with, whatever their names are. These artists are legendary and important, however is that what Africa listens to? No. At least, not anymore. Since Hip-Hop’s rise to global prominence, most major urban centers in Africa: Nairobi, Abuja, Kampala, Abidjan, listen to Rap music. 2pac, Biggie, and Jay-Z.

Dutty Artz co-founder DJ Rupture (Matt Shadetek is the 2nd half) helms the mixing in this introduction to Abidjan, Cote d’Ivore’s Rap group CIAfrica, made up of producer Green Dog (Amadou Komara) and a host of rappers like Manusa, Barboza, and Prince Abraham. There could hardly be a better candidate to create a path through their music, as Rupture is best known for mixtapes like Gold Teeth Thief, where he fused the abrasivness of Breakcore and Noise with American Rap/R&B, Dancehall, and Middle Eastern Rai, offering a worldview that signified cultural/musical embrace while never claiming that it was as easy as it sounds.

CIAfrica are one of the few Hip-Hop projects to coalesce on the African continent that provide an evocative portrayal of political turmoil, cynicism, and outrage. Often filled with the chaos of compressed snares and drums, earth-shaking bass, and lyrical ferocity, CIAfrica is the raw underbelly of West African urbanity, where the marginalized musics of the colonized and the colonizer are channeled by political frustration and economic unrest.

Traditional West African music is no where to be seen here, and why does it have to be? The prideful, power-hungry energy of Rap, Jamaican Dancehall and UK Grime is as much a part of the globe’s musical narrative as they lead back to their respective places of origin. Manusa’s “J’Fuck” is available for download below, and will no doubt whet your appetite for the delightful grist and dirt that is CIAfrica. Also, check out CIAfrica’s video for “Dans Mons Pays” for visual representation of what is often consumed aurally.


Manusa – J’Fuck

DJ Rupture Presents: CIAfrica is out today on Dutty Artz and can be purchased on Boomkat.

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posted by TheCrookedClef at 5:17 pm  

Friday, July 9, 2010

Jamie Grind mix for Sonic Router

So Jamie Grind, recently signed to Infrasonics alongside such names as Spatial, xxxy, Hot City, and Ike Release, recently recorded an absolutely head-spinning mix for one of my favorite blogs, Sonic Router.  Its packed with all kinds of future music across a number of genres, but underneath it all is a tendency towards broken beats, odd syncopations, as well as big bass and chopped, pitched-up, wonked-out vocal cuts.  It’s really challenging, provocative stuff that doesn’t sacrifice the GROOVE that so many people overlook in trying to support head-y, bizarre, art music.  You should check out the interview over at Sonic Router, as well as Jamie Grind’s recent release on Infrasonics, Balloon, which is more of the same twisted, dis-orienting but ultimately GROOVY rhythm-driven club music that is incubating in and around the UK right now.  Still, doesn’t anyone else get all nostalgic over a time when Dubstep was just Dubstep??  Just kidding.
Infra12003 a2 jamie grind – balloon by Jamie Grind
Anyways, I love Sonic Router and I love this mix; the blog is consistently smart with their reviews, cutting-edge music taste, and it seems that since they’re so involved in the scene over there across the pond, they’ve got a direct line to the artists and the industry people that are making the changes that we get to report in the blogosphere.

By the way, if you check out the Infrasonics website, they’ve got a bunch of unreleased downloads from some of the label heads…  Check it out here.

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posted by Max Pearl at 3:29 pm  

Thursday, July 1, 2010

New Tectonic Release and some dancefloor freebies

So Tectonic, run by DJ Pinch, has been one of my favorite record labels for a long time, especially since the release of Tectonic Plates, Vol. 2, one-half compilation, one-half epic DJ mix, that showcases dark, contemplative, future bass-permutations across 2 CDs.  They’ve just released one of the biggest singles of 2010 with Darqwan, aka 2-step legend Oris Jay on the AA side alongside Jakes, boss of Bristol-based Hench Records, which specializes in the heavier, more industrial side of the dubstep ‘ting.  Darqwan’s track is broken beats, quiet vocal cuts that float in and out of the mix, and unrelenting, saturated eyes-down bass jabs.  Jakes’ track has a swung, smooth gallop and crazy low bassweight, in addition to horrifying samples about the end of the world and the Mayan calendar.

You can pick up the digital release at Juno and Boomkat or buy the vinyl over at Chemical.

And now for something completely different (aka FREE):

First of all we’ve got a a nice J Courage bootleg remix of Bun B and Sean Kingston that I found over at the Trenchant Dubs website.

Second, I don’t know how it took me this long to hear about it (big ups to Rub-a-Dub for making me aware of this and for hosting it on their server) but Skream recently released a four-track EP of originals and remixes that are totally free.  There’s little consistency in the EP itself, with bangin’ bwah bwah trashers alongside a subtle 2-step bootleg remix of, yes, Show Me Love, but I’ve always been a fan of Skream so I figured I’d provide this for you freegans out there.  You can download that all here.

Lastly, I went over the Hench website and saw that they’ve been posting free promo tracks from their mixtapes.

Their most recent give-away is some serious industrial darkness, accompanied by completely inane autotuned ethnic samples which I’m willing to overlook because the bass is so bangin’. This one’s from label artist Amirah. Thanks guys!

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posted by Max Pearl at 10:48 am  

Tuesday, June 15, 2010

This week in Dubstep: Gemmy, Sepalcure, I.D., and Kavsrave

So everybody’s been talking about the death of Dubstep (not to mention the death of hip-hop, authenticity, and the author) and the ascendance of lighter, more party-oriented steppas’ delights; you know, the funky, 2-steppy, post-garage stuff that’s been ruling the dancefloors on both sides of the pond. I’d tend to agree that some of this half-time wobbly shit is getting a little old as musicians prioritize industrial synth patches and raved-out aural violence over the percussive subtlety, minimalism, and negative space that early Dubstep borrowed so well from Dub itself. I’m not saying the wobbly shit is no good, I’m just saying that to include banging wobble bass at the expense of the many elements that make a tune worth hearing is a sad mistake, and one that’s being made all over the place. I won’t name any names, but you know who you are.

Regardless, what I mean to say is that, despite all these (understandably) resentful listeners claiming the death of Dubstep left and right (shortest-lived genre ever?), the eyes-down, half-time skank is in fact alive and kicking, thanks to a few innovative artists doing their thing, both in Europe and the United States.

First up is Gemmy, part of the “purple” contingent- you know, Joker, Ginz, Gemmy, Guido, Rustie- that’s managed to tastefully incorporate elements of West Coast hip-hop, glitchy chiptune jams, and bashy Grime, among other things, into the Dubstep vocabulary to stretch the sound just that much further. He’s just released a new single on Earwax, one of my number one labels right now, having released some of my favorite work from Ginz, Liondub, and Jack Sparrow. This is some square-wave, half-step euphoria that builds and drops in all the right places; subtlety certainly isn’t the name of the game, more like satisfaction, precision, and bass-weight. “Last 3 Digits” is definitely the highlight of the single. Buy the vinyl at Boomkat, wait for the digital release, or head over to the Earwax website to enter for a chance to win a signed, limited-edition test pressing direct from the label.

Gemmy “Maroon Chant / Last 3 Digits” by Multiverse

Oh and speaking of wobbly, hardcore Dubstep that doesn’t suck, ‘yall should check out I.D.’s Mustang EP; he’s released a free VIP remix of the title track to promote the EP, which has me eyes down staring at my skanking feet as I rave around my room. You can download I.D. – Mustang VIP for FREE at his soundcloud account, or pick up the whole EP at Beatport; this stuff reminds me of early Benga, N-Type, or Kromestar, except a little busier and with a breakier edge. Good stuff.

I.D. Mustang VIP 320 by bassmusic

Up next is Sepalcure’s debut EP on the indefatigable Hotflush record label; these two dudes, Travis Stewart (Machinedrum) and Praveen Sharma are a little bit more on that syncopated, ethereal end of the spectrum, with dense layers of unusual, yet coherent, percussion arrangements, crisp, swingin’ hi-hats, liquid atmospheric sounds, and soulful vocals that create the right mood without being overly referential or tacky. ‘Cuz we all know how tacky soul vocals can be. The four-track EP is undoubtedly feeding off of the energy coming out of this flourishing UK house scene, but manages to retain that marijuana-friendly lean-back lighters-in-the-air vibe that makes us love Dubstep so much. This four track EP is out on vinyl, and available digitally at Beatport.

Sepalcure – Love Pressure EP [HF025] by Hotflush

And while we’re on the subject of that PURPLE ‘ISH – which I may get sick of at some point but definitely haven’t as of yet- I just stumbled upon this brand new Kavsrave EP out on Numbers, another infallible record label with an EXTREMELY AWESOME website.

Kavsrave – Baggage Handler by coltcannon

Though I doubt this record needs any help getting sold, it’s worth talking about; it’s riding on the same contemporary wavelength with gorgeous, floating RnB vocals, fat, saturated synths that can satisfy you even through laptop speakers, and unmistakably hip-hop influenced drum-machine beats that will turn any hype dancefloor into a cavern of nasty stanky slow dance. Download it over at Boomkat and keep your eye on Numbers because I can assure you that label is the future!!

‘Till next time.

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posted by Max Pearl at 4:20 pm  

Tuesday, May 18, 2010

Voodoo Sessions

Kush Aurora really came out of nowhere.  His Voodoo Sessions EP, which drops today, is loaded with dense layers of driving, tight percussion, low (I mean really low), rolling basslines, and gorgeous, colorful splashes of dubbed-out atmospheric samples that conjure visions of what might be this producer’s private elsewhere in some tropical parallel dimension.

Call it future dubstep, call it African grime, call it “soca-step,” this bay area stepper comes through with four solid tunes that will faire as well in the club as they will in the headphones of bedroom listeners.

The EP also features a collaboration with San Francisco Dubstep don Bakir- a remix of Maga Bo’s “Nakhil,” which was previously released on Dutty Artz, and features killer bars from Tunisian spitfire rapper K-Libre.  I had the opportunity to play the Boston-area Links Soundclash last year with Bakir- local and nationally-known producers in a massive laptop battle playing only their original tunes- and the man absolutely murdered the dance. And we all know that Mago Bo is the fucking man.  That, and the whole things is streamable for your listening pleasure at this link.
You can grab one of the tracks off of the Voodoo EP for free, the original mix of Humidifier, which also gets a bangin’ club remix that’s only available for purchase.  The free download is here.

Kush Arora – Humidifier (Original Mix)

The whole EP is available for download here and it’s definitely worth buying.
Kush is also offering up a studio mix which looks like its jam-packed with exclusives and originals and seems to be on some techno rasta tip, which is cool. Check it out!

Kush Arora-Daggering Funky+ Exclusives April2010 by KushArora

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posted by Max Pearl at 3:05 pm  
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