K: I don’t know…. I can make a judgment within a couple of seconds. I suppose a lot of it comes down to specific sounds that are used. I can listen to a track, with dubstep stuff it comes down to the kind of bass which is used. Because if you were to do a statistical chart of all the dubstep that exists in the world… well there’s something that exists in all of it, which is sub bass, which is something you don’t notice it. But in terms of bass you can hear, there’s a particular kind of bass sound which really fucks me off. And I hear it all the time. And it’s not specific to dubstep, I hear it across different dance music genres, and it’s a kind of lowest common denominator way of getting people to move. And I can kind of understand the tendency to go there, it’s a complex of frequencies which works on even the shittest soundsystems. And you can’t underestimate the impact having to play on shit sound systems has on a music culture, and it’s aesthetic decisions, and what it feels it needs to do to translate into as many environments as possible, especially when it’s growing.

D: Can you characterise it?

K: It’s nothing to do with sub-bass because I don’t have anything bad to say about sub-bass [laughs]. It’s not worth even commenting on because it’s like air, it’s like oxygen. It’s not even a sonic thing for me, it’s just a pressure, a vibrational physicality, it’s whether the music has a physical presence. Not in auditory sense, whether you’re in a room with an entity, sense. But. the sound that turns me off often seems to have a rocky quality to it, I always associated it in the late 90s with the Virus synth. I was reading a lot of producers talking about this Virus synth, and then listening to the music and hearing, OK, that’s the sound of that synth that people were jumping on. But it’s not just that synth, across genres, some styles of House Music, it’s got a jump-up edge to it. I’ve got various ways of describing it. Duck fart is one, angry pig [SNORTS].. it’s a kind of grunting pig sound. So it’s that, coupled with a certain amount of repetition of that sound which gets under my skin. It certainly sounds better in a club situation than it does listening at home. Because clearly the reason people do it is to almost rough up the top end of the bass, so the bass that you hear in an amplified situation isn’t just this rounded sub-bass, but also has this slightly aggressive edge to it. And it does sound much better, and less annoying, on a club situation. Almost like broken glass, or someone’s taken sand paper to this rounded thing, and just made it a bit more sharp, more abrasive. But it’s those sounds coupled with repetition, with this rocky repetition of riffs. It literally rubs you up the wrong way. I find it like being shouted out. And I don’t like being shouted at. I don’t mind being screamed at by synths. But being grunted at is not something I find particularly….

D: it’s a testosterone type thing?

K: It’s definitely got something to do with pumping up the testosterone. And almost universally, people love it. The reaction those sounds get is the hands in the air, pogo, mosh reaction. Which is not so much the reaction I’m looking for from dancing. If you’re got your hands in the air and you’re shouting you’re probably dancing less. You’re not really dancing. It’s certainly not what I like to look at, when you’re watching people dance, it’s certainly less interesting, less fun. I like watching cool dancers. That’s why I DJ a certain way, because I like watching people dance.

played in portland at various this past weekend with monkeytek, ryan organ and chris coda. had a lovely time at the gig, great vibes and an amazing sound system. the various fellows are really wonderful blokes and it was a real treat to get to hang out with them. also shouts out to the lovely and gracious ms. emily, and my main man jojo. i missed portland, it was magic to be back there. i’ve been toying around with the idea of moving up there for a few months this summer. i also got to meet jon a.d. who owns and operates the fantastic shop anthem records and the lodubs label, a super cool guy and kindrid spirit. got a sneak peak at the forthcoming clubroot album on lodubs - keep your eyes peeled for it because it’s amazing. if you’re in sf next week, be sure to catch both jon and monkeytek at grime city. here are some more pictures from the gig taken by simon ellis.

++

speaking of next week, i’ve got two massive gigs on friday in nyc at dub war and saturday in montreal at komodo dubs (flyer above). i can’t tell you how excited i am for both of these shows, probably two of the biggest of my life; i spent all week finishing up new material specifically for them. if you’re in the area please come by and say hello.

++

some releases hitting the shelves recently and very soon: buena vista

Untitled! Recordings 001

A - DJG - Buena Vista
Straight out of the San Fransisco dubstep scene DJG is known for his clever use of rhythms and bass throughout his productions. Having had releases on Pressing Issues, Full Melt, Narco.Hz and Subway in 2008, 2009 looks to be a promising year for this artist.

Buena Vista is testament to his skills bringing an old school house flavour and shuffling drums together into an uptempo affair. The drop accentuates the clever bass pattern and re-emerges as a natural skanker. Sure to set any dancefloor alight, whilst retaining extended shelf life.

AA1 - Commodo - Green Piece
A brand new artist on the dubstep scene. Commodo is a young producer hailing from Sheffield and has been making waves with this new track that brings you straight back to the ’97 Full Cycle days. Currently gaining support from quite some dj’s, amongst which Ramadanman. Heavy halfstep drums, eerie sounds and a big rolling bass exemplify this track.

AA2 - Sines - Love Becomes She
Last but not least we bring you Sines straight from Houston Texas who is the head honcho of Formant Recordings. An updated take on the classic two step sound, this one rolls on with typical drum edits, an underlining shuffled break with soulful vocal dubs and a very deep bass reminding us all of the pre-halfstep era.

Available through all vinyl shops and online stores from Tuesday 14th. Distributed by Triple Vision.

the tide:

This heavyweight release from Narco.Hz features three of the Bay Area’s finest producers with two superb tracks. Both selections are rich in musicality and dance-floor intensity, with top-notch production.

On the A side is Wind Up, DJunya latest dubwise rumbler. Punctuated with half-step snares and persistent bass wobbles, Wind Up is a melange of reggae horns and processed skanks, all presented with an atmospheric dub treatment. DJunya’s tracks are consistently thoughtful productions, often deriving their musical sensibility by blending strong, interesting reggae elements with deep grinding basses and great dubstep beats. Wind Up is no exception.

The Tide, DJ G and Antiserum’s latest opus, is a powerful track, epic in scope, and conceptual in nature. From it’s digi-reggae intro, The Tide drops into a very strong (dare i say anthemic?) synth melody with strong supporting bass work. As the track rolls on, the bass work is greatly expanded upon, with interesting counterpoint elements. The break re-introduces the soaring melody line, which contributes to a compelling build and exciting second drop. The Tide is masterfully produced and wonderfully composed. It’s great melody and bass work sets it apart from so many other dubstep tracks, you just need to let The Tide carry you away.

also, my ‘we are the glitch’ remix is finally out digitally at beatport and other fine digital retail shops.

++

i’ve written a review of the new martyn album ‘great lengths’ for big up magazine which you can find in the latest issue or on their website: http://thebigupmagazine.com/blog/music-reviews/afrostep/martyn-great-lengths-3024/

++

finally, check out this fantastic and interesting article written by tomas palermo on the techno/dubstep crossover with quotes from myself and my good friend jus wan:

Dubstep: The New Techno?

By Tomas A. Palermo

Dubstep is a genre name coined by Neil Jolliffe and Sarah Lockhart (Sarah Soulja) of East London-based Ammunition Promotions to describe UK Garage’s reggae-dub influenced tracks, which began emerging in 1999-2000. The term was prominently featured in XLR8R magazine’s July ’02 cover story on Tempa Records artists Horsepower Productions. In the article writer Dave Stelfox refers to the emerging genre as “yardcore,” picking up on a thread first developed by Steve Goodman a.k.a Kode 9 (Hyperdub Recordings). Goodman asserted: “Yardcore, from jungle to garage and forward, is the mutant strain of the UK Hardcore audio virus, where Jamaican dancehall flavor meets London’s freshest riddims.”

Elsewhere in the article Stelfox adds that 2-Step and UK Garage sounds matured between 1999 and 2002, and were shaped most significantly by producers who were ardent followers of UK reggae sound systems such as Jah Shaka, Aba Shanti and Saxon. Hence, dubstep blew up in the early ‘00s with Horsepower Productions, El-B, J Da Flex, Ms. Dynamite and Oris Jay releasing a slew of dubbier garage and 2-Step, as well as dancehall remixes and ragga-MC flavored tracks.

Those heady days segued neatly into Croydon producers Benga, Skream, Loefah, Digital Mystikz and Hatcha’s half time signature dub styles, which firmly established the dubstep niche, as well as it’s distinctive sub-bass wobble patterns. But things change, and as dubstep expanded exponentially throughout the world, myriad influences mutated the audio virus further.

Techno shades have been present in dubstep productions for a while, pioneered by artists like Boxcutter, Elemental and Plastician (formerly Plastic Man UK) and labels such as Tectonic, Planet Mu and Hotflush. However, dubstep’s techno flirtations ramped up considerably following Skream’s ’05 “Midnight Request Line” single, Benga & Coki’s massive four-four kick drum pattered “Night” in summer ’07 and Burial’s international album smash Untrue (Hyperdub) the same year. Since then artists including TRG, Scuba, Martyn, Pinch, Headhunter, Vaccine and 2562 have significantly drawn on techno’s drum, synth and production motifs, seamlessly melding them into dubstep’s amorphous blueprint.

With minimal techno reaching a global critical mass in 2008, corrupted by mainstream labels and arena DJs in search of a new field to hoe after progressive trance’s ignoble self-implosion, underground techno producers and dubstep heads have formed an unspoken alliance, with each group borrowing and bartering with the other.

In San Francisco, for instance, several club nights have featured both minimal techno and dubstep DJs either on the same bill or in separate rooms, hoping to attract crossover audiences. Dubstep has not seen similar pairings with house, hip-hop or drum & bass to the same extent that it has with techno. However, even prominent producers who are pioneering dubstep tunes that incorporate Basic Channel-like echoes and Kompakt-style melodies are not so sure that dubstep is now in a techno phase.

“I think its cool that people are experimenting with different influences,” says San Francisco producer Justin Shields, who records as Jus Wan for Apple Pips, Tube 10 and other labels. “To me its still all about the bass and the drum and the reverb. The rest is just icing, really.” Fellow San Franciscan Dean J. Grenier a.k.a. DJG agrees: “I think dubstep is essentially a BPM range, a vibe and a lot of bass. How you present those elements is up to the producer.”

Songs like Jus Wan’s “Action Potential” (Apple Pips) or DJG’s “Breathing” (forthcoming) balance dubstep bass lines atop fluid yet steppy drum programming with arpeggiated keys that swirl in pleasing patterns. These tracks’ four-four kickdrum programming and deep synth pads invoke late-night Berlin bunker parties. Therefore, it came as no surprise when earlier in 2008 premier Berlin techno PR firm Tailored Communications, run by Brit ex-pat Melissa Tailor, added both Apple Pips and Hotflush to their promotion ranks, which includes techno mainstays Osgut Ton, Mule, Aus Music, Kompakt and Wagon Repair.

Contrastingly, however, Grenier reaffirms what Stelfox and Goodman asserted years back about dubstep’s sound system roots. “Dubstep has roots in dub, reggae, jungle and 2-step,” Grenier offers. “I think producers are experimenting with the vibe and aesthetic of techno and pulling from their immediate or past influences.”

Grenier, like others in the dubstep fraternity acknowledge the role that German techno artists and labels – Chain Reaction, Burial Mix, ~Scape – played in the development of electronic dub sounds. “I’ve been a longtime fan of Rhythm and Sound, Monolake and Deadbeat,” says Grenier. “To me the idea of blending dub bass-weight and aesthetics with techno vibes and sounds is nothing new. Producers in Berlin and elsewhere have been doing it since the ‘90s. I think what is exciting now with dubstep messing with techno sounds is that it’s a new genre, but to dub techno heads it just makes sense. It’s a logical step.”

Logical to some, perhaps, but dubstep still finds itself dominated by heavier, aggressive tunes, such as Rusko’s “Mr. Chips,” Chase & Status’ “Eastern Jam” or TC’s “Where’s My Money.” That’s not to say there aren’t gems among the heavier fare. Jakes, Mala and DZ have a knack for producing big-bass tumblers with experimental touches. What’s clear is that dubstep has more variety than ever, although the explicitly reggae-dub influenced tracks are not as much at the forefront. Still, Grenier thinks the scene is experiencing an exciting period.

“I love what’s coming out of Bristol,” he says. “[I like] tracks on Pinch, Peverelist and Appleblim’s labels, plus [producers] Headhunter, Rob Smith, Joker, Jakes and so on — Bristol is killin’ it right now. Same with Jus Wan, Djunya, Eskmo and all the SF gang.” His admiration also extends globally; he rates French producer F, XI in Canada and the UK’s Quest, Silkie and LD. “There is no shortage of incredible music in this scene.”

Whether or not dubstep will become as entrenched and significant a genre as techno has become in its 20-something year history remains to be seen. It is clear, however, that many in the dubstep fraternity have a healthy respect for techno’s musicality, spatial grooves and what Grenier calls “tension.”

The techno/dubstep relationship is a work in progress, a mutual conversation that’s reached a high point or just the natural cross-pollination of electronic artists in an accelerated global scene. What happens next is something of a mystery but an intriguing one, as Grenier recognizes. “You can’t control what happens to these things, all you can do is make music that matters to you and see where it takes you.”

Coalition of the Killing
We Are The Glitch - Dubstep Remixes (BSD027)
Addictech Exclusive: TUESDAY, 3/24/2009 
Street Date: TUESDAY, 4/7/2009 

The best in SF dubstep AND techno come together for this mean release.. 

(1) We Are The Glitch (DJG Mix) 
(2) You Are Everything Also (J.Rogers Everything is Nothing Too Mix) 
(2) We Are The Glitch (Eskmo Remix) 
(2) Psychobabble (ROZANSKI Psychotic Dub) 

Feedback is always appreciated. Here’s what some people have been saying so far: 

Mary Anne Hobbs (BBC-Radio 1)—Love the work on here.. Particularly fond of DJG mix. Played it on the West Coast Rocks special.. and i’m droppin’ it again next week on the BBC Radio1 show..

Headhunter (Tempa, Four:Twenty)—It’s sick, I been playing it all over on my Australia and New Zealand tour. It makes peoples body’s move insanely.

Riyaz Khan (DIVERSIONS, 105.5FM-Toronto)—I absolutely love the ESKMO and J.ROGERS remixes - wicked sounds all around - will play them for sure!

The Dubstep Zone (UK, pyroradio.com)—Especially feeling the DJG remix of ‘We are the Glitch’. That track is gonna get plastered on our show no doubt!!!! All top productions.

XI (Loetech, Subtrac)—Lovin this release, all of the mixes are great but the stand out tracks for me were the We Are the Glitch Eskmo mix and Psychobabble (ROZANSKI Psychotic Dub) . Like em both for different reasons, the Eskmo mix immediately grabs my attention, big eye opening track. Psychobabble hits you with the raw power and doesn’t let you go.

Jason Mundo (Dub Assembly)—Really enjoying the bassline melody and the funky syncopation between the bass and drums in the J.Rogers remix of You Are Everything Also. The syncopation creates a really funky groove. Nice one!

Tomas (KUSF, Umoja Soundsystem)—I’m feeling both mixes of “We Are The Glitch” but am playing DJGs out a bit more. The Eskmo version is great listening fare, and I really like the J.Rogers “Everything Is Nothing” mix too — it’s cool, sophisticated arrangements and interesting sound pallettes really work nicely.

Qzen (40 Thieves)—I’m feeling the DJG remix the most with the Eskmo remix coming in second.

…Rumor has it that some guy named PINCH cut a dubplate of this gem as well….

TRACKS ARE AVAILABLE FROM ADDICTECH TUESDAY, MARCH 24TH! 

After April 7th, get them from: 
Beatport/Blipswitch Digital
Addictech/Blipswitch Digital
Blipswitch Digital MP3 Store Direct

—

also, if you’re anywhere near san jose on thursday come check out this new night launching featuring myself and anitserum:

buy us drinks cos we’re poor and THIRSTY!!!!

-dean

surefire.sound launch saturday was insane. totally sick. the place was totally packed with people and good vibes. it was everything we could have asked for. all the sets were fantastic - i particularly enjoyed tomas+lud dub’s reggae set and jus wan+subtek’s roots of dubstep set. there were some sound problems but we’ll work out the kinks as we go along. out to miro and sam. i grabbed a few photos from kozee’s myspage photo album:

antiserum + miro

jus wan

mc duh

matty g + nick argon

audio angel

me

me + djunya

katya from big up mag

me + djunya

went to grime city on friday and had a nice time with the dubstep family. there were so many parties going on that night and i just decided to keep it close to home. i did an interview on a radio show called “friday night session” on a local station kusf which was fun if not a bit nerve-wracking; i find doing interviews can be a bit like being in an argument - when you walk away from them you start to think about all the clever things you could have said if only you were a bit quicker-witted or used to these kinds of things. anyway here’s the audio from my interview and some new tunes as well (or you can stream the entire show from their website):

check out these two fantastic mixes from my friends and san francisco bass music heroes jus wan and eprom:

jus wan—

Jus Wan - Exclusive Mix - “ELECTRONIC EXPLORATIONS”
http://electronicexplorations.org/the-show/067-jus-wan/
01 - Jus Wan - Beyond - [Dub]
02 - Funk Ethics - Trans Europa Step - [Dub]
03 - Breakage - Rain - [Digital Soundboy Dub]
04 - Instramental - Futurist - [Naked Lunch]
05 - Ramadanman - Humber - [Apple Pips Dub]
06 - Pinch - Joyride - [Tectonic]
07 - Geiom & Appleblim - Shreds - [Berkane Sol Dub]
08 - DJG - Avoid The Noid - [Pushing Red Dub]
09 - J. Sparrow - Geode - [Dub]
10 - Joe - Rut - [Hessle Audio Dub]
11 - Jus Wan - Action Potential - [Apple Pips]
12 - Jus Wan - QB41 - [Naked Lunch Dub]
13 - XXXY - Rain [J.Sparrow Remix] - [Pollen Dub]
14 - Jus Wan - The Crossing - [Tube10]
15 - Helixir - Black Cat - [Dub]
16 - Martyn - Yet - [Tectonic Dub]

eprom—

eprom - the mixtape 2009
http://www.eprommusic.com/mixtape/The%20Mixtape.mp3
all original material

i’ve been debating on whether to post this or not because i never finished it and it’s not all that interesting, but here’s one of the submissions i made to visa for a television advert. they initially wanted something in a sentimental dubstep vein, but decided in the end they wanted an indie rock sound instead. ah well, that’s how it goes:

i finally got around to making a facebook page for myself which you can add here: http://www.facebook.com/pages/DJG/62227967539?ref=mf - i put off creating one forever because i was scared no one would add it and then i would cry. jk jk. no but really, add me.

be sure to check out the newest issue of big up magazine - there’s some fantastic interviews and features on some amazing artwork and also a review of the new martyn album written by me!

wish me luck in las vegas this weekend with badman mc and producer and legendary waste-faces mc duh and antiserum! fear & loathing here we come.

-dean

———————————————————-

when i was 16 my friend jake took me to one of my very first raves. i remember it clearly being one of the first times i had ever heard jungle on a sound system. this alone made it a memorable night and it had a big impact on me. but on the drive there and on the way home jake only had one cassette tape in his car which was “the singles collection” by the specials. there were a lot of ska bands in the the bay area at the time like “janitors against apartheid” and “the brownies” amongst others. i had already heard a lot of ska but this was the first time i had ever heard real english stuff. i remember totally loving it, i can still clearly see the streets of the neighborhood in san jose where i grew up in my mind, late at night, driving around and hearing “ghost town” for the first time, mixed up with the excitement and awe of just having hearing jungle and rave music pumping through a huge sound system.

i made the ghost town bootleg for fun one day, literally just for myself to play at a narco.hz session in the middle of last year (‘08). it was always my favorite specials tune. i knew there were other bootlegs of it out there, i knew it had been done, but i didn’t care - it was just for me and i did it for fun anyway. the night i was supposed to play at narco.hz i told some friends “hey guys i did a ghost town remix!” and they said “oh, great. another ghost town remix?”. i was so bummed by their reaction that i didn’t even play it that night!

a few months later i started sending it to a few people here and there, not really thinking much of it. one person i sent it to was rob smith aka rsd who cut it to dubplate and started playing it all over the place. some footage of him playing it in croatia ended up on youtube and someone started a thread about the tune on dubstepforum.com and this whole thing just sort of blew up. i was getting myspace messages nearly every day from big guys like skream and simon subdub asking for it. the people at war records (a highly regarded dubstep bootleg outfit) asked for it and a flipside which is where “late night blues bootleg” came from.

to make a very long story short, this tune got tossed around between no less than five record labels but it could never seem to find a release. the good folks at war gave it their best and i’m really grateful for all the effort they put into trying to get this record out - literally almost everything was done to try and get these tunes released. ultimately no pressing plants in the uk/eu were willing to take the risk to press the vinyl for fears of legal action taken by the mcps. this is why it has taken so long to for it to be released.  in the end i actually feel better about giving these tunes away for free rather than anyone really making any financial profit - they are bootlegs, the music was written by these amazing musicians. the work i did pales in comparison. but hey, dubstep dances go off for these tunes every time! so please enjoy, be kind, and rewind.

i’m really excited for this event - not just because it’s the launch of our new monthly and the lineup is totally amazing  but because it’s at a brand new venue in sf called “the triple crown”. it’s a totally beautiful space located on market street at octavia. decorated in a sort of minimalized vintage sf victorian style, it’s the perfect size, not to small or too big. it’s owned by this legendary san francisco promoter/dj named manny, who started the infamous tweekin record shop (just down the block from where i live in the lower haight). sam supa and i went down there last night to do some tests on the sound system to see how it would react to heavy low-end bass. the speakers sounded fantastic and now i’m itching to play there.

yesterday i found out that mary anne hobbs is playing my remix of the coalition of the killing track “we are the glitch”. i have to admit i’m pretty well chuffed, m8. apparently she played it on her “west coast rocks” show, but for some reason it did not show up in the tracklisting on the bbc website. rats.

got some more gigs in march, two with antiserum actually and back to back: thursday march 26 in san jose (back in the 408 baby!) and friday march 27 in las vegas (with mc duh!). we’re going to stay for the whole weekend in vegas and have a laugh - i will regret this.

i finally got off my ass and max mc duh helped me fix up my stupid biography for my press pack. i hate dealing with my bio, i don’t know why. sitting there and trying to write these sentences that are supposed to summarize me is torture. thankfully max is a fantastic writer, and really enjoys working on these kind of things so he helped me a lot. here’s what we got so far (though i think we will still work on it more):

Born and raised in the San Francisco Bay Area, Dean J. Grenier A.K.A DJG landed in the world of Dubstep in 2007 with his first 12” “Shadow Skanking” b/w “Joyful Sound” on Narco.Hz. Immediate support on Rinse FM and in the clubs from DJ’s like N-Type propelled DJG to the forefront of American dubstep producers early in his career. High-profile releases continued in 2008 with his track “Lower 8” released on Tes La Rok’s Noppa label, and with his track “Bender”s selection as Pressing Issues 002 by the populace on dubstepforum.com. In total, DJG had 5 releases in his first year as a dubstep producer.

DJG’s production style is richly melodic, emotive while full of groove and energy. Recognized early on for a more dubwise sound, DJG’s recent productions have revealed an evolution in his music, getting deeper into bass-heavy, tech-drenched, soulful tracks like the much-anticipated February ‘09 release “Bunker” b/w “Apophenia” on Tube10 and the forthcoming “The Gate” b/w “Obsessed” on Lo Dubs. DJs ranging from Mary Anne Hobbs, N-Type, Joe Nice, Pinch, Headhunter, Skream, RSD, 2562, Djunya, Random Trio and many more have been supporting DJG’s recent and forthcoming releases on labels Narco.Hz, Subway Recordings, Tube10, Lo Dubs, Pushing Red, Blipswitch and Pure Filth amongst others.

When DJG gets behind the decks, his passion for the music he plays is obvious. His enthusiasm for the deeper side of dubstep and his affection for dance floor selections makes each set a spontaneous combination of the highs and lows that the sound has to offer.

me looking all sweaty

me w/ bass-face and the crazy LIGHTER shit in the background!

2562 on deck

dave “hot biscuit” 2562

daega sound system

blurry crowd shot 1

blurry crowd shot 2

download

1. incognito - out of the storm - carl craig remix (talkin loud)
2. dizzy gillespie - long long summer
3. candi staton - evidence (honest jons)
4. grace jones - private life (island)
5. the extras t’s - E.T. boogie (sunnyview)
6. gabor szabo - mizrab (impulse)
7. roni & die - jazz note (full cycle)
8. aquarius - drift to the centre (looking good)
9. maze - twilight (capitol)
10. the jones girls - nights over egypt (tsop)
11. aeroplane - caramellas (eskimo)
12. mike monday - swivvety (simple)
13. equalized 002 - (hardwax)
14. roska - (roska kicks and snares)
15. shed - another wedged chicken - martyn remix (ostgut ton)
16. sigha - expansions - hotflush
17. joe - rut - (hessle audio)
18. joe - untitled - (dub)
19. 2562 - kontrol - (tectonic)
20. headhunter - dark room head down - (dub)
21. scuba - tense (hotshore)
22. pearson sound - plsn - (dub)
23. geiom - lame car - (wigflex)
24. untold - can stop this feeling - (hessle audio)
25. ben klock - gold rush (ostgut ton)
26. mr lager and alys blaze - tell me (sub freq)
27. boxcutter - ?? (kinnego)
28. pangaea - memories (dub)
29. beat pharmacy ft. paul st. hilaire -
nuclear race - komonazmuk & appleblim rmx (dub)
30. the black ghosts - full moon - komonazmuk & appleblim remix (southern fried)

i really admire mixes like this, all music, no boundaries. i’ve been wanting to do something like this for time now. big up to blim.

go-go moritz vos oswald.

check mr oswald rocking out with his band palais schaumburg (a band founded by members fm einheit of einsturzende neubauten, and techno legend thomas fehlmann) in 1984.

wow. i actually like this song too! yikes!

MORITZ. what more do i need to say?

From the Red Bull Music Acadamy site:

Bassbins were practically born with Moritz von Oswald in mind. One of the few techno artists who can claim to have spearheaded a whole new movement, this enigmatic character has been in the shadows behind numerous influential records as a mastering and cutting engineer at Dubplates & Mastering in Berlin. Long before that, he catched a glimpse of the pop star life while being the drummer of one of Germany’s fine new wave outfits Palais Schaumburg. Von Oswald also co-founded the legendary Basic Channel Records (with Mark Ernestus), whose various releases were somatic echo-chamber washes of minimal techno. As part of the Berlin/Detroit axis, these seminal records are characterized by a 4x4 beat with dub-inflected syncopated synth pads, slowly modulated over time and time again. Under the Maurizio guise the duo produced cult collector platters as well as remixes of artists like Carl Craig that fused metallic delays with shimmering sunshine-coloured reveries, before they moved on to do unfathomably deep house with their Round One to Five series and eventually reaching reggae as Rhythm & Sound. Fusing their interests in dub reggae and techno even further, where Jamaican vocalists sing or speak over stripped down techno beats and bass, von Oswald and Ernestus created a definitive and monolithic statement until they decided to put the project on a halt which drove people as crazy as their strict no-interviews-please policy. Currently Moritz von Oswald has been busy with remixing Tony Allen or recomposing Maurice Ravel’s Bolero and Mussorgsky’s Bilder Einer Ausstellung together with Carl Craig. A natural mystic!

btw - check out mala of digital mystikz sitting in the front row!