Friday, September 21, 2012
The American Jungle 2012 Tour Montage - Live Mix By Mason Feat. Armanni Reign & Sharpness
I'm shown for a second on 3:15 :)
HIGH MAINTENANCE - NEVER ENOUGH EP [APORN025]
HIGH MAINTENANCE - NEVER ENOUGH EP [APORN025]
One of the biggest years yet for Shimon’s Audioporn imprint, 2012 has shown exactly why Audioporn has become synonymous for putting out the most creative, genre blurring bass music. Huge releases from renowned artists such as Hybrid Minds and Xilent as well as new exciting acts such as Mediks, Playma, Dilemn and Tha New Team have seen Audioporn strengthen its reputation for delivering cutting edge music, regardless of genre or tempo.
After signing to Audioporn last year, High Maintenance has wasted no time making a name for himself, with massive reworking’s of Ed Rush and Tali’s ‘Dark Days’, DisasZt’s ‘Try Me Again’, and Camo & Krooked’s ‘Watch It Burn’ from their ‘Between The Lines’ album. Now following his breakthrough debut ‘With You’ and this year’s stellar ‘Don’t Lose It EP’ on DisasZt’s Mainframe Recordings, High Maintenance steps once again up for another dose of precision crafted bass music.
High Maintenance kicks things off with ‘Never Enough’, featuring Katie’s Ambition. After an introduction certain to get hands and lighters in the air, ‘Never Enough’ transforms into an anthemic dancefloor number. Combining an instantly recognizable synth melody, solid drums and soulful vocals from Katie’s Ambition, ‘Never Enough’ sounds great whether in the rave or on your mp3 player.
‘Dreaming’ [Drumstep]
The second track ‘Dreaming’ sees High Maintenance showcase his impressive versatility once again. Beginning with an introduction packed with epic soundscapes and trance like synths, ‘Dreaming’ takes the dancefloor by surprise and drops in to a stunning Drumstep number. A blend of euphoric synths, subtle vocal edits and hard hitting percussion, ‘Dreaming’ features all the hallmarks of another High Maintenance banger.
‘You Are The One’ [Drum & Bass]
High Maintenance rolls out the retro vibes with ‘You Are The One’, with an introduction full of vintage sounding synths. Boasting funky vocal edits, rave-inducing synthesizers and yet another iconic, catchy melody, ‘You Are The One’ shows High Maintenance flex his creative mind. A perfect blend of feel good vibes, and dancefloor energy ‘You Are The One’ is another massive production from one of Audioporn’s most exciting signings.
‘Out Of Reach’ feat. Katie’s Ambition [Dubstep]
High Maintenance and Katie’s Ambition team up once again for an soaring Dubstep number. After an emotive introduction that sees Katie’s Ambition vocals take the spotlight, ‘Out Of Reach’ drops into epic Dubstep territory. A synergy of High Maintenance’s precise production and energetic, passionate vocals ‘Out Of Reach’ is a collaboration from two artists who can do no wrong.
‘Drop It’ [Drum & Bass]
‘Drop It’ sees High Maintenance show yet another side to his production talents. A track designed specifically to get the dancefloor moving, ‘Drop It’ is a fast-paced blend of ravey synths, tumbling basslines and intricate sound effects – a great end to another varied, high quality release from High Maintenance.
High Maintenance
‘Never Enough EP’
1. Never Enough feat. Katie’s Ambition
2. Dreaming
3. You Are The One
4. Out Of Reach feat. Katie’s Ambition
5. Drop It (Free Download)
Label: Audioporn Records
Cat No: APORN025
Drum & Bass / Dubstep
Released: 24th September 2012
Grab 'Drop It' free from High Maintenance's Facebook page: http://bit.ly/dropitfree
http://www.facebook.com/highmaintenanceuk
http://soundcloud.com/highmaintenancednb
http://www.facebook.com/audiopornrecords
http://soundcloud.com/audiopornrecords
BTK - Drop It (Optiv Remix) - Forthcoming on Dutty Audio
New remix i did of a BTK tune for his label Dutty Audio
Due for release 29th October
http://www.facebook.com/djoptiv
http://twitter.com/optiv
For Bookings contact: tom@gramagency.co.uk
North America: Scott@CyberGrooveProd.com
Released by: Dutty Audio
Release/catalogue number: DAUDIO012
Release date: Oct 29, 2012
High Maintenance - Drop it [FREE DOWNLOAD]
Insane tune from High Maintenance today, which he's giving to help promote his new Never Enough EP on Audio Porn available on the 24th September.
Absolute blinding bit of drumstep, so hold on to your hats when you listen to this bad boy!
Click subscribe to get all the latest free Drum & Bass music.
Like High Maintenance on Facebook to unlock your FREE download 'Drop It':http://bit.ly/dropitfree
**OUT 24th September 2012**
'Never Enough' EP:
1. Never Enough feat. Katie's Ambition
2. Dreaming
3. You Are The One
4. Out Of Reach feat. Katie's Ambition
5. Drop It
High Maintenance on...
Facebook: https://facebook.com/highmaintenanceuk
SoundCloud: http://soundcloud.com/highmaintenancednb
Twitter: https://twitter.com/HighM_uk
Audio Porn on...
Facebook: https://facebook.com/audiopornrecords
Twitter: https://twitter.com/audiopornrecs
SoundCloud: https://soundcloud.com/audiopornrecords
Find Free DnB on...
Facebook: http://www.facebook.com/FreeDnB
Twitter: http://www.twitter.com/Free_DnB
-uploaded in HD at http://www.TunesToTube.com
Friske & Gremlinz - Your Luv (Marcus Visionary Remix)
Label co-founder Marcus Visionary gives "Your Luv" a classic Renegade Hardware/Future Cut edge on his remix. Taking it back to the golden era of DnB with brand new production aimed squarely at the dancefloor.
out Oct 1 2012 worldwide on Inner City Dance
ICD 006
Prolix and MC Coppa Guest Mix - Knowledge Magazine
So Prolix, what have you been up to lately?
As you'd expect, I've been busy in the studio working hard on this EP for Playaz featuring the vocal skills of MC Coppa – it's been worth it though, I'm really pleased with how it's turned out. I've put out collaborations with Klute (Keep It Simple) and Gridlok (Poisonous) and a release on Commercial Suicide (Sawhead / Funkhole). This month a track called The Third Act will be coming out on Break's album for his Symmetry label. I've also been touring – Australia earlier this year and U.S. last year, plus all my gigs in Europe in between. So busy – but busy is good!
Your new EP On Like That is released on Playaz Recordings this month - tell us a bit about the process of making it.
Prolix: Making this EP marked a real evolution in my production. Looking at it as a whole, every song on there is a song with vocals, not a pure instrumental tune. The process for making each song was different. Some were tunes I had already started, which Coppa then worked on vocals for. Others, like 'On Like That' for example, he began as he already had some vocal lines down and I subsequently worked on the beats and bass.
Using vocals in recording to this extent was fairly new to me - aside from the collabs with Gridlok and Fats this was the first time I had properly used vocals in my solo tunes from the raw recording process. It was made a lot easier by the fact Coppa used good quality recording equipment which ultimately meant less processing work to make it sound great and a better result in the end.
MC Coppa: With 'On Like That', which was a vocal idea I had in my mind for a little bit, I spoke to Chris and told him the vision. We took a joint decision to say, OK, let's just go as rowdy and big as possible on the vibe to start our collab off... and he turned out a monster. It just snowballed from there, just got bigger and bigger. I found working with Chris in the studio really pushed the levels up, he's a tough person to please so in turn it raised my game, in the end we fed off of each other's vibe and I was really happy with how the tracks turned out.
Which track stands out as a labour of love for you, the one that took the most time and expertise to create?
Prolix: I'd have to say there were two that stand out. 'On Like That' was complex; it has the most audio parts and my computer was clinging on for dear life at times! Lots of vocals, lots of drums, and even a bit of guitar - I knew I wanted it all in there but actually getting it to work all together was a massive undertaking. 'Shut The Place Down' is the first non drum & bass song I've made for release, so creating it was just different. It went through two kinds of identities; it started off as more of an old-school electronic rock-influenced tune then took on more of a modern sounding electro vibe.
Coppa: It was probably 'Interlace' from a lyrical perspective. I got the beat idea from Chris - it had that timeless classic tech-step vibe to it so it brought out of me what I wanted to say about the experience of drum & bass from the real headz. Although drum & bass is enjoying some mainstream success, there are a lot of people who been following or who have been involved in drum & bass (through thick and thin!) for a long time and who live it, so I really wanted to communicate this vibe through the words.
How did you end up working together? Was this something you had in mind for a long time?
Prolix: I played for a night called Voll Kontakt in Vienna with Coppa last year. I really liked the sound of his voice so after the gig I asked him if he was up for doing something together. Following that gig I sent him what became 'Interlace' and he laid down some strong vocals almost immediately. When things work out like that first time, it spurs you on to do more, after that we got into the studio and made 'On Like That' and the whole EP followed.
Coppa: I've known and respected Chris' music for a long time, he makes the kind of music I like and it's that kind of sound that got me into drum & bass in the first place. Personally I wanted to take that sound and transform it by bringing some more vocal elements to it. I respect Chris' work ethic greatly and his attention to detail and quality, so to work him on this idea was a blessing.
So tell us what the EP is all about, it's a departure from the usual 'sound' we have come to expect from the Playaz camp. What can we expect to hear in the club?
Prolix: I think this EP offers something for everyone. We have a big 'room 1' kind of tune, something more grimey and grooving, a pure tech roller and then something experimental at 110 bpm. Not forgetting Stealth Mode (a free download on DNB Arena) which is more of a minimal step tune. I've pushed my production skills to a new level with these tunes and I feel this is really just the beginning of a lot more to come.
Hype and Pascal have been very supportive of this EP and the opportunity to release it is seriously indicative of the fact that Playaz is open to all kinds of 'sounds'. This has always been the case, just as when they created Ganja Tek to take on my early releases with the label.
Playaz has a reputation for being a jump-up label but this isn't something Hype and Pascal necessarily want. They are into good music, and if its good and they like it, it can be released on Playaz, jump-up or not. They have lots of music forthcoming from diverse artists such as Lynx, Need for Mirrors, Optiv and BTK for example and none of those could be said to be jump-up at all. So when it came to releasing this EP, we knew as long as they were of a high standard it wouldn't be an issue.
Generally they have been encouraging us to try different styles, especially as the drum & bass scene has become so diverse. Look at 'Shut the Place down'– it went straight to number three in the dubstep charts on Trackitdown which was a bit of a shock. It's not Dubstep but it's getting a lot of love and that is great.
Coppa: I hope, as I'm sure Chris does, that this sound will be widely more accessible to people who may think drum & bass is only a certain type of sound. We really wanted to fly the flag and show off the grittier side of drum & bass and music in general that we could both get behind and be proud of.
You've worked together again on a guest mix for Kmag. Tell us a little about it...
Prolix: We decided to record a live mix as opposed to a computer sequenced one. Online mixes these days can sometimes come off a bit clinical when you sequence them with Ableton, it just takes away a bit of the rawness and soul of what you're doing. So much mainstream music is polished and produced and it's great that in drum & bass we still have the freedom to work with music in a more analogue way. I think it's good to do these things as 'live' as possible. Hazard has just done the new Fabric Live CD 'live' and I have big respect for him for that.
Using vocals in recording to this extent was fairly new to me - aside from the collabs with Gridlok and Fats this was the first time I had properly used vocals in my solo tunes from the raw recording process. It was made a lot easier by the fact Coppa used good quality recording equipment which ultimately meant less processing work to make it sound great and a better result in the end.
MC Coppa: With 'On Like That', which was a vocal idea I had in my mind for a little bit, I spoke to Chris and told him the vision. We took a joint decision to say, OK, let's just go as rowdy and big as possible on the vibe to start our collab off... and he turned out a monster. It just snowballed from there, just got bigger and bigger. I found working with Chris in the studio really pushed the levels up, he's a tough person to please so in turn it raised my game, in the end we fed off of each other's vibe and I was really happy with how the tracks turned out.
Which track stands out as a labour of love for you, the one that took the most time and expertise to create?
Prolix: I'd have to say there were two that stand out. 'On Like That' was complex; it has the most audio parts and my computer was clinging on for dear life at times! Lots of vocals, lots of drums, and even a bit of guitar - I knew I wanted it all in there but actually getting it to work all together was a massive undertaking. 'Shut The Place Down' is the first non drum & bass song I've made for release, so creating it was just different. It went through two kinds of identities; it started off as more of an old-school electronic rock-influenced tune then took on more of a modern sounding electro vibe.
Coppa: It was probably 'Interlace' from a lyrical perspective. I got the beat idea from Chris - it had that timeless classic tech-step vibe to it so it brought out of me what I wanted to say about the experience of drum & bass from the real headz. Although drum & bass is enjoying some mainstream success, there are a lot of people who been following or who have been involved in drum & bass (through thick and thin!) for a long time and who live it, so I really wanted to communicate this vibe through the words.
Prolix: I played for a night called Voll Kontakt in Vienna with Coppa last year. I really liked the sound of his voice so after the gig I asked him if he was up for doing something together. Following that gig I sent him what became 'Interlace' and he laid down some strong vocals almost immediately. When things work out like that first time, it spurs you on to do more, after that we got into the studio and made 'On Like That' and the whole EP followed.
Coppa: I've known and respected Chris' music for a long time, he makes the kind of music I like and it's that kind of sound that got me into drum & bass in the first place. Personally I wanted to take that sound and transform it by bringing some more vocal elements to it. I respect Chris' work ethic greatly and his attention to detail and quality, so to work him on this idea was a blessing.
So tell us what the EP is all about, it's a departure from the usual 'sound' we have come to expect from the Playaz camp. What can we expect to hear in the club?
Prolix: I think this EP offers something for everyone. We have a big 'room 1' kind of tune, something more grimey and grooving, a pure tech roller and then something experimental at 110 bpm. Not forgetting Stealth Mode (a free download on DNB Arena) which is more of a minimal step tune. I've pushed my production skills to a new level with these tunes and I feel this is really just the beginning of a lot more to come.
Hype and Pascal have been very supportive of this EP and the opportunity to release it is seriously indicative of the fact that Playaz is open to all kinds of 'sounds'. This has always been the case, just as when they created Ganja Tek to take on my early releases with the label.
Playaz has a reputation for being a jump-up label but this isn't something Hype and Pascal necessarily want. They are into good music, and if its good and they like it, it can be released on Playaz, jump-up or not. They have lots of music forthcoming from diverse artists such as Lynx, Need for Mirrors, Optiv and BTK for example and none of those could be said to be jump-up at all. So when it came to releasing this EP, we knew as long as they were of a high standard it wouldn't be an issue.
Generally they have been encouraging us to try different styles, especially as the drum & bass scene has become so diverse. Look at 'Shut the Place down'– it went straight to number three in the dubstep charts on Trackitdown which was a bit of a shock. It's not Dubstep but it's getting a lot of love and that is great.
Coppa: I hope, as I'm sure Chris does, that this sound will be widely more accessible to people who may think drum & bass is only a certain type of sound. We really wanted to fly the flag and show off the grittier side of drum & bass and music in general that we could both get behind and be proud of.
You've worked together again on a guest mix for Kmag. Tell us a little about it...
Prolix: We decided to record a live mix as opposed to a computer sequenced one. Online mixes these days can sometimes come off a bit clinical when you sequence them with Ableton, it just takes away a bit of the rawness and soul of what you're doing. So much mainstream music is polished and produced and it's great that in drum & bass we still have the freedom to work with music in a more analogue way. I think it's good to do these things as 'live' as possible. Hazard has just done the new Fabric Live CD 'live' and I have big respect for him for that.
Coppa: What I like about Chris is that he's old school. He still mixes his studio mixes live rather than on a computer, so we just played an actual set, which was fun, a one-take tear-out, which is rare nowadays. Then I did some watermarks over the top.
What's next?
Prolix: We're going on tour to promote the EP in a live capacity, the show includes some live PAs of the EP tracks and also more exclusive forthcoming material we are working on. You can catch us performing together at Playaz, Room One at Fabric on October 26th. And of course, we're both doing our solo shows as normal. It's going to be a crazy time, but I'll still be spending every other possible minute in the studio on the beats. Watch this space for more Prolix and MC Coppa joints too!
Words: Yim Wong
Bookings: bookings@trendkillrecords.com
Download the On Like That EP here
Download Prolix and MC Coppa's guest mix here
What's next?
Prolix: We're going on tour to promote the EP in a live capacity, the show includes some live PAs of the EP tracks and also more exclusive forthcoming material we are working on. You can catch us performing together at Playaz, Room One at Fabric on October 26th. And of course, we're both doing our solo shows as normal. It's going to be a crazy time, but I'll still be spending every other possible minute in the studio on the beats. Watch this space for more Prolix and MC Coppa joints too!
Words: Yim Wong
Bookings: bookings@trendkillrecords.com
Download the On Like That EP here
Download Prolix and MC Coppa's guest mix here
Kyrist - Revolt (Gremlinz' Szechuan Chicken Relick) forthcoming - SYZ001
My rendition of "Revolt" by Kyrist for the first Syrenz release.
[LIVE]FilthFM-9.12.12-Womp Wednesdays with MikeSkillZ
The Deep, Dark, Medi side of Mike SkillZ...Sub bass Biz, CHECK IT OUT !!
www.facebook.com/djmikeskillz
www.Filth.fm
www.CybergrooveAM.com
Task Horizon Interview - Knowledge Mag
While you guys have been on a solid run since your first release eight years ago, there seems to be a resurgence in output and attention in the past year. Have you found a new source of inspiration?
It's not so much a source of inspiration, as in things flowing into us, but rather a much craved for channel for things to be able to flow out of us. And it's not something we've found, it's something we've actively created ourselves.
Obviously we're talking about our recently founded label Evolution Chamber here. Inspiration has never been a problem for us anyway, except that we mostly have too much of it and don't know what to do with all the stuff it generates. Evolution Chamber has started to change all that. It has given us a focal point and strengthened our sense of purpose. As always, when your inner world changes, so does the outer.
Speaking of which, talk a bit about how the label came together and clue us in as to what kind of vibe should we be expecting on future releases.
We founded Evolution Chamber because we were fed up with waiting for label people who kept saying big things to actually come forth and do them. We don't blame anyone, the music business is hard and some of those people were well-meaning. But after two years of empty promises, letdowns and, yes, even rip-offs, we simply had enough and said 'Fuck this, let's do it ourselves!'
The big exception was Optiv from Cause 4 Concern, who during the same period not only signed 'Letting Go' and 'Kill The Pain' to his label in the coolest fashion, but also gave us real support and first-hand business advice when we began setting up Evolution Chamber. We can't say enough good things about this guy. He should be a role model for the entire scene.
In terms of future releases, we can only say that our back catalogue of unreleased material is huge, and musically it's way more diverse than some folks might think or perhaps even like. We don't care. Some style-Nazis sneered because 'Da Vibe' drops into hard drumstep after a liquid-style vocal theme, but they are disproved every time we play it because crowds go totally ballistic, and it's topping out on our sales charts.
All of which to us is a ringing endorsement to stay exactly on our course. Popular styles are formed by good music, not the other way around. We are only interested in the latter and that's what we intend to deliver on Evolution Chamber in future. We think we did a good start already.
Purists no doubt see this as another sign of dubstep diluting the d&b sound. What's your take on dubstep and its influence on the scene, and where do you see drumstep fitting in?
We love dubstep. Folks can hate us now, but personally we appreciate that it's popular. We feel that it has helped the popularity of drum & bass quite a bit thanks to drumstep which fits right in the middle - one of those happy accidents no one could have foreseen.
But on the bottom line, drum & bass, drumstep and dubstep are simply styles to us, each with their own specific musical syntax. We draw upon them mostly out of pure musical necessity, not because they happen to be popular. Of course, we are aware that they are popular and are grateful for this, because it means that we can express ourselves in a way that we like, and which hopefully has some kind of social relevance. As mentioned before, we didn't let 'Da Vibe' drop into drumstep for its own sake, but because that was the only way to make a track with a very strong 90s liquid flavor drop convincingly in 2012.
Musically, we see drumstep as a logical step in the ongoing quest of achieving ever more sonic power. In drum & bass, things seemed to have reached an impasse where you just couldn't get any more acoustic energy without drowning the mix. But the half-time feel of drumstep opens up a lot of space for bigger sounds and also leaves more room for vocals to do their thing, which isn't much of a new concept if you think of it; drumstep is just 60s rock, played by silicon aliens in 2012.
Both bits on this release feature Rina and MC Spyda - talk a bit about the Swiss connection and how you see that playing out in the debut of the imprint. Is there a deeper meaning here or was it just one of those things that came together at the right time?
It's one of those things that just came together in an unforced way, like all really good things in life do. A friend of ours established the connection with MC Spyda and we clicked right away. We wanted to work with him as an artist and not just use his name and reputation as a springboard. So there has always been this pervading atmosphere of mutual respect, trust and friendship, which has led to a wonderful and productive collaboration.
Rina is a vocalist living in our neighborhood, and a good friend of ours. She's always just a phone call away whenever we have a spontaneous idea for a female vocal part, even late at night, and we really appreciate that. She's part of the Task Horizon family.
'Cobra Khan' has that classic Task Horizon flavour - talk a bit about how this one came together.
It's very hard to answer this one because we honestly don't know what that "classic Task Horizon flavour" is! The question runs deep. On the one side you have luddites who think that technology is only a subservient tool, and the artist comes up with his ideas totally independent of it. Marshall McLuhan debunked those guys fifty years ago.
And, on the other hand you have technophiles who, barren of ideas, are secretly hoping for the 'make hit tune' function in their music software. It's all bull. To us, the beauty of cutting-edge electronic music is that it is this magic dance of the human mind with his technology, where it often is impossible to say who is leading.
This is especially prominent in our instrumental tracks where there are no vocals that could interfere. So you might start out with a certain atmosphere in your mind which you intend to convey, but the machine plays something back at you that's perhaps little different, and you take the bait. And thus begins the dance with the machine and you end up with something which you could never have imagined, but still is something that you have created, because the machine obviously doesn't create.
That's why it's so hard to answer this question directly. 'Inspiration' is the wrong word anyway. It's mostly an act of discovery. We never know where we're going. But strangely we always know when we have arrived. We know this sounds weird, but music producers can probably relate.
What else should we be looking for in the coming year? Any plans to bang out a proper LP?
MC Spyda was in our studio two weeks ago and wrote and recorded three new songs in seven hours -a real pro. We also still have other unreleased material from him, so he is definitely going to be featured a lot in future. We've even started talking about playing live one day, although the technical details obviously still need to be hammered out.
The next label release is also in the works, and the idea of an album is something that is slowly germinating in our minds too. Last but not least we have forthcoming material on C4C and Dissected Culture. So yes, all of this is happening, for sure. Prepare for the storm that gathers here.
Words: Chris Muniz
Justin Martin - Ghettos & Gardens Remixes Vol. 1 [Preview] - CHECK THE BACHELORS OF SCIENCE REMIX :l
Justin Martin - Ghettos & Gardens Remixes Vol. 1
Available on Beatport: 10/3/12
Available Worldwide: 10/16/12
Fresh off the release of the critically-acclaimed Ghettos & Gardens album, dirtybird and Justin Martin are proud to present Ghettos & Gardens Remixes Vol. 1. Featuring remixes of the album's lead singles "Ghettos & Gardens", "Don't Go" as well as "The Gurner" feat. PillowTalk, "Molokini", and "Riding Spaceships". Justin has asked Dusky, Danny Daze, Bachelors Of Science as well as label mates Catz 'n Dogz, French Fries, and Ardalan to all contribute. Each remix is thoughtfully produced, dynamically diverting from the original production. To start things off, Dusky brings the house down with their version of "Don't Go" while Danny Daze twists the vocals of PillowTalk with deep chords and an acid bassline on "The Gurner". Catz 'n Dogz do what they do best providing "Butterflies" with blissful dance floor punch, French Fries drops the heavy bass in his "Molokini" remix and Ardalan's remix of "Riding Spaceships" drops liquid in your ear drums. Last but not least, the Bachelors Of Science give us their drum & bass interpretation of "Ghettos & Gardens" which is surely not to be missed. Stay tuned for Ghettos & Gardens Vol. 2 featuring remixes from ...?
Released by: dirtybird
Release/catalogue number: DB079
Release date: Oct 16, 2012
Monday, September 3, 2012
Feel It - Tripwave f. SW@T (Toronto Is Broken Remix Radio Edit) [OFFICIAL MUSIC VIDEO]
http://www.djswat.com - SW@T
http://www.facebook.com/sexywomanattechs
http://tripwave.tk/ - Tripwave
Buy tune on beatport.com TODAY: http://www.beatport.com/#release/feel-it/961479
Breakz R Boss on beatport: http://www.beatport.com/#label/breakz-r-boss-records/17514
Film Crew
Director/Producer: Cory Quinn
Cinematographer/A-Cam: Aaron Zeghers
Steadicam Operator: Josh Marr
Camera Assistant: Devon Unrau
Assistant Director: Puneet Chawla
Production Assistant: Tony Zhang
Data Manager: Jorge Deras-Soto
Data Manager: Paul Bell
Executive producer: D.Friesen
Music
Music producer: Tim Woodman
Vocals: D.Friesen
Remix: Toronto is Broken
Label: Breakz R Boss
Editor
Editor: Ryan Simmons
Behind the scene photographers
Jazer Maco
Aaron Kostuik
Actors
Jennifer Genest
Susan Labongo
Rebecca Thieu
Marycel Tamayo
Holly Hui
Lead Actors: Tripwave & SW@T
Hair & Makeup
Marycel Tamayo (Élan Hair Studio) 156 Sherbrook St.
Holly Hui (Élan Hair Studio) 156 Sherbrook St.
Special Thank you to the Canadinns Tavern United Downtown for letting us film on their beautiful roof-top patio.
EshOne – Galaxy Bowling EP [MC Exclusive]
EshOne – Galaxy Bowling EP [MC Exclusive]
http://mediacontender.com/2012/07/10/eshone/ < Source
I recently caught up with San Diego / New Mexico based producerEshOne after his well-received show at SMOG Sundays a few weeks ago, and after an in depth interview came to the conclusion that we’re going to shake things up a bit and do something different. Enter the Galaxy Bowling EP. That’s correct; not one song up for grabs through Media Contender, an entire EP available exclusively for download right here.
★ ★ ★ ESHONE – GALAXY BOWLING EP ★ ★ ★
Galaxy Bowling ventures through four tracks exploring the deeper, darker realm of dubstep, each has a rather menacing edge that coherently delivers a perhaps a more grinding and slamming venture from what we’ve seen thus far with EshOne. All together a strong effort from the budding producer and something we at Media Contender are proud to be presenting. After an extensive interview with Donnie just this past week, we gained a ton of insight into his history and style, a lot of which go hand-in-hand with appreciating the direction of Galaxy Bowling. Huge round of applause!
Hi Donnie! How are you doing? What have you been up to this week?
Hi Laura! I am well, thank you. I’ve just been planning out what to do with the rest of the summer. Juggling going back and forth between my ranch in northern New Mexico, Albuquerque, San Diego, and Los Angeles for the past six months between gigs has been a challenge, I feel like I’ve been traveling and working on music non-stop for months. I guess I have.
Give us a little history about your venture into the music scene.
I was still living in Albuquerque when I was first introduced to electronic music in a live DJ setting. I developed an obsession with turntables, vinyl records, and Drum & Bass. When I moved home to San Diego about eight years ago, I jumped right into the DnB scene, which was also when I realized that you had to make your own beats to stand out as a DJ. Vinyl records were still the popular format, and since not many people had exclusives, so I decided to make my own. I got over the way dnb was heading sound-wise, I just started to make what I wanted to hear… what I thought was dubstep at the time. I wanted to DJ more, so Joe Nice recommended I speak with Oscar at Turnstyle Records, and I started cutting dubs. I began collaborating and hosting my own shows, as well as ran a website that kept tabs on dubstep events in the area. Outside of San Diego, working with Big Up Magazine gave me the opportunity to meet and to interview some of my favorite artists, such as El-B and Silkie. I’ve been lucky enough to swap unreleased tracks with a lot of the artists I’ve met along the way, and a good portion of them have really shaped my sound. Lately, I’ve been working on building Elk Beats, working with Miguel (of Accent Creative) and Dataset Clothing, and of course Drew and the SMOG crew have been a huge part in helping me get my sounds out.
OK, so your label Elk Beats… how did that start? What’s your mission with the label?
I started the label with my friend Aaron Zimmermann (Misk) to get our tunes out to people, kind of in a wholesale sort of way. While exploring distribution options, I just thought it was gross having to pay someone a hefty fee just to put a digital file into digital shops. I get a lot of real feedback about Elk Beats from the people who support us, and it’s just rad to have that connection with people. That’s what it’s all about. We originally wanted an all vinyl label, but we make so much music, it’s really not practical. So we put only our best tracks out on Elk Beats, and hopefully those sales will raise enough cash to put the best of the best, our absolute raddest work, out on limited edition vinyl. Or tape. Or whatever. All of the label’s proceeds just go back into the label… We’re just feeding it and watching it grow. We have a couple new artists now, so I’m excited to see what happens.
You’ve got a history of experience with dubplates as well. What is the importance of dubplates to you?
When I learned to DJ, I felt that vinyl was the only acceptable way to play tunes for a crowd. I guess as someone who makes music with this mindset, the next step is to get your tune cut, and try it out in the club. At first, it was cheaper to cut a few tunes to play in a vinyl set than to buy some sort of laptop interface or CDJs, so I did. I got addicted. I have cut almost every tune I have finished in the last 3 or 4 years, and loads of them from other musicians I know. I have always loved the way dubplates sounded on most club systems. The warm bass, punchy kicks and snares, even the crackle and sizzle at the beginning of each cut. I’ll always cut my own music to dubs, even if it’s just to have a laugh when I play them decades later. Also, fresh cut acetate has a smell that is as unforgettable as ultra-flat black Krylon, or new electronic equipment, it’s a thrill just to have it in your hands.
What’s one piece of DJ or studio equipment you wish existed?
An Easy-Bake Dubplate Oven. Can you imagine a kit with discs you can cut or etch your sound into on a small home lathe or printer real quick and then reset it back to a flat disc for the next show? Like in the oven? How sick would that be? I find that I’m most productive right before shows, so planning ahead for production and shipping time is the worst part of cutting dubs. Plus that shit’s expensive.
If you could have anyone in the world remix an original EshOne track, who would it be?
Boards of Canada. It would be amazing!
Tell us a little bit about the EP you’ve made, the inspiration behind it, etc:
The overall style on these might seem a little aggressive compared to what I normally make and play. My guess is that being out in New Mexico and not being able to see the music I want is really affecting me. In a positive way. I’m getting a lot more outside and real influence into the music I’m making, and it’s getting weird. I’m just making stuff I want to play. My good friend Miguel at Accent Creative (also creator of Dataset) has also done some amazing artwork. We’re both obsessed with The Big Lebowski, and I’m hoping people will get the visual reference.
What does the future look like for EshOne?
I’m putting more energy into Elk Beats than ever before. I’m subconsciously working on an album right now, and talking to some other potential labels about releasing it. Dataset Clothing is a big project that I’m very excited to be involved in; I grew up skateboarding, so the idea of having a team and creating a presence that inspires people and pushes people to go harder is something I’m very into.
My workflow has also been changing. I’m making a lot of music for specific occasions. For example, at the last Smog Sundays I played, my whole intro and a handful of tracks were made specifically for that show. I’m starting to build on the idea of every performance being special. I’ll be honest, being able to change my tracks around last minute and play the freshest version has had me experimenting with playing CDs at my last few shows.
As far as the very near future, I’m pushing buttons and prepping for the next Dub Smugglers. I believe it to be the best dubstep event in San Diego, and Sublmnl Sound System’s events at Kava Lounge have always been the most fun party to experience. This time they are hosting Coki of Digital Mystikz, so I’m sure it’s going to be an historic occasion for San Diego.
Free Downloads | DJ 2RIP | At Night & Spiders
FREE DOWNLOAD LINK: http://soundcloud.com/dj2rip/shakedown-mousse-t-at-night
Get more free downloads at www.soundcloud.com/dj2rip
Connect on Facebook: www.facebook.com/thedj2rip
DOWNLOAD THIS TRACK FOR FREE HERE:
http://soundcloud.com/dj2rip/system-of-a-down-spiders-2rip
Get more free downloads at www.soundcloud.com/dj2rip
Connect on Facebook: www.facebook.com/thedj2rip
DOWNLOAD THIS TRACK FOR FREE HERE:
http://soundcloud.com/dj2rip/system-of-a-down-spiders-2rip
Subscribe to:
Posts (Atom)
