All Samples used in your song must be clear of copyright.
Submit your remix via EMAIL as a 320K mp3 file to remixmicpet[at]dalycityrecords.com
Winner will be chosen by Mochipet, Chris De Luca vs. Phon.o, Darko, DJ C, Jahcoozi, Machine Drum, etc…
We will need a WAV/AIFF from the winner for mastering.
If you win, your remix will be pressed on to a 12″ with other remixes by: Chris De Luca vs. Phon.o, Darko/Spankrock, DJ C, Jahcoozi, Machine Drum, and more… good luck and have fun
Wicked ragga vocalist Zulu comes together with dance-floor dominator DJ C to activate a next level blend of dancehall, dubstep, club and all around party music.
Although the Gods & Robots Mixtapehas already been released, the awesome remixes continue coming in. We’re gonna share a couple of them with you over the next few days in anticipation of the Gods & Robots album coming out in the Mashit MP3 download shop next Tuesday, May 13.
This remix of Body Work is by Sabbo from Tel Aviv, Israel. He’s got a tune on the Mixtape too. Check it:
Thnk ahead just 50 years, perhaps, to the day when everyone will appreciate the nuances of electronic music”
… dreaming of a future sound-scape of London”
-What The Future Sounded Like
Electronic music pioneers in the mid 20th century invented the tools that are now so ubiquitous that they have a profound effect on the sound pop music today. This short documentary on London’s EMS (Electronic Music Studios) presents an informative overview of developments durring the post-WWII era and beyond.
Since writing that last post about lazer-bass it’s become clear that there are a number of names being tossed around for the emerging genre of dancehall, hip-hop, club influenced, gritty-BASS infused dance music. Here’s the question we pose to you. What u call it?
I was reading the New Yorker this week and came across an article by Sasha Frere-Jones in which he coined the term “lazer bass” to describe the music of Montreal-based party crew Megasoid. Ghislain Poirier used to call the genre “big asshole bass” or “big ass bass.” accurate descriptions but less likely to fly as an official term than lazer-bass.
He says lazer-bass is “a loose affiliation of musicians in California, Montreal, and Glasgow.” That seems true, but I would argue that the affiliation goes far beyond the 3 locals mentioned.
Vancouver, BC for example; check out the track She Lives in San Fransisco on the Myspace player of Max Ulis. He, along with Taal Mala and the Lighta Sound crew, has been rokin’ the sound for a while now. Meanwhile, over in Vienna there’s Stereotyp. He and the Al Haca posse kick out the big-dirty-bass riddims as well. Let’s not forget Philly’s Starkey supplying nuff bass hugeness. Then, across the pond there’s Toddla T outta Shefield U.K.. Down south in Austin, TX there’s Bird Perterson. And further down south in Caracas, Venezuela Pacheko and Cardopusher are shooting serious blasts of bass. There are many more in other parts of the world too.
Clearly some of these artist’s tunes could be said to fall into genres like dubstep, bloghouse, nu-dancehall, etc., but what ties them all together is what Sasha describes as “Menacing, bass-heavy productions with layers of electronic noise.”
One thing’s for sure; the Megasoid Thank Thong remix tape that Sasha advocates is awesome, so I’m reposting it here:
Last February, when we posted a bunch of Zulu’s a-capellas here and challenged folks to “download - remix - upload” we had no idea we’d get back so many dope tracks, but we did and many of them are featured in this 31-track, 1-hour continuos DJ C mix of Zulu’s vocals backed by hype party tracks from producers the world over. Guest vocal appearances by Aceyalone, Jah Orah, and Onili, round out the productions by artists like Ghislain Poirier, David Last, Sabbo, and many others.
Stay tuned for the DJ C & Zulu Gods & Robots album featuring many of the tracks on this mix. It’ll be released in the Mashit Shop on Tuesday, May 13 and soon after that will be available at iTunes, eMusic, Napster, Rhapsody and all the other usual suspects.
The dynamic duo of DJ C and MC Zulu hook up again for another rugged bashment squeeze on ‘Darling’. The title cut tracks a similar route to their killer ‘body work’ riddim, rolling on the same mid paced bashment tempo but this time adding a rude grinding electro riff and industrial cowbell to rough it up some more in vocal and instrumental versions. Ghislain Poirier steps in on remix duties, adding a much needed slab of bottom end pressure and tweaking the rhythm with subtle phasing and flanging for a future bashment effect. Rugged rudeboy bizzle - KILLER twelve.
Next Tuesday, April 29, 2008, get ready for the Gods & Robots Mixtape; a 31-track, 1-hour continuos DJ C mix of Zulu’s vocals backed by hype party tracks from producers the world over (Argentina, Belgium, Canada, England, Israel, Portugal, and cities across the U.S. are all represented). Guest vocal appearances by Los Angeles rappers Aceyalone and Jah Orah, plus Tel Aviv singer Onili, round out the productions by artists like Montreal’s Ghislain Poirier, Brooklyn’s David Last, Tel Aviv’s Sabbo, and many others.
Then: DJ C & Zulu Gods & Robots Album
The mixtape will be followed by the DJ C & Zulu Gods & Robots album featuring a number of their vinyl singles, which have continually sold out of the shops and have been getting heavy rotation from party DJs the world over. Add to that four brand new, previously unreleased tracks plus remixes by Ghislain Poirier and Chrissy Murderbot, and you’ve got Gods & Robots. It’ll be released in the Mashit shop on May 13, ‘08 and soon after that will be available at iTunes, eMusic, Napster, Rhapsody and all the other usual suspects.
This was a #5 hit, and a #1 dance hit in the U.S. in 1993. Is it just me, or is she a little flat on some of those notes? That’s a whole other topic. The point here is that there was another top 10 hit in the U.S. 4 years later, also called Show Me Love and also by someone called Robyn (different spelling but…). This one was #7 on the U.S. charts in 1997:
Can anyone fill me in on how this happened? Did the Swedish pop singer Robyn know that the Queens, NY-based house diva of virtually the same name had a hit by the exact same name only 4 years earlier?
Moving on: According to an article in Wired magazine comparing Robyn and Britney:
Imagine, if you will, a parallel universe where a pretty blonde pop star can actually carry a tune, writes her own songs, and frets over artistic integrity. In this universe, when her record company demands more hits, she tells them to shove it and starts her own label. There’s no making out with Madonna, no messy divorce, no custody battle, no 5150. Instead there’s bankable talent and a credible, long-arc career. In other words, it’s the anti-Britney Spears. Meet Robyn, the 28-year-old Swedish singer whose latest U.S. release drops in April. In the mid-’90s, both were courted by the same big label to be molded into the Next Big Thing: Robyn said no. Britney said yes. It was the first choice of many… that would lead one to hipster stardom and the other to madness.
Fast forward to 2007:
Robyn; Konichiwa Bitches
Hmm! Notice in the beginning when she’s trying to tell the monkey what beat he should play, she goes “uh uh … ih … uh uh … ih”? Kinda reminds me of this one from ‘03:
M.I.A.; Galang
That’s really just a reggaeton riddim innit? Perhaps the one Robyn was beatboxing in her video is more of a classic dancehall beat but Konichiwa Bitches reminds me of M.I.A.’s work in general.
The Galang video in turn reminds me of another classic (#3 on the U.S. charts in 1988):
Neneh Cherry; Buffalo Stance
Since M.I.A. hit the scene it seems to me that more than a few “blond pop stars” have become rappers:
Gwen Stefani; Hollaback Girl
And:
Fergie; London Bridge
And yup, even Britney herself is a rapper now. What’s more interesting about the tune in the video below though, is the “wub” bassline so popular in underground genres such as dubstep these days:
Britney Spears; Freakshow
Yeah, I would say that track is pretty hot. Not sayin’ Britney’s hot, just the track. It’s produced by Bloodshy & Avant who also produced Britney’s bollywood-inspired hit single, Toxic a few years ago:
Britney Spears: Toxic
I can’t end this piece without mentioning that the Queen of Pop herself, Madonna, has now entered the fold. She’s not exactly rapping but the producer of this track, Timbaland kind of is:
Madonna; 4 Minutes
Both the track and the video kind of blow (what is this, a move soundtrack or something?!). I realize it’s excruciating to watch, but the best part’s actually at the very end when Timbaland’s beats get stripped down to their classic rawness (Oh Timba, what happened! heyy!)
Lets end this on a positive note, going back to the old-school, or at least the golden-age, before M.I.A., before Robin S., even before Neneh Cherry, to a time when rappers rarely had blond hair unless it was bleached — 1986:
Chapel Hill, NC-based Apple Juce Kid sent me his remix of Van Halen’s 1984 classic Jump a while back. He said I should feel free to re-remix it if I felt so inclined so I did. Well, actually I didn’t do much to it but lay the Supremes You Keep Me Hangin’ On acapella on top. Here’s what it sounds like:
The Apple Juce Kid isn’t your run-of-the-mill, Myspace-havin’, bedroom mashup DJ. He’s an accomplished drummer and producer who’s been winning beat battles from coast to coast:
Apple Juce Kid at a beat battle in NYC
He and Suede from Camp Lo also have a group called Freebass 808 who’ve been pumpin’ some heat too:
Freebass 808 live
I highly recommend his version of Clocks by Coldplay which completely kicks ass on the original. It’s available as a free download at HisSpace ->
Remix tracks from Mochipet’s Microphonepet album and you just might end up on a big-old slab o vinyl.
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I was reading the New Yorker this week and came across an article by Sasha Frere-Jones in which he coined the term “lazer bass” to describe the music of Montreal-based party crew 
nu-dancehall, etc., but what ties them all together is what Sasha describes as “Menacing, bass-heavy productions with layers of electronic noise.”
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