Ripley recently put together this mix of dance-floor mashers called To The Party Members which we present here in order to wet your appetite for what’s sure to be a party no members will forget.
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.
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 continuous 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.
I made this for last month’s Samurai.fm mix and now I’d like to share it with y’all here. Check the tracklist below for lots-a juicy links to more info about the artists, tracks, and labels.
Also note the tracks Dear John and Exhibition Virtues (Hardcore Tonight Remix) which is featured on the DJ C & Zulu album, Gods & Robots.
Last month I DJed the Sublow Bounce party in Milwaukee. It was a blast and the kind folks who put it together also recorded my set. I’m not sure weather I should be happy about that or not ’cause it features drunken mixing and Serato glitching when folks were jumping up and down on the wood floors of the barn-like club. The fact that folks were jumping though suggests that in their drunken state they thought the mix was good. The moral of the story is get drunk and listen to this mix.
Our friends El Kano from London’s Adverse Camber crew and Hanuman of Bristol’s Monkey Steak have faced off in the ultimate sound-crash and below you can hear the outcome: 50 minutes of global wreckage for your sound-system.
once you’ve consumed this mix make sure to check out some of the other wicked mixes by these two:
My friends over at The Echo Nest have done it again. This time they’ve got a wacky new web 2.0 music app called “This Is My Jam.” It’s still in beta, actually I think it may still be in alpha but they’ve given me the go ahead to share it with y’all.
Here’s how it works: Use the search box to find music you like and then drag favorite tracks into your “jam.” Once you’ve got a bunch of tunes lined up, hit the button and the app makes a beat-matched mix of the tunes you selected. That’s right, the internets can now beat-match! Bye bye DJs? Well, maybe not yet. The mixing is far from perfect, but check it out, there are actually some interesting blends. Here’s one of my “jams”:
If that amazing mix has got you just begging for more you can check out my other jams too. And while you’re there why not sign up to make your own jams and socialize by befriending other folks who’s jams you like. You can even subscribe to RSS feeds of people’s jams.There are obviously some kinks to work out of the system still but I’m excited to see where this thing goes. If you do go try it out I’m sure the Echo Nester’s would appreciate your feedback.
This is crunkstep if I ever heard it. Houston, TX based Squincy Jones is on that screwed-dubstep-nintendo shit that you’ve heard in your dreams but you didn’t consciously realize existed yet.
In his words:
I worked on this bad jackson for about 2-3 weeks. I had a couple beta versions I worked on and slowly kept adding to it. I’m very proud of it. It combines three of the raddest things to ever happen to music.
Back in the mid ’90s I used to go to parties where the Beyond the QE2 crew would be throwing down, and they’d always play an inspiring mix of IDM, techno, jungle, house, rave, etc, in addition to a new sound out of Baltimore that they called Baltimore breaks.
I loved this Baltimore sound and couldn’t understand why it was impossible to find the records they were playing. As it turned out Tim Haslett was getting them directly from the sources in Baltimore and the QE2 crew were buying them all out before they even hit the shelves at Boston Beat. None the less, those shelves were stocked with the freshest electronic-dance-music in the land, as were the shelves at Biscuithead, Other Music and whichever other shops Tim worked at. That Baltimore sound is of course what went on to become known as B-more club which only finally blew up over the past few years. Tim knew it was good then and I thank him for bringing the sound to Boston.
I used to go to Other Music when Tim was a buyer there and he always loved chatting about music. He’d tell me which his favorite recent Breakcore releases were, and then go on about productions by the Neptunes, practically in the same sentence. His knowledge was so deep. I hadn’t seen him in quite a while but was very saddened to hear that he passed away last week. I’ll always remember him as a music luminary with an ear to the deep underground and a knack for shining light on sounds that were otherwise difficult to uncover. This one’s for you, Tim.
Once upon a time a crew of Boston rhythm scientists spent months locked away in the labs developing fresh beat formulas especially for the dance-floor. The outcome of their experiments is a new fusion of sounds influenced by dubstep, Baltimore club, German techno, reggae and more.
Recently, [DJ C and DJ Flack] were among the artists featured on the (((Re:Sounnd))) compilation, coinciding with a gallery exhibition that studied the links between outlaw soundsystems and the creation of indigenous electronic music scenes from Jamaica to detroit to the UK. That comp was the debut of ‘Boston Bounce’ — think Baltimore club with a triplet swing beat thrown in — created… as Boston’s own local contribution to that pantheon.
- The Fader
You may have heard some of DJ C’s Boston bounce tracks, like his remix of M.I.A.’s U.R.A.Q.T. on her Galang ‘05 single (XL Recordings), or his productions with Zulu for the Death$ucker and Community Library labels. But here for the first time is a compilation that brings together 14 bouncy bangers from various Boston beat maestros that are sure to feed your need for that next level.
The album is exclusively available in the Mashit MP3 download shop, in high quality 320kb MP3 format, and it’s properly tagged including BPM info for those DJs among you. Buying the full album saves a few bucks — get all 14 tracks for only $8.99, plus get the fabulous cover-art by Caracas, Venezuela-based Inkcore.
TimeOut Chi: "At the crossroads of the genre-blending, digital-remix and bouncing-bass-obsessed international DJ scene" http://bit.ly/tocTwitter ->4 hours ago
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