[youtube]http://www.youtube.com/watch?v=DrVmEQIsWmw[/youtube]Boom! The first episode of Dutty Artz Television (aka DATV#001) lands with a bang and crash.

Check out the DA family repping at NYC’s original and best dubstep night Dub War. DJ /Rupture, Geko Jones and Jahdan pon mic. It was a wicked night, the sound was booming, the vibes were strong and Rupture dropped a whole bunch of exxxclusive Dutty material including a bunch of tunes by myself. Check the video and watch my Can’t Breathe Remix fuck up the place when it drops. Starting the episode is new producer Cauto from Barcelona’s Bona Vida another BIG tune that will be out very soon, along with the Can’t Breathe Remix on our first release DA00 DUTTY REMIX ZERO 12″.

Shout out to Dave Q from Dub War, we did a great interview but the sound didn’t come thru, we’ll get you next time fam. Shouts to everyone who was in the building: Elliel and 3rd Rayl from Funkworthy Sound, Human, DJ Child from PGM, Twin Sounds, Star Eyes from T&B, Secret Agent Gel, NRON, Lamin, First City Crew and all the ravers raving!

Watch this space and our new YouTube channel for further episodes and updates, upcoming features include our own NYC Street Fashion coverage and Cooking with the Family, a segment where we watch our musician friends cook their favorite dishes.

Available in both downloadable Podcast and YouTube formats. iTunes compatibility coming soon (fuck apple).

Podcast:

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The RIAA has done gone lost their minds.

RIAA LINER NOTES

Not really, actually I got this from Boing Boing. Still, you believed me for a sec didn’t you?

The music industry is flopping, gasping, dying. I will be loudly drunk wearing a party hat at and stained hawaiian shirt at the funeral.

David Byrne has some smart things to say about it at Wired. Yes, I know, another post of content boosting, but substantive blogging is hard work. More real content, for those of you who like that, very soon.

Also, we got a mailing list! Sign up and we will send you tasty spam, that you want to read, I swear.

DUTTY ARTZ

Our first release, DA00, a 12″, is at the plant and will release soon. Listen to short clips of 3 out of 4 of the tracks over at the brand new Dutty Artz myspace page. More infos as we get closer to street date.

Also a new tune with 77Klash and the original dancehall legend Mr. Buddybye himself Johhny Osbourne over my production the Mad Again riddim can be heard on my own myspace page. It’s making waves in the dancehall right now, expect a release in early 2008.

In other news I’ve been meaning to put a note up here about my boy Alex, at Sound-Ink, the label that released my album Pale Fire. He read my diatribe against labels, distributors, etc getting in between me and my personal expression, and took it personally. I’ve since cleared it up with him but I’d just like to make it clear on the public record here that Sound-Ink was fine and they are not who I was talking about. Who was I talking about? Get a copy of my discography and play detective.

mobb deep purple vision

I remember the first time I heard slowed down, or screwed music. I
was in an old lincoln towncar, driving through Orlando, FL with a dude
named Cleon. It was hot as hell, and me and some guys from NY were
down there shooting a no budget gangster flick. We shot in the hotel
we were sleeping two to a bed in and used real guns for ‘props’.
Driving around during the day in the heat Cleon would play these
slowed down CDs that this dude Pookie Duke (who was also acting in the
film) would make using a cassette machine and a CD burner. Anything
was fair game, erika badu (sounding like a man talking about tyrone
slowed down, yikes), michael jackson, and lots and lots of southern
rap that I had never heard of. Usually just bare drum machine beats
and people saying violence. Slowed down, high out of my mind as I was
most of that week, in that heat, it sounded absolutely satanic. I
asked Cleon about it and he explained: “Well, during the day, when
you’re driving, you listen to the slowed down one. Then at night at
the club you listen to the fast one. But boy, if that DJ in the club
played the slowed down, he would have a riot. People would just get
TOO crunk.” I went to that club (still cant remember the name) and I
could see what he meant. Certain songs couldn’t get played halfway
through, even at regular speed. People would get too hype and start
fighting. Sort of like grime raves in the UK, and why they banned
“Pow”. But after hearing that stuff, and how demonic it was, I
couldn’t get the slowed down idea out of my head. Afterwards I
learned about DJ Screw and the whole codeinated Houston slowed down
scene, and got pretty into that. My two favorite from that style if
you’re looking for something to check are the S.L.A.B. – The Anthem
album slowed down, and David Banner’s first album slowed down by Michael 5000 Watts (jpeg on link is wrong but tracklist is right).

The slowed down hook has now become a staple of American commercial
rap, and lately some American Dubstep producers have started using
slowed down voices in their tracks too. I was out at Dub War and
heard some of these played and decided to make one of my own. I
picked one of my most favorite songs of all time, Mobb Deep’s “Shook
Ones”. I originally just wanted to use the acapella phrase that my track starts with.

“I’m only 19 but my mind is old and when things get for real my warm
heart turns cold”

I was gonna take that, make that a hook and give it to one of my 19
year old grime mc friends in London. But then I got bored with that
idea and felt that the drop wasn’t quite hard or deep enough and just
decided to sample the whole chorus, slowed down, with the beat in
there, and give the track a bit more of a opiated houston vibe. The results
are here, in 320 mp3 format.

Download it, play it, voice on it, do whatever you want with it.

It’s a big bait illegal sample so you’ll have a hard time making money with it, plus I just don’t care that much.

Lately I’ve been pretty down on the whole music industry, and
especially making money inside it. It’s kind of pathetic. Some
people I know fight and struggle so hard to make a living from music,
and I did that for a few years too. Now that I’m back in NYC though I
make non-music money, and it’s so easy compared to music it’s like a
bad joke. And because I’m not putting economic pressure on my music,
I’ve been enjoying making music again. It’s kind of a fucked up. The
most fucked up part about it is, considering the amount of money most
people I know make selling copies of their music (cd, vinyl, mp3,
whatever), it’s basically not even worth it. The only money worth
making is performance money, and the occasional license to TV or a
video game, and for those reasons it may actually turn out that giving
away all your music for free on the internet will actually make you
MORE money. Hopefully the whole industry will collapse in one final
fit of coked up executive self-defeatery very soon and we, the
artists, will be able to figure out some new way that actually works
for us economically. My best idea so far is something like the TV
tax in the UK. Everything is free on the internet (like it already
is) and iff you own a computer or mp3 player you pay a yearly tax to
the government and they pay publishing money to the artists. Either
that or build that tax into mp3 players and internet service charges.
iPods for example, have been making Apple a SHITLOAD of money based on
the non-advertised idea that the player is expensive, but the music is
free. I want some of that money Steve Jobbs.

I’ll be DJing at NYC’s DubWar party tonight, Friday Dec. 21. My set happens soon after midnite. Jah Dan will join me, blessing the mic. want to hear what 2008 will sound like? Come on thru.

I’m not gonna go into hype mode, because Dutty ARtz family is forming, Voltron-like, AND WE HAVE NO NATURAL PREDATORS…

I don’t even need to talk about how we recorded 10 TUNES with JD this weekend, all ten riddims slew. Don’t even have to mention my crate full of dubs and international ‘xclusives…

But i should give a shout to my man GEKO JONES who not only knows what time it is, he knows what time it will be, and he’ll be opening the evening so i suggest you show up early New York stand up & get dutty.

also: I have a pair of tickets to giveaway for this event. First person to either A) identity this tune — hint, it’s called “Live in Harmony”

??? – Live in Harmony

or B) tell me what yr favorite Octavia Butler book is & why, with details, will get a pair of free tickets. email nettlephonic at yahoo dot com.

dubwarrupture

Russel Simmons, Gary Foster, Kelly Rae & 77Klash

Big up to 77Klash on his recent performance at the Upliftment Jamaica Charity event. Among the newly won believers in the audience was one Russel Simmons who told Klash he was feeling the set, pictured above along with Kelly Rae, Gary Foster and 77Klash (from L to R). One of the standout cuts from the set was a new tune by Klash and myself (Matt Shadetek) featuring Johnny Osborn, called Mad Again. Watch out for that on the forthcoming Iron Shirt street album, a collaborative release on Dutty Artz and Klash City Records.

darth vader
This pic has nothing to do with Dubstep, I just saw it on a news site but HELLO, how can you be flying in some multi-million dollar piece of killing hardware wearing one of these guyver anime darth vader helmets blowing up rebel ‘insurgents’, women and children in the desert like you’re in a video game and not know that YOU (aka WE if you’re UK or US) are the bad guys.

I just got around to reading this excellent ‘how to make dubstep bass’ tutorial from Mashit Records’ DJ C and thought it worth reposting here.

The knowledge he’s sharing is good and useful and with a little thinking applicable to whatever synth/software you use. One of the best ideas I find in it is the idea of LAYERING. This is an idea it took me literally years to figure out as a producer, dumb though that may sound. The simplest form of this is simply taking whatever notes you have, copying them to another channel in your sequencer exactly the same (or an octave up or down) and assigning a different sound to them. It’s important the notes are exactly the same so that there is no rhythmic difference between the two so that the two sounds mesh together to create a new, thicker sound.

Actually I have to give full credit to Jammer for really showing me the value of this, and how to do it really well with Logic. They don’t call that dude Top Producer for nothing, he really knows what he’s talking about, so all credit where it’s due. This idea is especially useful when it comes to producing the type of bass that so many of us love that’s found in drum & bass, grime, and dubstep records.

You know the kind I mean: bass that is simultaneously in-your-face, loud and blaring, practically taking up the whole track, but still feels like a punch in the stomach when it hits. I remember spending literally hours and hours and hours trying to get a synth to make these sounds but never could find the right balance between that mid-range growl, or shininess or blare that I wanted and the appropriate down low chest rattling bass heaviness. This is because, in fact, it’s not ONE synth making these sounds, but at least two, and often more. The mid- and high-range detail that provides a lot of character of the sound is one synth going through its own EQ, distortion, reverb, compression, whatever, and the bottom subwoofer sound of pure bass weight is usually just a very simple, non-descript sounding sine wave (write that down SINE WAVE, very important).

An easy way to make a sine wave in Logic is to use the EXS24 sampler with no sample in it, it defaults to a sine wave cycle, go down to the lowest octaves on your keyboard and try not to blow your speakers. Other waveforms can be used but a very low pure sine I find is one of the most sure-fire ways to make people’s hair blow back like they’re in a hurricane in the club.

And as Gervase from LDN’s excellent Heatwave sound points out in the blog’s comments, the tutorial he’s given provides basically all you need to know to make some pretty familiar sounding ‘dubstep by numbers’ type shit. Why do I mention this? Well, I like dubstep. I think it’s interesting and I like the fact that there’s a genre of music that’s around thats focused on pushing the limits of pure physical sound and what you can do with that. However, I don’t like a lot of the way that a lot of the people in dubstep act. Like they’re on some holy quest to make the deepest, purest, most whatever whatever sound, that they’re ‘smarter than grime’ or ‘more complex’ etc, when in fact they are just another branch on the same tree that started decades ago in Jamaica and mutated into Rap, Jungle and soon enough is gonna be mutated into something else. Especially now that Dubstep is starting to have the type of commercial success that drum & bass had in a certain era and go international I feel like some of the people near the heart of that scene are trying to do what a lot of top dnb heads did, which is to lock the doors behind them and say ‘this is ok, this is real dubstep, and this isn’t and only we get to say so, and blah blah blah’.

I have no time for those type of people as I have always been a mutant genre nomad and am never happy sitting in ANY little genre fishpond. To me the moment a style sits still I’m bored and looking for something else. That’s why I like dancehall so much, every month not only are there new tunes and riddims but new tempos, beats, sounds, everything. So my point here is, take this knowledge, do what you want with it, flood the market with derivative dubstep records, make bassline house out of their favorite tunes, put wobble bass in tv jingles, generally make it hard for everyone sitting still. Me, I’m moving, so I absolutely don’t care. By the time you catch up to me I will be somewhere far far away.

Straight out of the gate I have to send a big shoutout to Prancehall for running one of the funniest and most informational blogs going. This week he’s got up two new videos of Skepta (who you may remember from my collabo with him on Pale Fire, “Reign”), his brother JME and their friend Frisco spitting on Tim Westwood’s show on 1Xtra (bbc digital urban radio). Westwood is quite a big deal in the UK despite the fact that he looks and talks like a cartoon character on some very strange drugs (drugs which make you think you’re american and say ‘dawg’ and ‘baby’ all the time in a CRAZY sounding UK/US hybrid accent). Boy Better Know wisely did not make fun of him on his show this time, although they have been known to do it before, he must have a pretty good sense of humor about himself. Still, big up to him for finally figuring out that Grime actually is the REAL UK hiphop and that he as a big UK hiphop DJ ought to support it.

There are some absolutely sick new lyrics from all three but especially JME in which he addresses the rise of the horrible “Girl Better Blow” T-Shirts which are an imitation of his brilliant “Boy Better Know” branding which basically single handedly started the Grime T-Shirt industry and gave everyone in the hood in London a crash course in marketing and branding. Why anyone male or female would wear one of those GBB shirts I have absolutely no idea. If you’re a dude it’s basically vagina kryptonite and if you’re a chick… Yeesh. Don’t even know where to start with that one. JME sets the record straight that he is NOT going to take a picture with you if you are wearing one.

[youtube]http://www.youtube.com/watch?v=6MI_bkFaByk[/youtube]
I’ve just ruthlessly copied and pasted the videos here, but you really should click over and see what Prancehall thinks about it all, along with his hilarious guest post commentary on Ruff Sqwads fashions at a recent show of theirs.

[youtube]http://www.youtube.com/watch?v=0WgRORrtjd4[/youtube]
Another Youtube thing I’m feeling is fellow Dutty Artizt /Rupture‘s recent video with Andy Moor of the Ex, promoting their tour and collabo together (which is currently going on in Europe). The music in the video is them doing turntable and guitar improv over a Nokea and Baby Kites riddim called Hot Pink (watch out for our remix). Hot Pink is gonna come out soon on a new project which is code named Solar Life Raft. The video is a slideshow of photos accompanying a live recording of Rupture and Andy. Some of the images are really great and add a really interesting vibe to the whole thing. After the addition of the guitar, noises and photos I feel like the thing takes on a whole new life and tone, which is pretty interesting. This is another merciless rip and repost but at least I wrote something about it and didn’t just copy and paste. Check out /Rupture’s blog for his thoughts about it and notes from the tour.
[youtube]http://www.youtube.com/watch?v=9A0Ju7ahf40[/youtube]

IRON SHIRT @ 205 4sm

Thanks to everyone who came down to 205 last thursday. Bigups to Bloody Social and to DJ Jaclyn for letting me do a surprise DJ set when her laptop crashed after our 77Klash/Iron Shirt set. Bigup to Frank151 and Circa for putting the thing together, it was fun. Shouts to RockersNYC fam, Oplus, Jahdan’s Dad, all the fine hipster girlies and everyone singing along during our set.

This is what it looked like:

205 Club Thursday

And this is what we looked like (fresh to death as usual). I’m in the background in the DJ booth.

IRON SHIRT @ 205 2IRON SHIRT @ 205 1!IRON SHIRT @ 205 3

FIESTA SOOT: a label party thrown by DJ /rupture’s Soot imprint hits Manhattan on October 5

On Friday October 5, a Soot Records & Funkworthy FM present FIESTA SOOT, featuring international soundboys DJ /rupture (Barcelona/Brooklyn), Maga Bo (Rio de Janeiro), Filastine (w/ guest cellist Brent Arnold), and Manhattan’s own Matt Shadetek. The Funkworthy crew will install a proper reggae soundsystem with enough booty-friendly BASS to handle hot new ragga, dubstep, hiphop, grime, baile funk, world beat, and whatever else we use to get things poppin’.

Soot Records specializes in ass-shaking polyrhythms, cosmopolitan bass, and local collabos, with an ear for the global south. New material by Ghislain Poirier, Rupture, and Maga Bo is slated for fall release. Busy touring schedules mean that this lineup is a special one, with artists traveling from Brazil, Spain, and the West Coast.

Fiesta Soot. Friday Oct. 5
Bowery Poetry Club, 308 Bowery @ Bleeker St, NYC.
10PM-late. $5 before midnight, $8 after.

Flyer for 77Klash Frank151 party

77Klash with Jahdan and Matt Shadetek will be performing at this.  This is probably one of the last things we’ll do as such before everything goes under the Iron Shirt name.

When: Thursday Oct. 11th 8PM – 1AM

Where: 205 Chrystie betw. Stanton and Rivington.

Us and rockers Bloody Social will be doing short showcase sets while you drink free alcohol (8-10, come early).

For those of you who have been asking me about Iron Shirt (I’m actually amazed how interested people are, it’s very motivating) this will be your chance to hear us do some of the songs from the new album we’re working on.

Big tings a gwan in Klash City. 77Klash has been hard at work on his riddim The Swarm and now it’s time to show the world. With the Aidonia version “Ah You” aka “Hot Fuck” already blown up Klash is turning his attention to promoting some of the other artists on the riddim, including local BK hero Jahdan.

Here’s Jahdan’s version of The Swarm, recorded with Noble Society partner Delie and providing the title cut for the riddim. I just saw them do this live last night in NYC and they FUCKED UP THE PLACE. Big tune, serious. The song received Download of the week on iTunes last week and garnered thirty thousand downloads in a very short time. The entire riddim segment (including a very surprising version by singing white girl Allison Faith) is available for sale on iTunes. All money garnered from sales will go to making more hot music, so make sure you go and vote with your dollars for our movement. This, along with a riddim medley of The Swarm will be featured on the forthcoming Iron Shirt street album which is in the mixing stages. This will be the debut release on me (Matt Shadetek) and DJ /Rupture’s new Dutty Artz label.

You heard it here first. Dutty Artz is the new movement, a label and family of like minded individuals living in Brooklyn. Rupture and I have gotten sick of putting up with people not understanding how to move with our music or second guessing us and have decided to take our business fully into our own hands. Already the initial line up of releases and projects is looking very powerful indeed. After a few years of running Shadetek Records independently I had gotten sick of doing business and wanted to just focus on music, but the result was a loss of creative control as I started dealing with P+D deals, labels, etc, all with their own opinions about how and what I should put out. Now, taking the power and stress and responsibility into my own hands I feel more focused and motivated than ever. There’s no risk without reward so we’ve decided to put our money where our mouth is and go hard. Watch this space.

And, for those of you who may have missed it, 77Klash’s excellent vocal of his own Scallawah riddim (popularized by Turbulence with his number one smash hit “Notorious”) now has a youtube video. I actually really like the still photo aesthetic they’ve utilized here and long wanted to do something similar after seeing Chris Marker’s excellent experimental film La Jetee, which 12 Monkeys was based on. Here you have a Jamaican version, with running title commentary, 77Klash featuring Tonto Marijuana “Ratings”. I’m still learning to use this new blog so this video was fucking up my formatting, it’s at the bottom.

Thanks to Sam and the good people over at The Fader blog for linking this up as well. Also thanks to Yardflex.com for this article on Klash with a mention of our project, along with the fact that we got included on EA Sports Madden ’08 soundtrack, the Madden franchise is one of the biggest selling video games in the world. Our distorted ass fucked up BK grime tune is sharing space with Justin Timberlake, Swizz Beats and a bunch of famous rock bands. If you had told me this would have happened a few years ago I would have called you a liar, but there you go.

Journalists, bloggers, this is the text of the press release, copy and paste it into your articles: In 2007, 77Klash has been busy concocting his latest riddim opus, The Swarm. Influenced by electro-rock and old school reggae, The Swarm features several notable artists including Luthan Fyah, up and coming superstar Idonia, Brooklyn Anthem singer Jahdan, the international dancehall phenom Vybez Kartel and a host of Jamaican voices new and old. The riddim is smashing up dances from Kingston to Brooklyn. The Swarm Riddim, now available for sale on iTunes is also available on Klash City Records with distribution through Bob Marley’s legendary Tuff Gong label on 7″ 45. With this and his future project 77Klash is set to usher in the new generation of reggae vibes. 77Klash and Jahdan along with Matt Shadetek are responsible for last years underground smash Brooklyn Anthem, currently featured on EA’s Madden ’08 soundtrack. The Swarm riddim medley will be featured on Iron Shirt’s forthcoming street album, the debut CD release on Matt Shadetek and DJ /Rupture’s Dutty Artz label. Also check out the Youtube vids for the tunes on the Swarm, and if you’ve been living under a rock, Brooklyn Anthem.

THE SWARM WHISKEY BAGGIO & LUTAN FIYAH:

THE SWARM AIDONIA “AH YOU”:

BROOKLYN ANTHEM:

plus, 77KLASH feat. TONTO MARIJUANA “RATINGS” (on Klash’s Scallawa riddim):

snap crackle static: signal’s ON!!!!!!

coming a few minutes from NOW , DuttyARtz 01, a 12″ record designed to destroy any party u unleash it on. Matt Shadetek vs Cauto, Brooklyn NYC-//BarcelonaES bass

DUTTY ARTS IS A FAMILY