I think I lost my flipcam last week- or it got stolen. It doesn’t really matter since I cant edit the HD footage on my Acer + it just eats up memory with videos I can barely replay. My homie Justin has a nice camera though- and last week we did a test run for a hopefully vaguely ongoing, but maybe never again, video series looking at studios and producers in Kingston. Supposed to reach to Bigship next week, but time is sticky in Jamaica. Enjoy.
If you follow Shadetek’s blog you know we have been thinking alot about digital marketing, how to monetize content, and keep making the music that we love. It has been a busy winter for DA, we linked with Leeor from Friends of Friends PR to help amplify and sharpen our message, Jace and I started to engineer Beyond Digital, a non-profit that funds international arts residencies and interventions, we joined forces with Emeka Alams from Gold Cost for a capsule line (and that’s just a taste of the plans that are not TOP SECRET, SECRET OR CONFIDENTIAL). Just to keep things hectic I moved to Kingston, AKA HUSTLE UNIVERSITY, where even the kid that opens the gate is just waiting to play you his newest riddims off a usbstick. MOVE QUICKLY AND GET WEIRD. Mine deep for the magic cambio strategy that converts cultural capital to liquid capital fast enough to keep us all eating.
With that in mind, I reached out in December to Stephanie Brown about an interview. She’s a Digital Marketing Manager for a major label in Canada. I wanted to know more about what exactly her job entailed- and what bets the people with the money and infrastructure are making on how to sell content. #realtalk bizness
T: As a Digital Marketing Manager for a major Label in Canada, what exactly are you responsible for?
S: I direct strategy for marketing our artists online in Canada. When we have an album coming out, marketing managers will meet with me to discuss what sort of promotional support we can give the release online, and where to best spend their ad dollars. The idea is to create awareness and hype about the artist by placing content on the entertainment and music sites that will get the greatest visibility in Canada. So, when the album finally drops, audiences will recognize the artist and hopefully be inclined to buy the album. I manage relationships with a number of partner sites who use our content from our artists (electronic press kits, interviews, etc) to support their editorial coverage, which is really a win-win situation. Additionally, I plan social media promos & contests, aid with online ad buys, and oversee our direct-to-consumer marketing channels.
T: Social media seems to be most powerful when an artist is directly communicating with fans- but obviously most big label social media is not being generated directly by the artist – who actually is sitting on the computer updating each artists facebook, myspace, etc- do you guys have back end access that streamlines all of this stuff?
S: We monitor our artist’s social media platforms in terms of numbers, just to see who’s gaining momentum. But aside from that, artist management is typically responsible for updating those properties. We offer suggestions, but the decision lies ultimately in the hands of management. For some of our domestic artists, we’ll post news and happenings on their Facebook and Twitter pages if we’re requested to do so. We’re always transparent about it, so we sign off on our posts as “Team” whoever. Many artists actually do post themselves, or work closely with their managers to establish their digital identity.
T: How is the balance understood between digital and more traditional marketing? Are marketing plans all done holistically or is digital and traditional really heavily divided?
S: The digital element of marketing plans is undoubtedly an important facet, but it is typically independent from television, print and radio. It’s always a point of reference, because we want to ensure that the messaging is cohesive across all mediums, but it’s still its own world. However, if we wanted to run an online promo on a large scale, we’d be sure to support it with traditional marketing. Those promos are typically those with a big budget and a kickass prize-like a meet and greet with an A-list artist in Australia, for example. The submissions would be collected and shared online, but we’d use print, radio, and TV to direct people to the contest website. Otherwise, a portion of the total marketing budget will simply be allotted to online, and then it’s up to me and the digital team to direct where to best spend it. (more…)
Dre is one of Sharon’s (endless) nieces and nephews calling “Auntie Sharoooon” through the Solid office. He also runs Shockwave Inernational. They just dropped breaking point Vol. 3. I was driving with Timberlee to the re-opening of Kartel’s nightclub The Building last night and she kept pulling up on Mavado’s “Stullesha” which I hadn’t heard before and serves as a follow-up of sorts to long distance anthem “Stulla” – it’s on Stephen’s “Winnings Riddim” which is just perfect. I was trying to remember the name of the tune this morning when Dre linked me on FB to the DL of Breaking Point- BOOM. Not everything’s perfect though and I’m guessing most people will get annoyed at the break in mix that comes about two thirds through the mix. In my imaginary Jamaica, sessions never went off to Rhihanna or Nelly. But thats the real world music- so if you can bare through another teach me how to Dougie lesson- grab the untracked version. If you want to do some selective editing grab the tracked version.
I flew from Rio to Kingston on Friday. Round four. Buenos Aires, Rio, São Paulo, now Kingston. A year of bass music, soundsystems, studios, ’nuff sessions and building the DA family. I’m researching what techniques enable artists, managers, promoters, pirates, and labels to eat off music – usually with dramatically less resources/infrastructure than there is in NYC. Mostly I’ve been bouncing around cities and their public transport systems to one-off meetings and parties. I’m trying something different in Jamaica and settling in to start work with Sharon Burke and her empire, Solid Agency. If you’ve done dance hall business, you know Sharon. But if you’re just a fan you might never of heard of the hardest working woman in Jamaica. She gets to the office first, spends all day working a grip of Black Berrys, leaves last, and even on the way home last night with her feet up, she was sealing deals for big shows while Ice, one of her drivers, swerved through Kingston traffic. Leftside’s impersonation is spot on. [youtube]http://www.youtube.com/watch?v=ThDFToJc8Hk[/youtube]
Solid handles artist management and booking, as well as being involved in events and just about every other facet of the industry. Kevin ‘Payday’ Green’s Alliance aligned studio is in the back- and even though it’s a humble affair, it’s nothing for Bounty Killer, Elephant Man, or Mavado to roll through in a day, along with ’nuff artists waiting their chance to run up the ranks. When no one’s voicing, the studio door opens and the near-fields get turned up to 11, pumping the latest tunes and unreleased riddims into the yard.
I’m hoping my updates can be more regular now that I’m down here. First order of business is to start making some radio rips. You know when you’re driving through BK, or picking up Boston’s Hot 97 and you don’t want to finish you trip for fear of losing the pirate signal? It’s like that all the time, every day down here. Except you never drop the signal – of course Daggering and Gun Man lyrics are all officially banned- you have to get to a session for that- but it’s still fresh to death.
And don’t sleep on Natalie Storm’s new mix. She said she made it after a rough break up and a period of abstinence and it’s dripping with sex. Between her calculated dive into house, electro and dancehall, and Dylan Powe’s burner Wiley voiced Showa Eski Riddim. Good things soon come for Prodigal and Federation.
If you have people down here, or spots you love, and want to get in touch. I’m always down to build. TallyBower AT GGGGmmmmmAALLLE. Already looking forward to Dre Skull, DJ Ripley, The Mad Decent Boyz, Toddla T and a few others being around. I’ll be here until March. Respect to Erin Hansen and Erin MacLeod for getting me sorted so far.
I’m in Belem. One of the last outposts of high-rise condos before Amazonia’s dirt roads, lush vegetation, secret knowledge, cattle ranches and soya farms define the landscape. The river itself is a ruddy, raw-umber brown. I came here for Tecno Brega. The electronic side of Brega, a sprawling genre designation that seems to include everything from melodic love songs to 85 BPM electro bangers. On the phone with DA’s general counsel Pierce last week I said it was music that not even Diplo could sell to midwestern teens- but now that I’ve started to hear a bit more, I’m not so sure. Some of it sits surprisingly well with global bass aesthetics- but the rest is Susan Sontag approved schlock. A popular production technique is to extract the main melody of a major global pop hit, & re-program it with 80’s synth presets and record with Portuguese lyrics heavy on Corazon-thematics. It sounds like shit – except when it’s amazing. Case in point below- this animated gif version is nice too. (Apparently this track is “knock off” Tecno Brega from Bahia.)
My host here is Patricktor4, a dj who reps the Amazonian sound with his Baile Tropical parties all over Brasil. Yesterday morning we went down to the amazing Belem river-front market- think Folton Fish Market meets your favorite Botanica cooked in the Amazon. I ate river oysters, (“THAT IS VERY VERY DANGEROUS BECAUSE IT IS LIVING,” said Patrick, but yo I LOVE OYSTERS) that a mobile vendor was carrying around in a metal tin with no ice- just salt and lime in the 98 F heat. 60 cents! After a well deserved siesta we ate dinner at the mall and bounced to Club Africa! to see the Vetron aparelhagem.
The aparelhagem stacks had custom air-brushed Vetron speaker grills showing you how to Faixo the V (think Rasta/ROCKAFELLA compass/ruler/diamond). The club decor was huge “African” sculptures and fake thatch roofs and trees- essentially an oversized/huge set of grass huts. You bought tickets through a one brick gap in a grey wall. Oh, did I mention the DJ booths were stylized neon and LED laden space crafts of unknown provenance. The DJ’s wore 80’s aerobics outfits and freestyled and did call and response constantly over tracks. Women and men alike were rocking bedazzled jeans and tops. Vetron used to just make popular mp3 mix/folder cds- but started to throw parties a couple of years ago as well. Some of the other big sounds are Super Pop, Ruby Boy and Negro Princesa. Grab some pirated copies of pirate copies of Brega cds HERE. GOOD COPY BAD COPY DOC segment on BREGA HERE
(Sadly I only took video on the flipcam- which I can’t edit, or even really playback on my little acer netbook- but hopefully can final cut somewhere when I arrive in Kingston next thursday- JA people/homies get at me!)
We were there for about two hours- the party hadn’t really started to jump-off and was about half empty when we left. The DJ had already played a popular brega remix of “We No Speak Americano” three times- at just about the same rate as we were finishing our ice buckets of beer. We bounced to a live Brega show in a huge warehouse space with at least tw0 hundred motorcycles outside and 5k people inside. The stage acts were boring but tucked under one of the second levels of the building was a heavy vibes, S&M leather-walled dance cave playing even worse techno but with the most outrageous fog/lazer scenario I have ever seen in such a small space. It was the opposite of a chill out room. I lasted just long enough to shoot some video. Finally I fell asleep next to a set of new Honda motorcycles adorned with smiling, white, fake blond Brazilians.
But we still had to make it to the periphery for a private party Patrick was playing at one of those weird house/complexs that people rent for parties. Blearily I watched a Doors/Johny cash cover band while a bunch of rockers in gothy Halloween costumes danced and stood around a giant set of aquariums. I though about going for a swim, but the pool wasn’t quite warm enough. I fell asleep again, to Kool Keith outlining his policy on bitch contact and pitch altering. Someone drove us home.
Meanwhile the police are doing some serious urban re-structuring in Rio, sending the Navy, Army and Police into a few Favelas with tanks to root out drug dealers. Watching the T.V. coverage (where they keep comparing the action to Troop De Elite) it’s not hard to understand why the Brazilian elite lives behind huge fucking walls and endless security cameras networked with endemic class/racism. Now they are parading some supposed dealers they caught around by the neck while giving an interview. I feel bad for these low level hustlers dying and defending an empire that doesn’t even make them rich. The show, Fantastico, keeps cutting to the same footage of a favela flat screen tv and hot tub as if to prove “THEY MADE ALL THIS MONEY SELLING DRUGS.” It’s complicated, and I’m no expert on the favelas that a third of Rio’s residents call home- but even with my limited language skills it is easy to tell how fucked up the reporting is in this country. Apparently when google maps came out it provided Rio police with superior aerial imagery of the favelas then what they previously had access to. They started printing out pages from google and using them to coordinate attacks. I guess that is neither here nor there- but seriously WTF. Now I’m watching huge projected google maps on the wall at police H.Q. as they discuss tactics with neon-blue bullet proof vest wearing reporters.
Hopefully at some point I’ll write up my recording sessions with Maga Bo in Salvador and my anti-fascist/historical memory libidinal economy wheatpasting projects in Sao Paulo…. but until then Dutty Love from Brazil.
If I had more time I would of recorded street traffic and added it as a bonus cut “BK 4’33” on the new iphone friendly .m4r ring tone version of New York Tropical. Which now happens to be coming out on Nov. 9 – so push back your calendar a week and call it a date.
We all know the “indsutry” has collapsed. Not that most interesting music was ever fucking with the major label models anyway- but everyone ate their share of the largess of the recording industry. Now everything is in disarray. We are sorting through the pieces. We want to be fulfilled human beings making a living. Like some sadistic Rube Goldberg device we are fitting together a bunch of ill fitting widgets and hoping that in the end cash will trickle down. We are not a trust fund project or anyone’s hobby. We eat off what you give us.
The big agreement initially was this- recorded audio sales are down – now CA$H will come from touring revenue, merchandise, and licensing. But what if your Shadetek and have a family to take care of and can’t be gone every other week to Europe. Or what if you dont have the capital to invest in a big merch inventory (DA branded prayer candles coming as soon as I get back from Africa on my moms). Or what if your not in with the advertising/film/video game world and havnt had the 1 in a million opportunity to be featured on a itunes spot. It’s dope to have 4k facebook friends and twitter followers- but monetizing hype and goodwill is hard, especially for electronic musicians that don’t fit the standard indy band management model. We are hustlers though. We are never gonna stop.
But I want to make sure our extended family understands what moves we are making, and why. This isnt abo’ut selling more albums then mad decent, or having hyper raves parties then trouble and bass. We are creating a sustainable business model that allows for our work to reach the world AND provide us with the resources to continue pushing beyond ourselves. Major changes are in order- and I dont want any of you- our extended DA family – to be left behind. One of the most important tenants we follow is transparency. WE ARNT TRYING TO HIDE BEHIND BIZ3RRE MARKETING AND EXPENSIVE GRAPHIC DESIGN. WE JUST DO THIS FOR OUR PEOPLE SO YOU KNOW Y’ALL CAN HAVE IT.
With that in mind we are starting a new interview series “#realtalk” – where we explore some of the dark arts and reality underpinnings of music/art worlds. Shadetek is going in on his solo blog– but expect to see the most relevant content cross posted. We are gonna pull back the curtain a bit more, but do not be scared. We want everyone to be rich. First up we are gonna explore the shady as fuck (/powerful) world of PR in the digital era (primer here). But from the perspective of one of the good guys- Leeor Brown, 1st employee of Terrorbird and founder of Friends of Friends.
We are also bringing on to the team some new voices holding things down on tips as diverse as Up 2 the times UK bashment to QR code generation and all sorts of shit we have no idea about but wish we did. So hold tight. We in this together.
(PS basically wrote this whole post to have a reason to post that image)
I’m in a S. American time warp. Everything in Rio happens slow, filtered through the humidity. No one is in a rush. Everyone wears sandals. Last night I finally made it to a baile funk. I showed up around 3 to Favela do Vidigal- in the South Zone of the city, with my friend Gabi who is researching technology + production and distribution in the Funk scene.
I felt the bass when we got out of our cab- but we still needed a five minute moto taxi up the hill, past anti-police roadblocks, to the party. The soundsystem stretched across the entirety of a T intersection- blacklights hung everywhere and the subs were mounted at head level- ensuring that chest-rattling bass could be felt even in the way back of the crowd. The blacklights accentuated the whites and neon yellows of the futbol apparel that men were rocking. Even with the hazy compressed sodium street lights- everything was glowing- it felt like a cavernous club interior. Armed men walked casually through the crowd, navigating crews of dancers bouncing to the floor and back to commands that translate to “drop it on my dick and fuck.”
What startled me most wasn’t seeing all of the tropes of baile sensationalism before me- ASS, GUNS, BASS!- but how much it reminded me of my favorite parties anywhere. Dancers who loved dancing, cute gay boys twerking it like pros, poppers battling near the speakers, footwerkers taking off their sandals and braving the cobblestone to go double time on already frenetic beats, and music that was ethereal and present, infused with all the sweet/sweat synthsations of my favorite RnB coupled with a low end urgency that has kept with funk since the latin freestyle and miami bass days. The DJ was a middle aged man in a dark grey tee and a brown zip up hoodie, he didnt sing or dance along, just looked out on the crowd with a knowing look of stoic contentment, this is his work, and he is absolutely killing it- at one point, from behind the platform that hes standing on alone about 30 yards back from the system- i glanced up at t his acer netbook and only saw Winamp running. There are no monitors, no headphones. I was already too drunk to need anything from the bars that served endless variations on fresh squeezed juices, liquor and redbull. I danced until it started to pour, the dj put a backpack on top of his laptop, a weathered tarp covered the speakers, the music kept going, but we decided to walk down the hill. Half way down the power cut out, everything went dark.
I’m still trying to get my head around the music- because it sounded different then most of the funk I had heard before. Vaguely: more European club music then 2-Live -Crew. It reminded me of NguzuNguzu- whose production I adore primarily because I have absolutely know idea what to do with it. It’s almost always too Ravey for me to want to play it out- but at the same time there is something seditious and dark beneath all the glistening synths- and that darkness and space is what keeps drawing me back. I honestly think they could of wrecked this party last night. The first track of theirs I heard was Kingdom’s remix of Hate 2 Wait- which to this day is one of my favorites to drop when its time for a radical new direction in my sets. Dutty Artz extended family Khalif MihajiLeif just killed a voicing of the original instrumental that wraps up to perfection with some Linzy-esque crooning. When homeboy graduates from college I give it two years tops until he’s a household name for 20 somethings worldwide.
NguzuNguzu have a new E.P. dropping on Silverback records early October – they did up a promo mix for it- that you can grab over at Scattermusic– (i would re-up it for u- but my internet run real slow down here)
If you already know (you know) Mariana “Meteoro” Camberos art, it’s likely through her work for ZZK. She is one of the artist’s responsible for codyfing the visual vocabulary of Zizek/ZZK branding; which is how I first became familiar with her. But that’s just one mirror-facet of her diverse output, or as she put’s it, “someone once said my work was very Zizek…. but I said, Im not zizek… zizek is all the artists.”
Her neuva-tropical psychedelic day-glo works and styling jobs are right on the palm frond edge of the tropical communities (does that exist… maybe it does.) collective unconscious. Seriously fresh-2-death designs evoking modern day icons like Carrie Mundane, early MIA styling, NYstreet style Keith Harring/ Basquit iconography pushing up against sacred ayuwasca geometries and jungle fractals. Her custom hand painted tees, hoodies, and zapatos are being rocked by some of the dopest kids outs (check the aviary shirt she did for Uproot Andy next time you see him), and her styling and 2-d work is equally stunning. Over a couple days of endless tea, empanadas, and tasty chino delight- we discussed inane visa regulations, liminal space, our shared love of cumbia sung by little girls and a party called drum&boxx that put young contenders (rocking her custom fur-lined robes) boxing on the floor in a ring made of jungle-stepping ravers. (The interview that followz is the first of a series I’ll be upping and posting, along with photos, flipcam and musings- while I travel as a Watson fellow… it took me a while to finish this post- im now in Rio)
T: Your palette is focusing alot on day-glo/neon vibes- ur using all of these crazy brazillian fabric paints…. but day-glo has been moving onto clothes since the 1930’s– so what exactly is there left to say using this palette?
M: PUES ES FLUORECENTE Y FLUORESCENTE SIGNIFICA ILUMINADO POR DENTRO ESTO YA ME LLAMA MUCHO LA ATENCION
LA COSA DE BRILLAR CON LUZ NEGRA Y EN MEXICO SE DICEN QUE SON COLORES QUE CHINGAN (JODEN) LA PUPILA Y AMO ESO
T: you push a psychadelic vibe- but from a distinctly latin american approach…. im seeing these sorts of fractal designs all over your apartment- but with none of the new agey shit that kills alot of western hippy psychadelic stuff- where do you see the convergence of european /american and latin approaches to these forms.
M: MMM ES INTUITIVO Y NO ES ALGO QUE VEA SALE SIMPLEMENTE SON LAS COSAS QUE ME LLAMAN LA ATENCION Y ADENTRO HAGO UNA SINTESIS, SON COSAS EN LAS QUE CREO Y OTRAS QUE ME VIENEN SOLAS COMO MUSAS.
T: youve been in Argentina for 5 years- what has it done for your work- why here- what wasnt working for you in mexicO- or why did you have to come here.
M:DESDE SIEMPRE QUISE ESTUDIARR FUERA DE MI PAIS PARA TENER OTRA PERSPECTIVA Y COMO PRETEXTO DE VIAJE, Y ARGENTINA POR QUE ALGUIEN ME CONVENCIO QUE ERA UNA BUENA OPCION Y MUY AJUSTABLE A MI PRESUPUESTO
Y ASI LO HICE.. ME DEJE LLEVAR .. AL PRINCIPIO SEGUIA SIN ENTENDER POR QUE ACA PERO LAS COSAS Y LA GENTE QUE HE CONOCIDO ME CONFIRMAN QUE ASI DEBIA SER.
T: what does tropical mean to you?
M:TOPICAL SIGNIFICA BUENA VIDA YO VIVI EN UN LUGAR TROPICAL Y ERA PURA ABUNDANCIA SOL FRUTAS MUSICA MAR ESO ES LO QUE LLEVO DENTRO Y LO QUE ME MUEVET
T:where do you see the visual intersecting with music? whats to be gained by understanding this relationship
M: POR QUE LA MUSICA NO SOLO ES UN DJ ES SU IMAGEN, LOS VISUALES EL STAGE Y LA ESCENA EN GRAL. ASI QUE UN BUEN VESTUARIO ES INDISPENSABLE PARA TERMINAR DE CONCRETAR LA IDEA DE LO QUE SE ESTA MOSTRANDO LO QUE SE QUIERE DECIR Y EXPRESAR. ES LLEVAR ESE RITMO A TODOS LOS NIVELES ESTETICOS Y ESCENICOS
T: your selling these dope handpainted shoes- but i know you really want a whole fashion and arts line/house….is there a master plan at all?
M: YEAH DO ALOT OF METEORO LUCHY CHARMS STUF LIKE OBJECTS TOYS CLOTHES,.. MORE KIND OF SHOES.. UN MURAL QUIZAS Y COSAS PARA GENTE QUE LO NECESITA
T: ok- top literature influences, top musical influences, top artist influences, top designer influences…
M: KANDINSKY, CHARLES BUKOWSKI, JODOROVSKY, cLOUDDEAD, M.I.A, BRAZILIAN GIRLS, ALL CUMBIA, YMA SUMAC, matt w moore, AJ Fosik, HIHO AOSHIMA, YOSHITOMO NARA, MOTOMICHI, walter van beirendonck, TSUMORI CHISATO, Vivienne Westwood.
T: i know you love chocolate, can you recomend any of your favorite chocolates?
M:CARDUBY DE YOGURTH, Y UNOS COLOMBIANOS QUE TIENEN TUCANES EN EL EMPAQUE, Y.. UNOS ALEMANES QUE TIENEN MEZCLA DE FRUTAS TROPICLAES CON PICANTE ESOS SON INCREIBLES!
T: anyything else u want a bunch of blog readers to know about?
M: SERIA QUE HAY QUE PONER MAS ATENCION A LA FUSION ENTRE MUSICOS Y DESE;ADORES POR JUNTOS PODEMOS DAR UN GRAN MESAJE
NO SUBESTIMAR LO QUE LLEVAS PUESTO YA QUE POR MAS SIMPLE QUE SEA ESTA DICIENDO ALGO Y QUIERES QUE DIGA LO QUE SEA O PONERLE TU TU PROPIO MENSAJE DE BUENA ONDA
Last Monday we had a great show here in the basement of Dubspot on Dutty Artz radio. We streamed live on UStream as usual and had a bunch of people logged in while Taliesin, Mosholu Park and myself played some short sets followed by an epic 80 minute throwdown from NguzuNguzu. Listen through to the end to hear Daniel playing congas over juke beats live. I was a little drunk by that point but I remember it sounding super duper dope. You can check our ustream channel to see video of the session. I’m told that not all files in these posts are being pushed to the podcast stream so I’ll put their set first and you can click to stream or download the rest of ours.
The second episode of Dutty Artz Radio is up! Me (Matt Shadetek), DJ Rupture, Mosholu Park aka Lamin and Taliesin all got together in the basement of Dubspot to all DJ some short 20 minute sets and do the first episode of our new book club!
The book we talked about is Octavia Butler’s Parable of the Sower.
I chopped the audio into separate parts for your mp3 player pleasure. We streamed it on UStream although somehow the video got lost. The full chat transcript is after the jump though so you can read back if you want. We’ll be doing this weekly on Thursday nights at 7PM NYC time (EST) at http://www.ustream.tv/duttyartznyc
This coming Monday we’ll have a special edition after Dubspot Radio which is at 8 (and I also run) with special guests NGUZU NGUZU! YAAAAA! We’re very excited
Colleen- The Happy Sea
8 Ball and MJG- Relax and Take Notes
Sukh Knight – Diesel Not Petrol
Raffertie – AntiSocial (B. Rich Remix)
Lexie Lee- Warlord’s Daughter (Paceface and Sticky Rmx)
Joker- Purple City
Trina Ft. Lil Wayne- Dont Trip (Lunice Lazer Rmx)
Fused Forces- Cock Back and Blast
Fused Forces- Footsteps
LionDub and Shadetek Ft. Jahdan- General (Marcus Visionary Rmx)
Timbaland- Pony Inst.
Salem – Trapdoor
This is a dubsteppy thing- but keeps things fresh and colorful with plenty of pressure.
I’m back on the blogging horse/elephant- new mixes and an exclusive interview with Lisbon’s Octa Push come soon!