delete delete delete. i have tried writing this post several times throughout the day and all i come up with is delete delete delete. im deleting lots in my life right now. from my job to where i live, tons of things are getting the backspace key. clearing the air for new things (i think)
...2011...
i keep telling myself that there is no way a year that starts off this tumultuous can possibly end the same way. and so i keep my eyes on the future. hopefully i will figure out a way to physically reunite with Mantisounds and get back to making sweet music in person, hopefully i get more gigs and spread the sound to a wider audience, hopefully i figure out why a grown man makes 3 to 4 mixtapes a week and gives them away for free... hopefully you'll stick around long enough to see how all this plays out.
from the first snippet of dialogue "prosperity for who, not for me not for you..." to its schizophrenic song selection, this mix deals in confusion, it doesnt know if it wants to be happy or melancholy. there's change in the air, but the mix..., the mix dont want nothing to do with that, it would just rather put its head down and pretend nothing is happening. the samples in this mix come from old movies dealing with factory life, and automation, and the oncoming future which at times looks as if it will have no room for the children of men...
So dubstep has arrived. Officially. I don't say that because it's being used to sell cereal and sneakers and electronics (it's not...yet). I don't say that because Diplo has finally slapped the Mad Decent stamp of approval on the genre with Blow Your Head: This is Dubstep (he has, and it's not bad). And I don't say that because Madonna's new album is all dubstep produced by Skream or Rusko or whoever else might be the go-to dubstep producer of the moment (though I will not be surprised if that's EXACTLY what Madge's new album eventually sounds like, given her flavor-of-the-month output of late).
Dubstep has arrived because it's beginning to eat itself. For all you drum n'bass heads out there who are a little long in the tooth (like me), what's happening in dubstep now is beginning to look an awful lot like what happened to jungle after its initial underground explosion in the late 90s. Jungle was starting to blow up, you started hearing it on main stages and peak-time slots, rather than side-rooms. Artists from different genres started "experimenting" with the sound (cynical interpretation: trying to cash in on a budding new market). The music press started trying to churn out endless sub-genres (jump up, ragga, trance & bass, darkstep, techstep, etc.). And then along came Roni Size and Reprazent: a stable of "old school" jungle cats performing dnb "live" with a drummer (Si Begg) and live vocals. Suddenly, jungle wasn't side-room niche drug music, it was "respectable." (BTW, I saw Reprazent twice live, both times they absolutley murdered it!).
With the rise of all of this "respectable" attention, and the need to compartmentalize everything for the music press, the genre began to split into different camps: the posers who heard the Aphrodite/Jungle Brothers single and decided they liked jungle and/or could sell it to lots of new fans, and the "intelligent drum n'bass"/intelectuals who were "pushing the genre forward" and who looked down on all the jump-up hip-hop sounds, the kids who loved them, and the producers who were making it.
(SIDEBAR: is there a descriptive term MORE obnoxious than "intelligent drum n' bass"? Like, not all that stupid UNINTELLIGENT shit, it's "intelligent." I always felt bad for LTJ Bukem, purveyor of that smoother, broken-beat/liquid/atmospheric jungle sound, because record stores and magazines would aways slap the "intelligent drum n' bass" sticker on his cds and make him seem like some pretentious asshole, which I'm sure he wasn't, and I'm also sure he didn't think his music was "smarter" than anyone else's)
I think that's about where we are with dubstep right now (seriously, google "dubstep" + "commercial" and take a gander at all those complainers!). You've got a lot of people making ear-scorching wobble tunes at 70 bpm that sound great on a soundsystem with hands in the air and pupils dilated, and then you've got a lot of people claiming that the "scene is changing" and the music is getting diluted because the sound is starting to be appropriated by other artists/genres. You've got folks trying to distinguish between "legit/underground/artistic" dubstep and the pervasive (and some would say formulaic) wobble of the more "commercial" stuff. And with the release of Magnetic Man's self titled debut, and the critical acclaim it's received (including from me, who loves me some Magnetic Man), it appears dubstep is having its "Reprazent" moment, and tribal boundaries are being drawn.
I mention all of this for a few reasons. One, I was around for the explosion and subsequent implosion (and rebirth/realignment) of drum n' bass, and I am very interested to see if dubstep follows the same trajectory. And two, this new mix would probably be considered a little more "underground" than previous dubstep sets, embracing artists and sounds that I've heard described as futurestep, future garage, lovestep, breakstep, junglebreaks, 140bpm jungle, etc. To me, it's all bass music, and there's a time and a place for all of it. Like, I generally enjoy microbrewed/homebrew beer, but apprecaite that there is a time and a place for a 30-rack of light domestic beer. Same with bass music in general. Some of it is all drops and builds and face-melting wobble bass designed to slay a dancefloor, and some of it is a little more subtle, a little more intricate, maybe appreciated more in your headphones or in your car. But it's ALL GOOD, homie.
Usually in my mixes I try to incorporate a little of everything (a splash of Anchor Steam, a dash of porter stout, maybe a pint of cider, and a can or two of Bud Light), though this mix is light on Bud Light and heavy on the microbrew. But that doesn't make it "intelligent" or "underground" or better than any other style or micro-genre or sub-category being pushed by the latest issue of Knowledge or Mixmag, because, really, in the end, this is DANCE music, people, not an anthropology class. Don't worry about how "commercial" something is, or how "underground" it sounds. Look around. Are people dancing? Are you? Isn't THAT what's important?
Mantisounds - Ender's Game
1. Liondub & Matt Shadetek - the General Riddim (OG Riddim instrumental) 2. BangaTang - Bashful 3. Bill Withers - Ain't No Sunshine (Indaskyes & Tracksmyth Remix) 4. Hunter Vaughan - High Hopes 5. Eric Hassle - Hurtful (George Lenton Remix) 6. Bertie Blackman - Peekaboo (Marco del Horno Remix) 7. Excision & Datsik - Swagga (Homegrown & Nils Jumpen Mondays Afternoon Mix) 8. I.D. - Flay 9. the S.K. - Bass 10. George Lenton - Cold Rocker 11. Nero - Something Else 12. Downlink - Moonrock Badman 13. Nero - Bad Trip 14. Excision - Obvious 15. Skool of Thought - Heart of the Hood 16. I.D. - Akusative 17. JSaxton - Kick Snare Ganja Buddha 18. Ludwig Coenen - Green Movement (XI Bas Vapour Dub) 19. Doorly - UK Geee 20. Ramadanman - Offal 21. Redlight - Rock the House ft. the Voodoos 22. Foamo - Centavo (Warrior One Remix) 23. BSD - We Are Elektro
P.S. All you sci-fi nerds out there might recognize the cover artwork appropriated above. "Ender's Game" was one of my favorite books growing up. It's the story of Ender Wiggin, a child prodigy recruited into Earth's "Battle School", a training camp orbiting the planet designed to develop the planet's next great generals and warmakers in the ongoing battle against the evil alien "bugger" race (kind of Harry Potter meets Starship Troopers with less campy bullshit and magic wands). If you have not read this book, cop it in paperback (or eBook like the kids on their Kindles) and get busy!
(this is an image that belongs to the graph writer FUNK1)(he's dope!)
...so MANTISOUNDS dropped the illest, sleaziest, funkiest, disco mix the other week... folks are still emailing us and faceboobing about it and causing a stir over how dope it is. and boy is it dope. it inspired me to try and get on his wavelength. so without further delay, here is my debut as PHATMOBERT the funk fatty. I hope you like the track selection, its a mix of all different styles of funk, from that r&b laced ish, to that hardcore horns and claps, mixed in with that crossed-over soul inflected groove.
"The freak with the top hat is leaving with the basketball. Cover the freak....Tell the men, it's time to shoot the moon!"
I've been promising a disco mix for a while, and this weekend I finally got it together and finished it up. This is 14 tracks of smoked out, dubby disco edits that put a smile on my face. Nice and slow, lots of spaced out effects, slow motion funk for Sgt. Stedenko and the freak in the top hat (mostly for the freak). I used a bunch of edits from Deep& Disco and Munga, who are all killing the disco reedit scene right now. Check their Soundclouds for serious midtempo disco damage.
You can stream the set below, or download the mp3 directly using the link below. Better yet, follow the instructions on the top right side of this page to sign up for the podcasts, which will beam all our sets right into your iTunes/iPod fresh out the oven!
(Ralph Bakshi's "Heavy Traffic" promo, 1973)
mantisounds - shoot the moon
1. Marvin Gaye - What's Going On (Cole Medina Remix) 2. Minnie Riperton - Inside my Love (Darren Daz Dalton's Inside my Filter Rework) 3. Ed Wizard & Disco Double Dee - This Joint 4. Kazino - Binary (Munga Rework) 5. Loleatta Holloway - Seconds (Deep&Disco's Once is Never Enough Rework) 6. Sister Sledge - Pretty Baby (Eyan's Deep Space Dub) 7. Sister Sledge - Lost in Music (The Revenge Rework) 8. Mona Raye - Do Me (And Munga Done Did It Rework) 9. Sharon Brown - Specialize in Love (Munga vs. Deep&Disco Edit) 10. Jamiroquai - Alright (Dan & Kris Re-Edit) 11. BeatFanatic - Something Better 12. Richard T Bear - Sunshine Hotel (Musica Hermosas Bounce Edit) 13. Stevie Wonder - Do I Do (U-Tern Edit) 14. Alpha Blondy - Jah Glory (Rhythm Plate's Disco Riddim Plate)
hey kids! we're back with more sonic goodness. here we have a tale of morals and ethics - two things (can morals and ethics be properly described as "things"?) i have been thinking about a lot lately. this mix uses samples from an old instructional film on "making good choices" , the film focuses on a young man who gets in with the "wrong" crowd and here we go are you ready? 1. the store security guard who sees him is friends with his family and he has to "decide" what to do - turn him in OR turn a blind eye (cue sappy music) 2. the police come to the boys house looking for him and his mother has to decide (in a really disorienting internal dialogue scene, that seems to take forever! i mean seriously if i was the cop and after the three minutes she makes me wait on the porch and then says "oh he's not here" i wouldnt believe her! i wouldnt!)- does she turn him in or does she lie to the police?! (cue sappy music) 3. the cop who is interrogating the youngstah wants him to turn in his friends - does the young man do it or not?! this goes on forever, everyone involved has to make a "tough choice" and then at the end the film poses the most serious of questions - WHAT WOULD YOU DO?! its like you're jeesus and what you decide finally matters to someone. so anyways i took all the audio out of the film and then i cut (cut is such a weird verb, i mean it never sounds right to me, i always feel likes its missing a letter or something, like it should be "cutted" as in "i cutted and pasted")and pasted it to make a much shorter morality tale, i then took this tale and cutted and pasted it over a really sweet mix that i feel captures the complexity and ingenuity of the original film production. i hope you fools like it!
Good news boppers, it's new mix time from deep inside La MoDa Central! Both Mo and I have been hard at work, with some new goodies in the pipeline to get your toes tapping as the summer says goodbye and the leaves start changing. First up is a new breakbeat mix from me (Mantisounds). I endeavored to create a mix that was a "breaks-through-musical-history" concept, if you will. Starts with some flapper-style swing elements, passes through the early days of pop music (Mr. Sandman), and then storms headlong into the disco era. There's a nod to classic breaks (the Mexican remix), the remix of the year (IMO) from Peo and the Drumattic Twins, and then I finish up with breaks from the future (Slyde and the Stanton Warriors remix). All given the big room tweaked out thump that I can't get enough of.
I played most of these tracks in my set when I joined Atomik in Portland in August, and they went down really well, so I thought I'd do it again and post it up for all to enjoy.
Keep it locked, more treats from both me and Mo coming soon....
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