Dirty Merlin & Repeated Measures – ‘Wonton Animal Chin’ [FREE DL]

Wonton Animal Chin Art


Big up everyone!

I’ve got something a little bit different today, that I’m hoping you guys are feeling as much as I am.  Here in Orange County, CA the past year has seen a consistently gradual funneling of attention to one of the county’s greatest clans – the Grn+Gld Collective.  With their roots beginning in a warehouse utilized to host parties and occasionally sleep, the gang has grown from 3 to over 10 members, each injecting their own style into what could now be known as the Grn+Gld lifestyle, if you will.  With the various members come various upbringings, musical influences/experiences, skill, and much more perspective – all culminating in an environment that facilitates collaboration, learning, and innovation.  These guys are a true pleasure to be around.  They’ve been kind enough to invite me to play at a few of their warehouse parties (RIP ‘The Wizard’s Den’) in the past, and each time was an absolute blast.  I may be biased due to my perpetual longing for people to realize to benefits of collective effort but, these guys, in my mind, truly embody a community.  They have a roster of artists, they have loyal fans, and these two groups of people reciprocate support and appreciation between themselves to foster a constant avenue of growth and reach.  Big up the Grn+Gld cult – where lies, spells, and 808’s rule the realm.

Back to the “a little bit different” statement.  Two of the artists from Grn+Gld have been kind enough to give on of their songs away as a free download – Dirty Merlin & Repeated Measures.  The track is titled ‘Wonton Animal Chin’, please don’t ask my why.  It’s still awesome, though.  Stepping away from the typical dubstep formula and more into analog hip-hop styles of the mid/late 90’s, these two put their heads together producing a warm, sub-heavy beat that utilizes the sampling mastery of Dirty Merlin on his Roland 303.  A bit trappy with 808’s, but the aesthetic of the song is nowhere near the washed-up product that 98% of ‘trap’ music hitting the airwaves is.  It’s a fresh take, showcasing nostalgic roots in analog recording techniques in the framework of a more contemporary musical formula.  Give it a listen, and come to your own conclusions.



Dirty Merlin || FACEBOOK | SOUNDCLOUD ||

Repeated Measures || FACEBOOK | SOUNDCLOUD ||


Until next time, fam’.

– Kinman


Bassweight Sessions 5: EshOne


What up fam’.  Hope everything is well.

Well, the nominations for the Dubstepforum Awards 2013 have closed and any day now we should see the announcement that voting can begin.  I hope to see the BWS name on the voting sheet!  What a year 2012 was for dubstep, right?  So many great tunes released, labels started, and boundaries pushed during the past year that it’s hard to predict where things will go in 2013.  One thing is for sure, and that is the simple fact that the music, people, and scene will continue to progress.  I’m going to compile a ‘Top 20 Releases’ (obviously just an opinion) feature for 2012 as I did for 2011, and am hoping to have it all wrapped up by the end of the month (there’s soooo much good music to sift through).  I’ll keep you guys posted on that so be on the look out 🙂

Today I have a special feature with US native Donnie Valdez, most commonly known as EshOne.  A long-standing staple to the US underground, Donnie has sought out to test every boundary possible with his music whether it be formula, tempo, or distribution.  Donnie has been releasing music since 2008 in both digital and vinyl formate.  In 2011, he started up his label Elk Beats and has been releasing music exclusively through that outlet (more information regarding that in the interview below).  Donnie is an all-around genuine guy who carries himself and his music in a concise and to-the-point manner.

Take a gander below if you want to get to know Esh a bit better.  Also, he has been generous enough to offer a free tune for you to play while you read the interview!


BWS:  Can you give the readers a quick blurb about yourself (name, hometown, music you make, etc.)?

My name is Donnie Valdez, I have tracks out there filed as EshOne, Don Valdez, and a handful of other names that I will not say. I’ve split my time since I was young between southern California and northern New Mexico, so I guess that’s had sort of a big influence on my sound. I’ve been focused on bass heavy music since I’ve started, moving through the darker stuff as I’ve come along. At this point I’m trying to play mostly, if not all, my own music in my sets. I try to create and maintain in a variety of tempos and styles, and as the library grows, the fun does too…

BWS:  Can you remember any sort of defining moment that made your mind click, and you knew from then on that you wanted to make music?

Yeah. As far as making music in general, my mom bought me a mini acoustic guitar when I was a kid and I used to play these super annoying songs to her. It was hilarious to me. As far as creating electronic music, it started from playing whole sets on vinyl, and the whole time wanting to have made one of the records I was spinning. That was the cool part to me; playing them and having the knowledge and taste to like good music was an achievement, but what about making it? That’s the shit. This is still the driving force on a personal level. You can never be good enough at making music. You can never learn enough. There’s not like a pace you have to keep though, or a race against time. It’s all about having fun, and the harder you work, the more fun you have.

BWS:  As far as I know you paint among other sorts of visual art, can you elaborate on that a bit?  Do you find any sort of connective element in creating both visual and audible artwork?

I like to make stuff. I don’t draw or paint as often as I did before, but I do a lot more screen printing and digital art these days to make up for it. I used to paint skateboard decks and sell them, but it’s been a while! I do some design work and web development, if you looked at my productivity from a financial standpoint, design would be my main gig. As a connective element between visual art and music, I’d love to learn more about video and editing. I think it would really compliment any music I create, although it’s something I’ve never had the equipment for. Now that these handheld phone things we all have are capable of so much, I might do some weird stuff and see what comes out.


BWS:  Where can the readers find your art if they’re interested in purchasing?

I’m continuously putting things up on the Elk Beats website [ http://elkbeats.com ], right now we are limited to digital music, and occasionally tees and posters – but cassettes, greeting cards, and weird sculptures are coming. Soon.

BWS:  You’ve got a pretty solid history within the dubstep scene here in the US.  What’s it been like to watch the scene evolve and branch out during the past 6-7 years?

It’s been entertaining! It’s crazy to me how much it’s grown. At first it was kind of this niche thing. Hard to find, and special when you found it. Then it was everywhere, and sad to say, pretty annoying. It blew up the the point of melting into the electronic music/dance music scene, this big flow of repetitive beats that are categorized in weird ways, and has now secured its place in the production style hall of fame. Now that it’s more settled, I’m hoping that everyone moving on takes to heart some of the amazing parts of this genre: the bassweight, the moodiness, the weird polyrhythmic aspects of the truly deep tracks, anxious syncopation, patience with the pace… I’m also hoping that those who stay with it don’t ride the sound into the ground, rather experiment and innovate. There is so much space to explore still.

BWS:  Any moments in your history that stand out as game-changers?  Tunes, events, etc.?

I make music fast… Like really fast. Now that I’m working with different tempos, it’s easy to make a house track when I’m not feeling like making dark bassy stuff, or the other way around. So the event is that I recently started playing digital music, on CDJs, which has opened up so many new doors to me. I’ve been stuck in the position of only playing a certain style and tempo of music for a while, because I would cut dubplates for every set. Financially, I had to cut only my best stuff, and things that were sent to me, that would mix well together. Time was an issue to – if I got sent a wicked promo that came out 3 weeks later, and I only had one gig in that time, it wasn’t worth the cut. It was painful to let those go, and not be able to play some serious tunes I’ve had my hands on in the past. Now with the capability to play all the promos I’m sent, and all of the styles of music I have, including things that are old and obscure, or aren’t finished yet… My sets have become infinitely cooler. To anyone reading and thinking, “I told you so,” I don’t regret playing on dubs and vinyl for so long, and I may go back to it. I’m just on a path of super inspired and rapid creativity right now, and the lathe can’t keep up!

BWS:  I’ve seen your dubplate collection (or at least segments of it).  Do you still get the same feeling each time a new box of acetate arrives on your doorstep?  Whatever that feeling may be…

I love dubplates, I will always love them. Everyone who’s held one will talk about the smell of them. It’s true. They have a very distinct smell, and I’m sure opening a box of fresh cuts by an audiophile is very similar to opening a bag of the finest Humboldt Kush a weed smoker could get their hands on. It’s magical! Going to the mastering studio for the cut is even more exciting than a box at the door. Watching a needle etch your track into a metal disc and seeing the acetate shreds getting vacuumed up and hearing it all in real time is an experience like no other. On a performance level, I am to the point now where I just want to cut dubplates for personal use. Just my best stuff, to collect, and have a physical copy of.

BWS:  I saw you post a cartoon strip like a week or so ago (state of the music industry from The Oatmeal), and you said it gave much of the reason behind the inception of Elk Beats.  Can you go into more detail what you meant by that?

Oh yeah! The cartoon had to do with the digital distribution market, the disconnect it creates from fans to artists, and offered insight into the benefits of cutting out distribution altogether. It’s all true! At Elk Beats, we just sell through our website. It’s never been about getting charted on Beatport, or iTunes, or any of those things. To be honest I don’t give a shit about any of that. As a DJ, I would personally never touch anything I found on any sort of a chart, and to be quite honest, I don’t want DJs who think like that buying my shit anyway. We’re making and putting out stuff that not everyone will like, which is perfect, because we’re making it for those who are going to like it. This model is fantastic! I get to meet, or get emails from, everyone who’s supporting Elk Beats and the crew. It’s rad getting to know who likes what we do, and to see what they do! Also, getting to work with some of the artists I have so far with Elk Beats has been a great experience. Both Raggs and AxH have been inspiring and fun people to build with, and I’m thankful for the opportunity to do so.


BWS:  Is there any specific direction you want to take your music this upcoming year?  Personally or with Elk Beats?

I’d like to continue making different styles of music, and finding better ways to mix them all together. I’ve been inspired a lot this past year by people who mix different tempos, especially Wheez-ie, Distal, and Sublmnl Sound System. As for the label, I’m always looking for ways to push Elk Beats to the next level. I’m working with a couple of artists who I believe will help do just that, and looking forward to what we’re going to put out this year. More tempos, more styles, more art. Look for lots of cool merch and one of a kind stuff on the Elk Beats site this year.

BWS:  What was your favorite piece of music the past year?  If you can’t single it, top 3/top5?

There are way too many outside of the bass music/dubstep sound, so for the sake of simplicity, I’ll go with Goth Trad – Man In The Maze. That song is an amazing piece of music, as is the whole album. Plus he is one of the coolest people I have met in the music scene, a very smart guy.

BWS:  Can you tell us a little bit about the song you’ve be so generous to share with the readers?

This song, The Lagoon, is just one of those weird songs. It comes with a super thick vibe if you can pull it off right. I’ve only played it a few times. In order to play the track, the sound system has to be super beefy, the crowd has to be in the zone, and the set has to be authoritative. It’s one of my favorites for that reason. If you can play it, and it works, you’ve created a very rare and very fulfilling energy with a room full of people who will appreciate it.

BWS:  What do you think could be the most useful piece of advice to any new producer?

The more unique your music is, the more accurate it is. It’s just like telling a story. You can exaggerate the parts you think people will like, and leave out the personal stuff, or you can tell it your way and get better and better at communicating what you like about it. Decide what you want people to hear, and work hard at getting that sound to them as clearly as possible. It sounds easier than it is, but that’s the fun part.

BWS:  Who shot Biggie and Pac?

I think it would be disrespectful to speculate. I’ve been inspired by the music of both, and I’ve never even met either, so I guess I can say no one shot them. They’re still alive and reaching people through what they made, and will never stop.


Here’s the beat Donnie has been kind enough to give away – a track titled ‘The Lagoon’ that emits a classic vibe with a slumping bass line for all the soundsystem heads to nod to.  Big up Donnie, much respect and appreciation for the interview!


EshOne Pages:


Elk Beats:


I’ll catch all your mugs next time!  Big up and one love.

– Kinman

OFF Recordings FREE EP!


“Thanks to all of you for 11.111 Facebook followers!

The last year has been really amazing for us, and you, as our closest fans, have a big part in this success.

That’s why we and our artists want to give something back to you: a number of previously unreleased edits and bootlegs, hot and exclusive stuff from big names like Tiger Stripes, Niconé, Miguel Puente, Rosche, James Silk, Hector Couto, Mat.Joe and S.K.A.M.


Aphex Twin – Windowlicker (Tiger Stripes RMX)
Dharkfunkh – Killer (DUB)
James Silk – I Knew
Junior Jack – My Feeling (Hector Couto 909 Edit)
Mat.Joe – Icecold
Niconé – Riders
Puente & Rosch – Ice Baby Edit
Therr Maitz – Feel Free (S.K.A.M. Remix)
Tina Turner – Afterglow (Jay West & Manuel Sahagun Edit)

We look forward to a great 2013 with you!


Andre & Jens”

Released by: OFF Recordings 
Release/catalogue number: OFFFREE001
Release date: Jan 9, 2013
– Kinman

Breakage – ‘The Promise’ EP (FREE)

Big up everyone!  Don’t have a lot of time this week because of school but, I thought you’d get a kick out of this one 🙂  One of the most OG producers in the game (personal favorite of mine) has been generous enough to give out a free EP to all you listeners!  It’s very simple to obtain the tunes, just sign up for the newsletter or share via your social media network of choice by following the below link.  This one is MASSIVE.

“To download the EP for free please go to breakagemusic.com/download

Breakage follows his critically acclaimed album ‘Foundation’ & crossover hit ‘Fighting Fire’ with his latest offering ‘The Promise EP’. Progressive in nature, with a nod to both the Balearic Island & the basements of inner-city London, this four-tracker is a taster of what is to come as Boyle readies his 3rd album, set for a 2013 release. Featuring co-production talents of Dismantle on ‘Ass Up’, early supporters include Annie Mac, Mista Jam, Skream, James Zabiela, Busy P, Basement Jaxx & more.

“Breakage bringing the same depth and space he had in D&B over to House and Dubstep can only be a good thing. The hallmarks of a great producer.” Mista Jam

Released by: Digital Soundboy Recordings 
Release/catalogue number: DSB046 
Release date: Nov 1, 2012 “

Words Taken from http://www.breakagemusic.com


Enjoy everyone!

To the gods.


ReSketch – ‘I Don’t Care’ (FREE DOWNLOAD)

Oi Oi!  What’s good ya’ll.  So, over the past couple of months I have gone through some intense schedule changes, specifically pertaining to the time spent at university.  As a result, my availability to maintain the blog has been seriously hindered.  In light of this change I have been considering recruiting some new writers/contributors so the flow of the website can be consistent, without lacking a necessary level of ‘quality’.  Additionally, as some of you may have seen on the BWS Facebook page, I have been moving towards incorporating a more eclectic approach to the music that is promoted through this platform.  Simply, there is just too much great music being made to restrict this website to a single genre.  I feel comfortable assuming, with an expected margin of error, that you readers and listeners are appreciative of various types of music as well.  So, it is with these aforementioned realizations that today begins a new chapter for Bassweight Society.

A long time friend of mine, Ben Grimm, has decided to join the BWS team.  I’ve known Ben for 5-6 years now.  He was a frequenter at the jungle/dnb parties that my friends and I used to throw monthly in Santa Barbara, and the relationship has grown from there.  I have asked Ben to join the team because he’s a a huge UK garage head, and I thought he would have some great music to offer all of you 🙂  There will be more additions and introductions for new writers soon to come, so stay locked!  It is here, that my words end and I introduce to you all: Begrim.


Hey guys,

First off, I gotta give my upmost respect to everyone behind this site and the amazing artists they’ve been supporting.  To switch things up a little bit, I’ll be featuring some of the deeper UK Garage/2step tracks that have been coming out.

For those who don’t know, UK Garage started out in early-1990’s England as a successor of US-based house music. Characterized by a 4/4 beat, “shuffling” hit-hats and snares, and chopped-up vocal samples, Garage and 2step dominated the UK music scene into the early 2000’s.  However, in the mid-2000’s, some artists began deviating from the funky, soul-oriented garage sound to establish a new, darker genre called grime.  Others, such as Kode9, Wookie, and Zed Bias, began to change the 2step garage sound into a new genre, later known as dubstep.  While these two genres became established and still continue continue to expand, UK Garage has begun to resurface in music community and carve its place out once again.  Modern UK Garage has grown exponentially since its start in the 90’s, ranging from upbeat party bangers to the deeper, soothing melodies, and everything in between. Established dubstep artists such as Skream, Altimeter, Synkro, and Phaeleh have been producing some amazing UKG tunes while producers such as Submerse, FaltyDL, Whilstla and Disclosure have been bringing a great amount of ingenuity back into the genre.

To start off, here’s a freebie from ReSketch in anticipation of his upcoming release ‘Reason for a Reason’ EP on Infinite Machines this November 5.  Having just released his ‘Bound in Binary EP’ in May, ReSketch has been a dropping UKG standouts since the start of 2010 and has collaborating with other big names such as Submerse, KingThing, and HxdB.  ‘I Don’t Care’ fully delivers, starting out the classic 4×4 beat and slowly fading in ethereal trebles over a deep, atmospheric bass.  The vocals weave throughout the song and tie together the entrancing melodies.  Halfway through, the tempo drops down for a smooth dub feel just before the full force of the track is unleashed.  This introspective song stands out as an example of what UK Garage has to offer and is an essential for anyone interested in this form of music.

Download link is in the description:



Respect to ReSketch for the free track – get it and look for his new EP coming out this November.