Category Archives: Interviews

Bassweight Sessions 3: Calski

Posted by Bassweight Society on

Big up fam’.  As I had said on Tuesday, I have a very special interview today with a Bristol-based producer.  There’s got to be something in the air in Bristol because the amount of top-notch musicianship that comes out of that city is just massive.  I’m going to have to collect some air in a jar whenever I get over there and take a huff each time I get in front of my beat machine ;).  Anyways, let’s get down to business!

Today’s feature is with Calum Lamont, aka Calski.  If you’re not familiar with his sound, I strongly urge you to look into it.  This is a producer who, in less than three years, has gained himself support from some of the scenes rising stars like My Nu Leng, DK, and The Town as well as dominators such as Phaeleh.  To try and pigeonhole Calum’s sound is nearly impossible (he’ll even tell you himself) as he is constantly changing the tempo, approach, and style of his productions.  What is very clear about this man is his ability to make beautiful music, so it should be no surprise that the King of melodic bass music, Phaeleh, has been showing his support.  Don’t want to say much more because his responses are quite informative.  Take a look below to find about what Calski has to say about being a musician in Bristol and why he feels it best to produce a multitude of genres rather than stick to a single formula…

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1.  Just to get the formalities out of the way, can you give the readers a quick rundown about who you are and the music that you make?

Im Calski, I’m from bristol and I make sub bassy, melodic and percussion based music. It’s always a tricky one when someone asks that because I dont really know what to say. I tend to cross between genres and try messing about with different styles so it hopefully stays interesting for people.

2.  How long have you been involved with music production?  What was it that sparked your passion?

I’ve been producing for about 3 years now. When I was younger I played the saxaphone and piano, which is what started my passion for music.  I only moved onto computer production after I downloaded a free demo of fruity loops on my mums computer and started making cheap grime tunes, but it was pretty pointless because you couldnt save your beats on the demo!  After I got bored of the FL demo I just enrolled in a music technology course and it all went from there really.

 3.  You seem to really have an exceptional ability to work your drum tracks.  Is this something that just manifested itself through your production style, or do you make the conscious effort to create the cleanest and fullest drum tracks?

Percussion is just something I’ve slowley progressed on over the years.  I love fat, punchy drum beats and anything with rythm and a nice bouncey vibe to get your head nodding.  I always find its important to work the drums as much as you can because in my tunes they are usually the main factor along with the sub and they can make or break the tune.

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 4.  Furthering on your production style, your sound is undeniably distinct.  I don’t know if it’s just something about Bristol that injects creativity into people, but the amount of artists w/ fresh sounds in massive (Die & Break, Addison Groove, Phaeleh, Guido, Kahn, Appleblim, list goes on…)!  How would you say the environment in Bristol has transposed itself into your productions, if at all?

Yeh its a hugeley inspirational city for music, arts and culture.  I’ve lived here for about 4 years now and dont think I will ever move.  I believe the city has had nothing but positive effects on my music, Bristol has some sick producers and labels in so many different genres so I try to take inspiration from everywhere I can. I started getting booked for small gigs for no money when I first moved to Bristol and it made me see just how big it all was, seeing people making their own tunes and doing well at their own thing drove me to try it myself.  I believe its important to be around people with similar goals and aspirations as you because you motivate one another.

 5.  You tend to cross genre platforms when writing music.  Some people believe that when trying to build a name for yourself, it’s better to identify with a particular sound in order to “brand’ yourself, in a sense.  You seem to have transcended this philosophy, so I’m curious as to hear your thoughts about cross-genre beat making.

Personally I think its important to cross different genres.  Most of the people I look up to and aspire to be are versatile producers.  I think if you use the same drum pattern, synth or stlye in every tune you make, you might make a few bangers but eventually people will get bored because its too predictable.  When I start making a tune, I never have any idea where im going to go with it.  I usually start with percussion and see where it takes me from there, but it never usually ends up where I thought it would!  I also listen to all different sorts of music so I can hear something that will inspire me to take a tune in a whole different direction when I’m half way through writing it.  I can be pretty annoying sometimes as well!

 6.  You and KeyedUp make quite the team.  How did you guys get linked up?  What more can we expect to hear from you two in the future?

We live in the same sort of area and just met through the music scene and started making tunes when we were chilling at mine. We dont really make tunes anymore because we are just heading in different musical directions.

 7.  Your debut EP on Overcooked Records  will be seeing a released October 1st.  I’ve listened to the tunes, and they’re top-notch!  How has the reaction been so far on the release?

Thank you 🙂  There has been a really positive reaction so far which I am really greatful for.  It’s had a few good reviews and its being played by some of my favourite artists.  People like ‘Enigma Dubz’, ‘My Nu Leng’ and ‘Phaeleh’ have been supporting it which is a real honor for me because I’ve been listening to their stuff before I even began producing.  I think the good thing about the EP is there is a variation of styles and hopefully a track for everyone on it, and if not.. wait for the next release!

 8.  Is there anything else in the near future that the readers should keep their eyes/ears out for (gigs, releases, etc.)?

There should be multiple releases dropping in the next couple of years.  A few EP’s on Overcooked Records and some releases on various different labels in between. Lots of different vibes to come!

 9.  What’s the one piece of advice/knowledge that you have today that you wish somebody would passed down to you early on in your career?

Without sounding too cliche …Just work hard at what you want to do, be persistent and determined in life and one day, eventually, it will pay off.

 10.  Who shot Biggie & Pac?

illuminati 😉

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Much respect out to Calum for taking the time out of his day to contribute to our Bassweight Sessions series.  If you haven’t already previewed his EP on Overcooked Records, the ‘St. Andrews EP’, be sure to check the link below as it’s most definitely one you’ll want to add to your collection!  Featuring 3 Originals, a collaboration with Enigma Dubz, and a remix of an Inkarv production.  Big sounds no doubt.  The EP is available for pre-order of iTunes currently and will be officially released on October 1st at all good online record stores.

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Also, to top things off Calski has been generous enough to build a mix for all your listening pleasures.  Unfortunately there were some complications while trying to upload the mix to Soundcloud, and I was not able to use that particular platform.  I have uploaded the mix to Mixcloud but, since the ability to embed the players used by Mixcloud to a WordPress site is non-existent (C’mon WordPress, seriously?!) you will have to follow the link below to our Mixcloud profile.  Believe me though, it is WELL WORTH the extra two clicks you will have to endure ;).  Check the link below…

http://www.mixcloud.com/BassweightSociety/calski-bassweight-sessions-3/

I hope you all enjoyed the words and the mix!  Will see you next time.

To the gods.

-Kinman

Bassweight Sessions 2: Thelem

Posted by Bassweight Society on

EZ everybody.  I don’t about you lot, but this week is killing me already.  I can’t wait for Friday to be here!

To finish off the month we have a very special interview and guest mix from Matt Weare, aka Thelem.  It would be surprising if any of you hadn’t heard/seen this name on the late, the man has been climbing the ranks within the underground quite steadily.  Harnessing a multitude of platforms, ranging from a radio show on Rood.FM to operating his own label (Orientis Recordings), Thelem has been steadily spreading his sound among those involved in the deeper sound scene.  From his intricately arranged cinematic productions to his booming tribal drenched dance floor rhythms, Matt is a force to be reckoned with – a statement backed by support from some of the scenes most prolific figures, like Kryptic Minds and Youngsta.  Despite the rather massive nature of his music, Thelem keeps his head on his shoulders and his ego on lock.  With all of the controversy that has been surrounding dubstep the past couple of years, this is a characteristic that I have the utmost respect for.  People claiming one thing is or isn’t dubstep, generalizing geographic regions, hailing themselves as “the last true stepper”, it has all gotten out of control.  To see that there are still people out there who just do their thing while the madness plays out, well, it’s a breath of fresh air.  There are MANY producers out there like this, but many more clowns.

So, in the midst of Thelem’s debut release on Osiris Music, we had a chance to grab some words from this badman about his recent releases and thoughts on running a label…

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1.  Ez Matty, thank you for taking the time to give us this interview, much respect.  Just to get the formalities out of the way can you give the readers a quick background about yourself?
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Ez, my name is Matt, I’m from the UK, I produce and DJ under the alias Thelem.
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 2.  From what I’ve seen you’re a pretty humble guy, generally keeping to yourself when it comes to opinions about any topic occupying threads among dubstep listeners.  Is this something that you set out to do?  Or is this just your personality type?
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Well Generally I’m pretty mellow I guess. I have my own opinions about certain things I see online, but I’m the type of person that doesn’t get involved in arguments and online debates. I’m also not a big fan of arrogance, so I guess it’s more in my nature to be humble.  I don’t get some people who act like superstars when what we do is just underground dance music. 
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3.  You launched your record label, Orientis, early last year (if I’m not mistaken), showcasing the up and coming talents Killa & Instinct, Antics, and Subreachers, alongside your own productions.  Are there any newcomers that you plan on introducing this year?
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Well sadly I have decided to close the doors on Orientis and call it a day. Mainly due to the fact of the time and cost required for running the label. I lost alot of money in the initial stages through the fault of an old distributor, so it was hard to ever come back from that and regain the money.  I thought instead of stressing and worrying, it would be better to focus more time and energy into other things. It wasn’t all a waste of time though, it was definitely an eye-opener and good insight to how it all works.

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4.  In your Hedmuk interview last year you spoke of the importance a vinyl release has to you – hence the vinyl only release nature, but due to the changing landscape of the scene you intended on catering with more digital releases.  I know that late 2011 saw the ‘Angles’ compilation, which was purely digital, but have your thoughts changed at all about the format in which you will choose to release?  Especially given the quite consistent rise in vinyl sales the past couple/few years (depending on who you talk to) has seen?
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I still think that vinyl releases play an important role to me.  It’s nice having that physical element of the hard work that went into making those tunes. Looking back when your older it’s going to be nice seeing what you achieved through your career with that physical format.  Apart from that, I also think a label that does vinyl as well as digital will tend to stand out more, so I think its good for the interest of the label and the artist. However, in my opinion it’s not just about vinyl either, it’s important that labels release digital copies of the release as I think they would miss a large target audience in not doing so. 

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 5.  We recently saw your debut release on Black Box, Kaba/Point of No Return, which was another quality project with Killawatt.  What a release!  After Swarf, Dualism, and BLKBOX009 (among many others I’m sure) you two have carved out to be quite the team.  How did you guys become acquainted with each other?
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Like most people that I have met in music, it started from chatting online, through Facebook or AIM, etc.  Back when I first started chatting to Killawatt he was pretty local to where I lived, like 20/30 minutes away, so we decided to meet up and get on a beat.  It all went from there really and we continued to work on collab productions.
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6.  Just recently got news about your debut release on Osiris music.  Congratulations on that one bro!  That’s quite the feat considering the selective nature of the label.  What was your reaction when first receiving this news?
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I was really stoked to be honest. Osiris has been one of my favorite labels for a while so it was huge step being able to release on them. 

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7.  The detailed nature in the atmospheric elements of your music is something that really caught my attention when first introduced to your productions.  Do you have any background education in cinematic or soundscape design?
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Nah I never studied anything like that, I guess self taught through my own productions and experimenting really. I do love atmospherics though, to me they help build the character of a tune, much like they do in film I guess. I like sci-fi / darker films and atmospheric soundscapes play quite an important role in them, so maybe that’s where it all stems from.
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8.  I believe you’re part of the Rood.fm family.  I lock in as often as I can to catch the various shows.  What’s it like to host a radio show?  How large of a factor would you consider the radio show, as far as getting your music out there to be heard?
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Sadly I’m no longer part of Rood.fm, I haven’t done my show on there for quite a while.  I had done it for about a year and I felt like a change was needed, it was time to move on and let someone else take the slot.  My show was not very popular, so I guess it didn’t really play a role in getting my own tunes out there, it was still fun at the time though. 
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9.  Who shot Biggie and ‘Pac?

The Illuminati loool

10.  What should the readers be on the look out for in the future?  Shows, forthcomings, etc.?

Well I have just done a remix for Kryptic Minds, hopefully you should hear about in soon, so keep your ears to the ground for that.  As for releases I have another Osiris release lined up that should be out in the not too distant future.  Booking wise you can find me in Lincoln and London, then Killawatt and me are heading to the States for a mini USA tour that I’m really looking forward to.  Then from there it’s off to Outlook festival, that’s about it for this month. 
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Big ups in taking the time to read this, enjoy the Mix!

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That’s all for today fam’.  Hope you enjoyed the read!  Below is a mix that Thelem built to accompany this interview.  Some seriously wicked tunes inside this mix, all beautifully blended.  Make sure you stop by Thelem’s page and show him some love!

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Catch ya’ next time.

To the gods.

-Kinman

Back To Your Roots: Foundation Sound UK

Posted by Bassweight Society on
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EZ fam’.  Hope all is well, as always.
 
I’ve got a super duper special feature lined up for today.  I thought that it would be really dope to showcase styles that go back to the roots of most of the music that you find here on this website.  I think it’s safe to say that dub-reggae has had a pretty prominent role in the formation of dubstep.  The ‘soundsystem culture’ today as we know it can be greatly attributed to the dub-reggae movement.  So, in light of that, I have reached out to a crew that has been building sound system’s and pushing reggae/dub-reggae music since days that precede my birth.
  
Foundation Sound has been up and running in Norwich, UK since 1981.  Talk about some deep roots!  It’s been over 30 years and these guys are still pushing the music, message, and culture that they love.  Just as in any genre of music, landscapes have changed, technology has evolved, and the music, too.  Productions have become digital-based, although the analog kings still exist with a very respectable presence. I was thankful enough to get in touch with Ed King from Foundation Sound earlier this year when he reached out to me for promotion of the ‘My Burdens’ EP, which featured the ever so heavy remix by TMSV.  After I did some research on what the label/sound has been doing for the past 30 years and chatting with Ed a bit, I came to the conclusion that it would be really cool to feature some sounds inna’ proper roots fashion.  I don’t want to say much more because I want Ed to give some light into the crew and sound that he represents with us here today.  At the end of the feature you will find a mix done by Ed featuring Foundation Sound artists as well as others.  This is a mix that is 100% vibes throughout its entirety.  I hope everybody has their spliffs lit, or whatever you do to get into a meditation mind state, before you press play.  Makes me realize that I have not had enough dub in my life lately.  A message of love and positivity, no doubt!  Catch what Ed has to say below…
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BWS:  Big up Ed!  Thanks for supporting us with this interview.  Now, for our readers that don’t know who you are and what Foundation Sound is, can you please give them some background information on yourself and the soundsystem?

Yes greets, full respect and thanks for the support.  Foundation Sound is a reggae and dub sound system and record label based in Norwich, UK.  The sound system was originally set up in 1981 by Tony Roots (of the Liberators band, Norfolk) when he returned from time in Jamaica, and after touring as a DJ with Joseph Hill and the band Culture.  It was Joseph who named the sound system.  Basically, Foundation is a vehicle to help promote and spread the positive message of Rasta Reggae music.  Since the early years the crew has evolved and our works now include the record label, which runs alongside the sound system.

BWS:  Now, to my knowledge (and please correct me if I’m wrong), right around the mid 1980’s, England became one of the, if not THE main home of dub music.  Are there any memories or events during that time that still standout to you today?

Well it was really the late 70’s and early 80’s that reggae exploded in the UK. I think and I was only about 3 or 4 then so my experiences within the music are much more recent really.  From what Tony Roots and other (more veteran) friends tell me of them days is it was like the Jungle/early D&B scene here in the early nineties.  Reggae was THE music.  Sound systems from every corner of every city across the UK, big dances all over, and record shops constantly packed out with people wanting the latest music.  

I suppose a lot of people understandably link UK dub artists like Mad Professor and the early On-U sound stuff to being instrumental to the development of dub music but really no one but King Tubby can take the crown when it comes to being the originator and thus I think Jamaica, although not now, will always be the original home of dub.

BWS:  Foundation Sound has been around since 1980, that’s some experience under your belt!  Respect for that.  How would you say things have evolved or changed over the past 30 years?

Well back in the 80’s Foundation was really more a support sound for big acts playing gigs around the UK and Europe.  We wasn’t a sound that would clash (played against other sound systems),  Foundation would play warm up selections before the acts came on.  Highlights from them times would be supporting and warming up for acts like Eek-A-Mouse, The Wailers, Culture and Ini Kamozie.  In the 90’s, after some quieter years for the sound, me and a few other guys linked up with Foundation.  We rebuilt the sound in custom UK style; home built boxes, custom built amps and controls, and from there kinda relaunched Foundation.  Nowadays, as well as playing sessions where we string the set up and play all night we also clash against other sounds.

Foundation Sound – Happens Every Day EP (Promo Mix)

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BWS:  I have heard some people say that dub music died with King Tubby back in 89′, giving birth to the “raggamuffin” era.  Do you have any opinions on the subject?  Regardless, the day that Tubby was shot was an extremely sad day for music.

To me Tubby was the dubwise originator, the original dub organiser.  I don’t know and don’t really think that was specifically instrumental in the birth of the slacker dancehall/raggamuffin era, music changes and evolves, Jamaican music especially.  I think the music was always going to change much like society itself.  I often think that music kind of mirrors what is happening in society at certain times, reggae music especially as it has always been a peoples music, a message music. 

BWS:  Who were your main influences growing up, musically?  When and how did you get into making soundsystems
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I kinda got into Reggae music via the UK Jungle era, I always especially loved the tunes with the reggae samples and sound fx in….  My mate Guv used to get his family in London to record the Kiss FM (it was a london only station then) Jungle show for us and then send it up on cassette to us.  Sometimes on the end of the cassette tape it would run into the Manasseh show.  We started to enjoy the vibes on there and along with his show we started checking Rodigan’s shows as well.  I met Tony Roots around ’96 when we used Foundation as our PA system for Jungle parties we were doing.  He started to play me the original tunes where all the samples in the Jungle came from….  From there I started getting more and more into Reggae and dub.  The dub I could especially identfy with, to me at the time it seemed like slower more interesting Jungle.  
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I really got into the proper UK reggae scene when I moved to live in London around ’98 with my mate Barn.  I became friends with Marcus and Olston from Conqueror Sound, Willesden.  They introduced me to the whole DIY custom culture of building a sound system, checking producers for unreleased music and cutting dubplates.  I am not a Rasta but they took me in and treated me as part of their family.  I learnt a lot from them, the runnins and responsibilities of running a sound system, the culture of playing sound system and clashing others sounds.  I’ll always be grateful to them, cos’ without them and Tony Roots I would not be doing what we are doing now.
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Anyway I’m wandering off topic… those guys along with Tim from Rebel Lion sound here in Norwich are really my main influences in terms of getting into the music and sound system thing…  In terms of musical influences, I would have to say the main people would be King Tubby and in the more modern era Manasseh.  King Tubby, as I said before, is the original dub master and I don’t think anyone can argue that Baby I Love you So, King Tubby meets The Rockers Uptown, has to be one of the, if not THE, greatest ever dub tracks.  When I heard that I all I wanted to do was to make and play music like it, top-a-top.
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BWS:  What sets the Foundation soundsystem aside from any other dub soundsystem?
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Well to be honest I don’t really like comparing our sound to others, I’ll leave people to decide what sets us apart from other sounds… We concentrate on our own things, don’t watch no one else, we aren’t trying to be like anyone, we just play and do our thing as we do, you know?
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BWS:  From what I can tell, this most recent release on Foundation Sound (My Burdens) marks the first dubstep release to be included on a release from the label with TMSV’s interpretation of ‘Lay Down My Burdens’.  Can we expect more dubstep remixes on future releases?
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Yehman more remixes planned, not for awhile though probably.  The whole idea about the 12″ with reggae versions on one side and remixes on the other came from Dirty Specs.  They gave me the remix they had done and then said that TMSV had done one as well.  Me and Sam, who is the main producer for Foundation productions (and one part of the Dirty Specs team), chatted about putting out a 12″ with the remixes, kinda trying something different from our usual reggae only works.  We decided to keep the 10″ inch and 7″ inch vinyl releases reggae only and any 12″ inch releases will feature a reggae A side and then remixes on the filp, AA side style.  We got a few other guys lined up for possible collabs in the future.  The next remix release I am hoping to do will feature Richie Phoe from Brighton, really love his stuff. 
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BWS:  Each release on Foundation Sound has the “Foundation Sound Dub” version on it.  Who is behind these productions?
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As I mentioned my mate Sam is the main man behind our productions, I co-produce and manage the label.  All our releases to date have been produced by Sam, he will build a riddim then we’ll discuss ideas on what it needs.  We’ll usually get it voiced by whichever singers we are working with at the time, maybe get some live instruments on it and then that helps dictate how the tune will end up stylistically.  Once the riddims are fully built we then take it to who ever we are getting to mix it, guys like Nick Manasseh or Dougie Conscious. 
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BWS:  Now, this is definitely a “pet peeve” of mine so it would be great to hear your thoughts on the matter, considering your rooted involvement in dub music.  On the late, many new (hesitant to say uneducated) listeners refer to dubstep as dub music.  Is this something that you’ve heard before?  Any thoughts on that?
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I must admit I don’t know a lot about the dubstep scene but it doesn’t surprise me if thats the case, to me dub music is and always will be mixed up, instrumental reggae, to me dub is all about the mix.  I guess in some ways new music like dubstep is modern day dub music but to be honest words and phrases are always going to be robbed from one scene or style to describe another, like street slang really, and I can’t keep up with it so I ain’t gonna try. 
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BWS:  Will Foundation Sound be in attendance at Outlook Festival this year?  There are some really great performers lined up for this year!
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Nah we aint made it onto that line up yet, maybe in the future some time but not this time around.  We busy over the summer with a few festivals and sessions across the UK and then we should have a few things in France later in the year as well. 
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BWS:  Is there any news about forthcoming releases that the readers should keep their eyes and ears out for?
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We always got works in the pot, bubbling over…  My Burdens was originally voiced and produced over six years ago but it was only really when Sam revisited it last year with fresh ears, making a few adjustments to the riddim that we thought it was a goer, and decided to put it out.  We kinda work that way, always working on stuff, getting stuff voiced/remixed, but never really with an exact idea about what is going to be the next release. If you ask me right now whats coming next all I could say is that there is probably 2 or 3 tunes that could be the next release but we won’t know until we know, if that makes sense… Usually there is a point when we change something or get a live instrument or vocal on there, or something, and suddenly the tune is almost at the point of being ready.  At that point we kinda concentrate on that tune then till it done and ready for release.
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BWS:  Again, much respect for your time and support in this interview Ed.  Respect out to you and all of the crew at Foundation Sound.
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Yes Tyler, give thanks for the support mate and full respects to you and the Bassweight fam, keep up the works. Peace
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Make sure to familiarize yourself with the Foundation Sound crew and the music they push!  Here you will find the mixtape that Ed has put together for you listeners
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I didn’t realize that mixcloud was unable to embed with wordpress (or I just can’t find out how to do so) so just follow the url to the mixcloud page and hold your spliffs in the air, with your subs turned up!
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You can catch Foundation showcasing their latest music on Future Radio every second Wednesday of the month from 8-10pm GMT.  Holding it down for the Unity Sounds segment.  Radio link is here.  Don’t forget to stop by the Foundation Sound pages, too!
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Catch you on the flip.
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To the gods.
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-Kinman

Bassweight Sessions 1: Kelly Dean

Posted by Bassweight Society on

Kelly @ Smog Sunday’s w/ J:Kenzo (May 6, 2012)

Yo fam, what’s good?!  It’s already halfway through the week, which is a blessing in itself, so let’s start getting those vibes going that are going to bring us into the weekend.

Today we sit down with one of the many talented frontmen for the Los Angeles super-power, SMOG.  Kelly Dean has been involved with the inception of what is now one of the most well-rooted dubstep scenes in the US since, essentially, day one.  From underground art galleries to 5,000 person-sellout shows, Kelly has been amidst the evolution of Los Angeles dubstep.

While LA is largely associated with the aggressive, tear-out, and more commercially recognized styles of  bass, this man has managed to keep innovation going within the deeper side of the spectrum, adding his own creativity to the foundation sounds.  Alongside the SMOG family, Kelly has been bringing in some of the most highly respected figures in the deep scene, with the ‘Smog Sundays’ weekly.  I’ve made it out to as many as my life allows, and I have yet to be let down!  Much respect out to the crew for that!  Now, hopefully we can get some bassweight business going on a Friday or Saturday night, too 😉

Having racked up a sufficient amount of releases on labels like Sub Pressure, Gamma Audio, Shift Recordings, and Smog Records, to name a few, he is no stranger to the buttons.  Releasing drum and bass early on in his career but then switching his focus to dubstep in 08′, the man has definitely been on an upward path of production quality.  With his music receiving the remix treatment by Excision, Chewie, and the engineering mastermind, Von D, it should come as no surprise that his ascent has been steady.  Production aside, Kelly is also a man who has quality mixing skills, whether it be live or on two decks.  Caught his set before J:Kenzo last Sunday and he smashed it, flawlessly bringing in big tune after big tune, crossing between deep and soulful.

Anyways, let’s see what the LA badman has to say, shall we?

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What up Kelly!  First off thanks for the support with this interview.
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How have things with the SMOG family been on the late?  You guys have been bringing some killer performances the past couple months with your Smog Sunday’s; Seven, Noah D, Antiserum, J:Kenzo, and then you got Rustie and Goth-Trad all coming within the next couple months.  Respect!
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Yeah man the next few months are going to be great with all the deep artists coming through.  I’m really happy with the way things are going with SMOG here in LA.  There’s no place i’d rather be really!
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Any big things been going in the studio for you?  Your EP, ‘I Got You’, on Sublife Recordings hit the shelves on the 30th, anything else forthcoming that we should keep our eyes out for?
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Yeah the “I Got You” EP just dropped and I’m really happy to get that out.  That was one of the first tunes I made and really sat on that one for a long time.  Thankfully Lukeino with Sublife Recordings heard it and was interested in getting it out.  I really dig the remixes from Pawn and Lukeino!  As for other projects forthcoming, I have a “Easy Now” remix for Olie Bassweight and Werd 2 Jah that should be out very soon.  There’s a remix for did for Juakali’s “Standing Firm” that I haven’t got a confirmed date for just yet, but look out for that.   Also currently I’m wrapping up another EP, release info for that will be announced pretty soon.
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Seeing as you’ve been involved with the Los Angeles scene since it really formed into its own ‘scene’ (circa 07), what are your thoughts on the directions it’s gone, and where it is today?  Up until now we’ve only been able to get the perspective of producers that are only (for the most part) exposed to the US scene while on tour and such, so it will be nice to hear from someone who sees it at all times.
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The past 5 years have been crazy to say the least.  Back in 07 when I went to my first dubstep event it was a very small scene of people that were excited to hear a brand new form a music in a tiny club.  Flash forward to 2012 and there are sold out shows at legendary venues.  I don’t know any form of music that has gained that much popularity and acceptance that quickly.  There are so many directions the music has gone and that is mainly because there is so much potential in the eclectic directions you can take it. The amount of talent that comes through LA any given week is pretty incredible.  I don’t see myself leaving any time soon!
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What was the most memorable night that you have from LA’s dubstep history?  What makes it stand out that way?
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Well, its pretty hard to pinpoint one specific night.  There have been so many.  But there was a night at The Exchange in LA where Redbull hosted a culture clash with Smog, StonesThrow, Dim Mak and The Dub Club.  All 4 crews came together to battle each other in 15 minute rounds.  The vibe and excitement was thick!!  It came down to the wire between Smog and StonesThrow.  StonesThrow ended up winning the event in a very close call but it was amazing to have the acknowledgement for that status in LA.  For that we were pretty grateful and it made for a very special evening.  We also recently had a Smog vs Respect night at the House of Blues on Sunset.  We did it last year and both years have been very successful for a all local lineup.  LA is very supportive of its home players and that was also a very special event for us.
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Do you have any advice for producers that are looking to “come up” in the game?  Things to seek, things to avoid?
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I would say the biggest problem I see with producers trying to get noticed is trying to emulate popular artists.  This only makes it harder to get noticed because your style will sound common and wont have a unique brand to it.  Most label owners want to hear something new and exciting rather than something that will be stale in a month after release. Above all the most important thing is to have fun and try not to stress if you don’t hear back from labels.  Keep it moving, stay creative and have fun!  You can start up your own label and create your own brand now so there is always other options.
Considering the entire history of music, who is the one person that you would want to work with?  Dead or Alive (obviously).
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I’ve always been inspired by Danny Elfman’s work.  I think it would be challenging to try and score a film the way he does.  To lay down emotions behind scenes seems like such a fun project.  I also think Bonobo is a musical mastermind and would be honored to work with him.  So my dream collaboration would have to be working with those two on the same project.
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Who shot Biggie and Pac?
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Damn, thats a tough one.  I’d say it was all a cover up and both are sipping cocktails on a beach somewhere laughing at the whole Coachella hologram thing.  hahaha
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Wanna Big up anyone?
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Bigup to my Smog family, Lukeino at Sublife, Kial at Sub Pressure, Shift family in Seatle. Juakali and Olie Bassweight get massive shouts!  Bigup to eveyone who supports my music!  And finally Bigup to Bassweight Society for shedding light on deeper sounds across the globe!
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Again, a shout out to Kelly for his support with the interview!  I also want to shout out to SMOG for their dedication and deliverance to quality dubstep in California (and now spreading across the states!).
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Below you will find a mix that Kelly Dean uploaded for this feature from his live set on April 18, 2012, in support of Truth and Silkie.  This mix is jam-packed full of huge tunes!  A must listen.  Also, you will find links directing you to his Soundcloud, Facebook, and artist profile on the SMOG page.  Be sure to check them out and support the artist by purchasing his music!  Show the SMOG family some love too by stopping by their Facebook and dropping a line.
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That’s it for today!
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To the gods.
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-Kinman

Exclusive Interview and Mix with Olie Bassweight

Posted by Bassweight Society on


Welcome back friends and family. Today’s special feature comes all the way across the Pacific from New Zealand’s, Olie Bassweight. This producer, DJ, label manager and promoter is known for cultivating and nurturing  NZ’s thriving bass scene via his label, Bassweight Recordings, and his own sub-heavy productions. We recently got the chance to gain some insight into Olie’s personal life, the New Zealand bass-scene and what the future holds for Olie and his label. We touch on the definition of “Bassweight”, Olie’s current ventures and the effect of last year’s devastating earthquakes on New Zealand’s music scene.

It’s not all bad news however. Poised to release the massive “The Void | Remixes” EP this Friday, 04/27, Olie gave us some firsthand experience into the essence of his sound with an exclusive Bassweight Society mix packed full o’ dubs. Keep it locked for a fun an informative chat with New Zealand’s Subsonic Ambassador, Olie Bassweight.

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BWS:  Hey Olie glad to finally be speaking with you. Given our similar names and likewise appreciation for Bassweight music, this interview seems a bit overdue!  Finding from previous interviews, your back catalog, and your label, Bassweight Recordings, it’s apparent you’re firmly rooted in the dubstep community, not only in the New Zealand, but around the globe.  You must be a busy guy.  Can you explain what a day in the life of Olie Bassweight consists of?

Olie:  Well at the moment, I’m doing a lot of work on Olie Bassweight material trying to get my album finished,  but also got a fair bit of label stuff happening at the moment, with the void remixes coming out this week, plus another 3 EP’s scheduled this quarter from Dubfonik, a new comer to the label from Melbourne.  Recently we’ve signed Kaiko Neureus from Perth/London, who are an up-and-coming duo I think will turn some heads.  Also a re-release of the ‘Tides Have Turned” EP I did with Timmy P MC. All this coupled with fairly consistent touring takes up a lot of time!

Promotion-wise, organizing the New Zealand Dubstep DJ competition ‘Dubclash’ is #1 on the cards at the moment, plus an upcoming tour of  New Zealand next month.  Its like it never ends really.  As soon as one thing’s sorted its on to another task.  This last year I’ve taken a big break off promotion and have been concentrating on my own music, which has been really great.  It’s a breath of fresh air after doing sometimes hundreds of events a year to just doing a few recently.  Promotion takes it out of you, its a dog eat dog world.

BWS:  You have plenty of collabs and remixes with American artists like: Kelly Dean, TZR, Antiserum, Triage and vocalist Werd2Jah.  Being a US-based blog, we’re always keen on finding out how other artists view the States.  What do you think of the US dubstep community and its contributions to the global dance scene?  Also do you have any collabs in the works?  Or can think of a US artist you would like to work with, but haven’t already?

Olie:  When the whole dubstep thing really started to form in the USA, the New Zealand scene was slowly gaining momentum as well (circa 2007ish).  I was running Bassweight Recordings and was in a lot of communication with North American-based labels, producers and agencies, so I’ve had an eye on the American scene from afar for quite a while.  The U.S. has contributed hugeley to the popularization of bass music in all forms over the last 5 years, its been crazy to watch how it’s developed.

BWS: Are there any other American artists we didn’t mention you find are doing it proper?  Do you have any collabs in the works?

Olie:  It seems the U.S.A guys were always a lot more friendly and easier to approach than alot of their European counterparts, so I’ve found myself collaborating with quite a few over the years,  which has been great.  Massive shout-outs to Mikey Antiserum, that guy is an absolute don of the USA scene.  Seattle’s Dubtek, TZR, SelfSimilar & Lukki and the Shift Family, the Florida crew Deej from Betamorph, John at Stupid Fly Records, and the one like Werd2jah.  Portland’s mighty Triage, The Bassist and SPL.  San Fran’s Roommate, Antiserum, Bird Of Prey, the Hellfire Machina Boys from NYC.  Also the ones like Kelly Dean & 12thPlanet from L.A.  All absolute awesome people and producers I’ve had the pleasure of working with in some way over the years.

BWS: Much love! Can you think of a U.S. artist you would like to work with, but haven’t already?

OB:  Ones I’d like to collaborate with in the studio that I haven’t already would definitely be Dean Grenier aka DJG & Grenier from San Fransico.  The guy’s music has always been amazing and the places he’s taking it these days is going to a mind-blowing new level.  San Francisco is a hub of amazing music in all forms and is putting out amazing stuff into the world.  Another one of these dream collaborations would have to be Eskmo also from San Fran.  He really influenced my tastes and his musical journey has been another one I’vebeen following for years.

BWS: Given we both rep the name Bassweight, could you give us your interpretation of “Bassweight” or what “Bassweight Music” means?  Also, what was your most heavy “Bassweight Moment” at a club or show?

Olie:  I think we can all agree it means proper sub-bass vibes.  The term was originally quoted by Mala, he was the guy that really got me into this whole thing in the way I am today.

The first show he played in Wellington, New Zealand was seminal.  On the same note, the next time he came and played 4 years later at a Bassweight Recordings night in Wellington with Coki.  We had our super-boosted Gardenclub System, was deft a highlight for me thus far. Amazing vibes that night.

BWS:  Sick! In a previous interview you mentioned your debut album for Bassweight Recordings is in the works. How is that coming along?  Also, how does a busy guy like yourself find the time to really sit down and get in the zone?  And when you’re there, do you have any rituals or systems to making tracks?

Olie:  Yeah the album is getting closer and closer.  I’ve had a lot of hold-ups and have changed a lot of the tracklist so I’m hoping to have this out by August now.  I want it to be the best debut LP it can be, so there is a lot of deliberation going into it.

With writing music I find it really can’t be forced, if I’m in the mood, I’m in the mood, and if I’m not, I’m not.  I try my hardest to adhere to my own creative juices and work on things when I really feel like its flowing.  That’s when I write my best stuff.

BWS: EZ. For us foreigners, what is the dubstep scene like in New Zealand and where do you see it going?

Olie:  The scene down here is as solid as you could get with such a small country.  We have an abundunce of events all over the country every week.  The type of stuff thats the most popular is still definitely the heavy “bro-step” vibe, but I feel like that paradigm is changing rapidly and people are opening their ears to a much deeper vibe again when it comes to dubstep, not just in New Zealand, but from what I can tell it’s a global regression, which is very exciting!

BWS:  Our hearts go out to New Zealand in the wake of those massive earthquakes that were hitting last year, and we have the understanding that they literally effected everyone.  Is that true?  And how do you think they affected the musical community as a whole?  We really hope you all can recover swiftly.  In the states we hear nothing but good things about New Zealanders and know a couple really awesome Kiwis personally.

Olie:  The earthquakes have affected everyone in this country.  We have just under 4 million people here, and our communities run deep.  It’s been a real challange and it still is.  Right now, there’s alot of people in Christchurch  still not knowing what is happening with their lives and their homes, and it’s heart-breaking.  It’s been over a year since the big one and rebuilding is still happening, as it is still occasionally shaking.

The earthquakes affected the New Zealand dubstep/bass community hugely. Christchurch was a hub of the scene, always has been since the early nineties and the rise of drum & bass down there, and when Christchurch lost all its venues and couldn’t have events it put huge strains on international and local touring agents that found it even harder to bring artists to NZ.  It’s still ridiculously hard to find good active venues down there now over a year later.

BWS: Going forward, what does 2012 hold for Olie and Bassweight Recordings?  Got any travel plans or releases we should be excited about?

Olie:  Well I actually have to make it over to the Americas sometime soon, its been a long time in the works, but after i get my LP out.  Catching up with my American buddies is something definitely at the top of my list, so expect me over there sometime in the next year.

We’ re making a music video at the moment. Very excited to have locked down the multi-talented guy Capper to do a plastercine animation video for us for the tune I did with Timmy P MC called ‘Tides have Turned’.  It’s a deep reggae-steppa number.  Jermaine Clement from The Flight of the Concords is going to appear on it. We’re hoping to have it all wrapped-up by August, so very excited!  I also started a collab recently with Truth and Bulletproof with MC Rugged Tek that I’m looking forward to people hearing in the near future.

BWS:  Thank you on behalf of our readers for your exclusive Bassweight Society Mix. What can we expect to hear in it?! Is this a studio mix, cds, vinyl? Any special forthcomings to watch out for? Can I play it in on my laptop?

Olie:  Haha, well it’s a studio mix, lots of forthcoming bits from myself and a few collabs and remixes, plus some of the new forthoming Bassweight stuff and some other bits I’m feeling at the moment.  Lots of tracks you can expect to hear on my upcoming NZ music month tour (If you are from New Zealand) .  No I wouldn’t recommend laptop listening at all, I did put a Skrellex tune in the end of the mix just for the laptop mussif!

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Well big up Olie, and thanks for the absolutely smashing mix with a nice surprise at the end. Readers make sure to check out ‘The Void (Remixes)” EP  out this Friday, and keep in contact with Bassweight Recordings.

Olie Bassweight – Exclusive Mix For Bassweight Society

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Link up with Olie on:

Facebook

Soundcloud

Twitter

Large ups!

– Shice