Deco – ‘Across The Grain’ EP [DECEAST]

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EZ everybody.

I want to feature an EP today from the Los Angeles underground badman, Deco.  Longtime contender in Southern California’s underground electronic music scene and Deceast label don, Matt is no stranger to first-class music.  If you’re new to his sound you may remember a couple weeks back when his recent collaboration with Mesck ‘The Way We Fall’ was released as the ‘B’ side of ‘No Shelter’.  If you haven’t heard that one yet, check it out here on the feature I compiled for my other blog —> LINK.

With this solo project Deco demonstrates the vastness of his production nature, weaving in and out of a multitude of genres as his influences; jungle to dub-reggae to contemporary bass.

Across The Grain ||

The EP’s title-track takes on the half-step formula utilizing chords  heavily submerged in reverb, a neck-snapping snare, and an all-around techno infused aesthetic.  The notorious ‘uhhh’ trademarked by the one and only Biggie Smalls shows it’s face scattered throughout the song’s duration really captivating the listener and adding a sense of ‘street nostalgia’ to the beat.

True Renegades ||

This one features second on the EP and is another techno-roller that according to Deco “…pays homage to the outsiders who stand their artistic ground in the face of commercial temptations.”  The message is definitely heard in the vocal sample enlisted by the man himself.  Powerfully catchy stabs, analog sounding atmospheres, and spacious kicks are standout characteristics of this one.

Conciousness Dub ||

Deco comes correct with a clear homage to dub-reggae music as heard in the generous application of reverb, and seemingly endless delay.  This track is not only my favorite track off the release, but also contending for one of my favorite beats ever released by Deco.  It truly captures the ethos and positive vibrations that dub-reggae pioneered for dubstep.  The uplifting horns, the distant vocal processing, and overpowering wall of sub-bass (among other tracks) all come together to form a piece of music I would imagine to be widely accepted by most true reggae fans.

Polymorphism ||

Matt exits his collection of songs with a very high-energy track that exhibits jarring drum patterns and an extremely intricate programming of several mid-range bass tracks.  The tribal-esque kick pattern keeps your feet in full-fledged stomp mode while the mind-swirling atmospherics will play tricks on just about anybody’s mind!  Definitely one written to smash dance floors across the globe.

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This EP has been made available at all fine music retailers so make sure to wander on over to your store of choice and press that ‘buy’ button if you’re feeling these beats.

Buy links:

iTunes || CHEMICAL RECORDS || BEATPORT

Deco’s pages:

FACEBOOK || TWITTER || SOUNDCLOUD

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Hope you lot enjoyed the sounds!  SUPPORT YOUR LOCAL SCENE.  I’ll catch you tomorrow with some more deep house sounds for those with a palette for 120.

One love.

– Kinman

Steve Huerta – ‘Do Good To Me/Revenge’ [PETFOOD035]

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What’s good everyone…

As I’ve recently mentioned, I have been planning on expanding the musical palette of the blog to include more of the music I love to listen to rather than featuring purely bassweight dubstep.  There’s plenty of music that embodies the ethos of Bassweight Society so it’s time to keep things moving forward.  From here on out I will be using Tuesday as a platform for current/forthcoming releases falling under the 120 bpm formula.  I chose today to kick things off with the house music for a very specific reason, and that being a friend of mine from university has just dropped his most recent single on petFood Recordings, featuring two seriously deep and funky tunes that will set any dance off in an ugly-bumping frenzy.

Throughout 2012 Steve Huerta has firmly cemented his position as one of LA’s most sought after new artist after releasing tracks like ‘Take Me Closer’ on the Amadeus imprint and his collaboration with Prince Club ‘Cant Let Go’ which has received support from the likes of Catz ‘N’ Dogz, Waze and Odyssey, and Droog among others.  With this petFood release dropping today and his collaborative EP with Urulu on Dirt Crew Recordings lined up for later this week, 2013 is already looking out to be a monumental year for Steve’s career in the House music scene.  I can’t wait to see what the future holds for this guy.

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Do Good To Me ||

This track is one of the biggest panty-droppers I’ve heard in awhile.  Things are kicked off with precision percussive sequences accompanied by brilliantly formulated atmospheres, setting the stage for a funk-infused bassline made for the gods to move to.  Steve’s ability to process vocal samples in such a surreal manner is notably seen throughout this track as they soulfully bounce from left-to-right in the mix, adding elements of euphoria to the lucky listener’s night.  It’s just an all-around feel good jam that, as I said above, is an absolute panty-dropper.

Revenge ||

With a slowed, and slightly darker approach to this beat whilst still keeping the mood high, he once again champions his vocal sampling along with uplifting organs and funk-ridden grooviness.  There are so many intricate elements lurking throughout the mix, from the looping sample of what seems to be chopped-up background noise of a party, to the distantly enchanting pads that ominously rise.  I think you’ll truly understand why I used the term ‘darker’ once you hear the bassline drop through.  I definitely imagine this one playing late-night when things start to get weird and freaky in the green room.

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This release is a Beatport exclusive so here’s the buy link, DO IT!:  BEATPORT

Be sure to check out Steve’s pages so you can stay connected with his music and gigs!

FACEBOOK || SOUNDCLOUD || TWITTER

One love.

– Kinman

West Coast Weight: Kelly Dean’s ‘Firewall’ EP [SMOG025]

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Big up fam’, thanks for checking in again!  We’re already two weeks into the new year and there has been a solid amount of music to hit the shelves: DJ Madd’s remix of  Candyman’s ‘Killa Sound’, Killawatt & Ipman’s ‘Warehouse Dub/Single Entity’, Boddika’s ‘Soul What VIP’, Booka Shade’s 3-track release on Blaufield, and Bungle’s ‘Aura/Astral Travel’, to name a few.  If you thought that 2012 was an amazing year for bass music you’re right but, 2013 is going to be that much better!

Today marks the drop of California native Kelly Dean’s ‘Firewall EP’ on Smog records.  Kelly Dean is one of many producers within the deep dubstep scene who have recently been cementing the U.S. onto the radar of bassweight enthusiasts across the globe.  Yes, we’ve always had heads like Matty G, Starkey, OSC, Babylon System, and Roommate (among others), but the numbers are growing and the ratio of top-notch UK:US producers finally seems to be evening out a bit.

It should come as no surprise that one of the one of the nation’s leading producers rolls deep with one of the nation’s strongest and longest-running dubstep nights/labels – Smog.  This release sees Kelly Dean take on his role in the SMOG fam’ as the deeper and darker proponent with his sweeping reese bass lines, eye-closing sub bass, eerie atmospherics, and generally minimalist philosophy on production.  The EP also bolsters remixes from Chestplate Records up-and-comer District, as well as a remix by Drumcell of the infamous Los Angeles underground crew: Droid Behavior.  It is without a doubt an EP that should not be slept on.  I was lucky enough to grab a few words with Kelly in regards to this release so take a read below while you preview his ‘Firewall’ EP:

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BWS:  So how long has this EP been in the works for?

Its been over a year that’s for sure.  I actually played these tunes in an earlier form at the SMOG 5 year party.  They have transformed over the years and matured into what you hear today.  They actually feel like little kids to me at this point.  HAHA.

BWS:  What can the listeners expect to hear from this project?

This EP has a much more mature sound to it.  Take “Samurai” for instance.  The track’s vocal is actually me.  But I took the quote from Hagakure : Book of the Samurai which is a practical and spiritual guide for a warrior, drawn from a collection of commentaries by the Samurai Yamamoto Tsunetomo from 1709 to 1716.  So the historical context of this tune is pretty strong, and I believe the vibe of the song is consistent with that theme.

BWS:  Do you have a personal favorite off the release?

“Samurai” and “Firewall” are my favorites mainly because of the ongoing theme.  Its a lot of fun creating a song that has somewhat of a script, almost like your scoring a movie. Those tunes have little FX sprinkled in that hint at the track titles.

BWS:  Which beat did you have the hardest time completing?

Samurai was the hardest by far.  Its the longest of the lot and the structure is different then your average dubstep tune   .  It starts off dropping into almost a garage drum pattern.  Each 16 bars it changes slightly with the percussion slowly morphing into a standard dubstep beat.  The vocal was also quite a challenge.  This is the first time I have put my own vocals into a tune that has been released.

BWS:  Any shout outs to those that helped make this happen?

Everyone supporting me since I started making music has been a MASSIVE help!  Producing music is one of those things that even the littlest bit of motivation from your peers can generate a big response in your productivity and imagination, which really helps with the writing process.  Drew & Danny at SMOG are huge in that department and this EP would not have been possible without them.  Also huge shouts to District and Drumcell for banging out unreal remixes!  Its a honor to have them on board for this project.

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There you have it people.

Here are the buy links so  choose your record store of choice and make sure to get this one onto your hard drive!

BEATPORT || iTUNES || JUNO

Kelly Dean:

FACEBOOK || SOUNDCLOUD || TWITTER

Smog:

FACEBOOK || SOUNDCLOUD || TWITTER

I’ll catch you guys next time, thanks for reading!  Make sure to support your local scene – buy music, go to shows, and tell your local promoters what the people want to hear.

One love.

– Kinman

Bassweight Sessions 4: District

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Bless up everybody!  Today I have a special feature for all you readers consisting of Bassweight Sessions #4.  I’ve been lucky enough to grab a few words with District of the Chestplate Records crew.  With his debut release on Chestplate in 2011 it has been an eventful two years for the Coventry based producer.  With a production style that embodies heavily-charged sub-frequencies, twisted mid-range basses, and staggered drum patterns, the Chestplate  imprint seems nothing less than a perfect home for Dan’s sound.  He now holds a total of three releases on the label, including a collaborative EP with Sleeper and another solo-single released a few months back.  As Dan progressively asserts his sound as an integral component to the Chestplate aesthetic we can rest assured that 2013 will see the release of many District beats.  I was able to catch his set at SMOG Sundays last month and caught wind of some really great tracks that he has hidden in his arsenal.  Check below to see what Dan had to say…
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BWS:  Since your debut release last year, ‘3.5 Grams / Haymaker’, you carved out a very distinct sound for yourself, incorporating what seems to be a significant deal of industrial and nuerofunk influences.  Your sound fits in so perfectly with the ‘Chestplate’ aesthetic, I have to ask, did you have your eyes locked on Distance?  Or were you just sending tunes out to everywhere and happened to get swooped up by Distance first?
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To be honest, I originally set out with the intention of sending tracks to Distance to feature in his ‘New Talent’ section on his Rinse.FM show.  At the time there weren’t many people pushing the darker sounds so it was a natural thing to pass music to him rather than anyone else.  I was just lucky that he heard something in those early tracks and encouraged me to make more.
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BWS:   As far as I know this is your first time in the states?  What are your impressions thus far of the US?  So far you’ve stopped in Houston, Denver, and Detroit, what’s been your favorite stop so far?  Any crowds that have topped the crazy Belgians you spoke of in your AMA a few months back?
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It is!  I’ve been blown away by everything I’ve seen so far (and eaten), especially how polite people are over here.  We’ve had some great crowds already who know the classics as well as the new tracks which is really good.  It’s made the whole experience a lot more fun because I’m testing new tracks as well as playing my favourites.
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BWS:  Regarding the current state of file sharing and its obvious impacts on the artists records sales, what are your thoughts about people who argue that the artists make plenty of money touring and selling merchandise?  From your own experience, and from what you’ve seen with friends, does touring actually provide a realistic/sufficient income?
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It’s true that touring and playing gigs makes the artist the most money but I think as a whole, all areas of the industry are scratching their heads a little bit and trying to work out where the money is.  I’ve watched a lot of four-piece and five-piece bands have to give up playing and touring because it just costs so much, especially now that some venues are putting caps on selling merchandise.  For DJ’s its not so bad because you don’t need to take as many people or as much equipment but its still expensive for promoters.  None of us are millionaire rockstars.  We are just normal people, file sharing stops people like Distance from being able to put out new music and support new artists like myself, Sleeper or Razor Rekta.  Thats the real side of it.
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BWS:   If you collaborate on a tune with any musician, dead or alive, who would it be and why?
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I’ve been listening to a lot of drum and bass on the tour so far, I’d love to work Phace or Misanthrop.  I’m very fond of the level of detail that goes into their tracks.  Awesome producers.
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BWS:   What are your thoughts on being exclusively signed to a label, just as you are to Chestplate?  It seems to be something that is becoming more common of the late, what are some of the things that you find advantageous about artists sticking to one label?  Do you ever fear that it could potentially pigeonhole your sound or limit your exposure?  Or do you think that the ‘branding’ that comes along with that approach is more beneficial than hopping from label to label?
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I think it just looks better for all of us being part of a team together. we all have our sound and support each others tunes.  It will only pigeonhole us if we carry on churning out the same stuff which I don’t think there is any emphasis on.
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BWS:  What are you thoughts of the Los Angeles crew?
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Los Angeles was sick! Proper fun going back-to-back at the end with Distance and Tunnidge, thats the sort of thing that only people who were in the room at that time will be able to experience. vibes.
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BWS:  Can you let the readers know of anything as far as releases, tours, etc. to keep an eye out for?
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I’m currently looking at my next Chestplate release as well as a couple of remixes for when I get back home.  I have a collaborative track with Sleeper called ‘The Risk’ which will be out on Osiris just after Christmas I believe.
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BWS:   Who shot Biggie and Pac?
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Hologram 2Pac did it.
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Out to Dan for taking the time out of his schedule to answer these questions for us all!  Unfortunately he wasn’t able to record a mix for you guys due to a busy schedule but hopefully we can get one out of him in the near future 🙂  Be sure to stop by all District’s pages to show him some support if you’re feeling his sounds.  Be on the look for that Osiris release with Sleeper due out anytime now.  Below is a mix that was recorded a few months back as promo for his booking agency, so give it a listen if you haven’t already!  Still plenty of dubs inside!
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DISTRICT:
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CHESTPLATE:
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I’ll catch everybody next time around.  Got some new features coming to the website for 2013 so hold tight with the improvement massive.  Hope you guys have a dope New Year!
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One love.
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– Kinman

Truth – Evil In The Woods [Smog Records]

Following suit from the appreciation Shice noted in receiving amazing music from a local imprint, it was an amazing day when I received the promo’s for the latest EP from the Smog imprint, based out of Los Angeles.  These guys have been building a dubstep following in the Southern California area for 6 years now – one of the longest running dubstep collectives in the nation!  They’ve seen an evolution from vacant corporate offices and basements of art galleries, to several thousand capacity venues.  I have the utmost respect for what the label has built in my hometown.  Their 20th release couldn’t have been more well represented, than by Truth.  Truth has been on a massive scale global infiltration mission, pushing their sound into every region of the world.  Their fully immersed touring habits, unbelievably high output of music, and the sincere way in which they carry themselves and their values, have all culminated into a following that holds in the highest of places among underground music.  Seeing what they’ve done within 2012 alone makes me extremely excited for what 2013 will bring – especially since they are now officially California residents!

“Making their debut to the Smog label, TRUTH brings you something deep, dark and dangerous from this New Zealand duo. “Evil In The Woods” conjures up images of witch craft and black magic. This four track EP includes a unique collaboration with DATSIK that crosses his mechanical bass with that classic Truth sound.”

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Evil In The Woods ||

This is a track that was perfectly suited for its UKF hosting.  In my opinion, it’s the most aggressive track on the EP (yes, even more so than the Datsik collab).  The tune gets straight to the point with sweeping atmospheres and chords that stab their way through the background.  The square wave bass notes immediately tear through your speaker box as the beat drops into full effect, leaving your mind filled with thoughts of apocalyptic madness (or at least my mind).  This is definitely a track that’s meant to destroy dance floors worldwide.

All Over ||

This beat sees Truth hark back on a nostalgic journey through half-step grooves couple with the seemingly signature ability to process samples in a fashion that just cannot be matched.  From the elongated fade of a single note to the perfect choice in words to splice, Truth make use of their vocal samples in the most efficient way.  The variety of atmospherics, and alternating basslines drenched with delay show their face in every nook and cranny of the track – making it impossible to predict what you’re about to hear next.  Get ready for your soul to be swallowed by rupturing low-end frequencies.

No Chance ft. Datsik ||

This one caused some whispers prior to its preview being released!  It seems that as soon as some saw the name ‘Datsik’ included in the track name, they began to doubt the Truth.  I’m sure there are still some that claim to dislike this beat but, for the most part, I think people have to admit that this tune is an absolute riddim’.  I’ve heard a few Truth & Datsik collabs while having the pleasure of seeing Truth play out, and I’ve never once been dissatisfied.  In all honesty I think the robotic bass techniques, that Datsik is clearly endowed with, compliment Truths undeniable ability to blow your shirt back with bassweight.

Talking To Myself ||

Grabbing hold of your brain with LFO modulation and swinging high hats you’ll be instantly hooked.  With its neck-snapping snare hits and gritty bass horn, that would likely be used to signal roll call for modern day druids, this is an absolute anthem!  Sweeping pads build the energy between each segment of the song magnificently.  The delayed percussion that hits at the beginning of each bar, the filter mod’ing on what seems to be an arpeggiator, and feedback laced bass strikes all equate to a stomping rhythm that will bring charred witches up from their graves.

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BEATPORT || ITUNES

Follow Smog:  FACEBOOK || WEBSITE || SOUNDCLOUD

Follow Truth:  FACEBOOK || SOUNDCLOUD || TWITTER

That’s what I got for your bass bins today, folks.  Get out there and snag this EP up.  It’s a digital only release, so all the vinyl heads like myself, I recommend finding a reasonably priced cutter to get these to you on acetate.  It’s worth it, in my opinion.  Until next time.

To the gods.

-Kinman