same party as before, more AC. i’ll look for a flyer but really just go, last time was quite fun.

dress the part and get in at a di$count.

THIS IS WHAT HAPPENS WHEN I CRATE DIVE IN MY OWN RECORD COLLECTION, I HAD FORGOTTEN ABOUT THIS THIS ONE, IT’S SUCH A KILLER TRACK, ENJOY.

jeru-the-damaja-dirty-rotten-scoundrels.mp3

jeru-the-damaja-you-cant-stop-the-prophet-pete-rock-mix-instrumental.mp3

Kendrick Jeru Davis, known as Jeru the Damaja, (formely as D. Original Dirty Rotten Scoundrel) is an MC from Brooklyn, New York. He has worked extensively with Guru and DJ Premier of Gang Starr, whom he has known since high school.

He spent his early years in the Brooklyn neighborhood of East New York, where he began rhyming at block parties as a youth. He first showcased his hardcore Brooklyn style to audiences on “I’m the Man,” a track from Gang Starr’s 1992 album Daily Operation. The following year he released his first single, “Come Clean,” which was produced by DJ Premier and became an instant underground hit.

His first album, The Sun Rises in the East, was released in 1994 and produced entirely by DJ Premier. The album is considered a classic, and was one of the most acclaimed hip-hop albums of its time. The album cover depicts the World Trade Center on fire, long before the September 11 attacks, a year after the 1993 bombing of the North Tower. The album featured Jeru’s signature conscious lyrics, however he was criticized by the Fugees for his lyrics particularly for the song “Da Bichez.” Fugees member Pras lightly mentioned Jeru on the track “Zealots,” from the group’s landmark 1996 album The Score, with the line “No matter who you damage, you’re still a false prophet,” referencing Jeru’s single “You Can’t Stop the Prophet.” Jeru responded lightly in the intro of the track “Me or the Papes” and also on the track “Black Cowboys.”

Jeru followed up in 1996 with his second album Wrath of the Math, again produced solely by DJ Premier. The album was also widely acclaimed, although not on the same level as his debut. Like on his first album, Jeru was accusatory of commercial hip-hop artists and record labels (Death Row and Bad Boy), which he criticized on the concept track “One Day.” After the release of Wrath of the Math, Jeru reportadly had a falling-out with DJ Premier and Guru (however Jeru has dismissed this and claimed that they wanted to go in different directions), and was missing from the scene until 1999, when he released his third album, Heroz4hire, released together with Mizmarvel. Heroz was his first album without production from DJ Premier and also his first under his then-newly created KnowSavage Records. It featured the single “99.9 Pa Cent,” which was a verbal attack on his former affiliates Gang Starr. Heroz4hire was less critically acclaimed, due mostly to Premier’s absence. In 1999 collaborated with the group of Spanish hip-hop Violadores del verso, in the track “Solo quedar consuelo”.

His album, Divine Design, released in 2003, was the first album under his new record label, Ashenafi Records. The album received little attention and mixed reviews. The latest Jeru album, titled Still Rising, was released on October 16, 2007. On April 2, 2007, during a La Coka Nostra concert at the Gramercy Theatre in New York city, Jeru the Damaja came out for a surprise appearance to perform his song “Dirty Rotten Scoundrels”.

-the-house-of-magic.mp3

-just-get-on-down-and-rock.mp3

Magic Mike made his debut in the world of Miami Bass productions when he met Miami based producer/rapper Rod Whitehead (of Pryme Tyme fame) in 1986. Rod enlisted Mike as a DJ for his upcoming projects on Miami’s Suntown Records, but after Mike reviewed the deal offered by label owner Edward Meriwether, he left the label, project unfinished. Shortly after while performing cuts on the radio, he received a call from Beatmaster Clay D to add cuts on an upcoming project for rappers MC Cool Rock and MC Chaszey Chess. This resulted in his first recorded work, Boot the Booty. However, Mike often found himself in the producer’s chair by default while working with Clay D, and always remained uncredited. During this period, he also was called into Vision studios to add cuts to songs he had no creative input on, such as Chilla Frauste’s Get Up, Get Down, Get Funky, Get Loose and Popular Demand’s Don’t Clock Me.

After realizing his back-breaking work for Clay D and Vision Records was not getting him the money nor fame he deserved, he returned to Orlando and landed a solo deal with the then unknown Cheetah Records, releasing his first batch of solo singles in 1988. Those led to a full length album in 1989 entitled “DJ Magic Mike and The Royal Posse”, which featured many guest crews and rappers all based on his production and turntable antics. His following album Bass is the Name of the Game in 1990 saw the Miami Bass genre reach a zenith both creatively and commercially.

Much like most other Miami Bass producers, Magic Mike’s music was never exclusively Miami Bass, but also aimed for the traditional Hip-Hop market. Eventually, he teamed up with MC Madness as his primary rapper during his more Hip-Hop oriented days, although there was no exclusive deal for this, and Mike continued on, collaborating with artists such as Sir Mix-a-Lot and Techmaster PEB.

Despite his history with Miami Bass and his overwhelming catalog of straight ahead Hip-Hop, he’s also made a mark in the Florida breaks scene, including the 2005 single release “Cowbell”. A compilation featuring instrumental versions of many of his hits was published by Mo Wax. Magic Mike currently plays regular Friday Nights at Antigua Night Club in Downtown Orlando and On Memorial Day and Labor Day Sundays for “Service Industry Night” at House of Blues at Downtown Disney in Lake Buena Vista, Florida.

artist: carl craig vs junior boys genre: detroit synth pop

the original song is a great song, but this mix is tops.

quite the opposite of crunk really.

carl craig vs junior boys - like a child

ok, I KNOW THESE LAST 2 POSTS SHOULD BE IN OPPOSITE ORDER, WHATEVER!!!

artist: junior boyz genre: synth pop

john’s previous post is much more appropriate for the current weather outside here in austin, texas (hot, sunny).

i recommend listening to all of them, definite summer tracks.

to the counterpoint, all of the tracks off the the boys last album “so this is goodbye” really only belong to cold, cloudy late fall evenings in some northern climate. any other setting feels a bit like heresy. this stuff is NOT for everybody… but Erasure and OMD fans should try.

junior boys - so this is goodbye

so much bass, thanks to the wednesday dubstep guys for putting that show together. the turnout was great.

if you missed it or liked what you heard they spin dubstep every wednesday at plush.

ANYBODY KNOW WHAT HAPPENED TO ANY OF THESE FOLKS??? THIS IS MAKING IT’S WAY BACK INTO MY CRATES THANKS TO DJ ASSAULT @ BEAUTY BAR A COUPLE WEEKS AGO…SOMIN’ FROM THE 90’s IT’S ALL PROT-CRUNK-MIAMI BASS FUSION, & I @#$$#@!!! LOVE IT, GUILTY PLEASURE. & i’ll post a a wiki to crunk & miami bass, so if you don’t you will. i also think it’s funny someone thought enough about this to write this much!!!  See there was life before b-more!!!

my-baby-daddy.mp3

fired-up.mp3

wall-2-wall-booty.mp3

i-want-to-ball.mp3

keep-it-crunk.mp3

Crunk is a genre of hip hop music. Unlike the East Coast and West Coast style of hip hop, crunk has a high-energy and club-oriented feel. While other hip hop styles might involve a more conversational vocal delivery, crunk usually involves hoarse chants and repetitive, simple refrains. Lyrics are based on a rhythmic bounce, which is very effective in a club environment.^{[citation needed]}

Looped drum machine rhythms are usually in the forefront of the mix, with the Roland TR-808 being especially popular.^[1] A typical crunk song uses four bars of music generated by electronic drums and synthesizers that repeat throughout the song, but sometimes includes a break towards the end of the song. Many of the drum machines and rhythms they produce were previously well known in specialty genres of dance music.

Miami bass (also known as booty music, a term that may also include other genres, such as dirty rap), is a type of hip hop music that became popular in the 1980s and 1990s. It is known for applying the Roland TR-808 sustained kick drum, slightly higher dance tempos, and occasionally sexually explicit lyrical content. Music author Richie Unterberger has characterized Miami bass as using rhythms with a “stop start flavor” and “hissy” cymbals with lyrics that “reflected the language of the streets, particularly Miami’s black ghettos such as Liberty City and Overtown” [1]. Miami bass has never found consistent mainstream acceptance, though it has had a profound impact on the development of drum and bass, Baltimore Club, Southern rap, funk carioca, and other genres.

Unterberger has referred to James (Maggotron) McCauley (also known as DXJ, Maggozulu 2, Planet Detroit and Bass Master Khan) as the “father of Miami bass,” a distinction McCauley himself denies, choosing rather to confer that status on producer Amos Larkins[citation needed].

During the 1980s, the focus of Miami bass tended to be on DJs and record producers, rather than individual performers. Record labels such as Pandisc were also well-known within the genre. “Bass Rock Express” by MC ADE (with music and beats produced by Amos Larkins) is often credited as being the first Miami bass record to gain underground popularity on an international scale.

Luther ‘Luke Skyywalker’ Campbell of 2 Live Crew played a key role in popularizing Miami bass in the late 1980s and early 1990s. The group’s 1986 release, The 2 Live Crew Is What We Are, became controversial for its sexually explicit lyrics, and 1989’s As Nasty As They Wanna Be, along with its hit single “Me So Horny,” proved more controversial still, leading to legal troubles for 2 Live Crew and retailers selling the album (all charges were eventually overturned on appeal).

The popularity of Miami bass was in part successful due to its promotion in the South Florida by local DJs, radio stations, and clubs.[citation needed] For the better part of the mid-80s and early 90s, DJs such as Luke Skyywalker’s Ghetto Style DJs, Norberto Morales’ Triple M DJs, Space Funk DJs, Mohamed Moretta, DJ Nice & Nasty, Felix Sama, Ramon Hernandez, Bass Master DJ’s, Lazaro Mendez (DJ Laz), Earl “The Pearl” Little, Uncle Al, K-Bass, JAm Pony DJ’s and others were heavily involved in playing Miami bass at local outdoor events to large audiences at area beaches, parks, and fairs. Clubs in South Florida including Pac-Jam, Superstars Rollertheque, Bass Station, Studio 183, Randolphs, Nepenthe, Video Powerhouse, Skylight Express, Beat Club and Club Boca were hosting bass nights on a regular basis. Radio airplay and programming support was strong in the now defunct Rhythm 98, as well as WEDR, and WPOW (Power 96).

Another well-known subgenre of Miami bass is “car audio bass,” exemplified by artists such as Techmaster P.E.B., DJ Magic Mike, Beat Dominator, Bass 305, Bass Mekanik, Quad Force, Bass Patrol, MC ADE, and others. This subgenre features an even more stripped down and bass heavy sound, tending to focus on either extremely hard 909 kicks combined with sine waves or the classic 808 kick, or sometimes simply the sine wave by itself.

Miami bass is closely related to the electronic dance music genres of Ghettotech and Booty House, genres which combine Detroit techno and Chicago house with the Miami bass sound. Ghettotech follows the same sexually oriented lyrics, hip-hop basslines and streetwise attitude but with harder, uptempo Roland TR-909 techno-style kick beats.

In 2007, contemporary hip-hop and R&B songs have become more dance oriented, showing traces of Miami bass and techno.

SHOULD BE DOPE, SEE YOU OUT!!!
JG

artist: dZihan & kamien vs herbert genre: herbert house

have a hot friday, go swimming.

dZihan and kamien vs herbert - before

I USUALLY DON’T GO FOR THIS STUFF BUT I’M IN A SILLY MOOD.

How To Play:
Print this out and take it to the next show you go to. When you get a bingo, scream “BINGO!” at the top of your lungs, then break a bunch of beer bottles on the floor and get thrown out.

ENJOY
JG

ONE OF MY FAVORITE JOINTZ EVER!!! IT WAS RE-ISSUED A BIT
AGO, SO CHECK IF YOU CAN. I’LL INCLUDE THE WIKI ON THIS ONE TO:

main_source-snake_eyes .mp3

main_source-just_a_friendly_game_of_baseball.mp3

Main Source was an innovative, acclaimed Toronto and New York-based hip hop group comprised of Toronto natives Sir Scratch, K-Cut, and Queens natives Large Professor and Mikey D.

Their first album, Breaking Atoms, featured conscious MC tracks such as “Looking at the Front Door” and “A Friendly Game of Baseball” and “Watch Roger Do His Thing” as well as the first on-record appearance of Nas on “Live at the Barbeque”, which also featured Joe Fatal and Akinyele. Because of business differences, the group broke up before their second album, tentatively entitled The Science could be released. However, Sir Scratch and K-Cut released a second album under the Main Source name, entitled Fuck What You Think, with new recruit Mikey D on vocals; however, the album was shelved due to inner conlficts between the record label and group management. Singer Madonna sampled the bassline from “What You Need”, on Fuck What You Think, in the song “Human Nature” for her 1994 album, Bedtime Stories.

Large Professor has gone on to be an instrumental producer for hip hop stars such as Eric B. & Rakim, Pete Rock and CL Smooth, Nas, and Diamond D. He has released a Solo LP entitled First Class, and his shelved The LP has been widely bootlegged.

K-Cut also produced for a wide range of hip hop artists including Big Pun, Maestro Fresh Wes, Fu-Schnickens, Queen Latifah and even NBA star Shaquille O’Neal. He also mentored another Toronto-based producer named Watts.

Large Professor makes a reference to his falling out with Sir Scratch and K-Cut on A Tribe Called Quest’s third album Midnight Marauders. On the track “Keep It Rollin’” he says, “I’m Uptown chillin, takin in this grand master Vic blend from the projects, the PJ’s, fuck them two DJ’s”.

Mikey D currently works with Hush Hip Hop Tours as a celebrity tour guide for its Queens tour.

they are bringing their own PA again.

Hatcha & Roguestar

http://www.myspace.com/djhatcha

http://www.myspace.com/roguestaruc

artist: Ulrich Schnauss genre: shoegazer electro pop
i can’t believe i haven’t posted his stuff before either, thanks to ben for giving me a heads up on this show.  i don’t really read the chronicle music listings that much (they kinda depress me), but they do try.

i’ll just post the super popular one:

ulrich schnauss - on my own

artist: boards of canada genre: idm chill

most popular track off their semi-latest. can’t believe i didn’t post it before…

boards of canada - chromakey dreamcoat

went to plush last night, heard 2-step garage-y inspired minimal house, fun.

the-knux-cappuccino.mp3

THIS IS A REPRINT FROM…
http://freehiphopnow.blogspot.com
THERE’S ALSO AN ARTICLE IN MASS APPEAL
THIS MONTH AS WELL, ENJOY.

The Knux are a self-produced group comprised of two brothers (Krispy and Al Millio) from New Orleans. They play all their own instrumentation and fight like The Kinks. Their debut album, Remind Me In 3 Days, sounds like Outkast, Juvenile, Tha Pharcyde, and The Strokes concurrently blasting, out of a drop-top Jag on Sunset Blvd. on a Saturday night in the summer. Wrap your head around that!!???

“When we made the album we refused to give the album to the label one song at a time,” says Krispy, who at 25 is the elder Knux brother. “We knew that they wouldn’t get it, they’d think we were buggin’ and they’d try to make us change things.” Instead, the two, who signed to Interscope in 2006 thanks to an incredible demo and manager Paul Rosenberg (Eminem’s manager) holed up in a mini-mansion in the Hollywood Hillsnew artists that they barely even knew were on the label.”

Just as their recording came to a standstill the Knux were met with great misfortune: Hurricane Katrina. “We never evacuated when the hurricanes hit,” says Krispy, “But for whatever reason when Katrina hit we left with our mom to go to Dallas for the weekend. When we were driving back to New Orleans on the Monday all the cars were going the other direction. The radio wasn’t working, so we had no idea about the flood ‘til someone flagged us down and told us that we weren’t gonna’ be allowed into the city.” After a week of the entire family sleeping in their car, they relocated to Houston and found an apartment. “Man, we lost everything, our whole apartment building burned to the ground, says Krispy. “So we were grateful that everyone was okay, but we weren’t happy to be in Houston.”

Fortunately things looked up for the group when their demo fell into the hands of Paul Rosenberg’s A&R man Dart Parker, who brought the group to his attention. Over the next months Rosenberg signed on as their manager. “We weren’t doing anything in Houston,” says Krispy. “Because of Katrina and how unhappy we were in that city we weren’t inspired to make anything new. So the whole thing with Paul was blessing.”

By the fall of 2006 the brothers had moved to the Hollywood Hills and begun the recording process. “Once we got out to L.A. there was just such a different vibe,” explains Al, “And we were going to all the downtown clubs with fuckin’ socialite girls and, like, the so-called hipsters, and guys like Steve Aoki. It was a totally different scene from what we were used to in New Orleans and the music we started making just reflected that.” The two wrapped the album during the summer of ’07 and hit the road hard. “We started by just inviting people over for house parties and performing the album on top of our couch,” says Al, “That’s how we knew what worked and what didn’t.” After a string of successful events at L.A. cool-guy emporiums the two got added as the opening act of Common’s Finding Forever tour.

With shows booked through the end of the year, and press clippings stacking up left and right—all without a single song available commercially—the ground swell is evident, and The Knux impact in 2008 is imminent. Act like you know. And if you forget, don’t worry, The Knux will Remind You!

artist: bomb the bass, lali puna, christian klein genre: chill

found this in my slsk directory, must be a couple years old.

Bomb the Bass v Lali Puna - Clearcut (Amstel mix by Christian Kleine)

artist: bola genre: idm

this guy has been around for a while, really all of his material is worth listening to. it should be noted that he wears his love of machine driven industrial music on his sleeve. don’t worry, he does it in a good way. skinny puppy fans will enjoy his ambient flavored stuff as well as his beats (well Bites fans, think Centre Bullet). Of course not all his tracks reflect that influence. Without posting his entire catalog, i can only give you snapshots into this great idm artists work. Unfortunately one or two songs doesn’t do him justice. Like SP, this stuff requires a couple listens to “get” it, but the payoff is worth it.

on that i have no idea what to post, i like it all…i’ll post this sprawling adventure of a track, it covers a lot of bases (pads remind me of This Mortal Coil). eighties eighties eighties

bola - diamortem

eigties, we are definitely in a post-modern electronic music phase. everything is repeating and has been for years. this is good and bad. at the very least it lets the general populace (chodes) catch up with the pioneers. even if most of the pioneers are old, grey haired and/or dead. it also lets me reflect on electronic music that ages well because people accept it as a valid, now.

OK, THIS IS NOT THEIR FIRST RECORD, BUT I THINK IT’s ONE OF THE MORE SLEPT ON. INCLUDED WITH THE COVER IS THE SINGLE “NO NOSE JOB”, & MY ALL TIME D.U. FAVE, “IT’S A GOOD THING THAT WE’RE RAPPIN” IT’S THE MACKINGEST F@#$!!! JOINT EVER, also i’m including a D.U. Wiki…ENJOY!

no-nose-job.mp3

good-thing-that-were-rappin.mp3

Digital Underground is an alternative rap group hailing from Oakland, California, who played a big part in giving West Coast rap the spotlight. Their leader was Greg “Shock G” Jacobs, who also went by the stage name of Humpty Hump. Jacobs spent most of his youth in New York City and southern Florida. Heavily influenced by the various funk bands of the 1970s, Digital Underground sampled their music frequently, which quickly became a defining element of West Coast rap. Their ‘alternative’ status owes much to their unabashedly spaced-out image, which lay in contrast to the gangster rap that most west coast acts focused on. The group’s original image was set up to be a tribute to social activists The Black Panthers, but when Public Enemy became a prominent band, Jacobs chose to take the group’s image in a more whimsical direction, that of an updated Parliament-Funkadelic for the hip-hop audience. Jacobs designed detailed album covers and cartoon-laced liner notes, a homage to Parliament-Funkadelic album designs. They are also notable for catapulting member Tupac Shakur into the spotlight.

MORE INFO: http://en.wikipedia.org/wiki/Digital_Underground

THAT’s CLASS FOR 2 DAY KIDS, i mean SON!!!!

artist: chanel genre: glitch house

gots to post a 4×4 track every now and then.  Mr Gomi gave this to me a while back.

Chanel - My Life

artist: telemetrik genre: epic drum n bass

Telemetrik - cosmos

lack of words, in place of thousands of them

artist: mista genre: dub step

grind grind grind bass grind

mista - call centre

found this photographer on del.icio.us

http://www.kropilak.com/

his attack is similar to what i’ve always wanted to do but was too busy programming and doing music.

this is how a billboard should look:

john set up electronic nola

http://electronicnola.blogspot.com/

covering all the shit that happens over there.

artist: commix genre: DnB

hope people enjoyed the Glitch Mob show last night. Be aware that every wednesday  spin DubStep at Plush, and it is pretty damn good.

on a different note. this song got stuck in my head. it feels very much like the old shit i used to listen to in my baggy pants days.

Commix - Be True

so expect hip hop beats and glitch,

i expect everyone that would attend a bassnectar show shall be there.

detrimentalist-LP cover

poo-yourself-jason.mp3

VENETIANS SNARES NEW RECORD IS DOPE, HERE’s THE WIKI ABOUT HIM & A COUPLE OF TRACKS OFF THE NEW RECORD CHECK IT OUT!!!

Venetian Snares is the main performing alias of Canadian electronic musician Aaron Funk (born January 11, 1975).

Funk debuted on a record label in 1999 with the 12″ vinyl EP, Greg Hates Car Culture. Prior to this, he self-released material on cassette tape as early as 1992.[1]

From Winnipeg, Manitoba, Canada, Funk is known for making avant-garde electronic music often in odd numbered time signatures (often 7/4). He is an unusually prolific artist, having released records on the History of the Future, Isolate/DySLeXiC ResPonSe, Addict, Zod, Distort, Sublight, Low-Res, Planet Mu and Hymen record labels.