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Jun21

The Inside Story of the Best Jungle Labels You’ve Probably Never Heard Of

Posted in: News

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Kemet and 3rd Party Records are the greatest ragga jungle labels you’ve probably never heard of. The imprints were run by two old friends; Mark Ranger (aka Mark X) and James Stephens, (better known as one third of Noise Factory, along with Kevin Mulqueen and Terry Tee). From 1993 to 1995 Mark and James shared studios and produced banger after banger, peerless tracks with Afrocentric titles that fused jungle and conscious reggae into chaotic, chest rattling explosions of bass and breaks, pioneering countless rave innovations along the way. Mixing reggae sub bass with screeching techno synths? Pulling samples from pop tunes and laying them over ultra hard breaks? Splicing half speed ragga chat with double time tempos? Writing actual songs over 160 BPM tracks? Kemet and 3rd Party were doing all of that, and often long before their peers.

Up until now the Kemet and 3rd Party back catalogues have never been officially reissued—unsurprisingly, they go for stupid money on Discogs—but that’s set to change. Mark and James have put together a new website, kemet3rdparty.com where they have resurrected both labels, and digitised and remastered their classics. THUMP met with the two men to hear the story of their music, born from resistance and love.

THUMP: So 3rd Party came into existence before Kemet, right? How did it start up?

James Stephens: 3rd Party was me breaking out to do my own thing–before the rave scene I was making reggae, I did some dubplates for Unity Soundsystem, for Quadrophonic sound. We’re originally from Tottenham but I ended up in Hackney. This was in my naughty boy days, I was around 20 and I’d just come out of prison, and part of the bail conditions were that I had to leave Tottenham. With us it was either selling drugs or making music—music was a way out.

Mark Ranger: We were the first generation of blacks that were born in the UK after our parents came from Jamaica, so we were still being accepted in society—soul boys, teddy boys, all of these people used to give us a lot of racism. We didn’t really have time to have our own thoughts, our thoughts were governed by the situation we found ourselves in. We weren’t getting much work, we weren’t getting much love, what else was there but the streets? That’s why a lot of us went down that road. It looked like trouble but really it was a survival thing.

Read the full story on Thump

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May20

MAY21 Bassic w/ Headhunter x Addison Groove, AxH & Moldy

Posted in: Upcoming Events

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[ May 21, 2016 9:00 pm to May 22, 2016 2:00 am. ] For our contribution to Together Boston 2016 Bassic returns to where it all began. This being our first show back at Goodlife, we thought bringing out the big guns was appropriate.
Line-up for the evening is

Headhunter vs. Addison Groove
AxH
Moldy

Come get sweaty in a basement with us.

Saturday, May 21st: 9PM – 2AM
Good Life Boston
28 Kingston St, Boston, Massachusetts 02111

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May20

CYCLE presents THE ANNIVERSARY SELECTION by FDOT

Posted in: Mixes

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Apr15

Katy B, Craig David & Major Lazer – ‘Who Am I’ (Wookie remix)

Posted in: Tunes

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Apr5

The 405 meets Conducta: “There needs to be fresh blood and revitalisation for the sound and audience to move forward.”

Posted in: Interviews

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Bristol’s long-standing musical history lives on today in various forms. You’ve got musicians such as Massive Attack, who helped invent the trip-hop genre of the early ’90s; producer/DJ Julio Bashmore, who continues to push forward the House movement into new avenues; and Raleigh Ritchie, who’s redefining what the term ‘pop’ means and represents. With that being said, it kind of makes sense that rising production wunderkind Conducta is from the same region of the country. As a self-described producer of UK garage, Conducta is aiming to challenge the pre-conceived ideas of what UK garage means to the masses.

Thanks in part to the likes of Disclosure, DJ Q, Preditah and Flava D, UK garage has seen a rise in popularity once again. Originally born in the ’90s as a sort of off-shoot or bastard child of Jungle – which was already popular in the underground clubs – garage had arguably more of a mass appeal with sing-a-long friendly lyrics and a much more welcoming dance-ability factor than its bigger brother. garage quickly crossed over into the mainstream and the rest, as they say, is history.

Born Collins Nemi, 22-year-old Conducta grew up on the origins of garage before channelling that early sound with family members at a young age into their own music. But it wasn’t until his move to London to study that music really began to take over. Now Nemi is starting to make music his full-time focus with the release of his first EP later in the year. We’re in his west London studio when we meet up, where he’s working on a couple of remixes for some other artists. The deadline is tight but he relishes in the pressure of it all. He knows his stuff and he’s happy to talk freely about everything – and that’s exactly what we did, from his early beginnings, redefining the garage genre and the importance of the DJ in music today…

Full story at The 405

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Mar30

Reid Speed on the State of Women in Dance Music

Posted in: News

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The gender disparity faced by female artists and DJs in the EDM industry has become quite the hot-button issue lately, discussed widely throughout mainstream and underground media. But for all the attention and talk given to the issue, surprisingly little action has been taken to level the playing field. There are plenty of women contributing to the dance music economy who get their fair shake—from bloggers to agents to top PR people, who all do their part to keep the wheels greased and the operation running smoothly. These often self-described “power bitches” do not seem to face the same stigmatization that artists and DJs face, and are in fact often well respected for their take-no-prisoners attitude and uncompromising vision. However, when it comes to being a successful artist or a respected, A-list touring DJ, it seems women are still being judged by different standards than their male counterparts…

Full story at insomniac.com

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Mar28

BASSIC 001: C Dubs

Posted in: Mixes

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Feb26

Zed Bias Classic UK Garage Mix

Posted in: Music

Some classic deep moodiness, 2-Steps out the Garrrrrridge, mixed up by the one like Zed Bias.

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Feb17

BASSIC presents Deep Medi 10 Year Anniversary @ Middlesex – 3/30/2016

Posted in: Upcoming Events

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[ March 30, 2016 9:00 pm to March 31, 2016 2:00 am. ]

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Feb17

“I’m tired of dubstep being used as a booty call” – Joe Nice and Wheez-ie on dubstep, juke, and the art of the DJ

Posted in: News

Wheez-ie & Joe Nice

Having discovered dubstep in its infant days, Joe Nice has been America’s loudest and most consistent advocate for the English-born sound. On stage, he pulls tracks from one of the deepest bags in the dubplate game, adding his own Baltimore-bred swagger for an experience that’s both true to dubstep’s roots and uniquely American. It’s part DMZ, part 80’s east coast block party, and 100% authentic.

It was at Dubwar, New York’s legendary dubstep night that featured Joe Nice as its primary resident, that then-Berklee College of Music student Matt Mauldin (known these days as Wheez-ie) found his inspiration to become one of the best DJ’s in the United States. Though best known for his excellent juke and footwork productions, Wheez-ie is a DJ’s DJ, approaching the medium as a limitless space where tempo’s and key changes are simply hurdles, not barriers.

The two have only shared a stage once – a New Years Eve party in Washington DC. The set generated enough hype that a west coast night became a necessity – Joe Nice vs. Wheez-ie goes down this Friday in LA as part of a 5 room megashow at Union Nightclub.

Tickets are available here – https://www.eventbrite.com/e/xcellerated-city-flow-music-heavy-dub-cavity-cult-mass-la-juke-bounce-werk-cats-boots-records-tickets-20895630393

Lonnie: What is the art of DJing to you? Joe, you can take this one first.

Wheez-ie: Thank you! *laughs*


Joe: The art of DJing is making the sonically improbable sound probable, then ultimately possible. It’s a zen-like approach to music and music performance. You’re not thinking about what you’re supposed to be doing, you’re just doing what you’re supposed to be doing, like the great jazz musicians and the way they would improvise. There is an element of science to it, because music is math and math is ultimately a scientific discipline, but it becomes art when you remove the mechanics of music and just focus on the moment.



Read the whole interview at Limination.net

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Feb3

Eternal evolution: why drum’n’bass refuses to die

Posted in: News

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Fabio, Friction, Optical and more explain why after two decades, d’n’b is still on top.

2016 started on a high for Goldie, the drum’n’bass musician granted an MBE in the New Year’s Honours List for services for music and young people. It’s an honour that comes 21 years on from the release of his debut album Timeless – a sprawling, futurist record inspired by E-fuelled nights dancing to Fabio and Grooverider at London club Rage that nonetheless entered the UK Top 10, marking drum’n’bass’ breakthrough into the mainstream.

D’n’b spent a couple of years on top, with another landmark dropping in 1997, when Roni Size and Reprazent scooped the Mercury Music Prize with their debut album New Forms. But come the late ‘90s, the music started moving in the direction of a dark, paranoid sound, typified by Bad Company’s The Nine or the pre-millennial tension of Ed Rush and Optical’s debut album Wormhole. Garage went on to replace d’n’b in the charts, and grime and dubstep both followed, hogging the media limelight.

But this wasn’t the end for drum’n’bass. On the contrary, this was a new dawn of sorts, the genre reaffirming its underground credentials. The days of what seemed like every single DJ playing the same rave are now gone – a period affectionately spoofed with 2012’s Raveageddon – but the sound is as vital as ever. In 2012, the genre hit the top of the UK chart for the first time with DJ Fresh’s Hot Right Now, featuring Rita Ora. And closer to the ground, there’s a teeming mass of producers tearing up the rulebook on what d’n’b could or should sound like, producing new offshoots like drumstep along the way.

We asked some of those responsible for the genre’s longevity why it has such enduring appeal, and who is pushing it forward today.

Read the full article at RedBull.com

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Feb1

DJ Earl is Carrying the Torch for Teklife’s Next Generation

Posted in: News

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Nowadays it’s impossible to talk about footwork without bringing up Teklife in the conversation. Since the passing of the collective’s brightest star in 2014, the remaining apostles of the late DJ Rashad have been hard at work spreading his musical gospel. Once a loose band of neighborhood kids in Chicago operating under the name Ghettoteknitianz, the collective now includes over two dozen members in cities worldwide

Only 24 years old, Chicago-born, New York-based DJ Earl is proudly carrying the torch of his predecessors. In September, he put out the seven track EP Live Love Teklife, and was featured on fellow Teklife member DJ Paypal’s song “We Finally Made It” off the recent album Sold Out. Like Rashad, Earl also plays with sombre, longing themes masquerading as party jams, and his affinity for samples and deep basslines makes him an artist-to-watch.

With a full-length album on the way this year, we caught up with him before a show in Toronto last month to discuss his late friend’s legacy, footwork’s global acceptance, and how he plans to take his live performances to the next level.

Read the full interview on Vice.com

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