Street bass is a sound birthed in Philadelphia but it acts as a sonic homeland for San Francisco’s DNAE Beats. It’s a style that encourages a variety of genres to gather under its broad roof of grimey mid-range bass and hard beats. DNAE’s particular school of thought is one rooted in hip hop but jumps from dubstep to house to disco. It’s often described as ‘blap’ after a series of parties he threw with the same name. His sound is an invasion by weighty neon lazers that stomp on any obstructions in its path towards domination. The former child choir star has worked with of rappers including Gift of Gab from Blackalicious and MF Grimm, and has a particular fondness for grime emcees. DNAE’s preferences are as much at home in the Bay Area as they are in the street bass enclave. For this exclusive mix, he hit Dubspot off with tunes as diverse as the producers on the come up in the region. The music ranges from bleepy beats and 808 music to mutant house and future bass. Enjoy the invasion. - MS

You’ve been interested in making hip hop beats from the start?

I’ve always been interested in different types of music. My passion from the beginning was to produce electronic music – whether that be break beats, hip hop, or grime. Being friends with MCs who needed beats, it just formed that way. However, thinking back to my first beats, there has always been a grimey electronic influence.

How did you link up with Seclusiasis?

A friend of mine gave me Starkey’s Ephemeral Exhibits before going on a lengthy tour. I found myself listening to it the whole trip and when I got home I reached out complementing him on his sound. He hit me back saying he has been following my music for some time and it went from there.

What type of crowds in San Francisco dig the street bass thing?

I think people that enjoy our sound are a mixture of rave kids and hip hop kids. Street bass is a smorgasbord of everything but that’s what’s great about it; it’s genre-less.

Has the Bay Area hip hop scene begun embracing the sounds from the beats scene and bass music?

That’s a good question. Yes and no. There are a lot of people who see the evolution of music but there are close-minded listeners who do not see the potential of what’s going on. I see that personally with my background working with MCs in hip hop then transitioning into bass music.

[P-Money Freestyle over DNAE's "Brasilian Bug Bite" | Photo by Aaron Bennett.]

Do you find a certain thread between most of the rappers that are interested in working with you?

The ones I work with, we click and get into the same zone musically, whereas there are artists when you get in the studio you are in two different zones. It’s important that the respect is equal to make quality music.

You were going to make a grime album with Sound Ink before in shuttered. Do you still have any interest in working with grime emcees?

I love grime. I was super bummed when Sound Ink folded. Such a great label. I really believed in their vision. I’ve always wanted to work with grime MCs, and when I heard P-Money freestyling over “Brazilian Bug Bite” on Rinse FM I was more than ecstatic. There’s something special about the flow of a good grime MC.

What do you look for in a rapper?

Substance, delivery, humbleness, and a strong work ethic. It is hard to find, though I’ve been blessed to cross paths with MCs like Mr. Lif, MF Grimm, Gift of Gab, and many others.

Have you started on the next Gift of Gab album yet?

Not yet, I’m focusing on solo projects and Gab is focusing on the upcoming Blackalicious album. We are planning on doing some shows that’ll be a bit different from before with him freestyling over my street bass riddims and a tour in Brazil this December.

[DNAE Beats - "Let Me Hit That ft. Psalm One & Mistah FAB"]

What is your studio set up?

In the studio, I’m currently enjoying a much more simplistic set up, running Abelton with the MPC 2500, Korg MS 2000, Moog Voyager, Dave Smith Instruments Mopho, a circuit bent Casio 23OS, Moogerfooger Murf, MPK 49, MPD 32, and Dyn Audio Acoustic monitors. With my live setup, I started with three MPC 2500s, an MPC 500, and a Kaoss pad, but I can’t afford a roadie so I’ve simplified to an MPD 32 with Abelton and a laptop. I plan to incorporate more outboard gear into upcoming tours but for one off shows it’s too difficult to fly with all that stuff.

What goes on during one of your performances?

My solo set is usually 30 minutes to an hour of all tunes I produced blended together with dubbed out delays and various vocal samples. With a rapper it is definitely planned out with a similar set up but different queue points for the MC to freestyle and for us to improvise.

How has the Low End Theory party changed with its continuing growth in popularity?

I’m not a resident but I am definitely extended family. I have known Daddy Kev since the days we were both producing for Existereo of The Shapeshifters. It’s dope to see the evolution of the party. It started out with 40 hip hoppers and junglists morphing into a line going around the block with Thom Yorke, Photek, and Eric Badu playing. It’s an honor to be a part of Low End Theory LA and SF for all these years.

You were going to start a label focusing on local talent. How’s that coming?

It is on the back burner for the next few months while I focus on the solo stuff but I’m excited to be releasing music from local hidden talent. There are so many bedroom producers in the Bay Area that need to be heard. Low Limit, Salva, Benito, Slotr, Hxdb, Quitter and Ground Control are all producing great innovative tunes.

DNAE Beats Dubspot Podcast.
-Intro
-Stagga “We The Generals” (DNAE’s Keep It Grim Remix) [Forthcoming on Slit Jockey]
-DNAEBEATS – “Red Curry Popsicle” [Forthcoming on Seclusiasis]
-Pacheko “Everyday” (DNAEBEATS Remix) [Unreleased]
-DNAEBEATS – “Death Comes Young” [Unreleased]
-DNAEBEATS – “Never Know” [Unreleased]
-DNAEBEATS – “Honey Dipped” [Unreleased]
-Obsidian “Shine” fx: MelissFX (DNAE’s Holding Me Down Remix) [Hot N Heavy]
-DNAEBEATS – “Atacama Sandstorm” [Unreleased]
-DNAEBEATS – “Let Me Hit That” ft: Mistah Fab & Psalm One [Seclusiasis]

Like much of the architecture in the streets of New York, a rich history is always present in DJ Chicken George’s new Dubspot mix. His ode to the city takes a variety of soulful influences and brings them together with a modern glow through remixes and edits, resulting in a style he calls ‘jazztronica’. Like a cool breeze on a warm city night, the mix rolls by with a joy that persists in the face of a world weariness. All of these selections are from vinyl 45s and include artists tied to New York in some way. Chicken George, who received his name in middle school, has released two compilations on Stockholm’s Swedish Brandy Productions and throws a weekly party called Jazztronica! Saturdays in Austin, where he was voted best club/party DJ for the Austin Chronicle’s “Best of Austin” readers poll. The DJ has performed alongside Sharon Jones and the Dap Kings, Saul Williams, The Roots, The Neptunes, and more. Once you’ve downloaded this mix, grab more of his jazztronica blend of soul, jazz, grooves, funk, Latin and dub fused with updated beats on his own podcast page.

Peddlin’ 45s for Dubspot (Ode To NYC)

1. Nina Simone – Four Women (DJ OBaH’s Recycled Funk Remix)
2. The Ambassadors – Ain’t Got The Love of One Girl (On My Mind)
3. Menahan Street Band – Make The Road By Walking
4. Aretha Franklin – One Step (Featurecast Re-Edit)
5. Q-Tip – Gettin’ Up
6. Ocote Soul Sounds and Adrian Quesada – Vendendo Saude E Fe
7. Beastie Boys – Electric Worm
8. Rob Tex Presents The Red Method – How High
9. Boogie Down Productions vs. Greedy G – Extra Raw
10. Jimmy Castor Bunch – It’s Just Begun (UBB Mix)
11. Nickodemus feat. The Real Live Show, Rabbi Darkside, Illspokinn & Sadat X – New York Minute
12. GRC Bailables Vol. 2 – Puerto Rico
13. CSC Funk Band – A Troll’s Soirée (Brooklyn Chimp Remix)
14. O.C. – Time’s Up (The Powerful Beacon Remix)

A survey of Spatial’s beat research can now be heard on the compilation released last month on his label Infrasonics. Together, the collection evokes a mood of new life fabricated through technological means. Although it’s not particularly techy in process, Spatial’s music feels as though he sets parameters for his youthful artificial progeny and lets these rhythms find their own way in the world like Sim ants. This is due to an aesthetic of seemingly randomized percussion, sci fi basslines, wood paneled hardware, and warm metallic percussion. He places different versions of these digital microbes in various settings, watching them brew and evolve to explore their surroundings. The environments he creates often do not shelter them, but the tenor is not overwhelming threatening. Similar to the calf-like robot BigDog being kicked by its creator, his tracks are challenged with agressive surroundings. In that video, the teacher is trying to ensure that it will survive on its own, but it’s an image that is hard to separate from others of violence wrought by our species. In music, darkness alternates between glorification and reflection of a reality. It’s a line that can become blurry, even within an individual. The bubbling swamp of Spatial’s brand of primordial soup can become murky on this front too. But overall it serves to gradually expose his creations to the vagaries of life, only bringing them out of shelter once they’ve learned that trust is possible, then shows them that is not always the case. But life is rare and should be appreciated in itself, and his music reflects this view as well when it’s about fun, offering a space for pure enjoyment. Spatial also has a couple tunes about to drop, one on the Highpoint Lowlife compilation that comes out on August 8th, and two on the upcoming Schmorgasbord single on July 11th. The latter two can be heard now on the exclusive mix he made for Dubspot, along with a couple dubs and some forthcoming work from other Infrasonic artists. To learn more about how he makes his music, as well as some of his views on technology and bass music, check out our interview with him below. - MS

infra002(CC1) spatial – 81012 [master 320 mp3] by spatial
[Music: Spatial - "81012". Photo by Green Lens Studios.]

SPATIAL CHATS WITH DUBSPOT

What is your studio setup?

Ableton on a Macbook. Up until recently I monitored on a set of Absolute Zeros but I just bought a set of Focal CMS65s which I love. I have a Yamaha AN1X which I only use as a controller plus a Korg padKONTROL and a Faderfox LD2.

Why did you switch from hardware to software?

I was pretty late to switch actually. For a long time I wasn’t happy with the reliability but eventually the tech got good enough, even with fairly average computers. A while back I consciously decided to streamline my possessions a bit. That, compounded with the extra portability, flexibility and convenience you get in a software environment. No more drawing mixer pot positions on a diagram!

Anything you miss?

The EQs of my Soundcraft Ghost. But that’s really about using your ears more than your eyes to EQ. I could maps channels to the Fadefox, but I never seem to work that way anymore. Just habit I guess.

How do you build your sample banks?

They’ve just built up organically over the years. I used to do a lot more processing / recording in advance but now I tend to do it on the fly from a reasonably small set of sounds. I grab some bits from the web also – creative commons collections and the like. It’s the same with the synths, I used to spend quite a lot of time just synthesizing patches pre-emptively but now I just do it as I go.

Your label’s visuals, your song titles, and your sound palette all have a techy feel to them. Do you have a strong interest in technology?

It’s more of a minimalist aesthetic than overt technology focus. I think that anyone with an interest in electronic music probably has a innate interest in that regard but it’s more of a creative tool rather than a fundamental theme. We live in increasingly technologically enhanced times which has positive and negative impacts.

Do you read sci fi?

Sure, when I get to read, which frankly isn’t as often as I’d like. I’m currently reading Stuart Brand’s Whole Earth Discipline, which you could argue proposes very technological/futuristic solutions to many of the current environmental concerns.

You’re a proponent of the idea that the record as ‘object’. What do you think of digital releases attached to a small art piece instead of a record or CD?

I like the idea of people challenging the concept of a “release”, whether that’s attached to interesting physical or virtual “objects”. The challenge with anything virtual is to provide longevity or value in bit stream times. Constant access to so much information and culture tends to make things extremely consumable and I’m not convinced that much digital art addresses that problem. People have an attention deficit whilst sat at a laptop. Physical art objects tend to be more desirable in that regard, especially in marginalized musics.

[Spatial - "100319"]

What did you think of Martin Clark’s piece on ‘post-dubstep‘?

Journalists and theorists have an vested interest in debating and challenging current memes but it’s not something that particularly concerns me. As you’d probably expect, there’s something to be said for both sides of the argument Martin mentions. I’ve certainly been wary that the influence of more established genres could lead to inferior copies of the established prototypes but I think there’s enough fresh ears producing decent stuff that it doesn’t worry me. People on the dancefloor are not thinking in the same way and dance music is implicitly functional and pretty disposable in most cases.

Do you ever play or enjoy non-dance music at the club?

Loads outside of the club but never in my set. It’d have to be a very different booking.

At times, your more garagey tunes seem to push into an electronic jazz area. Do you consciously explore the similarities between the two?

“Jazz Is The Teacher” right?! Certainly not something I consciously did in any the material on my compilation, though I have played with some of those forms in the past. There’s only so far you can go though really unless you can physically improvise which is pretty tough in electronica. The most successful example I can think of is Kieran Hebden and Steve Reid’s collaborations but that was a bit more than just bedroom production – the emphasis was on a live, improvised experience.

What is your live setup?

Traktor and a Vestax VCI100 – I like the DJ metaphor and it’s still more of a DJ set than a live set anyway. “Live” is a bit of a minefield and there’s very few people that do it convincingly. It means less when working with largely predefined music and I’m keen for the track constructions not to be lead by the technology – which is why I prefer the DJ metaphor.

Can you tell us a bit about the selections in this mix?

It’s drawn exclusively from what I’ve been sent recently. It’s the first mix I’ve done that hovers around 130 BPM rather than move from 130-140. There’s probably less stylistic variety than normal but that’s more dictated by the tunes I was feeling rather than a conscious decision.

I love both the Ike Release tracks which are forthcoming on infra12004 (a split 12” with xxxy) around the end of August. “Don’t Know” is a real anthem and the production is pristine across both tracks. The DVA remix of T. Williams’s really floored me – it really stood out from the crowd. It has a beautiful Carl Craig vibe to it. Funny as I bumped into him on the street the next day which is the first time I’d met him and probably the first time I’ve used a DVA track in a mix! The Spectr/Scuba track has a hook that’ll get you. Or drive you mad.

Szare – “Volya” [Idle Hands]
Ike Release – “OutRun” [Infrasonics]
xxxy – “Kerpow” [All City]
T.Williams – “In The Deep (DVA High Emotions Remix)” [Deep Teknologi]
AnD – “Algorythmic Love” [Project Squared]
Spatial – “Corti (S-Max Remix)” [Schmorgasbord]
Spectr – “Dance 4 Me” [Roska Kicks & Snares]
Spatial – dub
Lando Kal – “TMRW” [Still Cold Records]
S-Max – “Ms. Rosen Dub (Spatial Size 9 Stomp)” [Schmorgasbord]
Capracara – “Silvia Solar (Hot City remix)” [UTTU]
Chirm – “Luvin U (Kidkut’s Fidget Mix)” [Well Rounded]
Sigha – “HF029B1″ [Hot Flush]
Ike Release – “Don’t Know” [Infrasonics]
Spatial – dub

Back in April, DMC world champ, globetrotting party-smasher, and Dubspot instructor DJ Shiftee delivered a wicked, mind-blowing set at Public Assembly in Williamsburg, Brooklyn in a lineup that included next generation bass music producer Peason Sound/Ramadanman and UK dance music stalwart Zed Bias/Maddslinky, as part of their North American tour presented by Surefire and Dubspot. It was the NYC stop  In true Shiftee breeze through an early, jaw-droppingly eclectic set of boundary pushing electronic dance music, from intoxicating bass-heavy sounds of dubstep pioneers Digital Mystikz and Horsepower Productions to bugged-out advanced grime bangers from Rude Kid and Terror Danjah and advanced melodic beat madness from LA’s Nguzunguzu (here remixed by Brenmar) and London’s Zomby to the synthy freshness of +Verb and Zeppy Zep! Shiftee also dropped some exclusive dubs he’s been cooking up with friend and collaborator Rx of Dusk Collective!

TRACKLIST
1. Komonazmuk – Bad Apple
2. Synkro – Everybody Knows
3. Mr. Slash – 1999
4. Rude Kid – Winter Remix
5. Nguzunguzu – Mirage (Brenmar Remix)
6. SBTRKT & Sampha – Evening Glow
7. XXXY – You Always Start It
8. Turboweekend – Something Or Nothing (2000F & JKamata Remix)
9. 12th Planet & Plastician – Westside Dub
10. Marcus Price & Carli – Bubbelgum (Sam Tiba Remix)
11. Terror Danjah ft. Swindle – Kiss Chase
12. Kito & Reija Lee – This City
13. Jay-Z – Hard Knock Life
14. +Verb – Cough
15. Kastle – Time Traveler
16. Horsepower Productions – Classic Deluxe
17. Rx – Fox Grindin’
18. Mr. Slash – Do Some Work (Instrumental)
19. Teddy – Last Phone Call
20. Wonder – Full Metal Jacket
21. DCult – Requiem
22. Nicki Minaj – Did It On’em
23. L-Wiz – Straightjacket
24. Ill-Esha & AntiSerum – Zephyr
25. Rx & Shiftee – Space Ace
26. Take – Neon Beams (The Clonious Remix)
27. Chris Brown ft. Lil Wayne & Busta Rhymes – Look At Me Now
28. Malilone – Bis Gleich
29. Zomby – Digital Fauna
30. Mr. Mitch – Pimp Shoes
31. Jon E Cash – Spanish Fly
32. Numan – The Zoo
33. DJ Jonty – Grindin (Kastle’s Edit of an Edit)
34. Tom Encore – Spellbound (Zeppy Zep Remix)
35. Goth Trad – Far East Assassin
36. Digital Mystikz – Pop Pop Epic

DJ Shiftee is a 2x DMC World Champion and Dubspot Instructor currently heating up dancefloors around the globe with fresh beats and sounds! Shiftee along with DJ Endo are the designers of Dubspot’s groundbreaking new DJ program, Digital DJing with Traktor Pro 2, a three level course that reflect the present landscape DJing with Native Instruments next generation DJ technology, harnessing traditional as well as cutting edge DJ concepts and techniques. Read more about Digital DJing with Traktor Pro 2. Follow Shiftee on Twitter & find him on Facebook.

Digital DJing Program w/ Traktor Pro 2

Online classes start the week of July 3rd and NYC on the week of September 12th!

• Digital DJing w/ Traktor Level 1: Introduction to DJing
• Digital DJing w/ Traktor Level 2: Phrase Mixing
• Digital DJing w/ Traktor Level 3: Beyond The Beatmatch

Starting with a historical overview, students will learn the fundamental concepts of the DJ via Traktor’s intuitive interface. They will then begin to delve into the vast array of new possibilities offered by this groundbreaking software, recording their work along the way. Students will leave with finished DJ mixes, a thorough introduction to DJing with Traktor, and a skill set and knowledge base perfect for further development.

NYC

• Dubspot’s complete Digital DJing course load
• 21 hours of hands-on instruction
• Additional instructor-supervised lab hours

ONLINE

• Dubspot’s complete Digital DJing course load
• 30-40 hours of high quality videos
• 3 hours of instructor-led chat sessions per week
• Direct video & audio feedback from instructors

Click here to view the embedded video.

Dubspot Podcast #17 – DJ OP! by Dubspot (Tracklist below.)

DJ OP! is a man concerned with soul. And while he doesn’t limit himself to soul music, everything he plays has got an element of that in it, as exemplified by the mix he laced us with today. Ranging from neo soul, to UK Funky, to kwaito, it’s a path across the globe in warm feelings at an uptempo pace. As a deejay growing up in Brooklyn, OP! found his first inspirations and successes in hip hop. This brought him to South Africa after college, where he worked at Johannesburg’s first commercial youth-oriented radio station, YFM 99.2. Beyond DJing, he’s had a long time involvement in music labels and is currently label manager at DECON Records. To hear his styles in a live setting, you can always catch him as a resident at I Love Vinyl, a twice-weekly party held at New York’s Le Poison Rouge and Southpaw. But you can bump this mix right now on the train, at home, or wherever you like. While you listen, you should read what he’s got to say about South African music, hip hop today, and vinyl culture in his interview with Dubspot:

What’s going on with South African music right now?

There is so much great music coming out of South Africa right now. But it has been this way for many years. Only now is South African house, Kwaito, and hip hop starting to get world wide recognition. I was fortunate enough to live in South Africa in the late ’90s deejaying at the radio station YFM in its first year of broadcasting. So I was able to learn about Kwaito artists such as TKzee, Brothers Of Peace, Bongo Maffin, and others. I was also able to be around influential deejays like Fresh, Monde (R.I.P.), Vinnie da Vinci, Oskido, and others. And I saw the growth of hip hop in the country too, with artists such as Amu, Mizchif, Spex, and a gang load of others. I have seen the music grow to develop new and exciting talents with hip hop artists like Tumi, Zubz, Proverb, Prokid, Ill Skillz, and 5th Floor; electronic soul artists like Zaki Ibrahim; deejays like Kenzhero, Bionic, Romz Deluxe, Switch, C Live; house and Kwaito artists like DJ Cleo, Black Coffee, Culoe De Song, JR, Brickz, Mujava, Mzo Bullet, Rythmic Elements, DJ Sox, Tira, Mahoota, and many others. I am seeing house sounds from South Africa influence UK sounds and starting to have impact on other global music sounds. I am happy to see the vast sounds of the country influence the music of the world.

How does your hip hop background shape your music selections?

Hip hop was the gateway to me learning about so many different genres of music. When I was a kid, I used to dig through my father’s vinyl and I would find all of the samples that were used in hip hop songs in the ’80s and ’90s. As I grew older, I started to find some of those same samples in house, drum n bass, broken beat, and other electronic based music. Drum samples, vocal loops, chords, etc. Those sounds where able to help me open my mind to other genres, but also aided in expanding my hip hop sensibilities. So I now can play a set that is a mixture of various genres (hip-hop, disco, house, broken beat, soul, dancehall) but play them from a hip hop perspective – always blending beats, at times cutting and scratching, fluctuating tempos and still keeping it head nodding, grooving, and soulful.

Do you find more value in the styles that early hip hop breaks were drawn from than current hip hop?

I find value in both. I grew up on 80’s and 90’s Hip Hop so I have a certain affinity to that sound. But I am equally as excited about sounds that push them limits via technology in electronic based music. There is still new hip hop and R&B music that excites me just as much as finding old disco records that I have never heard before. I do think that with every generation, the filter for good music is becoming a bit watered down. There are not as many gate keepers protecting the sound from the decline and acceptance of wack music from the general public. The rules break down (or change depending on your perspective) over generations, but good music still prevails through out it all. I focus on playing good music regardless of time period and genre.

What makes for good hip hop?

I am a beat driven person. So I will always listen to the production of a track. If it has emotion, depth, space and groove/swing, I am initially attracted to it. But for as good as a beat is, if the emcee isn’t doing justice to it, then it can ruin an incredible beat. There have been times where I have preferred to play an instrumental of a song because the lyrics and flow were horrible. Good hip hop should be able live beyond its time period. Too much music today is made to last for a single song radio life span (3 months or so). Good hip hop should be able to be played years beyond its time period and still be able to invoke the same response and feeling.

What’s the attraction to vinyl?

I started out deejaying with vinyl. In fact, one of my I Love Vinyl deejay partners, DJ Scribe taught be the basics of deejaying. When I used to lock myself up in his studio for hours on end, I would dig through all of this records trying to figure out how to make them all work together. Between his collection and my father’s collection, I became addicted to vinyl. As I started to shop and dig for vinyl, the addiction became even more serious. I am not a vinyl nerd. I don’t have every rare limited press 45 or 10″ record that ever came out. But over time, I have been able to build a substantial collection that I am proud of.

My current attraction to vinyl is that once you pick out what you are going to play, you have to stick to it and make it work. For the I Love Vinyl party, I carefully choose the records I want to play. But that is a risk since we live in a Serato/Traktor age where you can have your whole collection in front of you and play what the “crowd” wants instead of taking the crowd on a musical journey based upon your selection. It makes you play a bit more from your soul and gut instead of playing from the requests of a few drunk girls who want to “hear something they can dance to.”

What’s Decon’s wax situation?

Decon still presses wax. Not every title is pressed. But artists like Gangrene (The Alchemist & Oh No), 88-Keys, Chali 2Na, and others have had double LP wax pressings. Decon is moving towards more speciality vinyl. When Decon was pushing the Nneka release, there was a gate fold double 7″ release. Last year, Decon pressed up the Gangrene Saw Blade EP, which is actually cut like a real saw blade with semi-sharp edges. It is one of the most interesting pieces of vinyl I have seen. This year, Decon is doing 4 color picture disc vinyl for Greneberg (Roc Marciano x Gangrene), Pusha T, and Jay Electronica. The idea is to make vinyl collectable for DJ’s and fans so it has more value and worth to the customer.

What does a label manager do?

As label manager, I am responsible for overseeing distribution, manufacturing, marketing, radio/street/digital promo, artists relations, event management, touring, etc. I work with a really strong team of people that are all passionate about the music and culture so I am able to do what I do because of the focused team effort from the Decon staff. And I work with some great artists who are very hands on with their careers so we are able to execute plans and sell records because of the relationship that is built between the artists and the label.

[Photo by Clay Williams]

DJ OP! – Soulful Mixizm

1. In The Now – Olivier Daysoul (Oddisee Original)
2. In The Now – Olivier Daysoul (Duke Hugh Remix)
3. Show Some Appreciation – Zed Bias feat. Jenna G
4. Party Hard – Donae’o
5. Webaba – Culoe De Song feat. Busi Mhlongo (Black Coffee Remix)
6. Special – Maddslinky feat. Omar (At Jazz remix)
7. I Need It – Roska ft. Anesha
8. Heartbeat – T. Williams feat. Terri Walker (Mosca Remix)
9. Truth – mdcl feat. Sy Smith (Seiji Vox Twist)
10. Weedkiller – Seiji
11. Mugwanti – DJ Mujava
12. Heart Is Breaking – TY (Diverse Concepts x Chesus Vocal Mix)

DJ Excess, a two-time International Turntablist Federation champion and a Dubspot instructor, provides this edition of the Dubspot Podcast series. It’s a mix made up mostly of his own disco edits plus a remix of his. Disco is just one of the many styles Excess is interested in though – he came up through house music, got deep into hip hop as a result of scratching, and also digs experimental music like Philip Glass and Steve Reich (often called the father of sampling). In December he’ll go on a European tour with members of his group Ned Hoddings. But enough from us, listen to what he has to say instead:

Tell us about your history as a DJ.

Started as a deejay in my later years of high school. I didn’t want to be in school any more so I interned through City As School at Logic Records. I learned a little about the music industry at that time and I was spinning house. At the label I started getting more into scratching. We watched a world final DMC video that Roc Raida won in Italy and I decided I wanted to compete more. I saw all these house deejays who were getting gigs but really sucked. I was like, I don’t want to be that type of deejay, I want to have skills. ‘98 was my first competition and I placed 10th in the Eastern Hemisphere competition out of ten people. But in ‘99 I won a regional Eastern competition for the International Turntables Federation advancement class championships. Then I lost to some kid from the West Coast in the finals. But in 2000 I won two championships. From scratching I started getting more into hip hop. From there I just kept on doing my thing.

What are some of your hip hop influences?

A lot of East Coast emcees like Nas and Biggie, but I definitely liked obscure hip hop like De La Soul, who weren’t that big at the time, or The Roots. Late ’90s underground stuff like Fondle ‘Em Records and Company Flow too.

How did you come to Dubspot?

I met Dan Giove [Dubspot's founder] at a DMC competition last year where I was performing. I was teaching at another school in the area. I wanted to push my teaching into more things like different Ableton levels and be in a more progressive environment, and Dan gave me that opportunity. I’m teaching DJing, turntablism, and the first three levels of Ableton.

Are you producing?

Yea, I started using Ableton for my live show, and I started using the program more for production and learned stuff on my own. I’m still always learning even while I’m teaching.

Tell us about the mix.

It’s mostly my own edits of disco tracks I like from the mid-’70s. There’s a lot of tracks I like – I’ll like the groove of the instrumental – but sometimes I just won’t feel the acapella or the lyrics or whatever. I would also use Ableton to maybe warp them a bit or put harder drums in the background and rearrange the instrumentals. And the last track is a remix I did off of Phoenix 1901. I downloaded the stems that they had put out from their album at that point and did a broken beat remix of it. You can be really creative with Ableton, but I wanted to keep the essence of mixing in there. But I’m still using some of the effects like delays.

A lot of deejays say to keep it real and stick to turntables. What do you think?

There’s a quote from this woman who did a lot of illustration for the NY Times and just had a book released. She said something to the effect of, “It doesn’t matter what medium you use to translate your idea as long as your idea is dope. That’s all that matters.” The journey and the process are great, but sometimes you need to just step back and listen to the end result. Being in a music school, you get caught up in the process of it and can get geeked out on what you used to make it. But at the end of the day, if doesn’t sound right, it doesn’t sound right.

You’ve been moving through musical genres and melting barriers. What are some of the unexpected genres you listen to now or in the past?

I still like a lot of experimental stuff. Being more of a sample based producer, I’m always digging for records. So a lot of Steve Reich, a lot of stuff on ECM, Philip Glass. Just really progressive artists from that era who are still relevant now. If you take a listen to their stuff now, it’s still progressive in the thought process. Maybe not in the way they were doing it but the concept. You can take a four bar Boney M loop and have it be an amazing, star-studded track and people won’t even know what it is. They think it’s all original but it’s just sampling. But that’s about knowing the history of where the music came from. And apparently the Boney M track is actually a cover of another song. It’s like a German classical song. That’s how all music started. That’s how dance music started.

Is your production getting out there?

I’m constantly trying to send beats to different artists. I did scratches on Fat Joe’s last album for a track called “Rappers Are In Danger”. And I’m going on a European tour in December, so I’m working on music for that. I had a group called Ned Hoddings but we disbanded, and its basically members from that. It includes Toadstyle from Chicago, D-Styles who was in Invisible Scratch Picklez, and our boy Dario who is in a group called Blah Blah Blah. It’s kind of a band with three turntablists.

___________________________________________________________________________________________

DJ Excess – Our Way Disco Mix

Bombers – “Shake”
J.R. Funk And The Love Machine – “Feel Good Party Time”
Funkapolitan – “As The Time Goes By”
D.C. LaRue – “Cathedrals”
Charanga 76 – “Ain’t No Stopping Us Now”
Golden Flamingo Orchestra Featuring Margo Williams – “The Guardian Angel Is Watching Over Us”
Bumblebee Unlimited – “Lady Bug” (John Morales Mix)
Voyage – “I Love You Dancer”
Light Of The World – “Time”
Cissy Houston – “Somebody Should Have Told Me”
Boney M. – “Felicidad” (Margherita)
Atmosfear – “Dancing In Outer Space”
Phoenix – “1901″ (DJ Excess Remix)

With an appreciation for fine tunes ranging from the Balkans to Brooklyn, Wiseacre pushes for a genreless, unsegmented party scene. The 20 year Venice resident has approached that vision through the parties he’s co-founded in LA such as Funky In The Middle, Sundaze and the underground event theLIFT. In 2003 deejaying took priority for Wisacere, also known as Eric Tucker, and he set aside his career as a talented commercial and fine art photographer. Since then, he’s either booked or played with a wide cast of people like Louie Vega, Black Coffee, Mr. Scruff, Rich Medina, Dam Funk and DJ Sabo. Although California is his home, he lives a bi-costal existence, and is working to open a club in New York’s Lower East Side with Nickodemus called Louie and Chan. To offer a taste of his DJ sets, Wiseacre has shared his new Emerald Isle Dream Bump mixtape with Dubspot; a mix of soulful, diversely influenced house.

EMERALD ISLE DREAM BUMP
Slow Hands – “Rough Patch”
Locussolus – “Next To You”
Johnwaynes – “The One”
Michael J Collins – “Nothing Wrong With Holding On”
Roska / Jamie George – “Wonderful Day (Dave Nada Moombahton Edit)”
Randolph – “Leanin (Deetron Remix)”
Johnwaynes – “Get Up”
A Mountain Of One – “Bones (Time & Space Machine Remix)”
Sect – “man of wisdom”
Kasper Bjorke – “heaven”
Kaine – “Love Saves The Day (Soul Clap Remix)”
Bad Rabbits – “She’s Bad (Gadi Mizrahi / Soul Clap Remix)”
Henirk Schwarz – “Once Again (Soulphiction Remix)”
Discodeine – “Falkenberg (Pilooski Remix)”
Ilhan Ersahin – “Bosphorus (Etienne Jaumet Remix)”
Phil Weeks – “That’s All Right With Me”

When Dubspot brought Rx on board as a staff member last year, he had just begun making a name for himself in the dubstep community with his deep and innovative EPs on Subdepth Records. He was also showcasing his filthier take on things – as influenced by his roots in Philidelphia and the prominence of the street bass sound there – with records like those on Nightshifters and Abstract Logic.

But as this new podcast shows, his interest in music is much broader than bass music alone, much like that of the city he came up in. “There’s a wide variety of independent music going on there – my personal favorites being techno, disco, dubstep, hip hop, punk, and bass music – yet somehow everyone hangs out with each other and gets along,” he says. “All the art from there has its own Philly flavor, which I love and miss! I feel like the best of it is always confrontational, hype, and has a great sense of humor, which I try to bring to most of my music.”

Rx’s upcoming projects will further broaden the identity he’s been developing for the past three years, since he first took on the moniker. DUSK Worldwide is a new blog, art collective, and label he founded. The first release on the label will be “Shower Scene”, a 7″ pressing from his upcoming album, Luna, a piece ranging from dark disco to deep dubstep that he finished a few months ago. Next will be his filthy bass collaboration with rapper DaQuan of Sgt. Sass called The W.A.R. That is an eight song album they are self-releasing on July 4th. In the meantime, keep up with him over at the Mishka blog, where he writes bass music reviews.

1. Air – Run [Astralwerks]
2. Starkey – 11th Hour [Planet Mu]
3. Siyoung – Protein [Exclusive - forthcoming Seclusiasis]
4. Rx & Sonkin – Compton, Saturn VIP [SPECOPS]
5. Kastle – I Know [Seclusiasis]
6. DaQuan – I Am Alien (Produced by Rx) [instrumental] [Exclusive]
7. Rx & Sonkin – Tamagotchi [SPECOPS]
8. Siyoung – Let You Go [Exclusive - forthcoming Seclusiasis]
9. Distal – Attempt At Yellow [Embassy Recordings]
10. Crystal Fighters – In The Summer (Sepalcure Dub)
11. Bombaman – mmeelloo ssttaarr [Nightshifters]
12. Kaiser – Tasty Lazers (Kozee Remix) [Seclusiasis]
13. Kito – Don’t Wanna Lose You [Disfigured Dubz]
14. Skream – Rollin
15. XI – ICARUSXXXE [Exclusive]
16. Mr. Mitch – Skittles ( Rx Remix ) [Butterz]
17. L-Wiz – Straitjacket [Kapsize]
18. Rx & DJ Shiftee – Space Ace [Exclusive]
19. Hooray For Earth – True Loves ( Rx Remix ) [Exclusive - forthcoming Dovecote Records]
20. Cassius – I Love U So [Ed Banger Records]
21. Sleepyhead – My Window [Exclusive]
22. BD1982 – Utukku (Optimum & Ikonika Remix) [Diskotopia]
23. Tiga – Gentle Giant (Martyn’s Heaven Remix) [Turbo Recordings]
24. L-Vis 1990 – Forever You (Dub) [Nightslugs]
25. Toro Y Moi – Fax Shadow [Carpark Records]
26. Erykah Badu – Umm Hmm [Universal Motown]

DJ Sabo’s name and his Sol*Selectas label have long been held in high esteem with the alternative Latin club music scene, and he’s now a driving force behind the young moombahton movement. Although he recently relocated to LA from NYC, he sat down with us to discuss the new genre, where it’s going, and the love of reggaeton among its founders. He breaks down what makes for a good studio mix, lays out the tools he uses, and also explains why he relocated to the Left Coast.

Sabo also provided us with the second installment of our recently revived podcast series. The mix was made for SXSW to showcase the different styles of moombahton he has made over the past year. It was recorded live in one take on 2 CDJs, and a mixer. Every track except for the last one – his first original moombahton production – are available for free. The tracklist is at the bottom of the interview. - MS

Dubspot Podcast #14: Sabo – Exclusive Moombahton Mix by Dubspot

What makes for a good studio mix?

For a studio mix I usually prepare the track list ahead of time, make sure all songs are in tune, and spend time on the intro and outro. The studio mix should have a theme of sorts, and generally I make them an eclectic blend of styles with varied tempos. I tend to edit some of the tracks as well so as to include as many songs as possible, without losing the flow. For live mixes I just use 2 CDJ 1000’s and a Pioneer 800 mixer, and record directly to a M-Audio Microtrack. For studio mixes I use Ableton Live. For a studio mix I tend to edit some of the tracks, extending the intros for blending from song to song, and also will add some voice-overs or sample snippets through out the mix, to coincide with the theme.

How does a studio mix differ from a DJ set?

A studio mix is more planned out and generally has a theme with an intro and outro to tie the journey together. For a live one-take mix, it’s spontaneous, and the musical journey is a direct reflection of my mood. If it’s recorded in front of a dancing crowd, then the mix is a direct reflection of the energy I’m receiving from the crowd at that particular moment.

Why’d you move to LA?

Warmer weather, more skateboarding, better quality of life (in terms of apartment size), and because LA is really the most happening city in the US right now in terms of underground music and parties. Not to mention LA has 2 or 3 radio stations which are playing non-commercial top 40 music, and that’s something that really doesn’t exist in NYC other than a few hours of special programming per week.

What benefits does that city offer over NY in terms of being a DJ, artist and/or label boss?

I’m still adjusting but I feel the benefits are that there is a lot going on in the underground scene here for music. Many big name producers and DJ’s are re-locating here and that means more creative outlets and people to collaborate with. Also in terms of licensing, we are next to the film / entertainment industry, so opportunities to get songs licensed are greater being out here. I also wanna tap into the Asian market for gigs, and being in LA the flights to Asia are much cheaper than from NYC.

[DJ Sabo - "Yo Oigo Yo Bailo feat. Nappy G"]

Your music often features live drumming. Is that you?

No I don’t play drums, but I do have some incredibly talented friends who play percussion and I generally record them. Nappy G has been on many of my early works for Sol*Selectas, he’s probably the best percussionist I’ve heard to play over electronic music.

How do your record and arrange live drumming?

I’ll record a drum session in Logic, usually having the percussionist play a few takes over the song. I’ll then edit the session, taking a few of the best loops, drum fills, or solos, and use those parts for the final mixdown of a track.

What is your studio setup?

Very basic Mac laptop, M-Audio firewire external soundcard, and a small Oxygen midi keyboard. Having been in NYC and restricted to very small work spaces in studio apartments, I had to really minimize the gear I can use (or rather fit into) the space. I have small studio monitors, and also my DJ set up to record samples from vinyl as well, but that’s pretty much it.

Your first mombahton release was a free download (assuming because of heavy sampling). Do you think a shift away from a dependence on sampling in the genre will develop as it grows?

Definitely. In this day and age hardly any one is buying music anyway, so it just seems better to give-away tunes rather than try to clear samples, and re-coup on those costs. Even a top 10 tune on Beatport or Traxsource is not selling very many downloads, so making a profit is really difficult. I’d rather post a song for free and allow more people to hear the tunes right away. Moving forward, now that the genre is established and respected, I think it’s time to make original moombahton works that are sample free, and that’s what I’m focused on now.

[LoveAvalanche - "Less Corruption feat. MC BenJammin (Sabo Remix)"]

Is that necessary for its financial sustainability?

Financial stability in the music industry right now is shaky at best. However, I do think that original moombahton works are necessary for the genre to grow and be respected by other producers who initially thought it was just a fad. It’s already happening right now with official remixes coming out, and I think this year is gonna be HUGE for Moombahton.

How do you feel about its creative development?

I think it’s amazing because there really are no rules other than the general BPM be around 108 – 110. People are making tracks that use influences from all types of music – latin, afro, disco, techno, house, rave, dubstep, soul, funk, reggae and more – and that’s what makes it exciting. Kids in Canada, Australia, Europe, South America, and all over the US are pumping out tunes and the various styles keep on coming. I think it’s these various interpretations of the genre that will keep it fresh and help it to grow.

Is there a strong appreciation for reggaeton among moombahton fans?

Me personally – hell YEAH! I’ve always loved reggaeton, particularly the older productions, many of which were at 108 bpms already. In the last few years, reggaeton moved toward a slower bling bling auto-tune imitation of main stream hip hop, and that’s ultimately what made it lose popularity in the U.S. I think. Moombahton is the dirtier, crazier cousin that reggaeton needed for the last 5 years. A lot of producers are now getting into the moombahton game who probably never even listened to reggaeton, but all the original producers of moombahton like Dave Nada, Munchi, Heartbreak, and myself, were HUGE reggaeton fans from the get go. Not to mention you have guys like Toy Selectah, who was already making his own hybrid called “raverton”, and I know he is a huge supporter of reggaeton. I feel like Moombahton is the defining sound we’ve been waiting for….

[Dennis Ferrer - "Hey Hey (Sabo's Moombahton Dub)"]

When you made one of your early moombahton tracks, you said that your house fans would hate you for it. Have you found that was true or remains true?

When I did my “Hey Hey” Dennis Ferrer edit, that was such a big popular house tune, and almost nobody had even heard of the term moombahton yet. I thought there would surely be some haters who thought “you shouldn’t try to remix such a classic, and especially not in a non-house tempo”. But to my surprise many guys I highly respect like King Britt were feeling my slowed down edit. In fact I sent my remix to Dennis’ label Objectivity, and they loved it! Because of their open mindedness, my remix got cleared officially, and will be coming out on Mad Decent’s “Blow Your Head” moombahton compilation in May. To me – that’s huge respect for the genre. And you gotta remember that moombahton has that same four on the four pumping kick drum like house music, and it makes people DANCE. House guys are lovers of dance, so they respect, if at the very least, the crowd moving power of this new genre. When I make a moombahton edit of a house tune, I’m doing it because I already love the original song, and it’s sort of my way of paying homage to the artist. As with anything new, you’re always gonna have haters, but in the end, haters just fuel the creative fire that makes us all aspire to make better and better tunes.

Your mixes and releases have always been eclectic. Do you ever do entire moombahton sets?

Lately I’ve been doing quite a few exclusive moombahton sets. At SXSW this year I played strictly moombahton sets at both the Peligrosa party and the Megaton showcase. And Dave Nada and I started a party called Moombahton Massive where all the DJs are moombahton producers and we play only that all night. The response has been incredible!

TRACKLIST :: SABO Exclusive Moombahton Mix for Dubspot

01. House Of Gypsies – Sum Sigh Say (Heartbreak vs. Sabo Edit)
02. Sabo – Mezclaton
03. Oliver $ Feat. Deize Tigrona – Ta Com Medo De Mim (Sabo Moombahton Refix)
04. DJ Djeff & Silyvi -  Canjika (DJ Bu5a Remix) (Sabo’s Amtrak Edit)
05. Sabo – Philly BOUNCE
06. House of Pain – Jump Around (Sabo’s Moombahstep Edit)
07. Sabo – Fr33ky Egypt
08. Sabo – Patchy Moombahton
09. Benga & Coki – Night (Sabo Moombahton Edit)
10. Sabo – Toca Aqui (feat. Zuzuka Poderosa & Joytoy)

Liondub has been active in New York for a couple decades. Whether it be through deejaying, making beats, running a label, or writing graffiti, he’s certainly left his mark. As a label boss, he has dropped important releases such as the forward thinking “subsoca” of Marcus Visionary’s Carib to some of the final work of the late Sugar Minott with Ticklah. Behind the decks you might catch him spinning dancehall, like at his recent appearance with Poirier, but you could also hear a jungle set if you attended, say, Konkrete Jungle or one of the Brooklyn hippie raves. When producing the beats, he often flips steppy dub styles, though wobblers and dnb with ragga vocals are not unheard of.

Liondub sat down with us to offer some tips about running a label in New York, and it’s some valuable info, since – like he says below – the city lacks a well-oiled electronic music infrastructure. He also put together this exclusive mixtape for us. The tracklist is available at the bottom of the interview, or on our Soundcloud page. - MS

Liondub’s All-Vinyl Dubspot Mixtape

ON CHOOSING RELEASES

Usually [I choose my releases based on] a combination of what sounds best to my ears on first listen and what goes down best on the dance floor. If a track is not mixed well but has all the qualities of a solid release, I will often suggest revisions. I like to listen to everything that is sent to me in order to respect the artists that submit and keep an open mind about what is out there. There is a grip of music that I won’t sign, but will play out or include in mixes. It’s a process and I believe that the music changes over time, so I like to keep an open mind. I’ve learned that occasionally a song that I didn’t like at first will grow on me and will affect people differently depending on the time and place. A few times, I have released songs that I refused at first.

HOW MARCUS VISIONARY‘S CARIB CAME TO BE

Marcus was unsure whether the world would receive his work well (Carib). I was floored by the album and the material that led up to it, so I encouraged him to explore the sound more thoroughly and to follow through. Once he explored it more, he too realized that the potential was all there and when we released it, people were fully supportive and it sold very, very well.

[Lyrical Jam Blend feat Brother Culture (Liondub Refix), (Irish Moss, Feb. 2011). Photo for Inpeloto.]

ON MASTERING AND DISTRIBUTORS

I’ve used many mastering studios including VP, Sony Whitfield Street, Transition, MPO, Sterling, Manmade and others…it varies from time to time and job to job. Depending on the source material [CD, vinyl, digital], I use different mastering engineers/studios. Distributors are a personal choice. But I suggest that one choose the distributor that shows the greatest interest in the material you are releasing, and communicates best. Communication, connections and motivation are everything.

THE CHALLENGE FOR ELECTRONIC MUSIC LABELS IN NYC

I think that the basic difference is that, in electronic music, the scene in NYC is smaller and less developed. There are fewer labels and outlets for the music as well. Accordingly, the infrastructure which makes running the business simple, is not developed as well, which basically makes it more of a long term, learning experience and a bit more of a struggle.. Less distributors. Less outlets. Less people to bounce ideas off of. And of course fewer people to learn from in relation to the business.

ON WAX

Wax is essential to my label. And I absolutely love vinyl. Its sound is untouchable and it presents the listener/deejay with a tangible product that represents your music visually and aesthetically. Depending upon the release, we press between 500-2500 copies.

HOW IMPRINTS CREATE IDENTITY

The imprint is essential to establish an identity, and Liondub45 is the label that I have created – in partnership with Ticklah – in order to push out the roots music that he creates, which has inspired me so much over years.

[Sugar Minott & Ticklah - "Praise His Name", (Liondub45, Dec. 2010)]

HOW THE UPCOMING JUDAH ESKENDER TAFARI RELEASE CAME ABOUT

Ticklah recorded the vocals at his studio and remixed the tune for Ras Kush back in 2007. (The original was released on the Black Redemption label and was supported by Jah Shaka) . When I first heard the song, I was floored by the message and the vibe of it. I have worked with Judah in the past and loved his energy, to me it was one of his best tracks since his Studio 1 days, and I wanted the world to hear it. Vic [Ticklah] agreed, Kush agreed, and we pushed it out. It’s available now thru Crosstalk Distribution in the US and Control Tower in France… it was really simple… Heard it, loved it, pressed it to wax.

ON GETTING VOCALS

Build a rhythm or obtain a rhythm, call the artist, lock the studio time in a proper space with good vocal channels, take care the financial agreement, and make it happen. There’s more to it obviously, but it’s one of those things that you have to experience for yourself in order to understand it. My one piece of advice for producers who want to voice vocalists is to be prepared, know what you want, and have your business and engineering skills tight.

ARTISTS HE’D LIKE TO WORK WITH

Kryptic Minds have inspired me recently and I’d love to see how they create their music. As for vocalists, I’ve worked with them before many times, but I am always inspired to work again with Johnny Osbourne and the singer Luciano. It would be wicked to get in studio with Sade too. Right?

[Dubblestandart - "Chrome Optimism (Liondub's BK Steppers remix)" (Subatomic Sound, Oct. 2010).]

CURRENT AND UPCOMING PROJECTS

We’ve been pushing, and our releases have been solid this year already. Releases since January include the Beenie Man and Fambo “Rum and Redbull’ remix by Noah D, which received solid support on Rinse, the Navigator “Inequity Worker 2011 (Noah D Remix)”, which has been caned on the UK dnb circuit, and Marcus Visionary’s Humble full length, which topped Juno Download’s UK Drum and Bass Charts at the number 1 position for 30 days consecutively. Please have a listen and support these new projects.

As for the future, there are a grip of solid jungle releases on deck for the Liondub International label, including new 140 and 175 BPM material from Marcus Visionary as well as singles from Noah D, Navigator, Bladerunner, Jah Cure, Bunny General, Little John, Sizzla and John Holt. We are working on a series of jungle singles with Johnny Osbourne, which is a project I am very enthusiastic about. There is a remix project collaboration with the Lustre Kings label in support of Jahdan’s new Babylon Nightmare, album in which Ticklah, Nick Fantastic, Nate Mars, Potential Badboy, and myself all remixed the lead single, “All Comes Back To One”. These remixes will release simultaneously on Liondub and Lustre as an EP very soon. I am also very proud to release two new singles from Bladerunner, a UK jungle producer who has been making incredible waves in the dnb scene over the last few years.

As for Liondub45, we have a Courtney John 45 and Rob Symeon 45 in the wings as well as more collaborative work with Jahdan and Ticklah in combination. Personally, I remixed Elephant Man’s “Vampires” and there’s another version of the “Chrome Optimism” remix dropping on Subatomic Sound this month, a new single with MC Zulu, a new single with David Boomah which will drop on the mighty V Recordings, as well as remixes for Dubmatix out of Canada, Runtingz out of Bristol, and Murdertronics out of Brooklyn. Plenty of music about to release and I’m gearing up this summer for my third European tour which includes a couple sets at the legendary Outlook Festival in Croatia and my favorite event in Leeds, UK, Sub Dub. It’s an exciting time and I’m very thankful for all the support the label and I have been receiving.

And every third Friday of the month, I throw the Full Spectrum at The Cove in Brooklyn. An amazing party – multi genre, all about the music, for the people.

ALL CURRENTLY AVAILABLE LIONDUB INTERNATIONAL VINYL AND DIGITAL RELEASES CAN BE FOUND AT THE JUNO MUSIC SHOP ONLINE.

Liondub’s All-Vinyl Dubspot Mixtape

1. Pinch Croydon House – Swamp81
2. Boddika – Underground – Swamp81
3. Jack Sparrow – Dread Ft. Ruckspin – Tectonic
4. Jack Sparrow – The Chase – Tectonic
5. Jack Sparrow – Loveless – Tectonic
6. Benga – Technocal – Tectonic
7. Boddika – Electron – Swamp81
8. Skream – Trapped In A Dark Bubble – Tectonic
9. Pinch – Elements – Swamp81
10. Kryptic Minds – 768 – Tectonic
11. Kryptic MInds – Cant Sleep Ft. Alys – Black Box
12. SP MC & LX One – Judgement – Tempa
13. Jakes – Time Ends – Tectonic
14. Helixir – Summertime – 7even
15. Ena – Sign – 7even
16. Pangaea – Inna Daze – Hessle Audio
17. Starkey – Robot Hands – Civil Music
18. Peveralist & Hyetal – The Hum – Punch Drunk
19. Ramadanman – Work Them – Swamp81
20. Addison Groove – Dumb Shit – Swamp81