A learned advocate of genre-bending, Thayer has put down an EP that jumps from Moombahton to Drum and Bass over a whopping 7 original tracks and 3 remixes (from Dodge & Fuski, Topher Jones, and one from Nick Thayer himself). Perusing through the ten tracks, I can easily see why OWSLA was happy to release the EP: it’s loud, it’s energetic, and it brings the tempos and styles being pushed by the OWSLA family together in a noticeably cohesive direction. Deriving influences from everywhere across the sonic map, Thayer delivers exactly as he described: “the musical equivalent of putting seven glowsticks in a blender.”

Make sure you check the interview below, gives a lot of depth to him as a person and an artist. He was also kind enough to send us over an exclusive 30 minute mix, what a guy! You can download the mix for free below, but make sure you grab his “Like Boom” EP on Beatport here.

Drop The Beat (Nick Thayer Touch Up) – Martin Brew
Put It On (Acapella) – Big L
Show Me What You Got – Jay Z
Push Back (Nick Thayer Rmx) – ProFit
Dedication – Nick Thayer
Rise Up – Nick Thayer
Firepower (Munchi Moombahcore Rmx) – Datsik
Like Boom featuring Wizard Sleeve and N’fa (Nick Thayer Rmx) – Nick
Thayer
Do It – Bro Safari and UFO
Totalitaria – Nick Thayer
Cold As Ice (A Skillz & Nick Thayer Bootleg) – Foreigner
Talk To Me – Kill The Noise
Will Be – Bill Posters
Haters Gonna Hate featuring Shureshock – Nick Thayer
Superbad – Flux Pavillion and Doctor P
Shoot Me Down (Sigma Rmx) – Stanton Warriors
What Props Ya Got featuring N’Fa – Nick Thayer
What Can You Do For Me (Drumsound and Bassline Smith Rmx) – Utah Saints

Your love for music varies from Muse to Jay Z and far between, yet have a sound “directed at the club.” Do you think your eclectic taste influences your style of production/DJing or is each musical preference it’s own separate identity?

I think if you are a fan of some piece of music, whatever that music is, it will influence how you write music. Perhaps it’s something as simple as a chord voicing. Or a production idea. Or whatever. When I listen to Muse and I hear the way they make certain chord progressions sound so epic I think about how they’ve done that with leading notes or voicing or whatever. When I listen to Skrillex I don’t think ‘I need to make a tune that sounds like this’ but I certainly do think ‘how does he get his drums sounding so good’ and then I try to apply that approach to my production.

What do you think are the most important parts of a live show, and why, specifically, do you take your approach to lively track selections and editing of all the tracks you play?

The DJs that impress me the most are the ones who play unexpected records, and yet still make it work. Often it is those unexpected records that can really make a night too. For me, when I hear a great tune I want to share it with people. This usually means I need to re-jig it so that it doesn’t stick out like a sore thumb when I play it in a club. It might be as little as some rearranging so it makes more sense with the way I play, or fits better with another track in the mix, or it might be adding drums and other sounds so that it feels a bit more coherent. I’ll never go to that effort if I don’t love the original in the first place though, so my underlying motive is always coming from a place of respect for the original track.

I’ve seen a couple of mentions of you just advising people to “be aware,” especially in consumerism matters. Is there any really relevant advice, or something you see too much of, that you’d like to tell us about?

Consumerism and the consumer culture is something I think many people need to be more informed about. I can’t stand most TV commercials where some celebrity I’ve never heard of tries to sell me something I neither want nor need. We’ve seen a very real and visceral reaction to this culture in the ‘Occupy’ movement. I’m not preaching any line here, I’m just saying figure out where you stand on things like animal testing or sweatshop labour or the ways in which corporations conduct their business, and if you don’t like it then vote with your dollars. For instance, I’m against animal testing, therefore I do my best to avoid products that test on animals. Big pharmaceutical companies like Proctor and Gamble still do this, and you would be alarmed just how many household brands come under their banner.

How did your relationship with Skrillex and his OWSLA label come about?

That was completely out of the blue. I did this remix last year of one of my own tracks with DJ Yoda called ‘Toot It Up‘. I then got this email one day from Skrillex saying he was really into it. I sent him a couple more things I’d been working on and then next thing I’m doing an EP on OWSLA. Out of all the things I’d ever done, that wasn’t really the one I would’ve imagined would result in something like this. I am obviously stoked (that’s Aussie slang for ‘over the moon’) to be involved with all the guys there.

Since it’s the start of 2012: What was/were your favorite __________ in 2011?

- Artist(s): Kill The Noise, Skrillex, KOAN Sound, A Skillz
- Show(s) played: Shambhala festival in Canada
- Food: My wife is an amazing cook. Anything she makes really.
- Guilty Pleasure: Air drumming to Toto.

Which artist(s) have been the most influential to you over the course of your career?

I think that personally, the artist that has had the most lasting impact would be the Chemical Brothers. It was through them that I found myself in the world of electronic music, whereas previously I had been in rock bands and the like. And they’ve always shown a rampant disregard for categories and tempos whatnot. And they always turn out impeccable music.

Favorite production tools/plug-ins/tricks?

My favorite plug-ins are either compressors or EQs. Those should be the most important in any artist’s arsenal. I use the Waves stuff for most of that. The C-1 compressor has such a wonderful distinctive and yet very transparent sound. I also LOVE the Tone Projects Compadre compressor. When I’m coming up with riffs or melodies I like to jam to a beat on my guitar. Then, more often than not I’ll take that and replay it on a synth. There are notes that fall naturally under your fingers when you play guitar that don’t really fall when you play a keyboard, so it results in a different approach I guess.

Any studio or pre/post set rituals?

I always take my shoes off in the studio. And start every session (and post-lunch session) with a coffee. I’m very particular about coffee.

What’s next for Nick Thayer?

Keep on keeping on. I’ve got some new stuff done with DJ Yoda and with my buddy A Skillz. Started work on the next EP too, plus I’ll be back in the US for SXSW and Ultra week in Miami. It’s all go go go. Oh. I’m also writing the music for a ballet this year.

ETC!ETC! has only been producing electronic beats for a short time, but in that time he’s really made some cool stuff, and even with the considerable amount of regurgitation in the moombahton sound he’s bringing fresh sounds and perspective. After being introduced to ETC!ETC!’s stuff by San Diego’s passionate and well-versed The Mixster (namely by his quirky remix of Lady’s “Twerk,” which if you haven’t seen the music video for, WATCH IT NOW) it was obvious that we had to grab him to do a mix for us. Blending electro roots into a charming blend of moombahton, the mix is a fun listen. Enjoy!

First, always have to ask, how are you doing? How’s the start of 2012 been for you so far?

I’m doing well, thanks! Things are going great so far,just been locking myself in the studio for the most, working on solid tunes. Things are begining to shape up for me this year, I have some releases coming out on labels I never thought I would get the opportunity to release on (Mad Decent / Jeffries , T&A, Party Like Us, & Teenage Riot). I’m really stoked.

Tell us a little bit about ETC! ETC!. How’d you get into production, and especially into the moombahton scene?

Well I started to produce right after high school on a very cheesy tascam and old Mac laptop I used to have (remember those oval shaped green ones?), but I wasn’t making beats, I was actually recording live guitars, drums, keys, bass; I was trying to do the “band” thing, but by myself. After that I just started to make small beats here and there. It wasn’t until about four years ago that I started to make full tracks.

I got into moombahton within the past year, my friend Josh of Sazon Booya was pushing it hard on me, and at first I really wasn’t having it. Slowly it grew on to me and hit me after watching one of his moombahton sets. That’s kinda when I realized that’s what I wanted to produce, and I have been producing it ever since!

Moombahton is probably one of the most explosive musical genres in the dance/electronic culture. What do you think are important additions to the moombahton movement in order to maintain its growth?

For it to grow, it’s going to need consistency. I mean, within the past year the number of people who starting coming out to shows is huge. People who said they did not like it before are now saying they love it, and it’s mainly because you can do so much with it! You got Knick from Bro Safari who was making dubstep/drum & bass before, he’s making moombahton now, putting his twist on it but still keeping it moombahton; then you have people like Dillon Francis, Skrillex, and Diplo, lots of people in the scene putting their flavor in it, I think that’s key.

You’re a part of the San Diego “Bajaton!” party movement… how did that come about?

I love the Bajaton peeps: Taylor, Keren, Corey, Trevor, etc. They are all amazing people. They reached out to me, wanted me to headline a show, and we’ve kept in touch since. San Diego is a different party than LA; those kids don’t stop no matter what day of the week it is, it’s what i love about ‘em. I’m doing another show for them in OC next month. Bajaton has been supporting me since day one, I am very grateful for them pushing the scene, and helping me put my name out. I’ ll always be in debt to them.

Gotta ask, since it’s the start of 2012: What was/were your favorite __________ in 2011?

- Artist(s): Bro Safari / Sazon Booya / Valentino Khan / Jay Fay / Dillon Francis / Kid Cedek
- Show(s) played: Blow Your Head / Bajaton / Mad Decent Block Party
- Food: Cookies (i know its not considered food,but u know)
- Movie: Can’t Recall i had a favorite last year
- Guilty Pleasure: Rockstars & M&Ms

Favorite production tools/plug-ins/tricks?

For the most part I use Ableton 8.01 & Reason 3.0. All my synths are created through Reason, and I re-wire it through Ableton for my drums and percussion. I use a microkorg at times & if i really get into it, I’ll record live sounds w/ guitars and pedals.
I love to sample / recreate something I heard and twist it into my tunes as well.

Any studio or pre/post set rituals?

Umm,it would have to be drinking coffee or a couple Rockstars while making the tune. If i get into it I stand up and dance around like a fool, which happens a lot, lol. So I guess most of the time I’m dancing & making tunes.

What’s next for ETC!ETC! ?

Hopefully playing a lot more shows and touring. I’ve been working hard on solid releases, hopefully it picks up and my fan base grows more. I love playing live and watching people dance to what I create or what my friends create. Makes me happy to be a part of the scene.

Tracklist:

Valentino Kahn – Flare gun (White)
Dooze Jackers – Kateyana (White)
Sazon Booya – La Bomba (Rot10musik)
Torro Torro – Country Club (Jtrick Remix) (T & A Records)
Dj Yoda – Toot it up (Nick Thayer Remix) (White)
ETC!ETC! & Jtrick – Hold Tha Line (Mad Decent / Jefferies)
Valentino Kahn – Rukus (Mad Decent / Jefferies)
ETC!ETC! – Kilogram (Party Like Us)
Sticky K – Persian Algebra (Mad Decent / Jefferies)
ETC!ETC! & Obeyah – We Number One Feat : Whiskey Pete & MCKyla (Rot10musik)
Jay Fay – Starlife Feat G-Eazy (White)
Bro Safari – 5150 (White)
Anger Dimmas Kitchen (MixMash Records)
ETC!ETC! & Obeyah – Future (Rot10musik)
Bro Safari & ETC!ETC! – The Clap (T & A Records)

After finally wrapping up his second full length album, Atlantic Connection has also provided us with a few remixes that he’s done for a variety of deeply soulful artists, namely The Weeknd, Zero 7, and Zhané. His remix of Zero 7′s “Futures” is a moving, liquid drum and bass remix, where the “Destiny” remix slows things down with deeper bass. The “Hey Mr. DJ” remix throws funk into the mix, and his remix of The Weeknd’s “The Morning” puts a cheerful and funky spin on the slow track.

Photo: The Konspiracy Th3ory

SMOG Sundays is bringing Atlantic Connection to the stage this Sunday, you can still RSVP for that here. It’s a whole Deceast night with Deco, Mesck, and Trouble footing the bill. He also had a lot to say in the quick interview we got with him below; a well-rounded dude with a great selection of stuff going on.

You’ve been keeping it pretty eclectic with your production as of late from moombahsoul to dubstep, to drum & bass and house and everything in between. How would you explain where you are at musically right now?

Musically, I’m being extremely honest. I got an email yesterday on SoundCloud from a listener who more or less said he was an avid long time listener, but stated that I should stay true to DnB and not sell out to money by producing dubstep. I replied and asked him if he knew I also write acoustic soul? Which he didn’t, so I digress. I wasted a lot of time concerning myself about what I should and shouldn’t write based on others’ expectations and that was dishonest to myself, my longtime fans and more importantly, my craft.

I’ve always said this but I think there’s an overall vibe to everything I write (tempo aside). Even back in the day when it was all DnB and I received criticism for not writing hard enough tunes or being “all liquid,” I always thought there was a continuous flow in every one of my songs (never understanding the criticism or how I could avoid it). I’ve recently realized after looking back at this giant catalog of music that I’ve created, regardless of genre, that there is. The criticism will always be there, everyone has an opinion and that’s all good because so do I. I write music because I’d go crazy if it didn’t, and sometimes I want OJ instead of coffee.

Let’s talk about your recent releases. What’s out there and fresh right now from you, and what do you have forthcoming.

My brand new single with NumberNin6 on LA based Deceast Records came out last month. My side of the EP is titled “Set Me Free”, it’s a garage-ish 130-something bubbler. Deco, the owner of Deceast, has such a unique ear for music and that’s one of the reasons I love releasing with his label. Another recent release is my remix of DJ Craze’s “Dance Alone” on Slow Roast Records. That was a great experience as well as it opened the doors of creativity between Kill The Noise, Craze and I and now I’m working on a bit more in depth release with them. Armanni Reign and I have a song called “Reach” out on the Dance Central 2 video game (by Harmonix) which has been doing extremely well, that’s opened the doors to all kinds of new opportunities and exposures.

As for other labels I’m currently working on a new single for John B, that should be wrapped up soon. I’ll Most likely do another release with Hype Music this year (MTV & Extreme Music’s label) and last but not least, my sophmore album. At the moment we’re in talks with a few labels about releasing it, but nothing has been solidified yet. It’s a project I’m soo proud of and it’s gotta be right, not just right now. I was blessed to work with some amazing talent on the project including Tali, Armanni Reign, Tetris and a new comer to the scene, Noey Root (an amazing songstress you’ll be hearing a lot about this year). The first single “My Love ft. Tali” is a completely full vocal moombahton track which we have some really cool remixes in store for. I’ve done quite a few freemixes lately too, including three Zero7 songs, “Destiny”, “Home” & “Futures”, and of course the Weeknd and Zhane remixes!

Where can people come see Atlantic Connection other than the upcoming SMOG this Sunday. Will you be at SXSW and Miami?

Ooooh Miami, we’ll see, I guess I need to have a meeting with my agency and discuss… SXSW I just had a meeting with MTV last week about the events they’re doing this year. They brought me out last year for the launch of Hype Music. Armanni Reign came with, we both attended the Woodie Awards and performed live alongside Matt & Kim, Tiny Tempa, Hell & Lula and a host of other amazing indie acts. It was a great time, maybe we’ll have a redux.

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Troy’s musical depth is something so rarely seen amongst DJ’s in this day and age; it’s strange how many get caught in a musical rut, only promoting and playing certain styles or artists. Whether you’re a dubstepper or a techno head, having roots and interests in varieties of styles is a strong point in anyone’s musical growth. This is where I think Troy shines, as his track repertoire contains everything from metal to disco, garage to house, and everywhere in between. Whether it’s a future bass mixtape (his Haute & Bothered mixtapes are what got me into that sound) or a deep house set, Troy can knock it out and still deliver it in a style all his own. Having such a vast musical knowledge has allowed him to excel in the DJ game and come out as a, for lack of a better term, strong contender in the production world.

2012 is already stacking up to be an extremely strong year for Troy, and if “Never Sleeping” is any indication of what’s to come, then I strongly suggest keeping a watchful eye on this guy. For today though, check out his insightful little interview with us this past Sunday below. The mix he brought out for us is really special, full of house jams from upcoming talents around the world. Definitely a strong mix, I think I’ve listened to it six times already.

How are you Troy? Most importantly, what did you get into last night?

I’m nursing a bit of a hangover. A couple of us polished off two bottles of Jameson for Maya Jane Coles at Electric Pickle. She smashed.

You’re a pretty established DJ in the Miami nightlife scene…. what’s the most glamorous part of that culture? and the least?

Venues like the Fontainebleau Hotel occasionally throw super extravagant shows that are packed with super models and millionaires, which is pretty fun. I opened up for Deadmau5 on New Years Day and it was the craziest event I’ve ever been a part of. The least glamourous part definitely has to be that cigarettes permitted in all the clubs here, so you always wake up smelling like an ashtray in the morning.

How’d you get your start in the music scene? Where’d your inspiration to DJ come from, and eventually to start producing?

I started DJing in College right after a trip to LA where I met the Gotta Dance Dirty kids. Trevor (Bones) had just started and he showed me the basics. I came back to Miami and got a gig at this club called Heathrow. After my set, I was taken under the wing of a newly formed creative collective called Overthrow. After a few years of DJing, I really wanted to play songs that I had made, so I bought Logic and struggled for about a year teaching myself.

Tell us more about your connections with GDD and Overthrow. How do you think they’ve helped you grow over the course of your career?

Overthrow has be been a major part of my career from the beginning. Overthrow and Poplife were the only two companies throwing electronic music parties in Miami, so after like a year of DJing I was already opening up for some of the biggest names in the industry, which was pretty intimidating. But they were supportive and really helped me grow. The GDD family is extremely close. Every time I’m with them either in LA or Miami or Cabo or Coachella, its total madness. I love them all like brothers, and its crazy how established they’re becoming on the West Coast. They’ve helped me build a bunch of relationships out there that I would’ve had a hard time making by myself.

How’s it been working with Pirate Stereo in the studio? Who else would you like to collaborate with?

Pirate Stereo has been a close friend of mine from the beginning, so we don’t have that awkwardness you sometimes run into when you work with people. He went to Berklee College of Music and has taught me some music theory, which has been rad. Once I’m more comfortable with producing, I’d really like to make a track with Danny Daze. He’s had a huge influence on me and he’s making incredible music.

Who, musical or otherwise, have been your biggest influences to date?

I’ve been really influenced by producers my age like French Fries, A1 Bassline, and Foamo. They’ve produced everything from rave to deep house, which is something I respect a lot. I think versatility is severely underrated.

Party you’d most like to play?

A 150-foot private yacht sailing around Croatia with Funktion One sound, all my closest friends, and 50 models from Milan.

Track(s) you wish you could get your hands on at the moment?

Fur Coat feat Cari Golden – You and I
The new Orbital album

Stigma about DJing you wish you could get rid of?

It’d be dope if that Simon Cowell DJ show would die. DJing is already a dirty word.

Favorite non-electronic tunes or artists at the moment?

I’ve been listening to a lot of black metal with Panic Bomber in the studio recently. This band Killl from Norway is sick.

Finally, tell us a bit about your mix for us :)

I’ve included a bunch new releases from a lot of producers I think are gonna have huge years like Prince Club, Worthy, and Sean Roman. I hope you all enjoy it!

Tracklist:

DJ Shadow – Un Autre Introduction
Kurtz & Bomber – Never Sleeping
Puente & Rosch – This Feeling
Parallel Dance Ensemble – Shopping Cart (Maxxi Soundsystem Remix)
Dirty Channels – Give It To Me
Sean Roman – Passion Crimes (Barrueta’s Theme)
Bunte Bummler – If I’d Kiss You
Tambourine Man – Sexwax
Catz ‘n Dogz – Jon Bovi
Prince Club & Poupon – Platinum
Meech – I Want
Mosca – Done Me Wrong
Worthy – Shy Look
CSY & Stripes – Footsie
A1 Bassline – Buoyancy
A$AP Rocky – Purple Swag (Jim-E Stack Bootleg)

Many of you may not know the name, but you’ll know the man. Felip Borncois is the more sophisticated alias of Philthy B. When he’s not working on bass music for his Trowa project, this is what he’s up to. Felip is all about the day parties, Mai Tais, and European cut underwear. Original productions are in the works and coming soon. Enjoy the ride, and thanks for staying locked with us in the colorful world of EDM.

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Stimming – Cheesecake
Tanner Ross – B-Side
Gorge – Makena (H.O.S.H. Remix)
Maxxi Soundsystem & DRW – Open Your Eyes feat. Royston
Manik (NYC) – House of Flies
Puente & Rosch – This Feeling
Lonely C & Baby Prince – I Remember Those Days
Maceo Plex – Ain’t That Love
DJ Phone – Gone (David August Vocal Mix)
Cascandy – Escapade Escapade
Rene Amesz – Get Together
Sebastien Leger – Grey Skies & Yellow Coconuts
Siwell – You Know It
Omid S. – Lemba (Johan Vermeulen Remix)
Inxec, Droog – Westbound
Wasabi – Musik (Fred Vision Remix)
Philip Bader & Nicone – Mama Simba

Originally MadKids (until Riva Starr gave them a sharp but respectable nudge to change their name), Max and Zach have been working together as musicians since their teenage years. After coursing from hardcore bands to dubstep to what is now a salacious blend of techno and house, I think they’ve definitely found their niche. Frequently blending latin-inspired claps with cheeky vocal edits and vintage house drums, Prince Club has consistently released solid dance tunes since their first EP on Discobelle. I’m not surprised record labels like Riva Starr’s Snatch! and Jesse Rose’s Made To Play have followed suit in pursuit of the young Canadian music makers for a release (or two) as well. With their releases and remixes often hitting the tops of the house charts and front pages of Beatport, and sets in the bag at some of the most legendary venues and festivals across the world (Ministry of Sound, Nuits Sonores, Razzmatazz, etc), I see very big things in Prince Club’s future. Keep an eye out for these kids in 2012, check their lively sets wherever you can, and get to know them a little better with the interview I had with Max (on the left in pictures) below. Their track made just for us at Media Contender, Detroit, is a good little testament to the city of techno with a bit of an edgier, darker vibe than what Prince Club may be used to. Bladerunner techno.

Sup dudes? Where are you guys now, what are you doing, and most importantly, what did you do last night?

HEYYY guys! Thanks for having us! We are both in the cold city we call home: Montreal. I stayed in last night making music because it’s cold! hahahaha

Can you tell us a bit about your progression in the scene? Where’d you start, how’d you meet, etc.

Well, We started off in a band; Zach was the lead singer and I played drums. We had a good run until we broke up and everybody went their separate ways. At that time I was into making electronic music and with the help of one of my friends, I started making beats on Abelton; Dubstep mostly because at the time my friends were into Benga, Skream, DMZ, etc. Coming from a “hardcore” band it was kind of similar in energy and rhythm so it came pretty naturally. Simultaneously, Zach had started DJing and had bought all the right equipment (CDJs, mixer, etc).
A year later, we re-united at a school for sound engineering here in Montreal. One day, Zach showed me a bootleg remix of “3 Is A Crowd” that had a great bass but was missing a few elements. So I took it home, worked on it all night, came back and played it for him in one of the school studios. I will never forget that day, jumping around the studio together after the first drop.
After making music together, and having a working relationship of our old band, it was only natural that we team up. That same day we chose a name over lunch (MadKids) and just started churning out tunes. And here we are now!

You guys have noted that the efforts are mostly split into Max on the production tip and Zach on the DJ tip. Do you think you’ve been able to help each other or respect what the other does in different ways?

Yes we both bring our strengths to the table, which makes us a great team. Zach has proven himself as the talented DJ and I continue to show my strengths as a producer. However, we continue to help each other improve in order to be great at both. I’ve purchased CDJs and a mixer and practice daily, and Zach has produced some great stuff under his alter-ego “Forrest”. Keep an eye out for it.

You guys are both from abroad, with a sound that’s largely Berlin based… with that said, what’s your favorite part, musical and otherwise, about the states? Least favorite part?

It’s great to come down and play in the States! Such a wide and varied demographic to cater to. The supporters are great too; if people like your sound, you blow up! Also Americans party hard so it makes you play harder and we love that. Especially when we get to play in places like Avalon in Los Angeles; you feel the energy, the response is instant, it makes you go that extra mile.
Our least favourite part is the long, drawn out customs process. I know it’s necessary but Canada is your younger brother from the north! Let us in your beautiful country!

In a similar light, with modern technology music can instantly be shared all over the word instantaneously. With that, why do you think there’s such a strong variety in tastes amongst countries and even cities?

THE BLOGOSPHERE! It’s pretty crazy how the internet has changed music and created fanbases for artists/genres in areas no one thought possible. A couple months ago in Montreal ”footwork” was super popular. Most of the people didn’t really care what name it had or who played it; if they liked it, they liked it. There’s something great about that. If you put out good music people will catch on to it. At the same time some trends are made to be followed for a short period of time because it’s fun. It’s a science really why some sounds are massive in a city and somewhere else not. Best example, I met this singer who was in a pop girl group that was very successful in Canada but their “fame” didn’t transfer to the states.

What’s one piece of equipment or software you wish existed for DJing? for producing?

OMG there’s so much!!! It would be great if there was a way to produce the music that you hear in your head instantly. Imagine the moments when you hear a song in your head you could have it all instantly on your computer!

Favorite non-electronic albums/artists/tracks at the moment?

I’ve been listening to that ”old” Jhene Aiko mixtape. That stuff gets me; slow, emotional music.
Also there’s this track i found on a vinyl, white label. It’s like 80 bpm experimental drums only music. It’s insane!!! Maybe its 160 bpm but I play it on 33rpm and it’s slow and perfect.

Dream festival or gig you’d like to play?

There’s so many! The parties in Palm Springs during Coachella would be a lot of fun, also Love Family Park in Germany or Timewarp. Immediately, we’d like to do a proper US tour, get a chance to play some venues across the States.

Finally, tell us a little bit about the track you’ve made for us:

It’s a deeper, darker vibe then what people is use to hearing from us, but sometimes that’s what the winter does to a man. A true anthem to the winter blues.

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Tonight SMOG kicks off its first Dubtroit of the year, with San Franciscan DJG will be bringing his deep and moving style of bass to the night, along with Steady, Pablo Hassan, Tealong, and Pavarotti showing support as well. The Constellation room is more than ready for its monthly dose of dubstep and we are excited to be kicking off the year with a great selection of talent.

A hipster/homeless beardo holds up an sign announcing The End Is Near. A fat man smoking a cigar sees a bachelor throwing out an old TV. But does the beardo believe his own sign? And might that TV has one last broadcast in it? Directed by Jason Ano, this new clip for 12th Planet & Flinch’s apocalyptic bass-buster “The End is Near (Part 1)” tell the tale. Remember: CONTACT IS VITAL.

Make sure to check the tour website for all info relating to the ‘The End Is Near.’

Photo: Caesar Sebastian

▧ Click Here to Download Kuru -
Live at Check Yo Ponytail January 25 2012

Essáy & CoMa – Deceptive
Synkro – Presence
MJ Cole – Red and Black
Cosmin TRG – Strobe Lick
Blaze Tripp – Vertigo (Hostage Remix)
JWow – Fogo
Jon Convex – Closer
Carl Cox – Chemistry (Reso Remix)
Eprom – Feldspar
Dub Phizix and Skeptical ft. Strategy – Marka
Loxy, Resound – Sin City
A1 Bassline – Shock Headed
Worthy, Eats Everything – Tric Trac
Emu – Freak (UFO! & Kuru Remix)
Hostage – Alright
A1 Bassline – 147
A1 Bassline – Falsehood
Ms. Dynamite – Neva Soft (Redlight Remix)
Adam Kesher – Hour of the Wolf (Seiji Remix)
Dismantle – Word Dance
B.o.B. – Strange Clouds ft. Lil Wayne

Kuru also has a few releases coming up. The above listed Freak remix for Emu on SMOG Records is out in the coming months, along with two collaborations on the seminal !K7 Records label. Fountainhead, created with bass icon, Photek, sees release on DJ-Kicks The Exclusives on February 21st, 2012. The second, a track produced with Dustmite titled Bare, makes its way to your speakers via the Photek DJ-Kicks compilation on April 3rd in the US, March 26th everywhere else. Keep it locked at www.curedbyKURU.com for future details.

Photo: Caesar Sebastian

You can check out photos from the Check Yo Ponytail event over at the website, featuring incredible sets by our resident photographers Caesar Sebastian and Shadowscene. Tickets are still available for the February 7th show with Com Truise, Teengirl Fantasy, Soft Metals and Green Horse. Visit us at www.Ticketweb.com to grab yours.

The video has just been released and fits well with the cheeky yet subconsciously eerie tone of the track itself. Having just watched “Drugs Inc: Heroin” recently, my mind naturally drove straight to drugs when the opening cuts of the video show a spoon and a lighter. But before I ruin the surprise, go ahead and watch it yourself. The stop-motion of the video is really cool; it’s a lot of work to pull off!

The Olivia EP drops February 6th on Fat! Records, and contains two originals as well as remixes from Lee Mortimer, Pedestrian, and MAO. Really can’t wait to hear all of them. In the meantime, Pedestrian has teamed up with the Maribou State boys to give away a bootleg for you, which is downloadable below. And in case you’re over in the UK, don’t miss them over at XOYO on the 10th of February.