The Verge: Monument

A personal note: I recently celebrated a birthday, putting me firmly on the wrong side of 25. Usually, I don’t feel (or act) much older, but there are certain experiences that make me feel my age. None is more telling than when music you grew up with sees an underground rebirth.

For background: The soundtrack of my high school years was dominated by the misunderstood and much-maligned genre of emo. Emotional hardcore - with it’s mid-80s DC birth - had seen a few iterations by the time South Florida high schoolers like myself were listening to it at the turn of the millenium. Rites of Spring begat Braid which begat the Triple Crown, Vagrant, and Deep Elm bands we listened to: Jimmy Eat World, Brand New, Hot Rod Circuit, Northstar. We jumped ship as Fall Out Boy and My Chemical Romance found mainstream success: by then, emo had reached the pinnacle of self-parody. So it goes.

With that said, I didn’t expect another wave of emo less than a decade after driving around town blasting Tell All Your Friends. But here we are, with a major proponent of a return to Cap’n Jazz styled-emo from the genre’s birthplace, with a very-DC moniker: Monument.


Monument’s full length debut, Goes Canoeing, was released last month, and it’s packed with 10 songs that reveal promise for the future, yet are as nostalgic as reading from an old yearbook.

Dueling vocals from Gabe Marquez and Dan Doggett bleed with emotion: heartache, yearning, and other emo telltales. The four-piece, rounded out by drummer Brandon Korch and guitarist Anton Kropp, firmly navigate the post-hardcore landscape: fleet-fingered riffs, an unrelenting bass engine, and rollicking, explosive drumming.

The songs alternate between non-stop moshers (“Roots Run Deep,” “Diamond Age”) and loud-quiet-loud anthems (“Glass House,” “Breakfast”). These songs beg for fists-in-the-air sing-alongs, a trait shared by the best emo, regardless of wave.

Goes Canoeing proves that the underpinnings of emo will never go out of style. Monument performs at a record release party at the hole in the wall Hole in the Sky on December 10.

EP Review: Munchi - Murda Sound

Covering music on the leading edge is hard work. Between filtering through recommendations by artbiters of culture and unearthing new sounds and styles by happenstance, there are plenty of ways to go out about it. However, it usually isn't delivered fully-formed, swaddled like an infant on the stoop of an orphanage. But with the discovery of Munchi, that's what it feels like.

Munchi, the Dominican in Rotterdam, nearly as synonymous with moombahton as Dave Nada, has arrived. But like TGRI's Artist of the Year, it's clear that Munchi is far more than a producer of one style, and his debut EP, Murda Sound, proves that beyond the shadow of a doubt.

Murda Sound is a six song EP, released today on T&A Records. Throughout, Munchi's range of influence (hinted at on his various moombahton releases) is even more impressive than expected.

The EP kicks off with the electro-dancehall of "Shottas" (featuring Mr. Lexx) and it's club edit, propelled by an uneven, syncopated beat and the ubiquitous toast "wake up and tell the people."

"Toma Essa Pora" is a Baltimore club meets baile funk banger, with chopped up samples that are juke-like in their intensity and urgency. The song even includes the oft-sample "Darkest Light" by the Lafayette Afro Rock Band (ed. note: thanks to Cam Jus for identifying this).

The club fest continues on the title track, which lives up to it's name. The song starts with the mind-shattering take on club that we've heard from Nadastrom and Steve Starks. But halfway through, things get much more intense, with B-more breaks and some sinister bass blasts. This is probably the darkest, most futuristic take on club since Dave Nada's "Apocalypse Theme."

The back-end of the EP finds Munchi flexing his mellow side. "Hope" is a down-tempo R&B groove that devolves into smoothbahton, again, with a vocal sample reminiscent of juke. "Madre, no llores" is some purple dubstep that might actually bring a tear to your eye.

Munchi is a jack of all trades, and master of all. Murda Sound is the first proper look at a producer ready to make moombahton and dancehall, club and dubstep all his own. Throughout, Munchi's trademark whistle sample announces his arrival like "The Farmer in the Dell" announced Omar on The Wire. And while Omar went after drug dealers, Munchi's coming for other producers. My advice for them? "You come at the king, you best not miss."

FIVE OUT OF FIVE STARS.

The Drop: The Fall of Moombahton

At the risk of saturating your blog feed with posts about moombahton, we couldn't let this release go unmentioned. David Heartbreak's "Fall of Moombahton" compilation is the spiritual successor to the "Summer of Moombahton" set assembled by partner-in-crime Munchi. And it's just as comprehensive, if more focused on where the genre is going than where it's been.

Don't get it wrong: the title of the two-disc mix is a little wordplay. Moombahton isn't going anywhere. Think of it more of a "the King is dead, long live the King" type of thing. The music on this mix (representative of the entire scene) is just too diverse, exciting and fun to have jumped the shark in just eight months.

If the Moombahton Massive was a twisted family reunion, "Fall of Moombahton" plays out like the home movies: the gang's all here. Tracks by Dave Nada, A-Mac, Munchi, Heartbreak, Cam Jus, Sabo, and Melo are sprinkled through the set, along with boombahchero boys DJ Orion and Audio 1. Among the highlights from the masters is the metallic bass of the Yeah! Edit of Sam Tiba's "Barbie Weed" and the tribal-cumbia of DJ Reaganomics on "E Boi."

Proving that a little editing goes a long way, the hottest peak time track here is Ckrono's tweak of Congrorock's remix of Swedish House Mafia's fist-pumper "One." On this track (and throughout the compilation), moombahton's house roots are showing. And it works.

Grab the mix while you can. Mad Decent is firmly behind the movement, and I don't know if the Internet can handle it.

Album Review: Ra Ra Rasputin - Ra Ra Rasputin

Synth pop. New wave. Dance punk. Three related, overlapping genres that, among other things, share an emphasis on the melding of the natural and the artificial. A lot of bands dabble in this territory; successful bands find the right balance.

DC stalwarts Ra Ra Rasputin have perfected their formula on their long-awaited debut. After developing as a live entity over the last few years, the band recorded their self-titled record, leaning heavily on the "dance" portion of their "dance punk" formulation.

The albums opens with a razor-sharp synth line and some David Byrne-styled vocals on "Stereocutter." Swirls and swells of synthesizer dominate "Neon Scthye," a song propelled by full low-end bass. This one-two punch sets the album's tone.

Densely layered, lush compositions balance the cold, monotonic vocals of Brock Boss throughout the album. Something that stands out and differentiates the album from the band's live performances is the house vibe. The band is unafraid to jam over an extended loop for spacey dance breaks; "Fit Fixed" devolves into a seductive house jam that will be a lot of fun live.

Compared to the rest of the album, "The Day Of" is a bit more aggressive, with plenty of cow bell and more emphasis on Patrick Kigongo's guitar. It also features a revealing chorus that says a lot about where the band is coming from, musically: "I've got love for you if you survived in the 80s." (This performance doesn't show the band's trademark energy, but I suspect it's because they're playing to an empty newsroom and not a crowd.)

The standout track is "Electricity Through the Heart," due in large part to the addition of vocals provided by Anna Rozzi. The song is reminiscent of art-punks Pretty Girls Make Graves; it's available for free on the band's website.

Comparisons to contemporaries Cut Copy, Hot Chip, and Delorean are apt, but the sonic godfather of Ra Ra Rasputin is Depeche Mode. The band has the neon glow of the 80s locked down, with enough modern touches to make a well-worn style sound fresh and vibrant. Unfortunately, the album is missing the hooks that put the "pop" in "synth pop." Still, it's an impressive, well-produced debut from a promising DC band.

Three out of five stars.

Catch Ra Ra Rasputin at the Black Cat on October 9th for their joint record release party with Casper Bangs.

The Verge: Zola Jesus

For the last year or so, there has been a renaissance in lo-fi music, across genre lines. Whether making surf pop (Best Coast, Dum Dum Girls), chillwave (Toro y Moi, Neon Indian) or witch house (Salem, Mater Suspiria Vision), there is a premium on the bedroom recorded, four-track tape sound.


Nika Roza Danilova is a Wisconsin-born singer-songwriter who performs as Zola Jesus. Last year, she released two such bedroom albums, New Amsterdam and The Spoils, and garnered acclaim from the usual suspects. And for good reason - buried beneath fuzz, static and gothic drone is a talented songwriter with some serious pipes. The music is dark and mournful with melodies that remind me of Bat for Lashes.

Danilova cites Throbbing Gristle among her influences, and on her first two albums, it shows. She's not afraid to push things into industrial, dissonant territory. There is an ambient uneasiness throughout, and with her music's goth feel, it works. And while key elements of this style continue on this year's Stridulum, she's taken major creative steps forward, breaking out of the lo-fi box with style.

Throughout Stridulum (and the double EP of the same name), the focus is on Daniloa's operatic vocals. Minor-key synthesizers waft over strings and piano melodies, stark and simple drums drone in the background, but everything operates in service of song. The album opens, appropriately, with "Night," a mournful love song that is tinged with loss.

"Trust Me" and "I Can't Stand" tread on similar sonic and lyrical ground, with strong results. The 808-like rhythm on "Sea Talk" harks back to earlier material, while the emphasis on vocal melody is definitely in line with the rest of the album; the "Poltergeist"-themed clip is yet another fantastic piece of video art.

With Stridulum, Zola Jesus is ready to burst from the bedroom to the big time. The prolific songwriter is back with yet another EP next month (Valusia). She opens for The XX and Warpaint at a sold-out 9:30 Club show on Tuesday, and then she'll be touring Europe through November. And next time she rolls through town, she'll be headlining.

Album Review: Salem - King Night

Due to the nature of how we listen to music in 2010, there are few surprises left. Before an act releases a proper album (a medium whose time may very well be up), they are dissected and analyzed like a frog on a 9th grade biology table. And just as sure as that frog has sat on its last lily pad, musicians are rarely afforded the chance to make a second impression.

On their debut LP King Night, Salem doesn't seem to care about that. Or about anything else.

If you've heard them by now, you know what to expect. Chopped-and-screwed drum machines, epic synthesizer melodies, spooky moans and drugged-out raps. Salem's distinct brand of drag is what sets them apart from countless witch house acts, more eager to insert triangles and crosses into their names than to make interesting music. But if you've heard Yes I Smoke Crack or their symbiotic remixes of Gucci Mane and came away unimpressed or turned off, King Night won't change your mind.

Throughout the album, Salem gets deeper, darker, and more intense than ever before. For music that revels in drone, it is addictive in its dynamism. The title track opens the album, with bits and pieces of "I Love You" and "O Holy Night" fused to minimalistic trap beats and the echos and feedback of a mournful melody. "Asia," the second single (I use that term lightly) off the album continues the death march with a drum corps' intensity. The faux-snuff clip picks up where "Skullcrush" left off.

The heavily processed vocals of Jack Donoghue could pass for Gucci on songs like "Sick," "Trapdoor," and "Tair." John Holland and Heather Marlatt stick to singing (again, loosely), exchanging groans and whispers on "Release the Boar" and "Frost." On the latter, Marlatt's vocals waft over footwork-inspired beats and waves of synths that hold - wait - is that a sense of "hope" amid all this darkness?

Arguably the group's strongest song, "Redlights" is back yet again; the shifty, stuttering anthem is revamped for The Big Time and sounds great. "Traxx" plods along with an industrial sample that can't help but evoke the "Law & Order" sound, but with off-kilter percussion that again references footwork. By the time the last jangly guitar chord drones on closer "Killer," the listener is left with a sense of foreboding dread that they can't quite put their finger on.

Salem knows what they are and what they do best: gothic trap music with a hint of mystery (even if unfortunate interviews and even more unfortunate live performances have lifted the curtain a bit). King Night succeeds by being a pitch-perfect set of upsetting mood music. Even if that's what you expected.

FOUR OUT OF FIVE STARS.

Thoughts on "Boardwalk Empire"

[Editor's note: I'm a week behind, but enjoy!]

Two of my favorite genres are the gangster drama and the political thriller. Central to each is the demonstration of the drastic measures taken on the quest for power. When combined, these twin quests are often examined in a clearer light. From the New York Machine in Gangs of New York to the ethnic-urban gangster politics of “Brotherhood,” I can’t get enough of this intoxicating crossbreed.

HBO’s “Boardwalk Empire” is a (non-mini) series about Prohibition Era gangsters and politicians, and the murky line between them. Consider the pedigree: Created by the finest “Sopranos” scribe short of David Chase (Terence Winter), with a pilot directed by the most celebrated filmmaker of his generation, Martin Scorsese, working right in his wheelhouse. For me (and plenty of others), it’s a no-brainer.

I relished each of the 72 minutes of the pilot episode - this much Scorsese doesn’t come for free. The director’s trademarks abound: sharp angles, well-placed quick cuts, track zooms, dialogue over freeze frames. A gun fight that jumps and jerks with violent urgency, and a sense of humor out of an Abbot and Costello routine. Scorsese is a master of film whose well-practiced parlor tricks still get me, after all these years.

Like in “Brotherhood,” the main characters are ostensibly on different sides of the law. For Steve Buscemi’s Enoch “Nucky” Thompson and Michael Pitt’s Jimmy Darmody, however, things are not that clear cut. Thompson is the treasurer and behind-the-scenes power broker of Atlantic City; Darmody is a fresh-faced, slightly-hobbled veteran of the Great War who wants in on the action. First off: How good is Steve Buscemi? This role seems built for an actor with such a nuanced range. And Michael Pitt, playing with the emptiness behind his blue eyes, is no slouch with a character that could go either way (a talent also exploited in Michael Haneke’s US version of Funny Games).

The pilot only hints at the varied landscape and rich, interesting characters of the Boadwalk Empire. As Nucky’s flame Lucy, Paz de la Huerta is an original Jersey Shore denizen: foul-mouthed and sex-crazed. Michael Stuhlbarg’s Arnold Rothstein is the opposite of his nebbish titular character in A Serious Man: calm, collected, self-assured, and oozing power. Rothstein may prove to be as tough and adversary as Michael Shannon’s stone-jawed G-man Nelson Van Alden. Perfectly cast character actors from Scorsese films past and similar material round out a solid cast. Shout-out to Michael K. Williams (“Omar’s comin!”), shown briefly as Chalky White, the town’s major black player.

Scorsese is, as always, a master of suspense. You may know the whack is coming, but the “when” and the “how” are always in doubt. It turns out that bootlegging in the 20s is to drugs in 50s as the central internecine conflict between gangsters. As in The Godfather, those who doubt the next step are often left behind.

Like “Brotherhood,” “Boardwalk Empire” exists at the triple point of organized crime, politics and family, but with Terence Winter and Martin Scorsese (and soon, Allen Coulter) at the helm. The sets, costumes and props are immersive in the extreme; you worry that the high budget will eventually doom this show, no matter how rave the reviews and strong the pedigree. Still, this is a perfect pilot, whetting the appetite with a hint of things to come and seeds of story lines sowed.

A key scene between Buscemi and Pitt hints at the central question of this and the director’s earlier works (chiefly Goodfellas and Gangs of New York):

Darmody: “All I want is an opportunity.”
Thompson: “This is America, ain’t it? Who the fuck’s stopping ya?”

Irish, Italian, or Jew - Americans are all immigrants, grasping at the American dream. And whether with the briefcase or with the shotgun (to paraphrase Omar), these guys are going to get it.

Trevor Martin's Halloween mix keeps it spooky

Halloween is over a month away, which gives you just enough time to digest Trevor Martin's latest mix, MARTIN: This is Halloween.

The 70 minute mixtape is perfect for All Hallows’ Eve, both lyrically and sonically. As we've become accustomed from his live sets, Trevor bobs and weaves across genres, seamlessly mixing punk, metal, hip hop, and EDM of all flavors - sometimes in one edit. His remix of Lil Jon's "Get In Get Out" adds the industrial grind of Ministry before turning into crunkstep with a touch of Rusko. Similarly, Waka Flocka and Deftones is a match made in Hell that only Trevor would think of.

There's plenty of stuff from Trouble & Bass (and friends), a necessity for anything Halloween-themed. Little Jinder's "Youth Blood" is a perfect fit for our vampire-obsessed culture, and anything by Deathface is a no-brainer.

Like any punk worth his ink, Trevor includes plenty of rawk: Danzig, Sick Of It All, and even Dio show up in between more dancefloor-ready material. It's a testament to his skill that none of it feels out of place.

So check out the mix, before I start making trick or treat puns. And pay attention for some surprising drops that I won't spoil here.



Tracklist after the jump.

Future Grooves: Trouble & Bass

While this column usually serves as a first look at an artist, this week's feature needs no introduction: for 4 years, NYC's Trouble and Bass collective have lived up to their billing as Heavy Bass Champions of the World. Whether playing electro, dubstep, grime, or jungle, the crew does it with excellence and a trademarked gothic-rave chic.

As their anniversary party rolls into the venue best suited to their selections, take this opportunity to familiarize yourself with the T&B crew.

Like the best (and most evil) corporations, the tone is set by the man at the top. Luca Venezia, better known as Drop the Lime, founded Trouble and Bass back in 2006, and is known for his psychobilly trappings and bass frequency dominance. While his Sex Sax may be the tune of the moment, "Set Me Free" is an even stronger song, with it's "Show Me Love"-esque diva vocals and nonstop, layered bass. Here's a live performance at last year's Fool’s Gold vs. Trouble & Bass Halloween Party:

Next to DTL, the most recognizable T&B crew member is AC Slater (and not just because of his Saved by the Bell namesake). AC Slater is a remixer without peer; he's given his patented electro-bass treatment to tracks by Moby, Little Boots, and Steve Angello, to name a few. "Take You," his collaboration with Ninjasonik, is, to paraphrase Kanye West, a motherfucking monster - and that was before Nadastrom got their hands on it and turned it into the tech house banger you're most likely to hear tonight.

The queen of Trouble and Bass is none other than Star Eyes, who sat down with TGRI a few months back. Star Eyes is another jungle fanatic who now makes grimed-out but party-friendly dubstep. Dexplicit (also in the crew) offered up this remix of Star Eyes' "Disappear," which makes an already haunting song more sinister.

[Editor's note: A previous version of this post included Udachi who, while part of the T&B extended family, is on Party Like Us. -CK]

For 4 years, Trouble and Bass have been the definitive DJ collective, label, and party for bassfreaks. So what's next? DTL will be touring in support of his next single, "Hot As Hell," which is guaranteed to be just that. Never content to stand still, the latest volume of Heavy Bass Champions of the World features a track that combines the two most satisfying trends in underground EDM. Flinch's "Hiero" is all throwback jungle breaks before a bass blast that hits like an 18-wheeler. It's also the odds-on favorite to be the next big hit from T&B.

Catch the Trouble and Bass DC crew at the U Street Music Hall tonight, with Bart B-more and Deathface. And don't miss these upcoming T&B DC dates:

Oct 31st - Trouble & Bass DC Halloween!
Nov 10th - Trouble & Bass DC w/ Supra1
Dec 8th - Trouble & Bass DC w/ Zombies For Money

The moombahton movement continues with boombachero

Who would have guessed that we'd still be writing about moombahton after Labor Day? Amid a year of various musical developments it looks like this one is here to stay. The genre's staying power is due in large part to producers eager to collaborate and experiment with the style. Interest in moombahton has also led to increased interest in cumbia and guarachero, Latin styles of which electronic music fans have only passing interest or knowledge.


In the spirit of this musical evolution, two exciting new DJ mixes flip moombahton back to its origins. With the Subguey (pronounced Subway) series, DJs Orion and Pagame have sped up moombahton, introduced guarachero elements, and ended up with a double-timed concoction that has been dubbed boombachero. Basically, the style sounds like moombahton on uppers with a bouncy, swing feel.

DJ Orion's mix relies heavily on the H&M crew before building to a frenetic close with an heavily re-worked and re-mixed bit of Rusko's "Woo Boost." In the same way, Pagame filters moombahton highlights through guarachero, creating a mix that is almost tribal in intensity.

SUBGUEY VOL 1 (BOOMBAHCHERO) by dj_Orion

SUBGUEY VOL 2 (BOOMBAHCHERO) by Pagame

DJ Orion's mix has already maxed out Soundcloud (and Pagame's is close behind), but you can cop these mixes here.

Download DJ Orion - Subguey Volume 1
Download Pagame - Subguey Volume 2

Tracklists after the jump.

Future Grooves: Dubbel Dutch

Austin is known for being a hipster hideaway deep in the heart of Texas, due in large part to the growing dominance of SXSW. And while it's not known as a hotbed of electronic music, producer Dubbel Dutch is creating buzz from the capital of the Lone Star State.


Dubbel Dutch is Marc Glasser, a 24-year old New York native. Over two criminally underrated EPs for Palms Out Records and a handful of remixes, he is establishing himself as a vibrant voice in the underground dance scene. His tracks blend elements from current trends (dubstep, UK funky and tropical) with nods to old favorites (house and hardcore).

Like the Camo UFOs, Dubbel Dutch definitely has a jungle fascination, as evidenced by the title track on his Throwback EP. The title hits the nail on the head: an addictive breakbeat, Casio synths and echoing female vocal loops give the track a 90s feel, even if the soca beat and bouncy bassline are pure 2010.

The rest of the EP does not disappoint, going even further down the rabbit hole into deep house and cutting-edge funky sounds. Once again, the title of "Deep Underground" is plenty descriptive.

Earlier single "On the One" plays in similar sonic territory, while "Infinite Decimal" is more inline with the low-end acrobatics of the Trouble & Bass crew. The vocal sample is chipped up and percussive, while the buildups beg for hands-in-the-air grooving.

Thankfully, we're not the only ones paying attention to Dubbel Dutch. He's put together mixes for XLR8R and URB (the latter is below), mixing tracks from other like-minded producers and giving a sense of what's to come in the future. It's clear that when March rolls around, SXSWers should be on the lookout for a local with his finger on the EDM pulse.

The Verge: Big Troubles

As the saying goes, "everything old is new again." This partially explains the glut of indie bands whose sounds are indebted to both the the fuzzy post-punk of the Jesus and Mary Chain and My Bloody Valentine and the alternative sensibilities of the Pixies and Nirvana. For some reason, the Jersey suburbs of Bergen County have proven to be a particularly fertile ground for this type of music, giving us Vivian Girls, Real Estate and Ducktails. The most exciting new band to emerge out of this scene is Big Troubles.


Big Troubles make catchy noise pop that is not as dreary as their foreboding name and album title would suggest. Worry, released yesterday on Olde English Spelling Bee Records, is a hook-infested, fuzzed out collection of 14 songs that are heavy on nostalgia for 80s and 90s indie rock.

Throughout Worry, Ian Drennan and Alex Craig present songs that play bigger than the duo's bedroom recordings should allow (the membership of the band doubles live). Waves of feedback and fuzz, artful guitar arpeggios, and basic surf rock rhythm tracks go hand-in-hand with reverbed vocal lines. "Freudian Slip" sounds like a Smashing Pumpkins B-side melted onto a JAMC tape, while "Drastic and Difficult" is just that: eardrum piercing squeals that barely give way to verse and chorus. The opening crunch of "Modern Intimacy" opens up into a wavy Beach Boys guitar line.

Both the song and video for "Bite Yr Tongue" find the band in their comfort zone. A soaring guitar riff repeats throughout a verse-chorus-verse composition, before turning into sonic chaos that is somehow still pleasant. For the synesthesic among us, the video looks how the song sounds: dissonant but playful.

Whatever the state of irony in 2010 underground culture, the band's decision to start an Angelfire webpage ("The #1 site for teens... Best viewed in Netscape 2.0," the scrolling text reads) is hilarious and telling. Underneath music that is superficially harsh and unforgiving, there is a flippant, youthful attitude. It'll serve Big Troubles well as they try to give some shine to a well-worn stone.

Mixtape Review: RAtheMC - Heart of a Champion

Next to Phil Ade, RAtheMC is the brightest rising star in the DMV hip-hop scene. She rocked the stage at last October's All Killer No Filler and her Twitter-themed mixtape Trending Topic was one of the best local releases in 2009. Since then, she's been steady grinding, prepping Heart of a Champion, backed by AB the Producer.

Download RAtheMC - Heart of a Champion

Heart of a Champion showcases the same talent and range as Trending Topic. Ra's flow continues to sharpen, and in the Age of Drake, her self-sung hooks are a well-executed necessity. Tracks by AB the Producer are clean soundscapes for Ra to perform over, never repetitive in tone or style. Throughout the tape, samples pay tribute to Ra's forebears: Sade's "Love is Stronger than Pride" on "Pretend" and Lauryn Hill's "The Sweetest Thing" on "Intoxicated."

Ra references DMV leaders Wale, Tabi Bonney and XO; the latter appears on the sweeping "So Gone So Long." Throughout the tape, on songs like "One Shot" and "Heart of a Champion," Ra proves she is focused on one thing: following in their footsteps - and going farther. After Ms. Hill's bewildering performance at this weekend's Rock the Bells, it's clear that the crown is ready to be passed. So why not to RAtheMC?

COP/DON'T COP THIS MIXTAPE

Tracklist after the jump.

Mixtape Monday: Dubstep edition

From the Dubstep Dossier to Future Grooves, TGRI Online is committed to bringing you the newest, cutting-edge sounds in bass-heavy music. Still, we sometimes take for granted the fact that the world at large isn't as familiar with Rusko, Skream and the like as we are - even if they will be soon.


Seemingly with that in mind, DJ D Painter's latest podcast - recorded live from Jamaica - is titled "Dubstep for Dummies." Rather than a history of dubstep, the podcast is perfect for the uninitiated: dubstep of the moment, including remixes of "Forever" and "Womanizer" and a few recent essentials ("Innocence," Sub Focus' take on "Hold On"). Quick and to the point, "Dubstep for Dummies" is the perfect gift for that bass-less somone in your life.



D. Painter Podcast 04 track list:

01. Ctrl Z & Freestylers ft. Navigator - Ruffneck 09 (Excision & Datsik Remix)
02. Drake & Eminem - Forever (Nero Remix)
03. TC - Where's My Money (Caspa Remix)
04. Jakes - Warface 2010
05. Benga ft. Eve - Me N My (Up In The Club)
06. Crookers ft. Kelis - No Security (Rustie Remix)
07. Diplo ft. Lil Jon - U Don't Like Me
08. Liquid Stranger - Mission AD
09. 12th Planet ft. Juakall - Reasons (Doctor P Remix)
10. Ladybox - Cookies Fly (12th Planet & Flinch Remix)
11. Britney Spears - Womanizer (Borgore Remix)
12. Nero - Innocence
13. Rusko ft. Amber Coffman - Hold On (Sub Focus Remix)


While D. Painter drops the 101, Jess Jubilee's recent mix for Dubspot is a masters class in dubstep, UK funky and future grooves. The Nightshifter/Flashing Lights basshead mixes in can't-miss tracks by Ramadanman, Kingdom and Ikonika, along with a brilliant transition from LOL Boy's "123" to Brick Bandit Tim Dolla's "Number Advisory." It's like a twisted Sesame Street lesson.



Dubspot podcast episode 9 - Jubilee track list:

01. Kyla – Daydreaming (Lil Silva Remix)
02. Dj Shaun – D – ALien Spaceship
03. Mujava – Source of Drums
04. Bambounou – Nappy Head
05. Distal – Apple Bottom
06. Ramadanman – Work Them
07. Canblaster – Clockwork
08. DJ Donna SummerxGucci Mane – Fighter (Jimmy 2 Times Aw Man Blend)
09. R1 Ryders – Hydraulic
10. DJ Bigga – Boeke Anthem
11. Untold – Anaconda (Guarachero Refix)
12. Roska – Squark (Guarachero Refix)
13. LOL Boys – 123
14. Tim Dolla – Number Advisory
15. Blondes – Spanish FLy (Brenmar Remix)
16. Kingdom – Fogs
17. Baobinga – Ride It (Untold Remix)
18. Ikonika – Aqueous Cream
19. Jubilee interview

Future Grooves: DJ Nate

Chicago is an epicenter of electronic dance music. It's the birthplace of house music, and like Baltimore, Philadelphia and Miami, it has its own brand of club music as well, the result of filtering house through hip-hop and other underground influences. Chicago house mutated into the stripped down style known as juke house (typified by Cajmere's "Percolator"). In the same way, juke is giving way to footwork: music built for frenetic dance moves that are exactly what they sound like.

The fastest rising footwork DJ is wunderkind DJ Nate. The 20 year old Nathan Clark has been making footwork beats since before he could get into the clubs that play them. His stylistic trademarks are off-kilter drum beats and repetitive, pitch-shifted vocal samples, often with conflicting rhythms. A polarizing style, footwork rejects traditional dance music conventions like four-on-the-floor beats. For the uninitiated, it may sound dissonant and seem un-danceable.

Luckily, the folks at groundbreaking record label Planet Mu saw something in the young Chicagoan. Planet Mu released DJ Nate's Hatas Our Motivation and will be dropping a compilation of Nate's footwork tracks entitled Da Trak Genious (named after his (intentionally?) misspelled moniker) in September. Recognizing the confrontational nature of his music, the title of his EP is instructive. "Hatas our motivation" isn't just a sample: it's a mantra and a motto.

Throughout the EP, DJ Nate crafts beats that are exciting and new. The tracks sound like they will cause irregular heartbeats and seizures: elements collide into each other haphazardly, but when they sync up, it's pure bliss. Looped R&B and hip hop samples practically become percussion instruments and lend a hypnotic nature to the music, especially on tracks like "We Can Work This Out" and "Ima Burn Him."

The strongest track is the finale, "See Into My Eyes," which brilliantly samples the goth pop of Evanescence's "Bring Me to Life." Twisted and pitchshifted, a bizarro Amy Lee mournfully asks "How can you see into my eyes?" over increasingly chaotic drum fills. (The track can be heard at the beginning of this juke battle video).

Between DJs like Willy Joy, Rob Threezy, and now DJ Nate, Chicago is guaranteed to be central to dance music for years to come.

The Verge: Givers

Givers is an impossibly upbeat five-piece from Lafeyette, Louisiana, the Cajun capital of the world. One thing they've absorbed from their home base is the value of a melting pot. On their impressive self-titled EP, the band blends Afro-beat, psychedelic folk, and indie rock sensibilities into an adventurous, contagious sound.

From the first swells of "Up Up Up," Givers oozes fun. Percussionist Tif Lamson exchanges scratchy Ida Maria-like vocals with guitarist Taylor Guarisco over the bouncy drums of Kirby Campbell. Bassist Josh Leblanc, keyboardist William Henderson and Guarisco have a developed give-and-take, alternating between straight-forward rock outs and multi-rhythmic jams. "Up Up Up" has the feel of a Vampire Weekend song - but these kids seem to be having a lot more fun.

"Ceiling of Plankton" starts with a smirking riff but is deceptively mournful. "When you notice all your stars are in line to find me / I'll be there waiting right behind / and when you notice that your heart is bleeding / mine is bleeding, too," croons Guarisco, over Lamson's glockenspiel. The chorus doubles back with a synth-pop feel that is sweeter than frosting from the can. Owing a little more to their Deep South roots, "Saw You First" is more twang than upstroke. This would be hoedown material if it weren't for the bubbling synths and shout-out-loud chorus.

If these live videos and their SXSW hype proves anything, it's that this is a band you need to see live. The energy of these songs cannot be contained on disc or MP3; it's just begging for a sweaty and smiling crowd. They are slated to join Ra Ra Riot on tour, dancing through DC in November at the 9:30 Club. In the meantime, enjoy Givers as the band prepares a debut album, due out this fall.

EP Review: Steve Starks - Git Em

Some album covers prove the adage "a picture is worth a thousand words." The cover art of the Git Em EP by DC DJ/producer extraordinaire Steve Starks is one such picture. Evocative of the blood-soaked cover of Andrew WK's I Get Wet, the photo says more than any review ever could, but I'll give it a try anyway.

Steve Starks - Git Em EP by T and A Records

Released today on T&A Records, Git Em is Steve Starks' second effort for the label, following the TRO/Lydia EP with collaborator Nacey. It contains a couple originals and a host of remixes by like-minded knob twisters. We've written at length about the title track, but it bears repeating: this is a brutal track. Building from a nearly minimal beat into crashing waves of snares and bass, "Git Em" is a mutated ghettotech assault.

The remixes of "Git Em" provide new flavors while keeping the core of the original. Portuguese duo Zombies for Money give it a twisted tribal feel, as if the track came from the darkest depths of a tropical jungle. Dillon Francis adds a four on the floor electro beat, while Munchi dabbles in kuduro. Each remix is a strong tribute to the evolving sounds of EDM.

Starks' "Witness" is a similar audio attack, flipping Eddie Amador's "Rise" into a late night tech house banger. The airy synths and preacher vocals of the bridge give you a chance to catch your breath, but the track is soon back to obliterate your remaining senses. T&A label head DJ Ayres amps up the house influences on his spaced out remix of the track.

Steve Starks - and the rest of the Nouveau Riche crew - continues to push the DC music scene forward. On the Git Em EP, he provides another couple of anthems for the subterranean bassheads that reside at U Hall, while sharing the spotlight with similarly-minded producers on the rise.
Four out of five stars. Buy it today on Turntable Lab, Juno or Beatport.

TGRIOnline x DJ Melo present... Culipandeo: Volumen Tres

Sadly, the Summer of Moombahton is coming to an end. Labor Day is just around the corner, the weather is almost bearable, and the kiddies are heading back to school. Luckily, there is still time to enjoy your favorite twisted tropical tunes. Continuing the TGRI-exclusive series of moombahton mixes is Culipandeo Volumen Tres, brought to you by Phoenix's DJ Melo.



DJ Melo, with a background of spinning reggaeton, house and Latin music, has the perfect pedigree for moombahton. Melo's moombahton edits have been showing up all over the place and for good reason. His mix features tracks by friends-of-the-site Munchi, David Heartbreak, and Cam Jus (including Cam's brand new joint "Even the Gringos"). Melo seamlessly mixes moombahton with more traditional reggaeton into a non-stop party mix for fans of either style.

The Summer of Moombahton may be ending, but the genre keeps moving forward thanks to innovative musicians like DJ Melo. Don't sleep on this mix.

Tracklist after the jump.

Tracklist for Culipandeo Volumen Tres:

1. Dactyl Dactyl - Enter The Ninja
2. Herve - Dibby DJ (Doc Adam)
3. Jadiel - Fashion Girl (DJ Santarosa)
4. Contents Hot - Boombahton
5. DJ Mingo - El Kulikitra
6. Gtronic - Sucker Punch (Prince Klassen Nihonmahton Edit)
7. DJ Naldo - Playero 2010
8. Munchi - Metele Bellaco
9. Jon Kwest - Nice Dreams
10. Kissed With A Noise ft Young Buck - Get Bucked (Skeet Skeet's Moombuckton Remix)
11. DJ Manik - Noise (Geo Geo)
12. Cam Jus - Even The Gringos
13. Ying Yang Twins - Saltshaker (David Heartbreak)
14. Hatiras - The New Jam (DJ Melo)
15. Pickster & Melo - Mas Poderoso (DJ Tranzo Remix)
16. DJ Santarosa - Choloton Ride With Us
17. Jon Kwest vs Don Omar - Get Loose Salio El Sol (Melo Blend)
18. Speedy - Sientelo (DJ Melo)
19. Kid Kaio - Hey (David Heartbreak)
20. Munchi - Pepe Volvio
21. Munchi - Fizzdom
22. SLVRSNKS - And Rock (Tripett)
23. Taio Cruz - Dynamite (Groovematic)
24. DJ Apt One vs Samir - Samir's Island
25. Marcus Rice & Carli - Bira Weed Sax (Heartbreak & Melo)
26. Pickster & Melo - Mas Poderoso (Jon Kwest Remix)

Future Grooves: Kavsrave

All across the UK, groundbreaking DJs and producers are moving dance music forward. And while dubstep and UK funky in London and Bristol get most of the headlines, the sounds of Glasgow are not far behind. Home to artists like Hudson Mohawke and Rustie, Glasgow is the nexus of a style called wonky or aquacrunk. Numbers, a long-running Glasgow dance party, recently became a record label, merging imprints Wireblock, Dress 2 Sweat and Stuff Records.

Numbers signee Kavsrave may not be from Glasgow (he's from Croydon, like Skream), but his sound certainly owes much to the Scottish scene. Kavsrave (aka Jamie Kavanagh) grew up making music and throwing parties with contemporaries Julio Bashmore and A1 Bassline. His debut "Quotes EP" showcases an exciting new sound, with the downtempo grooves of R&B, the midrange synths of wonky, and the wobbly bass of dubstep. Think a smoother Joker.

"PClart" is the Kavsrave track that you may have heard; the Luvstep guys played it at the Mad Decent Block Party. "PClart" weaves hypnotic female vocal samples with morphing synths and a stuttering (but danceable) beat. "Tightly Closed" and "Baggage Handler" follow the same formula, to great success.

For a taste of Kavsrave sound, check out the podcast he did for Numbers to mark the release of his EP. Blasting off with the classic bass groove of Ginuwine's "Pony," Kavsrave mixes his originals with hip-hop (Lil Wayne and Ludacris) and contemporary sounds (Hudson Mohawke and Terror Danjah).

Download Kavsrave - Quotes Mix

Kavsrave also received the ultimate UK co-sign, spinning on Mary Anne Hobbs' experimental radio show. The mix is brief, but at this point, any material from Kavsrave is welcome.

Munchi steps up his kuduro game

Kuduro is to Angola what baile funk is to Brazil: energetic dance music born in the melting pot of local and international influences. Sidestepping a discussion of the pros and cons of globalization, it's fair to say that these amalgamated styles are benefits of cultural exchanges. Kuduro, thanks to the influence of Portuguese musicians, is blessed with both African and Latin rhythms, along with the distinct sounds of mainstream EDM. The genre had an underground hit in 2008 when MIA teamed up with leading purveyors Buraka Som Sistema.

In the spirit of global musical exchange, Munchi, the moombahton king of the Netherlands, is trying his hand at kuduro with his Kuduro Promo.

Download Munchi - Kuduro Promo

Munchi continues to select the perfect tracks for his genre-bending endeavours. His take on "Milkshake" samples bits and pieces of the Kelis hit into something entirely new, and in what he calls a Kuduro-more bootleg remix, Munchi corrupts the French electro of Sebastian's "H.A.L." into a bass-thumping, gun-cocking adventure.



Munchi originals "Minigame 2000" and "Ta Maluco" are stripped down and raw: squealing chiptune melodies, non-stop beats and Angolan chants. The same can be said of the two bonus tracks, leftovers from an earlier version of the EP. However, the highlight of the promo is his remix of Steve Starks' "Git Em." While the original is a Miami-meets-Baltimore percussion grenade, Munchi's version is more of a laser-tag battle. But like the original, it does just what the title says.



Throughout history, musical genres have been created by forces much larger than the musicians themselves, be it slavery, imperialism or globalization. Adding the Internet into the mix accelerates the process without the oppression, letting a kid from Rotterdam make a name for himself with sounds that originated a world away.

The Verge: Sky Ferreira

Meet LA's dirty little secret, singer-songwriter Sky Ferreira. On her resume? Her singing made Michael Jackson tear up, she's worked with Linda Perry and Dallas Austin, and she corresponds with ch-ch-ch-cherrybomb / ex-Runaway Cherie Currie. Oh, and she turned 18 last month.

The Los Angeles lolita has been making Internet waves for a few years now, and it looks like she's finally catching up with the hype. Her grandmother was a hair dresser for the King of Pop, who encouraged her to develop her voice; she sang gospel and opera from an early age. At 15, she reached out to the producers behind Miike Snow (and Britney Spears' "Toxic"), Swedish duo Bloodshy & Avant. With no money but a promise of being "better than Britney," the producers agreed to work with her. One of their first collaborations is her single "One," a slice of futurist, robotic pop. (The song was given the luvstep treatment by BAR9.)

Her closest comparison is to Lily Allen, as she precociously mixes innocent pop melodies with dark and dirty lyrics. Unlike her frenemy Katy Perry, though, this isn't focus-group tested, "good girl gone bad" bullshit. There is an honesty and maturity absent from most of her stateside peers, with a better sense of pop and celebrity than UK counterparts like Ellie Goulding and Marina and the Diamonds.

Speaking of Marina, Ferreira's "17" hits the mark better than Ms. Diamandis' "Seventeen;" the video does Ke$ha's "Tik Tok" better and more realistically, as well. The chorus is very glam, and the verses reveal her lyrical talent, painting an accurate picture of teen girls living beyond their years: "We don't know what to do with her / shes from a different world / and its apparent now this girl is hiding / something in the way she gives a confident excuse."

While she was born in 1992 (!), she has a reverence for musical icons of the past. She names David Bowie, the Runaways, Serge Gainsbourg and Brigitte Bardot among her influences, and her cover of "Happiness is a Warm Gun" is superb (especially when mixed with "Still DRE" by Skeet Skeet).

For American pop stars, it seems as if the dialectic is between Ke$has and non-Ke$has, Gagas and non-Gagas. Sky Ferreira is proof that you can do both.

Mixtape Monday: Mad Decent Monday Edition

If record labels were elementary school students, Mad Decent would have the most interesting "what I did on my summer vacation" presentation. Between quadrupling their annual Block Party and releasing mixtapes weekly, Diplo and family are doing big things before they pack it up and move to Los Angeles. Here are two recent mixtapes from up-and-coming talents on the label.


Like MIA and Santigold before her, Maluca's Mad Decent mixtape serves as her entree onto the underground scene. While those two found Wes Gully behind the boards, Maluca's China Food is expertly mixed by Paul "The Other Pauly D" Devro with a "past, present and future" theme in mind.

China Food fills the void left after we heard the fiery merengue of last year's "Tigeraso" but not much else from the Dominican chanteuse. Between samples of "Fire" and "Harder, Better, Faster, Stronger" are house-inflected tropical tunes like "Jungle Violento" and "Loca." Devro curates one helluva tape, letting Maluca flex her Kelis muscles on the moody "Hector" and "Flourescent Beige." Definitely cop this one, for the low, low price of your email address.


Along with moombahton, this summer has been defined by the resurgence of noise pop, especially the sun-soaked and weed smoke variety. Bands like Wavves, Best Coast, and Surfer Blood have led the way with fuzzed-out pop songs that hint at nostalgia and beach vibes. Po Po (brothers Zeb and Shoaib) mine similar territory for Mad Decent.

This summer mixtape, originally recorded for their tour with Sleigh Bells, showcases the experimental garage rock the duo is known for. While most of the tape is noisier and less complete than first single "Bummer Summer," it's still a good placeholder until their fall debut drops.

Future Grooves: Rob Threezy

This column practically writes itself every time the Trouble and Bass residency stops at the U Street Music Hall. Be it B. Rich or Deathface, the preeminent label for bass freaks consistently brings top talent to town. Tonight is no different, as Chicagoans Willy Joy and Rob Threezy and LA's Samo Sound Boy join the T&B crew at 1115 U Street.

You might already be familiar with Willy Joy, rising selector and Kid Sister tour DJ, but what about Rob Threezy?


Threezy, government name Roberto Herrera and formerly known as DJ Rob3 (get it?), is a member of Chicago's Ghetto Division crew. He burst onto the EDM scene with his contribution to The Brick Bandits EP, "The Chase." The Chicago club anthem mixed Bmore beats, rave synths and enough "Woo! Yeah!" samples to raise James Brown from the dead.

He followed up "The Chase" with releases on Fool's Gold, Nightshifters, and T&A, including the uplifting jam "Love to the World" on the Ghetto Pass EP. With a classic soul sample, Baltimore breaks, and Chicago house feel, Threezy weaves three dance styles into a real crowd pleaser.



These days, Threezy's sound is being influenced by the preponderance of ominous dubstep in the scene. Still, his Let's Go Ravers EP for T&A has plenty of his distinct Chicago-meets-Baltimore club feel. The title track is a hand clap and siren filled banger, while "Round House" has a minimal feel reminiscent of Nadastrom's "Ghetto."

On the recently released Heavy Bass Champions of the World, Volume 10, Threezy and Joy go dutch on three tracks. The first, "Run Up," features a melodic breakdown and squealing synths that beg for the Moombahton treatment. Plus, the two manned the tables for the latest T&B smashcast.

Rob Threezy proves that Chicago house and Baltimore club, like peanut butter and chocolate, are just better together. Don't miss him tonight at U Hall.