{"id":49,"date":"2008-08-30T20:37:03","date_gmt":"2008-08-30T18:37:03","guid":{"rendered":"http:\/\/www.zoopersound.de\/?p=49"},"modified":"2010-01-29T19:11:44","modified_gmt":"2010-01-29T17:11:44","slug":"more-bass-vol-06-dusk-blackdown-matty-g-remixes","status":"publish","type":"post","link":"https:\/\/www.zoopersound.de\/?p=49","title":{"rendered":"„More Bass!“ Vol. 06: Dusk & Blackdown, Matty G"},"content":{"rendered":"

„More Bass!“ appears bi-monthly in the review section of Groove<\/a> magazine. Click here<\/a> for the original German language version.<\/p>\n

<\/embed><\/object>
Keysound Video presents… Dusk + Blackdown: Margins Music<\/a><\/p>\n

Dubstep is music from the margins by origin: It emerged from the southern outskirts of Greater London (Croydon<\/a>, to be specific) and has always been heavily influencend by the diverse sounds and music coming from the side roads and backyards of the sprawling metropolis. Therefore \u201eMargins Music\u201c<\/a> is an appropriate title for the debut album of Dusk & Blackdown (Keysound). Although the two producers themselves are far from being marginalised figures in the dubstep scene \u2013 Martin \u201eBlackdown\u201c Clark’s influence as a journalist and blogger<\/a> cannot be underestimated \u2013 their music is definitely not part of the dubstep mainstream and transcends boundaries to other genres. The wide-ranging sonic scope of their album includes Pakistani and Indian influences, dark and claustrophic grime tunes, as well as atmospheric interludes. \u201eMargins Music\u201c is like a sonic documentary of the marginalized street culture in London. One of the standout tracks features outtakes from interviews with artists reflecting their views on the city. It is called \u201eThis Is London\u201c and that’s not overstated at all.<\/p>\n

\"Matty
\nMatty G (© Argon Records)<\/p>\n

Another artist who constantly pushes the boundaries of dubstep is Matty G<\/a>, whose album \u201eTake You Back\u201c<\/a> (Argon) will be available in September. Matty G lives in Santa Cruz<\/a> (about 30 miles south of San Francisco) and has developed a uniquely Californian version of dubstep. His music rolls laid-back like a lowrider and is overflowing with references to hip hop and funk. \u201eMatty’s Theme\u201c for example is built around a sample of Isaac Hayes‘<\/a> (R.I.P.) \u201eShaft“<\/del> „Truck Turner“<\/a> theme [thanks to Matty for pointing out my mistake]<\/em> and \u201eJazzy Ways\u201c is a tribute to Slik Rick & Doug E. Fresh’s old school classic \u201eLa Di Da Di\u201c<\/a>. As a result of his extensive use of funk samples and drum machine beats, Matty’s sound is often seemingly closer to G-funk and Miami bass than it is to dubstep. But actually he does a quite similar thing as Dusk & Blackdown: He takes the sounds of his surroundings and incorporates them into his music and by doing so, successfully creates a new home for dubstep on the pacific coast. More of Matty G can also be heard on the English label Soul Shakerz<\/a>, for which he remixed a track called \u201eTekno Bass\u201c by J:Kenzo<\/a>.<\/p>\n

\"Minor<\/p>\n

An established (and rather risk-free) form of crossing genre borders is the remix, and the fall season sees a slew of these. The seminal dubstep label Tempa kick-starts a new series of remix 12\u201cs with reintrepretations of Skream<\/a>’s classic \u201eMidnight Request Line\u201c<\/a>. One of the two versions comes from the much hyped electopop band Hot Chip<\/a>, who succeed by turning the original into a smashing wall of sound, the other one is a rather unispired fidget house rework by Switch<\/a>. Martyn<\/a> invited Flying Lotus<\/a> and his fellow Dutchman 2562<\/a> for the reworks of \u201eNatural Selection\u201c and \u201eVancouver\u201c (3024<\/a>) and both producers add their own unique touches to the original tracks in an elegant way. Drum’n’bass producers Kryptic Minds<\/a> & Leon Switch<\/a> took matters into their own hands and did their own dubstep version of their previously released dark d’n’b track \u201eMinor Nine\u201c (Defcom<\/a>). The flipside contains another interpretation by Headhunter<\/a> that preserves the sinister mood of the original and adds some tripped-out acid sounds.<\/p>\n

\"Hemlock<\/p>\n

Influences from drum’n’bass are also pervasive on Untold<\/a>’s \u201eYukon\u201c (Hemlock). The title track with its complex, shuffled beats and hovering bass lines is strongly reminiscent of Photek<\/a> at his height. Much more dancefloor-oriented is Luke Envoy<\/a>’s \u201eM.U.G.E.N.\u201c (Wonderland), a heavy ragga-dubstep roller that has been floating around on dubplate for ages and now finally gets a deserved regular release. Meanwhile, two producers who were instrumental in shaping the dark 2step sound that preceded dubstep, Landslide<\/a> and Zed Bias<\/a>, are making their comeback on the scene with two outstanding releases. Landslide combines soulful vocals with heavy dubstep beats on \u201eDreams & Visions\u201c (Black Acre), while Zed Bias reanimates the more breakbeat-dominated side of his 2step sound on \u201eSolitary Drop\/Colditz\u201c (Aquatic Lab). Finally, the \u201eMore Bass!\u201c award for the record of this edition goes to Pangaea<\/a>, who with \u201eRouter\/You & I\u201c (Hessle Audio) releases two dreamlike tracks that can easily match with Burial in terms of deepness and melancholy.<\/p>\n","protected":false},"excerpt":{"rendered":"

„More Bass!“ appears bi-monthly in the review section of Groove<\/a> magazine. Click here<\/a> for the original German language version.<\/p>\n

<\/embed><\/object>
Keysound Video presents… Dusk + Blackdown: Margins Music<\/a><\/p>\n

Dubstep is music from the margins by origin: It emerged from the southern outskirts of Greater London (Croydon<\/a>, to be specific) and has always been heavily influencend by the diverse sounds and music coming from the side roads and backyards of the sprawling metropolis. Therefore \u201eMargins Music\u201c<\/a> is an appropriate title for the debut album of Dusk & Blackdown (Keysound).<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,64],"tags":[53,15,43,27,223,44,51,14,30,49,47,54,58,56,45,52,46,50,59,48,55,57],"class_list":["post-49","post","type-post","status-publish","format-standard","hentry","category-dubstep","category-more_bass","tag-53","tag-column","tag-daniel-fersch","tag-danny-bwoy","tag-dubstep","tag-dusk-blackdown","tag-flying-lotus","tag-groove","tag-headhunter","tag-hot-chip","tag-isaac-hayes","tag-kryptic-minds-leon-switch","tag-landslide","tag-luke-envoy","tag-margins-music","tag-martyn","tag-matty-g","tag-midnight-request-line","tag-pangaea","tag-skream","tag-untold","tag-zed-bias"],"_links":{"self":[{"href":"https:\/\/www.zoopersound.de\/index.php?rest_route=\/wp\/v2\/posts\/49","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.zoopersound.de\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.zoopersound.de\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.zoopersound.de\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.zoopersound.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=49"}],"version-history":[{"count":0,"href":"https:\/\/www.zoopersound.de\/index.php?rest_route=\/wp\/v2\/posts\/49\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.zoopersound.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=49"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.zoopersound.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=49"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.zoopersound.de\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=49"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}