How do you cap off a period as musically fruitful as 2010? Easy: you ask 30 of your homies to submit a tune from 2010 & a recap of something that defined their year, be it a song, a specific producer, that one special gig or just personal recollections. What has amassed here at subdivnet is an amazing advent calendar of 2010 recaps from some of our good friends & cohorts…
2010 RECAP: Mymanhenri of 92bpm.com
As we wind down this little exercise, we gotta give a mad shout to all who contributed to the 2010 recaps. It was at times a bit of a challenge keeping the daily posts coming & things got a little slow after Xmas, but this has been a fantastic & rewarding experience. It’s been nice to see this experiment actualize exactly how we schemed that it would A real broad pallet of opinions & reflections from some of Canada’s most exciting underground producers.
Mymanhenri is one of our final recaps. For those that don’t know, dude is a literal legend out east. He’s got DEEP hip-hop cred – he has some amazing stories of hanging with Dilla back in the day (that’s enough for us!) – & he’s been running the 92bpm blog for a minute now. Through that page, he pushes… hmm, to avoid the usual silly list of micro-genres, let’s go with “all things post-hip-hop”, connecting the global scenes, shortening the distance between Toronto, LA, Glasgow, Tokyo & beyond. Keep up with him & you’ll be racked with DLs & podcasts in no time.
Earlier in 2010 he traversed Canada with Flying Lotus on a Redbull jaunt that brought him to Victoria for a legendary connect that got many peeps inspired. We’re amped that there’s someone putting in so much work to spread that unquantized gospel.Flying Lotus - Roberta Flack (Mike Slott Remix)
Mymanhenri: “Man, twenty ten was… was… well, something else really. Lemme explain it.
This was the year from my end and in my hood in Toronto, that saw a growing acceptance of what was being consumed in major metros across the globe. This new genre, how ever you want to call it – beat/electronic/hip-hop etc – was beginning to carve out a new groove in Toronto, despite shows selling out in no time in other parts of the world. I still remember being in Barcelona in June of ’09, in a packed venue, listening to all passionately sing in unison the melody of a Flying Lotus white label. I sat there agape and awestruck, thinking,could this ever happen back home?? But after embarking on a national tour in 2009 which was essentially the litmus test, I saw and heard. There was an ear, and 2010 was the year. The environment grew & blossomed, and I can proudly say that I had a hand in adding a tour stop in Toronto – a city known to be pretty spoiled and hard to please. But despite that, some of the most important names in the environment all came through the lovely ciudad in 2010, to great success might I add. From the ppl on tour to the ones simply releasing music, they all had the little bit of influence needed, helping the greater cause. Of course, I slaved away @ the 92bpm blog, pushing it out as the new curriculum, as that was also part of this equation: exposure. Between hosting and curating in town, to attending shows and festivals across borders, I flew the Toronto flag high, and proudly as an appointed ambassador. The bigger picture is what remained in mind: greater listening audiences, followers, and ultimately crowds for these events.
To all who came to perform, many thanks. To all who came, attended and saw, many thanks. To all who have so far missed it all, come on down. 2011 is looking to be a much greater one.”
mymanhenri – 92bpm
2010 RECAP: Max Ulis of Lighta! Sound
We big fans of Mr. Ulis. He dropped by early on in our infancy to lace us with a fantastic set & he’s been along the whole way with guidance & insight. He’s an unapologetic cat who has distinguished taste & a versatile skill set behind the decks. Through much of 2010 he’s been hard at work on his own productions, many of which will see the light of day in 2011.
Like many dubstep DJs, 2010 saw Max look outward for inspiration behind the decks. Exploring housier 130 bpm tempos, Max broadened his dynamic range so-to-speak. It’s inspiring to see some of the pillars of the scene embracing new sounds. Max will be back for his second sub⎹division on Feb. 11 with Daega Sound at Sugar. Details to come on that.
Max was gracious enough to deposit a tasty 30 minute mix of some of his favourite dubstep tunes from 2010 in our email – which we’ll just go ahead & make our 12th podcast (art & tracklist below). The theme is dark & rollin – Damn.
Max Ulis: “This year was a struggle in all sorts of ways. Artistically, monetarily, and emotionally this was a year of hard lessons. Music is not a path I would choose for anyone seeking a stable reliable income or lifestyle, but there is also nothing I would rather do than create and perform. That said, I am beginning to get better at choosing my battles and remembering to stay true one true thing: follow your passion and the rest will fall into place. When music really gets me everything else falls away, and this year I did not have nearly enough of those moments, but this sequence of songs did that for me during a set, they are kinda the last word in dubstep for me. Onwards and upwards, big up the fam, your support means the world to me.
My best moment of 2010 was following a renegade party at Prospect Point where I had been cuffed briefly because I was the only one around who looked vaguely responsible (I was behind the decks). The bike ride home was with my girl and old great friends listening to music from the 20s and 30s. If you haven’t biked through Stanley Park starting from prospect point and heading straight through the middle to the other side you really should, it is better with a soundtrack.
2010 RECAP: DJ Cure of Lighta!/Aufect
Aufect Recordings head, DJ Cure is no stranger to Canada’s electronic music landscape. He has lent a hand in helping cultivate Canada’s Dubstep scene, currently running three record labels, while finding time to produce under a number of different aliases and projects. As part of Lighta! Sound, Cure is revered for his dense & diverse sets. Alongside Self Evident, Cure recently started Future Music, a monthly night dedicated to all that new ish.
Like a couple of our recappers, instead of picking just one tune, Cure has curated a “Best Of 2010″ mix… download it over at Philth Kids.
DJ Cure: “2010 was the year that left a lot of people wondering WTF is going on. It was the year that bass music passed through the black hole, was smashed to bits and put back together in infinite forms – some recognizable, some not so much. 2010 left me wondering what to even classify the music I’m feeling right now. Post-Dubstep-Future-Music-Funky-Grime-something-or-other?? Early on in 2010 I noticed the shift, and I know a lot people did as well. Some ignored the change and held on with dear life. Some had the foresight for what was in store, and buckled up for the ride. Dubstep went mainstream and saw its first super-group (Magnetic Man), while unclassifiable sounds fused and emerged in new forms seemingly on global scale almost overnight.
Realizing what was happening in the industry made it a tough year for deciding on what direction to keep Aufect Recordings going in. Sticking with the traditional big room format of Dubstep and slowing down the physical 12” releases, while boosting the more experimental, digital only releases started making more and more sense. With Aufect Digital we had the freedom to say “fuck it, let’s roll with what’s happening”. We began to see a branch out in that direction with a slow down in BPM and more use of 808’s with Bombaman’s No Touch EP.
Some memorable 2010 tunes for myself include Roska “Squark”, Joker’s “Tron VIP”, Dark Sky “Something To Lose”, Dizzee Rascal w Chase & Status “Heavy”, Dubble Dutch “Throwback”, Bombaman “Some Swell View”, AC Slater & Mumdance “Trans Atlantic Riddim”, XI “White Clinicals” & Jack Sparrow “Loveless” to name a few, and of course there is to many to mention. I want to give a special shout to Lighta! Sound, XI, Bombaman, Lazerface, Philth Kids, Construct (J’aime Le Dubstep), Bobby Bonestorm, DZ, all Aufect famo and everyone supporting forward thinking music. We are living in the future and haven’t realized it yet!”
-Patrik /DJ Cure [Faded Giant Aufect Recordings, Lighta!]
2010 RECAP: Vincent Parker
Vancouver’s Vincent Parker is one of BC’s most dynamic live electronic performers. As we discussed earlier this year, Parker has flipped the live/laptop creative cycle on its head, writing fresh music to perform live before it settles as a finite recording. Recently incorporating vocals into his set, VP is nothing if not kinetic. His spastic dance manoeuvres coupled with his neon-drenched crunk make for an engaging performance wherever he graces the stage. His set alongside Megasoid this past March was amazing & his Rifflandia showcase was an apparent show-stealer. We’re amped to see & hear whatever the hell it is that Vincent gets up to in 2011.Fine Mist - Stop Or Start
Vincent Parker: “This last year was a huge year for me. got to be lucky enough to play some amazing shows in amazing venues with tones of new friends. Being able to play Rifflandia, Bass Coast Project, sub⎸division, Low Indigo & Music Waste was simply amazing. Each show brought me to new opportunities to rock out in front new of amazing crowds.
I am thankful for all the new friends I made along the way. It was super amazing to be able to meet and play with Longwalkshortdock, Basketball, Bartel, Megasoid, No Gold, Synkro, HXDb, Nina Mendoza, Longshanks, Shout Out Out Out, Babe Rainbow, Run With the Heard, Wizerdz, Holzkopf, Donkey Dong, Calamalka, Boogie Monsters, Nam Shub, Ruairi Lazers, 30stone, AK 747s… I am forgetting some… sorry homies.
Alright, it’s best of time…
Track Of The Year: Fine Mist “Stop & Start”
Album Of The Year: Big Boi Sir Lucious Left Foot: The Son Of Chico Dusty
Most Important Album Of My 2010: Bob Dylan Time Out of Mind
2010 RECAP: Seb Diamond of Night Trackin’
Dialog, conversation & opinion have always been central to much of what keeps dance muisc stimulating for many of its behind-the-scene players & 2010 seemed like a banner year for heated back-&-forths over many styles & sounds. However, for all the hype over bass music & future sounds all year (of which we are admittedly guilty), 2010 was still awash with amazing music that reminded everyone that we shouldn’t over-think things. From Rush Hour’s fantastic re-issue of the lost Chicago gem Vertigo, to Azari & III’s intoxicating house, to the vintage analog clip of Space Dimension Controller, dance music’s version of “classic” made as many waves this year as anything “future” oriented.
In Montreal, the Night Trackin’ crew have been keeping MTL’s dancefloors fresh & moving without reaching too hard for the next big thing. Responsible for bringing some of 2010′s dopest producers & DJs, Duvall, Phil AD & Seb Diamond run a “monthly party that reaches for warm and fuzzy disco, house & techno vibes”. Their headliners through 2010 read like a who’s who of dance music’s elite style-provocateurs (Floating Points, L-Vis 1990, Azari & iii among others). Along with Lunice, Ango & Jacques Greene, Night Trackin’ are proof positive that out east, Montreal is definitely the spot for fans of quality electronic sounds.
Braiden “The Alps”
Seb Diamond: “Without trying to beat a dead horse, 2010 truly was a good year for music and a renaissance in electronic dance music. Our local party, Night Trackin’, was able to play host to stunning live performances by Azari & III, Jimmy Edgar, YACHT and Dâm-Funk, as well as memorable DJ sets by CFCF, Nacho Lovers, Hercules & Love Affair, Jacques Renault, Bottin, Hunee, Premier Rang, Linkwood, Floating Points, Martyn, Soul Clap & L-Vis 1990.
In a year where most conversations turned to conversations about revivalism vs. “post” genres, true music vs. a waste of air, a bright future vs. a grim outlook on the industry, what interested me most was the plethora of young artists that emerged with their own distinct sound. That said, acts like Azari & III have been tossed tags ranging from Detroit, Chicago, New York, 80s, 90s, etc. Hudson Mo’s music has been called dubstep, wonky, future-pop and more.
The new wave of producers like Ramadanman, Joy Orbison and Addison Groove continuing the UK dance music trend of pushing boundaries and fusing influences have been at the brunt of a painfully boring conversation about post-dubstep vs. dubstep & “Bass music”. To quote Rustie when asked how important bass was in his music: “as important as mids and highs”.
I prefer to look at the body of these artist’s work as earnest manifestations of their influences and passion. Thus, 2010 showed the debuts of some inspiring artists such as Jacques Greene, Girl Unit, Mosca and Braiden, making music that is as unique as it is a visible sum of their influences and a continuation of a great legacy.
To participate in the bickering over post-internet genres is to diminish their work.
So here’s to 2011, onwards and upwards!”
2010 RECAP: Syd Woodward of Grounded TV
Syd Woodward is the founder of the Grounded TV Network. Writing, filming & editing culturally & socially relevant content & distributing via the web, getgrounded.tv has really bloomed in 2010 & with a brand new website, is ready to step it up even further in 2011. Their shows shed light on people and events that are bringing a positive change to our world through music, art & social activism.
Woodward recently made the trek to Victoria to cover our one year anniversary party. In 2011, expect to see a few collaborations between sub⎹division & Grounded TV.
Syd Woodward: “2010… well shit, it’s been the biggest year for me when it comes to electronic music. I’ve been doing the festival thing from the time I was 16. But with 2010, I have got more involved in the culture here in Vancouver. Working with many local and world DJs who bless Vancouver with their sounds. It has also been amazing to see the support that Grounded TV and I have gotten over the past year. I love you guys.
I have have to give props out to Bass Coast Project, Low Indigo, Perception, Moo Crew, SHAHdjs, The Fall, W2 and Lighta! Everyone has seemed to have really up their game this year. Perception in particular has really impressed me in 2010. I think its my hippie roots, but they have been doing the most to really help build up the community here in Vancouver. I always feel nothing but the best vibes when I am at their shows.
Something I have been listening to non stop this year is the Luvstep mixes from San Francisco’s Karim So. Very sexy wompy sounds, I just can get enough!
Shameless plug; keep your eyes on www.getgrounded.tv, as we are relaunching in a few weeks with the new Grounded TV Network. We now have many different shows all dedicate to their own music and culture. LOWPASS TELEVISION will be our electronic music show. Got some amazing interviews with artist such as Eskmo, Beats Antique, Nosaj Thing, Mimosa, a big Shambhala feature, and a bunch of other amazing artists.”
2010 RECAP: Samo Sound Boy
Samo Sound Boy is a Los Angeles based producer and DJ whose live sets & original productions have brought him to the forefront of 2010’s global club scene. Compounding his global influences with a love of crunk and ghetto house, Samo has emerged to create a uniquely rugged but soulful sound of his own. With his Taking It All EP released through Palms Out Sounds, another on the way for Trouble & Bass, and forthcoming remixes for the likes of Tim Dolla, Bassanova & NGUZUNGUZU, Samo is prepped for a fantastic 2011.Samo Sound Boy - Wacka Flocka
Samo Sound Boy: “Without a doubt the most important record to me this year was Dubbel Dutch’s Throwback EP. I started hearing the early versions of “Throwback” and “Deep Underground” around the same time I moved to LA, almost two years ago actually… But in the first half of 2010, those songs, combined with going to Wildness (NguzuNguzu/Total Freedom/WuTsang’s old party), and a lot of time spent traveling around some of the deeper parts of the city for this teaching job I had, all collectively combined to blow my mind uuup.
Dubbel Dutch “Deep Underground”
Throwback EP is three incredible tracks, but the one that I ride for more than any other track this year is “Deep Underground.” That tune became like a religion to me. Epic-tuff-soulful-dark-crunk. I definitely looked at it as a statement of the sound I wanted to represent as an artist. DJing, I would always play it early in my sets just to let the dancefloor know how it was going down that night. For 2010, it was the anthem.
Then there was going to Wildness for several months before it went on hiatus. There’s a lot to be said about that party, but for me the craziest thing about it was just seeing how NguzuNguzu and Total Freedom would DJ. They played that party in the most back-2-back off-the-cuff fashion but ALWAYS retained their specific vibe and sound. They spread that same vision all over the place now, but it was an incredible thing to be able to witness on a weekly basis.
Lastly… Los Angeles at large did it real big in 2010. This city is just so deep and crazy. Places like Discos El Papi, The Slauson, mLangers, Huarache Azteca and Elysian Park, all had an influence on everything I produced this year. So yeah.. RIP Tupac, and see you in 2011.”
2010 RECAP: April Mundell of Theory Thursdays
In a city the size of Victoria, there ain’t no such thang as “doin’ it alone” – and thus, sub⎹division is hella lucky to have April Mundell over at Hush Nightclub. Her weekly night – Theory Thursday – has brought a slew of quality bass-pushers through Victoria over the last 12 months & we’re grateful that there is a place in town that will give a weekly opportunity to local giants like Outsider & Rhythmicon.
Alongside these cats, April has seen most of the Lighta! crew come through in 2010, plus DJG & 16Bit – needless to say, it’s a relief that someone else in town has the energy to take some risks pushing music they believe in. This gyal typifies everything that we’re working towards with sub⎹division; she’s at every one of our parties dancing up a storm which ultimately is what it’s all about – people getting down to some new sounds. And we gotta say, it was nice seeing her face light up when she found out that Distance was coming through for Rifflandia
April Mundell: “The biggest highlight of 2010 for me has to be the rediscovering and reinforcement constantly of the fact that West Coast Canada has some of the most driven, passionate and talented people when it comes to this little music scene of ours. I had the pleasure of being offered the chance to do the bookings for a weekly at Hush Nightclub that is now known as Theory Thursdays and only twice in the last year have I looked outside of this coast for talent. Every week I have been blown away again and again by the diversity in taste and the passion the people have for the music they love.
I also have to mention the 2 shows that stood out the most to me. A mere 2 days into 2010 I had the pleasure of attenuating the all Lighta! show at the Astoria in Vancouver and was totally impressed as always by each and every person who played! I hope this year we can see the last few remaining members that didn’t make it over in 2010 grace the decks in our beautiful city. I also had the pleasure of making it over to Vancouver for Breakage at the Biltmore on May 21st and his set was everything I had hoped for. The afterparty was probably one of the most fun ever with Breakage pouring drinks and the Lighta! guys playing some old-school jungle. And last but definitely not least the musical highlight of my year has to be Distance’s Rifflandia performance at Lucky Bar thanks to the lovely Chris Longshanks & the sub⎹div crew. Distance is my all-time favourite and was mind-blowing! He was at the top of my list for people to see in Victoria and now I can die happy haha!
Picking my number 1 track of the year was near impossible!! I had a really really hard time narrowing it down. But after much contemplation I would have to say DJG “Plant Food” It was the most played track on my iPod and my laptop I am sure. The entire Voids two part album is amazing! I just took a trip alone to Berlin and some of my best moments were spent wandering the streets listening to this album in my headphones with a lump in my chest, totally blown away by my surroundings. I can listen to it now still and get that feeling back.”
2010 RECAP: Jacques Greene of LuckyMe
As alluded to in Eames’ 2010 recap, 2011 will involve a lot of dialogue between our beloved bass scene & House/Techno (in actuality, there is no division between the two in our idealistic minds). There is simply too much quality music currently being produced in & around those 4/4 arenas to deny the dance floor such benediction. And all the lateral branching from the sounds of the last 2 years really is generating some amazing permutations on the classic 4/4 clip.
UKfunky is the most prominent example of the fruits of recontextualization, and no doubt there are many other bubbling vibes on HDs allover (Sepalcure was a winner this year for sure). But one agenda that is definitely exciting us is the return to soul, groove, melody. Look no further than Night Slugs, Permanent Vacation & Rush Hour for artists that have inhaled the last few years’ worth of bass intensity & are now exhaling some undeniably fresh music with weight invested in an effeminate flex that, let’s be honest, has been a bit vacant from the dance over the last couple years.
21 year old Montreal native Jacques Greene represents this new breed of House producer. His debut EP on Scottish art.party.music imprint LuckyMe features 4 simmering, well-articulated peices of understated, sensual body music. Drawing from slick 90s UK Garage, classic Chicago House and glossy R&B, Greene crafts tunes that punch with the percussion of the modern dance floor while sending familiar sexy shivers up your spine. Made entirely on analogue synths & classic drum machines in a loft studio in Mile End, Greene’s sound is as progressive as any post-step heater, yet steeped in the recognizable traditions of good House music. And as if an EP on LuckyMe wasn’t enough, Greene also pops up on Night Slugs Allstars Vol. 1 as well (and we all know how much sub⎹division luuurves them doods).
Keep your ears peeled for Mr. Greene headlining a sub⎹division in the first half of 2010. We hyped for it & we’re guessing so are you.
Jacques Greene “(Baby I Don’t Know) What You Want”
Jacques Greene: “2010 – The year I finally got records out. A lot of goals were fulfilled, a lot of plans were made for the coming years. Got a manager. Got more debt at the gear shop for more synths. First and foremost though, it was a year of seeing good things happen in music both around me and throughout the world. My close friends from Montreal made remixes with Diplo (Lunice), attended RBMA and cooked up some crazy timeless R&B about to come out (Ango), reinvented themselves and started art galleries in Vancouver (Prison Garde) as well as local friends and promoters that threw amazing parties and made Montreal feel alive again. Night Trackin, Rilly Guilty, Lexis, Poirier, Neon & High Food, Lol Boys, Sinjin Hawke all did their part to make the nights thrilling again.
On some real shit though, 2010 was the year I saw vinyl really take a hit. Profit margins on releasing vinyl became ever so smaller, InBeat, the legendary provider of dance records in Montreal closed its doors after decade of service to the city’s DJs, and more and more releases that I really wanted went straight to digital. Ah well. Can’t have it all I guess.
But I’m more one to look forward than to look back, so here’s to 2011; hopefully touring a bunch, making some new friends as well as spending quality time with the ones I have now, release some vinyl, play some first shows on the westcoast hopefully, extend my line of credit at the gear shop for more synths. And good times, loads and loads of good times.”
2010 RECAP: Hrdvsion
Nathan Jonson aka Hrdvsion has had a fantastic year & we have to be honest – we’re both jealous & proud of him at the same time. A longtime fixture in Victoria’s small techno/idm community, Jonson packed up for Berlin a couple of years ago & has been on fire ever since. Despite missing our homie, we’re amped that he’s in the thick of the techno maelstrom that is Berlin – it’s the only place an artist like him will receive the recognition he deserves.
Earlier in 2010, Jonson released his first proper full length through Wagon Repair. Where Did You Just Go? is a frenetic, often chaotic mix from a producer who is in touch with both the pulse of the dance & the beat of his own heart. Contemplative ambiance & sound design sit right next to relentless dance floor monsters like “Own Risk [TT Mix]” & “Captivated Heart”. Hrdvsion headlined sub⎹division in April of this year with a fantastic live set & we’re amped for him to make it back to Canadian soil in 2011.
An amazing DJ & a dynamic live performer, Hrdvsion graced the stage at Mutek this year, as well as the Bass Coast festival, along with a schwack of shows all around the EU. We can attest, his creative engine hasn’t slowed in the slightest – expect an amazing barrage of releases from Jonson in 2011, as well as another full length.
James Blake “Give A Man A Rod”
Hrdvsion: “A producer that many people know now (from remixing Mount Kimbie to his cover of Feist) helped me through my first long winter in Berlin. A cloudy lucid dream world is where his music seems to be created, yet it somehow translates perfectly into this waking life. As we re-enter the long grey winter here again, I can look back (and forward) and feel comfort knowing he will be with me in his newer songs like “CMYK”, his Klavierwerke EP or his forthcoming debut album on the newly revitalized R&S label.
It’s always nice to listen to music by people who are fearless enough to remember that it is alright to make the music in your heart. The dance scene here in Berlin easily attacks & seduces, much like the enveloping of any successful scene. As an artist, it can often hold allures that are a lazy way out. And so, when an artist comes along, like James Blake, he can serve as a very pleasant wake up call, one that draws you back to a warmer light if you find yourself drifting off too much into that world of ease. You will find yourself in positive places, warm little spots away from the tourists, drinking gluhwein with friends, feeling warm inside.”
2010 RECAP: Constantine Katsiris of Panospria
Constantine Katsiris aka Scant Intone is a sound artist dedicated to experiments in modern audio. After spending time as part of Montreal’s diverse avant-music scene (including stints helping organize Mutek), Katsiris recently relocated to the West Coast where he is fitting in nicely within the framework of Vancouver/Victoria’s miscellaneous scenes.
Outside of running the experimental electronic label Panospria, Katsiris was instrumental in the organization of the Textures deep-listening concert series for experimental, improvised and electronic music. These events featured performances by artists from across Canada as well as international artists from Sweden, Norway, Italy, France, Japan, USA and Mexico. He is now reaching out to bridge the gap between the worlds of experimental bass music & avant-garde artists in Vancouver. We like him.
Constantine Katsiris: “In going through the last twelve months searching for highlights, I was actually surprised to realize how many great things happened this past year… and mainly in Vancouver. So, hats off to sub⎹division for asking me to recap 2010, as it was nice to jog my memory and recollect all of the good times.
As far as the label goes, Panospria had a most eclectic string of releases this year. Much of our new output is from artists based on the West Coast, and friends from across Canada dropped in throughout the year to perform for festivals like Music Waste and Vancouver New Music. Black Market came all the way from Montreal to open for Excision in Victoria in January with a set that spanned three years worth of material. When Holzkopf wasn’t on the road or touring the globe, he was throwing killer parties at Solder & Sons, Zoo Zhop or Red Gate. Back in January we launched the deep-listening concert series Quiet City at Blim, successfully raising funds for our community-run co-op radio station CFRO which is celebrating 35 years on the airwaves.
Pirate radio was also a trend in 2010 with VIVO Media Arts, Tin Can Studio and Catalog Gallery all making good use of their transmitters to broadcast beyond their walls to the surrounding neighborhoods. March saw the expansion of Fake Jazz from the Vancouver’s longest running experimental music weekly into an incredible festival spanning five days of mind-bending music. With a line-up that mainly featured local acts, it was a prime example of how vibrant the community is in Vancouver at the moment. In December, SquareWaves Festival operated in a similar fashion, having been organized mostly by the participants and spawned unique events like their modular synthesizer symposium. Plenty of international artists came through town over the course of the year, including Emeralds, KK Null, Fennesz and Tim Hecker, while Kris Charlton at Twee Death deserves recognition for bringing some great acts like Pacific City Nightlife Vision Band, Jonas Reinhardt, Moon Duo and Sightings.
2010 was also an inspiring and fulfilling year for myself as an artist. I had the opportunity to take part in a residency program which allowed me to work on recording projects relatively unobstructed in the studio for two solid months. In contrast to this, I had no shortage of collaborators either. This past year alone I was able to work with Broken Sleep, Yogi Data, Empty Love, Souns, Black Market, Emma Hendrix, Connect_icut, Ross Birdwise and Secret Pyramid, some in studio sessions and others in live performances. Needless to say, I’m pretty stoked on Vancouver. This city has serious momentum going into 2011 and I’m glad to be entrenched in its underground.”
2010 RECAP: Sara Ajiri of Eleven Eleven Agency
Sara “hera” Ajiri is a bass music enthusiast-turned-agent-turned-business owner based in Los Angeles. She was first bit by the dubstep bug in 2006 as result of Mary Anne Hobbs’ Dubstep Warz BBC special and soon found herself deeply immersed in the LA scene and funding her travels across the states and to the UK to satiate her bass cravings. In 2010, after a stint with Surefire Agency, Ajiri launched Eleven Eleven, a boutique bass music agency specializing in post-genre bass music.
With encouragement from Mary Anne Hobbs, Ajiri has assembled an amazing roster of next level talent that transcend the typical trappings of many bass-music artists. A strong supporter of LA’s Low End Theory team, Ajiri has nurtured the Californian scene, representing home-grown talent like Take & Shlohmo, artists that are intertwining new sounds & concepts within the fabric of the bass music continuum. Big ups hera.
Lorn “Until There Is No End”
Sara Ajiri: “2010 ushered in the end of the first millennial decade and a fresh new perspective in respect to bass music. Gone are the days of genre & sub-genres pigeonholing artists into predictable and critique-able labels. 2010 was the year of post-genre experimentation, a defining year in bass music, especially in the greater Los Anjealous region (see what I did there?). LA offered up it’s best, with notable albums from Take, Free The Robots, Teebs, Baths, ASC, Tokimonsta, Kraddy, Asura & Shlohmo.
Venturing outside of LA, James Blake’s CMYK & Klavierwerke EPs have been on constant rotation, as have Clubroot & Pariah. The mighty Hyperdub label led the post-genre movement with monumental releases from Darkstar, Mount Kimbie, Ikonika & Terror Danjah. I can’t summarize the impact Hyperdub has had on the course of bass music and will undeniably continue to have. Label chief Kode9 is my hero, I want to be like him when I grow up.
My favorite album of the year goes to Flying Lotus – Cosmogramma, an album unlike any other you’ve heard, so rich and so dense with vision it’ll surely take us all another year or two to fully grasp it’s impact on electronic music. Runners up were Nothing Else, a brooding, dark & devious first full-length from mid-west beatsmith & honorary Angelino Lorn (he is on the Brainfeeder label, afterall), and A Sufi And A Killer by Gonjasufi, whom Mary Anne Hobbs calls “our generation’s Billie Holiday.” Needless to say these three artists will continue to do amazing things in 2011 and beyond.
One of my favorite performances of the year was the Miguel Atwood-Ferguson ensemble at LA’s Grand Performances in July, with an onslaught of special guests. You can watch a portion of the performance on vimeo: http://vimeo.com/14117595 … one of the most inspirational moments of the summer for me.
On a personal level, 2010 was one of the most challenging I‘ve faced. The year started with a number of traumatic losses for me personally, which were immediately followed by the launch of my business, Eleven Eleven Agency. For me 2010 was just what you’d expect from a first-year start-up: chaos flanked by fears, victories, mistakes, and a little bit of therapy. I’ve been blessed with a roster of artist who put their trust in me, the support and mentorship of Mary Anne Hobbs who encouraged the business venture, and the patience, encouragement and support of friends and family who offered their advice, homes, ears and shoulders. I’ll never forget Coachella or when the volcano in Iceland erupted leaving Mary Anne a Volcano Refugee in LA, a dream come true for the both of us which lead to 2 BBC Radio1 broadcasts from LA. Decibel Festival in Seattle was also a highlight this year, with stellar performances from all of my artists who were invited to perform, especially a mind blowing performance by Lorn at Neumos for the FlyLo & Friends showcase.
All-in-all it’s been worth it, every step of the way. Would I do it all over again? Absofuckinglutely. Besides, 2011 is my year. ”
2010 RECAP: Ango
Canada is brimming right now. If you’re a fan of slicker than slick post-everything beats then you’re in luck, especially out in Montreal. Lunice just released Stacker Upper on LuckyMe, Jacques Greene’s grooving out there as well & our boy Ango (you may remember him from the Redbull Megahurtz event a couple weeks back in Vancouver) is about to pop in 2011. Man, crazy how long the line extends from the Turbo Crunk family, no?
Earlier this year, Ango attended the Red Bull Music Academy in London where he worked with an amazing crop of artists; Modeselektor, Osborne & Katy B just to name a few. He then played at Sonar in Spain (after Caribou!) & soon after was hi-fiving the LuckyMe crew. With a record scheduled to drop on the label in 2011, he’s an active dude, keeping busy behind the camera as a director as well (he shot Jacques Greenes’ “The Look” vid). PLUS, Ango is the secret weapon in Nouveau Palais, the crunk super-trio featuring Lunice & Prison Garde. Look for an extremely heated release from those cats sometime next year as well.
PHEW, Ango, puttin in work. Nice hustle. We can’t wait to get his ass out here for a throwdown at sub⎹division.
Girl U.N.I.T. “WUT”
Ango: “I was fortunate enough to spend about 3 weeks in London, early this year. Most of that time was spent at the RBMA, but I was lucky enough to crash on the couch of my homie Braiden. We would ride around London on bikes to like… Plastic People and Fabric and see our friends from the Academy, but l was totally being cleansed of my North American, beat-geek “backpacker” sins and being baptised in the holy land of UKF (hahaha, little over the top maybe). I also got to work on some tunes with him. Little did I know one of the tunes he had on the go (“The Alps,” his first track ever) would go on to become this big buzz record. You never know man. I’m lucky to have friends in my circle that are making the best shit, but it’s so rare that people get the shine they deserve. It’s like watching the response to my dudes Jacques Greene and Lunice. We’re all like, “DUH!!” So proud of them.
So yeah, tunes that sum up that time for me are like KODE9 “You Don’t Wash,” Addison Groove’s “Footcrab” and the Egyptrixx remix for Cubic Zirconia’s “Josephine.”
Later in the year I spent some time in Rome with AD Bourke and Tiger&Woods. Drinking coffee and listening to boogie records. Pretty much paradise. They put me on to Krystal Klear and some of the other dudes that are making this Future Funk/R&B stuff which we’d all been fucking with for a minute. Gotta get that Tiger&Woods EP and I think Ad’s record may finally be out.
After Sonar though, everything was about “WUT.” I’ve never seen DJ’s soooo hungry for a track as that one, MYSELF INCLUDED. Braiden dropped it in his pre Sonar mix, and by the time of the festival, it was practically a classic. Rewind after rewind for those fortunate enough to have it. That’s gotta be the “track of the year” from my vantage point. Not like Girl Unit wouldn’t have a couple in the running before that anyway.
The last thing that comes to mind is that I really feel like Machinedrum needs to be mentioned on here. Maybe not Producer Of The Year, but like, Producer Of The Decade. Between all his aliases and brilliant releases this year with Sepalcure and for LuckyMe, I can’t believe this guy isn’t riding an invisible champagne jetstream to his private island. To my ear, everything he touches turns to gold, and hopefully 2011 and beyond will recognise that even more.
Shit… soo much more stuff I could mention on here. Dang. Blessings, Guido, Oriol, The-Dream, Black Milk, Trey Songz, Jimmy Edgar, Caribou, Julian Gomez, BBravo, OMG!! Too much great shit.”
2010 RECAP: Prison Garde fka Megasoid
Over the last year, the sub⎹div fam has become a tight knit crew of dudes who really… well, we just care way too much about all this dance culture bullshit. We’ve discovered that it’s what keeps us stoked from day to day, night to night. And regardless of how it seems to outsiders, we kinda don’t care – this year each & everyone on the team reaped huge rewards from simply doing shit our own way, in our own style. It’s been fun watching our fam slowly expand to include cats who we see eye to eye with & more importantly, dudes who believe in the music they’re pushing. Cats like Outsider, Patience Automate & the Lighta! crew have all been hugely supportive & inspirational through 2010 – many thanks are in order.
But the fearless embracing of our opportunities (that made our first year seem so renegade!) is in part indebted to the passion & innovation of one Vaughn Robert Squire. You may have known him as Sixtoo. You likely have heard of Megasoid. And we’re amped that you definitely will be dancing to Prison Garde through 2011.
After a few years of steady running MTL at the legendary Turbo Crunk nights, Squire is now located in Vancouver, busying himself with running an art gallery & quietly reinventing himself as Prison Garde. Through 2010, he was an unwavering source of support & inspiration for the sub⎹div fam - and aside from that he cold ROCKED SHOWS for us too. His March debut at sub⎹division was one of our livest parties & when Rob showed up in September for Rifflandia, he casually killed it with A MOTHERFUCKING iPAD, blazing hyphy, 2step & volatile heaterz that annihilated the dance.
Needless to say, we feel blessed to have someone like Rob present amidst our thriving West Coast bass scene. We are MOTHERFUCKING ELATED that he’s got his groove on as Prison Garde. And oh, did we mention Nouveau Palais at all…? Straight up, when it comes to this bass music shit, Prison Garde is a don.
Fuck with him in 2011.
1. “I Know You’re Mine”
3. “New Love / Old Girl”
4. “Nothing Pt.1″
5. “Nothing Pt.2″
6. Hovatron “Gypsy Trader [Prison Garde Remix]”
7. “Tokyo Bullet Train”
Prison Garde: “Oh yes. 2010. You.
The year of the Americana fashion revival.
The year hipsters turned in their AF1s for desert boots.
The year the Vancouver Olympics got sonned by the G20 Riots.
The year Tron got remade (fuck that) &…
The year of Lil B’s twitter feed blew up Kanye (running it ALL day).
I spent my last year settling into a new life in Vancouver (opening a gallery, running a creative agency, making videos, doing pirate radio and throwing some parties)… overall a rewarding, fun and focused year. Thank you 2010 for not sucking as badly as 2009 (and to the Heavens for 2011).
Over the span of the year, I found myself thinking long and hard about my place in music, and what it means to be part of the public that decides to put their own sounds under public scrutiny. A few obvious musings that pop out as solid ideas about my own place in music, and arguments for (and against) being a person that puts things into public view.
My general philosophy this year has been “Fuck it, I’m not releasing shit. If people wanna hear the heat, let them book me“, a sentiment that I think will probably resonate through 2011… (especially if I get robbed another three times! 2010, I’m gonna whoop you school-yard style if I ever see you again). On a side-note, I am officially unbreakable now, Sean P turned Megashawn, Doom killed Zeb Love X shit. My karma is paid in full, and I will be having unprotected sex with dirty money for 2011, on some Old Boy meets New Jack City business.
Ideas in music that held my brain revolved around the conversational reverse-engineering, that between sub and pop-culture, disposability vs. workload, the value of tangible products against the etherial nature of digital music and ultimately what it means to the value of music releasing in either digital or analog format.
My passions in music for the last couple of years have changed from writing and releasing music to writing things specifically for Live P.A. and DJing, the merging of those disciplines, and ultimately the democratization of DJ culture (come debate me in person on that one). I believe in the performance of electronic music as both an artform and celebrated interaction, and am psyched that the technology has caught up with peoples output, allowing literally anyone to be able to make tracks and play them live.
In thinking about the conversation between sub and pop-culture, most forward thinking DJs that I rank just played the best music running.
Songs like Ciara’s “Ride”, The Dream’s “Love King”, Big Boi’s “Shutterbug” & Ryan Leslie’s “My Addiction” became the influence for a lot underground sounds, and could easily find themselves alongside the deep fringes of club musics, playing seamlessly alongside things like Girl Unit’s – ‘Shade On’, Addison Groove’s ‘Footcrab’, Deadboy’s – “If You Want Me”, Machinedrum’s “Now you Know The Deal” and Jimmy Edgars – ‘Hot, Raw, Sex’ ; all joints I would rank as favourites of 2010, and all songs that I rinsed out.
I think that 2010 was a great year for music because of this type of conversation between genres and tempos, with threads that actually allowed you to play across the genre board with finesse, for the kids on some wildout-dumbshit, to some deep down-grown & sexy sounds.
And don’t get it twisted… I am down to ride for the youth.
Nothing punk happens without kids making it happen.
Kids are burning circles around everyone right now, and making music fun again.
Footwork. Hair Whipping. Dances being Songs. Turfing. All of it.
Sidenote 1: Odd Future is kinda the shit. To all the haters of the youth gang, kids SHOULD be putting drugs in blenders and skateboarding and bleeding out of their eyes, it will not only make them better adults, but better skaters.
Sidenote 2: The return of the 808 was something that I was so happy to get as a DJ. Thank you Roland Corporation. You can’t make a midi controller to save your life, but I am eternally grateful for your ability to have made classic instruments that girls still wanna shake their asses to in 2010.
For the music-hungry, hot songs in every genre had a breakneck turnover. Music flourished with great sounds in every genre, from fringe dubstep to deep techno, to sexy house to commercial rap music and r&b. Some of my best moments playing music were dropping from 140 club shit down to some 70bpm DJ Rashad ‘drop & twerk’ and watching broads just freak it to the floor (at times, laying on the ground… seriously).
It seems like the digital tools for music (and all other facets of digital culture) have finally allowed the output of ideas to emerge at a seamless pace of conversation, and if you had something to add to the conversation, you could.
In 2010 people became less concerned with release dates, shipping of physical product, and the promotion of something that should be allowed to be tried and tested by the people that play it… and the public that listen to it. I am all for it.
I say let the record industry continue to produce music for the select consumer that wants the tangible object, aside from that, let it crumble. People will always support the things they love, but the heavy-handedness within the label infrastructure is something that I believe should just disappear entirely and for the most part is just not needed anymore.
I supported labels that gave back to the people that bought their product. Labels that I supported heavily included Lucky Me, Numbers, Night Slugs, Ghostly, Normrex, Hyperdub, All City, Brainfeeder, Innovative Leisure and Elm & Oak. The short span of physical recording has existed for a little more than 100 years, and in that time the recording industry has come full circle… from playing live, to being recorded, to being recorded in order facilitate the live performance. Personally, I love it. My own mandate has always been to push live performance, and I welcome the impact of 2010′s embracing of live electronic music into 2011 DJ culture as performance.
With those sentiments being pushed, I would like to give a quick shout-out to the following contemporaries that inspired and contributed great things to music this year, that make hot shit, or that don’t suck at life… Jacques Greene, Ango, Lunice, Nautiluss, Egyptrixx, Machinedrum & Praveen (and the percussionlab family), Jimmy Edgar, Jesse Boykins, Mux Mool, Alex B, FlyLo, Lorn, Lazer Sword, SoftWear, Monolithium, Calamalka, Dom & LuckyMe, Eskmo, Gaslamp, Keith and the Portland Fam, Eprom, Lighta! Sound, Mike @ TurboRecords, NosajThing, Xi, Miro, Mike D, Niña Mendoza, CamReed, W2 and Kenny Mac (Megahurtz was fucking rad guys, thank you).
Also, a quick shout out to my Montreal + Gastown family and everyone I had the pleasure of playing music with/for. If you are in Vancouver for N.Y.E. you can find me at The Diamond playing all night.
2011, let’s get it.
Favourite record of the year? Terror Danjah Undeniable
I have included a small mix of unreleased Prison Garde draft material that demonstrates my own love for the 808 in various tempos. All of this material is super-drafty, and not necessarily what you should expect from next years Prison Garde material, which will be much more along the lines of 105-120 warehouse music, never the less, I hope you enjoy.”
Rake It Mane,
2010 RECAP: KMT
KMT has been here for a minute. The cat formerly known as Kitimat and Heat Sensor has got some clout. He resided in NYC through the early part of the 00s & was involved in some of underground hip-hop’s more experimental movements through that period. He toured with members of Anti-Pop Consortium & he co-produced, recorded & mixed MF Doom’s Viktor Vaughan Vaudeville Villain album (legendary!). After moving around, including a stint in Portland, and reinventing himself, Kitimat created Run Riot Records with his homie Juan De Fukkya. The label’s mandate was to buck the curriculum with post-glitch crunk & neon-fried electro-heat.Kitimat - AMSND
And they did. Run Riot’s roster includes Graintable, Gouseion & Vincent Parker as well as Kitimat’s own furious machine funk & has reached out to connect much of the quality electronic artists in Portland’s music community. Now residing in Victoria with a family in tow, KMT has been a quiet supporter through sub⎹division’s first year. But rolling into 2011, we bout to drag his ass on stage a bit more for some of his own unique melding of southern-fried crunk & post-glitch bass workouts. Look for KMT to support our (KILLER) January sub⎹division lineup.
KMT: “I’m an unapologetic fan of Gucci Mane. In a day when the heat behind Dirty South has sadly dissipated, Gucci continues to deliver indigenous Crunk, while pushing outward with a combination of darkly addictive synth beats, eccentric word play and candy hooks. Ignore the incessant whining of self-professed hip hop experts who claim Gucci is the inept rap satan; Gucci is a genius, and an efficient one at that. Only a month after being released from prison after serving a six-month parole-violation sentence, Gucci Mane delivered yet another gem to his mixtape collection in late June: Mr. Zone 6. Now I can’t say Mr. Zone 6 sums up my entire 2010, cause y’all might get the wrong idea. But I can say Mr. Zone 6 was a highlight in a year that I might call the year of Gucci (I return to that thought in a moment).Gucci Mane - Mr. Zone 6
The eponymous track off of Mr. Zone 6 is a case in point: the tune brings a slow and creeping, 808-fuelled, arpeggiator-laced horror theme production from Gucci stalwart Zaytoven together with Gucci’s slickly sinister and delusional baritone verses – iced with the hilarious and infectious chorus: “I’m so good at balling/I’m so good at balling…” In a year when I have, with a few notable exceptions, been nose to grind stone, all work and no play, Gucci Mane has been my inner gangster and proxy deviant. As silly as that sounds, humour is part of Gucci’s appeal: after all he has to have a sense of humour to get arrested (again) for driving on the wrong side of the road and running a red light with no license only 6 months after being released from prison and on parole. Of course the Atlanta police may have caught on to his publicity shtick this time, deciding not to press charges “for want of prosecution.” Nevertheless, given his penchant for mixtapes, Mr. Zone 6 is Gucci’s 7th in the last 2 years, and his penchant for prison time, which is no doubt part of his creative engine, I suspect I will have more head nodding opportunities courtesy of Gucci Mane in 2011.”
2010 RECAP: Amanda Farlow
Amanda Farlow is one of Victoria’s most dedicated music journalists. Scribing for the weekly Monday Magazine, she covers all forms of music & art, not from a distance, but often from the thick of it. With all the activity in the low end over the last year, Farlow is one of the brave few who’ve actively pursued dance music’s wild permutations in the wake of dubstep’s crossover year.
In a time so rife with opinions & misunderstandings with regards to the direction & sound of bass music, it is the responsibility of journalists & critics to help guide & influence those curious or fresh to the sounds. Popular opinion is not the responsibility of artists & producers, so people like Farlow are vital to scenes that wish to seriously nurture musical movements outside the margins of mainstream accessibility. Farlow wrote a fantastic piece on the sub⎹div crew in this year’s Rifflandia Festival guide & she frequently rocks out at our parties. Needless to say, we appreciate her muchly.
Caribou “Jamelia” from Swim
Amanda Farlow: “2010 has been an interesting year for me personally. While music has had a huge impact on my life the past 12 months, I actually haven’t had a chance to seek out as much new stuff as I have in years past. Part of this is because I spent a few months essentially listening to the same 10 records over and over; I was given the opportunity to be a part of the grand jury for the 2010 Polaris Music Prize, which was a huge honour and an eye-opening experience. Meeting colleagues from across the country and being a part of this important Canadian music prize was a career highlight for sure. As part of my day job as arts editor at Monday Magazine, I got to chat with a few of my favourite musicians, including Flying Lotus, Beardyman, Peter Hughes from the Mountain Goats and Philip Glass, all of whom passed through Victoria at some point this past year. It was also the first year I actually got to fully check out Rifflandia, which is a bit of an embarrassing admission, but I have good excuses for missing it the past couple years!
Another thing that has struck me about 2010 has been the huge surge in the appreciation of bass culture in our city. I remember sitting around in Gobe’s basement three years ago while he was doing his destroyer.net radio show every Friday night and that being one of the first times I’d really heard dubstep—and heaven forbid if you played it at a club. Now, people like Excision and Rusko are selling out venues. Even the huge response to the electronic music programming at Lucky Bar as part of Rifflandia was impressive to see. I’ve been a part of the electronic music scene in Victoria since I moved here 10 years ago — albeit mostly as an observer and sometimes club/party-goer — and it’s rare to see a music style blow up so quickly. It’s also heartening to see folks explore beyond the textbook definition of dubstep (who am I kidding, I doubt there’s a textbook that even has that word in it) and discover some of the more eclectic stuff out there. Watching seemingly more and more people discover the diversity of electronic music — not to mention go beyond the notion of DJs and learn more about the ever-growing field producer-performers — makes me excited.
It’s also been really wonderful to see my husband (who produces and performs as patience.automate) have such a stellar year musically. I know how much time, effort and love he puts into making his music (and so do our downstairs neighbours) so to have promoters take notice and book him for shows and fans discover his sound makes me really proud. I’ll never forget the dude at Soundwave who had a buddy wheelbarrow him down to the beach for Oak’s set in the early hours of Monday morning; he said he’d heard the music from his tent and needed to get up and see who was playing and wouldn’t stop talking about the snare drums. Shit was priceless.
The track I’m submitting is Caribou’s “Jamelia,” from his latest album, Swim. This was the record I championed when I went to Toronto for Polaris, and while it didn’t come out on top — Karkwa’s Les Chemins de Verre took home the $20,000 prize — it was still my favourite record of 2010. The obvious dancefloor track on this record was the opener “Odessa,” which I also love, but there’s something about the beautiful build of this closer that still fills my heart with warmth and forces me to crank the volume every time I hear it.”
2010 RECAP: Sven Swift of Error Broadcast
Along with partner Flip, Sven Swift co-runs the web-based label Error Broadcast, which has released some of 2010′s most under-rated wonk & post-hop fire. Most of their catalog is in line with the post-Dilla/FlyLo continuum, but each producer on their roster freaks the off-grid beat template in new & head-nod-worthy ways. EB’s most notable releases include Pixelord‘s amazing Lucid Freaks EP & the Fly Russia complication, which collects the glut of Russia’s burgeoning beat scene (you can read about this fascinating movement in Pitchfork’s in-depth feature here). Their most recent release, Montgomery Clunk’s amazing Superbus, has been on constant rotation with the sub⎹div fam. Their 2011 is looking to be as heated as their 2010. Like they say: Freshness is the word.
Sven: “There are three major record releases that define my very personal 2010. Four Tet had his genre-defining Moth/Wolf Cub black label 12” with Burial in 2009 and it was only then that I realised Kieran Hebden is back for good. There Is Love In You is probably his best record since Rounds and one of 2010’s essential releases. Same is true for Caribou and his long player Swim. Both these artists suit each other quite well, with the later a bit more on the organic/psychedelic side of electronic Pop. Talking about Pop, third mention for 2010 is newcomer Baths and his Cerulean LP. Awesome, awesome record! Presumably one of the few artists that will survive the Chillwave hype.
I was happy to see Shlohmo gain massive media coverage for his Shlomoshun Deluxe re-release on Friends Of Friends Music. It only makes sense that Baths contributed a remix on his Camping EP that dropped a bit later in 2010. Have an eye on Wedidit members Juj and Landlord, too. The Leaving Records crew had some astonishing music – most of all, Caveman Smack by Dem Hunger and ADWA by Yuk. Do not sleep on these madmen! I really love Om Unit’s The Corridor EP (which includes a sick Shigeto remix). Every time I listen to it I have to think of Kraftwerk… well. Canadian Kenlo Craqnuques had a great release with us and also published the 6th installment of his beat tape series. I think Brun is the best tape he ever did… so raw. Another definitely raw piece of music was Earl Sweatshirt’s self titled EP. Not everything the Odd Future kids publish is fire but this one is. Period.
Finally, I gotta mention our own Fly Russia compilation that showcased the hungry Russian beat scene, plus our latest release at Error Broadcast; Romanian shooting star Montgomery Clunk’s Superbus. For 2011, put down IL and Monolithium for the watch list – all heats no cheaters!”
2010 RECAP: Gobe
We ain’t gonna lie – it was tough losing Gobe this year. After an amazing first year of the sub⎹division team really gelling & cohesively affecting our little city’s music scene, we had to watch “real life stuff” pull him up north to Smithers, BC. Pros & cons though right? As Gobe does the grown up thangthang, the other 2 Big Reds have had to forge their own paths, each of them fortifying their own steez respectively. And props to Gobe, he’s got a family going.
But damn, Gobe’s DJ antics are missed. He’s that cat to drop a ragga-jungle closer or sneakily cut in a stomper to fire up the d-flo. Firm opinions & a great sense of history are always on the tip of this man’s tongue & we do miss his calm, assertive mic presence. Well look what just happened… we just talked ourselves into promising each other that Gobe will definitely return sometime in 2011… we cannot WAIT for the next Big Reds reunion.
Gobe: “2010 Recap. I have to scratch my head. A year of splintering sounds and forward changes.
Back in May, my lovely lady & I packed up and travelled 1200km to Smithers, nestled in the Bulkley Valley in Northern BC. I was suddenly physically isolated from Victoria’s bassculture after eating and sleeping the sub-low sounds for the last 3 years. Not being able to get down monthly at sub⎹division or kick it with The Big Reds or shoot music jargon with other heads in the scene definitely left a hole.
So you can imagine; coming back to play Rifflandia in September at a sub⎹division showcase with Rhythmicon & Frame alongside Chestplate numero uno Distance ranks as my top highlight for 2010. But let me give a bit of background as to why…
The Rifflandia show with Distance ended up completing a cycle that began 3 years prior for me at a Lighta! show at “The Woods”. After freaking out heavy to a 2hr Distance set — that was on the verge of what music would sound like at zero gravity — there came to me a vision of a sub prophet that set in motion a feverish hunger to push the sound that emanated from the woods that night. It was a dubstep splash that rippled, gaining weight. From there, most of you can follow the line: the connection of Quinn, Lucas and myself as The Big Reds; Dubriddims; Proppa; the first team-up with Longshanks for the Appleblim show. What followed was an unrelenting sub⎹div quest to broaden & educate an ever growing population of dedicated heads in Vic city.
ANYWAY, back to the Distance showcase at Rifflandia! Knowing that I rarely get the chance to jam down with The Big Reds as of late really made this gig special. All three of us built a foundation that doesn’t need very much maintenance. But having to miss out on all the energy that goes down at a show – the loud subs & a sweaty dancefloor – really heightens that experience for me now when I get to take part. Distance of course is standard business every time I hear him – he’s one of my favourite producers by far over the years, plus the fact that he is such a stand up cat makes it all the more easy to get down when he is in town. That night back in September really sealed a wild ride that has left a never fading mark on my life.Gobe 2010 Recap Mini-Mix
Now into my top 3 tunes for the year in review. Again, I scratch my head, trying to stir up some of the audio residue left from 2010.
Picking one that could sum up my year within this global bass monster was a tough task. I could NOT pick just one so I picked three & mixed them together so maybe we can say it’s one
1. Distance “Beyond” (Chestplate)
I’m an avid collector of any sounds served up from the man Distance. “Beyond” really took the deep & heavy sub-spatial into a different dimension. The ambience of the synth work stirs up visions of a picnic on the cliffs of mars. Its refreshing to know that a tune can still be a heavy without the abrasive pop wobble that’s currently so popular.
2. Mala “Return II Space” (DMZ)
Mala’s Return II Space album is chock full of digital swagger that could sink any soundsystem. As most of these tunes on this release have been on dubplate for years, Return II Space was one of those presents that you’ve been waiting forever to get your mitts on. “Return II Space” is my pick off the album. From start to finish it does not stop – it pulls you in and takes you where you need to go… straight thru to the other side.
3. Addison Groove “FootCrab” (Swamp 81)
What exactly is a foot crab? Was it something you could catch on the wrong side of the beach. Or was it a new dance move sweeping the nation? From the time I heard this tune on a gourmet beats Joe Nice show to the first sub⎹div I dropped it at, Addison Groove’s “Footcrab” got in your head and stayed there. With the strong influence of Juke and a sub drop that shook the floor, “Footcrab” was the anthem tune that could be found in many a DJ crate, especially mine.
Thanks out to Longshanks for taking on so much over the last 2 years, seeing a light and burning it brighter. I couldn’t of imagined some of the shows that we have been a part of without the hours he put into making them happen.
Out to Micheal Red & the Lighta! crew who really have set the standard for how things have shaped up in southern BC. Lighta! definitely gave us a great blueprint for things in Victoria.
And of course to all the sub⎹div fam and the rest of the victoria crews pushing things further.
Here is to 2011.
Enjoy what is to come.