#tgtfeature

[thegroovethief]

#TGTfeature 014: Black Market [High Noon Audio: Nashville, Tennessee, USA] Diving deeply into the classics in a uniquely dubwise fashion, following African reggae star Rocky Dawuni, here comes #TGTfeature 014 with the prolific Black Market, known for his reinterpretations of musical icons as well as iconic movie and television soundtracks. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. Thanks for your patience dear readers, 2020 has been a delight… Black Market’s latest project, a spookily delightful re-approach to the film Phantasm, enjoyed a timely October release; prior releases range from Bowie to Batman, and from Talking Heads to The Twilight Zone. Aside from his most recent engagement, building the High Noon Audio studio, the discussion covered his raison d'être, a range of releases, favorite gear, and much more. A bit about Black Market: - A skilled sonic culturalist, he’s taken on 20+ remix projects with an astounding level of quality - Known for his era-defying dub-fueled “collaborations,” there’s truly an entry point for all listeners in this ongoing re-imagining of the collective musical past - Opening High Noon Audio studio (in Nashville, Tennessee, USA), aimed at supporting artists with a DIY aesthetic

The Beach Boys - Endless Dub by Black Market

TGT: How do you define your musical role on your “commercial” releases? Remixer, reinterpeter, rearranger…? BM: When wearing my ‘Black Market’ hat, I definitely see myself as a remixer/producer, but the more I think about it the more I think any of those adjectives could easily describe what I do. I try and imagine Bowie or The Clash approaching me saying, ‘Hey, we want to make a reggae album. What do we need to do?’ and from that point all the musical reggae decisions I make are filtered through that mindset. How would Bowie play a reggae bass line? How would Brian Wilson turn “Wouldn’t It Be Nice” into a reggae arrangement? TGT: You propose an intriguing thesis: “What would happen if The Beach Boys had The Wailers as their backing band instead of The Wrecking Crew? What if David Bowie spent the summer of 1975 in Kingston, Jamaica with King Tubby instead of Philadelphia? Michael Jackson meets Scratch Perry?” What is your motivation to approach such legendary artists, and how do you handle the technical side of this, especially when there’s no a cappella available? BM: Initially, I knew I was motivated purely by my love for Bowie and my desire to pay tribute to his music. It was only after releasing Bowie In Dub that I realized that this would be a great way to build a following as well. Who cares about Joe Schmoe’s new EP? Now, Ziggy Stardust dubbed into outer space? That’s a whole different story for most people. Even if they hate it, the curiosity is too much for a lot of fans. My hope has always been to use these remix projects as a springboard for my own music. I don’t think I’m quite ready to branch out into original material just yet, but I can see it on the horizon.

Bowie in Dub by Black Market

TGT: I initially discovered you via your sci-fi projects, The Twilight Zone and Stranger Things specifically. You’ve also taken on The Outer Limits and most recently Phantasm. Phantas is fantastic! What attracts you to these spooky source materials, and what connects them to your dub-infused sound? BM: I am a gigantic sci-fi/horror nerd. I love horror movies so much, and many of them have such fantastic scores. A simple melody from a horror movie theme is sometimes all you need to go off of for a good dub track. Tackling stuff like that is also just a good way to break up the releases a bit, and to have a bit more fun with everything. When I’m remixing a major artist, I find myself being very focused on it because I really don’t want people to outright hate it. Horror fans are much more forgiving, and it gives me plenty of room to experiment with things and get weird with my music.

Phantasm by Black Market // Chudan

TGT: There’s always been a cheeky edge to your releases, despite their top-shelf production and cultural relevance. Given your prolific nature (25+ releases since 2015), which ones are you most proud of? BM: I release every EP with the assumption that it will either make people angry or they’ll just hate it. Luckily for me, that is usually never the case, but for that reason, I have to just be ready to laugh off whatever the reaction is to my releases. I try to do as good a job as possible, while at the same time not taking it so seriously that it isn’t fun. Black Market is a blast. If I had to pick a few favorites I would say Remain In Dub, The Outer Limits, Thin White Dub, and The Next Dub. Honestly, there are just too many at this point, I would like to think you could pick any one of them and get a good idea of what Black Market is all about. TGT: You’ve been hard at work on a new studio, High Noon Audio. What’s the process been behind creating that, what services do you aim to provide, and why’d you feel that was the right move now given all your other musical projects? BM: High Noon Audio is for musicians like me that make music on a shoestring budget, but want it to sound fantastic. It’s expensive to get studio time, and if you want your music mixed with outboard gear, or on an analog console, I would say 90% of musicians I know are priced out of that. I want to provide an affordable option for bands and artists who are DIY at heart and need someone in their corner to give their music the best chance possible to break through. Building High Noon Audio has been a crazy undertaking. I’ve always had outside mixing clients, but I’ve never had a reliable way for them to contact me or to see how much I’d charge. About a year ago I decided to start the process of giving my entire studio a rebuild from the ground up, which involved buying a console and tons of other analog gear. From there I contacted a friend of mine, Colin O’Shaughnessy Tucker, who does graphic design to help out with the look of the website and logo and I think he did a fantastic job. High Noon is just me, but someday I see it becoming a full studio with a tracking space and maybe another engineer. I’m dreaming big!

TGT: Any gear you’re particularly enamored with right now? How have you been using it, and is there a track or two where it’s prominently featured? BM: Yes! On the plugin side of things, the Magic Death Eye bundle by DDMF is incredible. Magic Death Eye is a compressor built by Ian Sefchick, who is better known as a lacquer cutting and mastering engineer at Capitol Studios in Hollywood. I got to know Ian a bit while I was working there and got to hear the real Magic Death Eyes in person, and they are incredible compressors. The plugin recreation by DDMF is a must-own. Ian makes all of his compressors himself (even hand-winding the transformers), so they routinely go for anywhere between $5,000-$10,000. The plugin does an incredible job of emulating the real thing, and I literally use it on more tracks than I can keep track of every time I start a new mix. As for analog gear, I recently purchased the legendary API 2500 Stereo Bus Compressor. It’s hard for me to add anything to what has already been said about this compressor. It’s a huge punchy sound that is perfect for a drum bus or a main mix bus. Crucial gear. TGT: It seems you are a strong proponent of the Patreon platform. How has your experience with that been so far, and what are the pros and cons of connecting with fans this way, given how decentralized musical access is online? BM: Patreon has been fantastic so far. It’s truly difficult to build (and keep) any kind of following doing what I do. Many of the more successful Patreon accounts pump out video or podcast content on a weekly basis, if not more often. I’m asking my Patrons to subscribe for something they will get once a month, and oftentimes I take breaks during the winter to recharge and plan for the year ahead like I am doing now. The cool thing is that the people who do sign up are usually genuine fans who like to engage with what I’m making and understand that they are supporting an independent artist. I’m so grateful for everyone who has signed up and I can honestly say that they all directly helped me create my new studio and workspace. Black Market and High Noon Audio are set to do amazing things in the coming year and much of that is due to my Patrons and supporters.

[thegroovethief]

#TGTfeature 013: Rocky Dawuni [Aquarian Records: Accra, Ghana & Los Angeles, USA] Journeying further abroad to where the roots of reggae originated, after American bass weight specialist Bukkha, here comes #TGTfeature 013 with the enigmatic Rocky Dawuni. Hailing from Ghana, the artist and humanitarian embraces diversity to craft his inspiring and passionate sound. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. His latest album, the timely and poignant Beats of Zion, was released earlier this year; it fuses reggae and contemporary Afropop with more traditional rhythms from genres like Afrobeat and highlife. Rocky Dawuni kindly took time out of his busy schedule to discuss his most recent recordings, what keeps him motivated, and much more. A bit about Rocky Dawuni: - A talented Afro/reggae fusionist, he’s released seven albums in his 20+ year career, including the Grammy-nominated Branches of the Same Tree - Known for his emotive and personal style, which emerges not only in his music but also in his videos - In 2018, named a UN Goodwill Ambassador for Africa

Beats of Zion (album) by Rocky Dawuni

TGT: For those that might be less familiar with your work, are there some selections from your back catalog that you could recommend for people to better understand the sounds and evolution of your art? RD: I think the album Book of Changes would be a good reference point for people to have to experience the full realization of my fusion of reggae and traditional African sounds. This album produced some of the standards for my signature Afro Roots music. Listener and concert favorites like “Afro Roots Vibrations,” “Wake the Town,” and “Africa For Learn” explored fresh new territories of combining reggae, Afrobeat, highlife music and traditional rhythms. It was also the beginning of my songs being featured on US TV shows and global video game soundtracks including “Wake the Town” and “Shashemane” being heard on the hit series ER and EA videos games. TGT: How do you balance living in two places, creating new music, touring, and also being a notable humanitarian? What advice do you have for up-and-coming artists about time management? RD: I am driven by my personal sense of mission to keep striving for excellence in all aspects of my life. Movement and traveling provides valuable and constant insights to experience new music and influences. These are indispensable to my creativity. Also, in my case, creating music is in many ways inspired by my humanitarian work. The opportunity to transform my musical leverage into being of service and making an impact on the ground is of primary importance to me. Constantly changing environments helps me to also keep a direct connection to all that is happening culturally in Ghana and abroad - especially in my efforts to keep creating musical bridges between Africa and the diaspora. My advice to upcoming musicians would be for them to make sure they don’t lose sight of putting the energy into the art and constantly challenging themselves to grow. If their use of time can revolve around these central principles, it could nurture a deeper sense of fulfillment and nourish an enduring momentum to their artistry. TGT: How challenging was it to follow up the Grammy-nominated Branches of the Same Tree, as far as both expectations and studio creativity, and what were your ambitions with Beats of Zion? RD: After the Grammy nomination, I set my sights on pushing my musical experimentation further and at the same time highlighting my roots. I always try to let my inspirational influences direct my creativity. With Beats of Zion the vision was to push more of the musical diversity upfront. Beats of Zion features some diverse sounds and vibes, yet to me the title track is really one of the standouts. I love the accompanying video as well which we shot in Jamestown, Accra.

TGT: So what was the inspiration for that track and its video, and how does Batimbo Percussion Magique fit into to all of that? RD: The title track is an Afro roots/dancehall song which uses various traditional drums of Africa to forge a sound that borders on Jamaican dancehall music and traditional African drum beats. The song and the message of the lyrics touched on emergence of an African inspired global spiritual awakening and music serving as the catalyst for this new dawn. I worked with varying drum tones sounds from djembe, dundun drum sounds to create the right grooves. The song needed that powerful big drum sound to drive the beat and that is what led me to Batimbo Percussion Magique of Burundi. Their sound had the right drum orchestral element that finally made that track come fully alive. The vision of the accompanying video explored the colorful cultural heritage of the continent in a celebration of emerging youthful power of Africa.

TGT: Another track, “Modern Man,” just got a remix by the skilled Gaudi. What led to that collaboration, and can you talk about the lyrics a bit about how they reflect your worldview? RD: “Modern Man” is a song about the invasion of technology in modern life and the gradual transformation of society and social behavior into an algorithm-controlled utopia. The song is about sounding a warning about the inherent danger to outsourcing our humanity to an inhumane tool. The stealthy illusion that transforming ourselves into mechanical society represents a sort of evolutionary progress. The original version on the album was acoustic but there was a general feeling to put more power and dimension to the words and the message. Gaudi was drawn to that song and loved the message as well. We all knew something special could result with his remix for the song. He did an amazing job with it! TGT: You were designated a UN Goodwill Ambassador for Africa last year – congratulations on receiving such a tremendous honor! – what projects and works have you been involved in with so far in this role, and how do you see the relationship between your activism and your music in 2019? RD: It is truly an honor to be designated as a UN Goodwill Ambassador for the Environment for Africa at a time when there is an urgent need to deal with pressings issues like the changing climate, the need for protecting land rights, the importance of standing up for indigenous cultures while combating corporate and political greed as well as unchecked destruction of forest and ecosystems . There is a need for real action to inspire a grassroots solution to these issues. My current mission in this role is to shed a light on these issues. I launched the Rocky Dawuni Foundation to work on youth leadership and help facilitate equipping the youth with cultural tools to take initiative and also advocating for a true African Green Revolution. We have partnered with Mayor of Ghana’s capital city Accra to launch planting 100,000 trees in the city among many other current projects that we are working on.

[thegroovethief]

#TGTfeature 012: Bukkha [Moonshine Recordings/Dub-Stuy Records/Infernal Sounds: Valladolid, Spain] Diving deeply back into the bass bins, following France’s digital reggae extraordinaire Manudigital, it is #TGTfeature 012 with heavyweight producer Bukkha, an American based out of Spain. The audio interview was featured on KGNU Community Radio's "Dub Palace" show. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. The low-end enthusiast has released weighty wax on respected labels and tested sound systems around the globe. While he works with a range of tempos and styles, there’s always a sense of dub, or at least dub wisdom, in his work. Prior to his Denver debut at The Black Box, Bukkha spoke about his production work, his Preacha project, limited-edition vinyl, working with vocalists, and much more. A bit about Bukkha: - Heavyweight bass producer, he’s maintained a strong relationship with Moonshine Recordings while also working with labels like Dub-Stuy, Grand Ancestor, Infernal Sounds, Lion Charge, and ZamZam Sounds - Known for his stellar vocal collaborations – a recent example is the grime/trap cut “Chasing Dreams” featuring Rider Shafique - His late-2018 mix for Moonshine is filled with forward-thinking productions, many his own, and demonstrates the potency of proper dubwise sound system music

TGT: How'd your upcoming USA tour come together - seems you're bouncing around a bit? B: I don't know, everything just panned out really well. I ended up hitting up the cities that I didn't get to last year really, for the most part. You know Arcada, Portland, Denver, San Antonio, Maui, so, it's very exciting really. TGT: Yeah, yeah, and a bit eclectic as well... B: Definitely all over the US man, like kind of circular in a way. Oh yeah shoot, even Miami, how I can forget Miami, I'm so excited to go back to Miami. TGT: At this point in your career, do you find it more fun to be still going to new places, do you also enjoy going back to a crowd you've had success with before, and now you're being welcomed again with open arms? B: Both man, both. It's always nice to go to somewhere new, but it's kind of like a home situation - you go to one place, and you've made a really great impression, so like everybody's waiting for you to get back and rock it. Yeah, I just find myself in that position now too, where I can go back to a place, feel welcome, everybody's looking forward to it. It's either as good, or even better than the last time. TGT: Glad to hear that, I know a lot of effort goes into putting these overseas tours together, and do you know big differences between being booked in Spain and mainland Europe, compared to the UK and the US? Or do you feel like the scenes are pretty equal in their expectations and taste? B: Well, I mean, here's the thing, it's like, I think that if you get booked and people go there to see you, then they kind of know what to expect. I don't - I mean I guess I might - surprise people with some of the stuff that I play sometimes because I kind of am all over the place; just like my productions really, I do a lot of steppers, a lot of dub/reggae stuff, but at the same time, I've made dubstep early on, and just starting messing a bit more with drum n bass and jungle, kind of jukey stuff, all that get stuff gets thrown into my sets. I try to add a little something for everybody. TGT: So that means you're not letting the larger perceptions, like that Europeans only love steppers, for example, you're not letting that impact your selections on any given night? B: No, no, no, no. Not at all. TGT: You just mentioned a lot of different genres, has that been part of you as Bukkha, or is that you wanting to get out of the 140 box? B: Ooh - both. Both. And I mean, everybody's gotta grow, I definitely don't want to just stay stuck in a genre or a certain tempo and it keeps things a little bit more interesting. I've done everything from like, I think the slowest tune I've done is 110, and now even I'm working close to the 200bpm range, which I mean would really be 96-99bpm but you know... so yeah, I'm really just all over the place, because I don't want to get bored with it. For me, even when I go to shows, four or five hours of the same stuff, it just kind of gets, for me, a little boring, I just like a little variety. So I do that with my productions as well. I don't want people to get sick of me, too, I think that's probably like a fear, I definitely don't want people to get sick of me, like 'oh shit, here's Bukkha again with some stepper, or here comes some dubstep' - you know, just switch it up man. TGT: That is good advice for all producers, right? Mixing it up is not a bad thing, even if you're well-known for a certain sound. B: Exactly, exactly.

Chasing Dreams by Preacha ft Rider Shafique

TGT: And, can you talk a bit about the relationship between Bukkha and Preacha, your newer project (or alter-ego?) - how do you describe it? B: Man, alright, so here's the thing. Preacha was originally supposed to be kind of like a digital reggae project. That's what I was gonna do. And then somewhere along the way, the new tune I did with Rider Shafique, it was not digital reggae at all, it was just like more grimey, I guess trap, I keep wanting to call it that. I don't know, I'm not even limited with that project anymore, whatever happens, happens. I think the next Preacha project is gonna be like jungle/drum n bass, that's what I'm gonna shoot for. I don't know, so we'll see what happens. TGT: That means, maybe you started Preacha with more of a firm line dividing the two, but then that's kind of disappeared...? B: Exactly, I don't why, but yeah, that's just how it's kind of worked out. TGT: Will we get to hear more of these digital reggae productions though, since that's actually one of my favorite styles of music ever? B: Yeah, actually, yeah man. I'm still gonna do it, and I'm still gonna try and put them out on NICEUP! as Preacha is exclusive to NICEUP! Records. I've sent the label owner, Shepdog, some of the newer stuff, and he's like 'oh no, I love it, I love it, let's try and get a vocalist on it.' So yeah, the last couple of things have been more digital reggae, but also with the intention of maybe trying to go jungle and drum n bass. TGT: And those are working in very similar bpms really, like Chopstick Dubplate they do a lot of jungle obviously, but then they'll have reggae remixes that are basically just cutting the tempo in half, right? B: Yep, yep. TGT: Does that mean you've already got some vocalists lined up for that, or is that still in the works right now? B: Still in the works, definitely got some vocalists in mind, but you know, still gotta see how I get them. That's always the toughest part is communication. TGT: Do you find that you're wanting to go back to vocalists you've worked with - you know given the success of the Rider Shafique track are you hoping to do more with him? - or do you view that as 'that was great' but who else can I work to bring a new tone and new lyrical perspective to your production work? B: Actually, let's see. I've worked a lot with Junior Dread and he's been great. I think I'm kinda gonna give him a little break since we did quite a few tunes together. I've got Killah P on some tunes TGT: Including Dub-Stuy right? B: Exactly, that's how it all first came about. Rider, we've got a couple of things as well, so yeah. I think it's on my last Mooncast mix, I put him in there. I don't know, sometimes it just depends on the tune, you might have a vision, who you want to hear on the tune, but I'm always open to working with new people, and also old, familiar faces. If it works, it works. TGT: I don't wanna get too in-depth on the business side here, but what's your approach to find a new singer to work with? Are you doing this all through Facebook or since you have relationships with a lot of record labels, are they able to help? B: It's a good mix man, most of the time it's me going on Facebook and reaching out, if it just seems like there's a bunch of circles to go through, then I'll reach out to a label... let's say I send an instrumental to a label, and they're like 'this is tune is great, but it could really use a vocalist' or something like that. So I'm like 'OK,' and then you talk about it, and then they might make a recommendation and then they reach out because they might have the link. It's definitely a mix. TGT: And does that mean you've kind of got a dream list of vocalists that you're hoping to work with? B: Yeah [laughs], there's a list, but that list is kind of getting smaller and smaller, as I've been pretty fortunate in working with a good bit of vocalists lately. TGT: Definitely, but I do know you're not scared of sampling classic Jamaican sounds. B: Not at all [laughs].

TGT: I think the most notable recent release is that absolutely killer "Discjockey" with Dubbing Sun... so how did that collaboration come about, since I know Dubbing Sun do a lot of work with Digid usually, so what brought you together, and why'd you decide to tackle such an iconic vocal? B: Well, I was in Austria last year, like around this time, and they had helped set up a couple of gigs for me, so after my gig with Dubbing Sun out in Austria, we just kind of kicked it for a whole week and we worked on a good bit of tunes. Right there and then we had started "Stop Dem" - TGT: the b-side on that? B: - yeah, exactly, the flip. And it was just so weird because we were talking about the WAR label, and we're like we really miss that label they have some really great tunes, blah blah blah, and then maybe a month or two later DJ Madd reached out to me and he was like 'hey, you got some tunes for WAR?' I'm like 'whaaat - what's going on here?' I mean, it was honor, first of all, that he reached out; secondly, we already had one tune, and then I was like 'yo, yo, David' - that's Dubbing Sun - 'David, you got another sample somewhere around there?,' a sample you know, we can use for a tune? And he was all pumped man, he couldn't believe it either. So he was like, let me reach out to one of the other guys from Dubbing Sun because it's a collab project, and so he got that "Disc Jockey" sample going on - it's like 'oh bro, this is perfect.' And the funny thing about that tune was it started off as another stepper, so we're gonna have two stepper tunes on there. When I sent it to Madd, he goes like, 'this sounds great, but can we do more of a dubstep version of this?' And I was like 'ahhhh man, alright, cool.' So we did that, we just switched it up and then it completely took on a whole new body and it sounded great. The other one, the stepper version, is like a dubplate song. Somebody's gonna be lucky enough to hear it whenever I play out. TGT: Well, keep in mind you're coming to Denver soon - B: yeah [laughs] TGT: - we're happy to hear that! And related to that, I wanted to ask, what are your thoughts on these limited edition vinyl-only releases? WAR is 500 copies, it's a very very limited thing... B: Man, OK - it's kind of a double-edged sword, I think [sighs]. OK, like, this is gonna sound really funny: I don't play vinyl, but I love collecting it. I might play it at the house and stuff, but it never leaves my home. I treasure it. But nowadays, people seem to be, or promoters might look at, Spotify, and look how many plays you might have on Spotify. And if you've only got a vinyl-only release, it's not showing up on Spotify. It's either or, I don't know how much it affects what... me personally, I like them. Some exclusive thing, whoever got it, got it. And that person either is gonna collect it and/or play it out. And then only that person has it, which I think is cool. It does give it a certain exclusivity, not everybody should have the tune, because then everybody's just gonna play the same tunes over again, and over and over and over again. TGT: But I suppose you're in a better position because you've got the digital right [laughs]? B: [laughs] Yeah, exactly, I don't know - it's cool, I mean - I made it [laughs]. TGT: I do want to kind of rewind because I noticed an interesting thing... you mention very specifically on your Facebook profile that this started as a bedroom project and it's obviously evolved well beyond that, while I find a lot of producers kind of want to pretend that they didn't start in a bedroom and that they just magically emerged on a club floor with ten killer 'plates you know - so why have you decided to include that in how you present yourself, and do you think that's an important message for other DJs? B: To be honest, I really never gave it much thought you know? For me, it just really is how it started. And the thing is, I didn't start making dubstep. Like, I was just making... weird music. Like weird instrumental music. When I first started I was listening to a lot of Radiohead, Mogwai, Explosions In The Sky, these bands... when I first started they really blew my mind. Then I started getting more into the avant garde electronic stuff, like Squarepusher, Luke Vibert/Wagonchrist, Aphex Twin - so I was like 'man, how are they doing this stuff?' So I was just in my bedroom trying to do this sort of stuff. TGT: What time period would that be? B: Oh - let's see, this was probably in 2004-2005, I was in the last couple years of my college career and I was kind of looking for an outlet too, you get senioritis and just looking for something to get rid of that stress, and yeah, I was doing that... and what was funny also, Luke Vibert was doing grime and I guess dubstep-ish beats, but I didn't know what it was called, it just sounded really good to me, really bass-heavy and all that stuff. And basically, when the Dubstep Warz show with Mary Anne Hobbs came on, a friend showed it to me and I was just like 'holy crap, this is what that is, alright.' So I don't know, that sound just kind of stuck with me, and I kind of stuck with it, and practiced it, and not even gonna say mastered it because it's still evolving and there's nothing to master - you do what you do and hope that somebody likes it I guess. But I think really as long as the producer likes it, then other people will like it, too. You believe in your product, so to speak. TGT: For sure, you need to right? If you as a music-maker are satisfied with what you've made, then I don't think it an inappropriate assumption that there will be listeners out there who want to hear it, so the challenge is more getting that music to the right people, yeah? B: Exactly, exactly.

TGT: What methods do you use to try and reach fans at this point in time, or do you feel like you've gotten over that initial hill of exposure? B: Luckily, I've been working with the right labels for what I do. And because of that, then more labels have reached out, and they kind of know what they're gonna get from me. Although man, it's still is kind of just tough, because I might want to experiment a little bit more, and it just might not fit a certain... so, the only other thing that helps is doing mixes, or guest mixes for radio shows, and if somebody hears it and really likes it - that's great. The last mix that I did for Moonshine, that was a great help, and the timing was perfect. Everybody was heading out to Outlook [Festival], so a lot of people were downloading it, and then I reposted it again after Outlook, and even more people started downloading it, because there were like some tunes in there that, I didn't know but Mala and Truth and N-Type were like pushing at Outlook, so people were like 'well, who did this tune' and they saw that it was me, and it was like holy crap. So yeah man, the timing was perfect for that mix. I think it surprised a lot of people because it included a lot of stuff that they just didn't expect from me because I had been doing more dubwise stuff. TGT: Yeah, and does that mean you're maybe trying to get a step away from always having there be a Jamaican air, shall we say? B: No man, not really, it's always gonna be a part of my sound I think. I'm a sucker for delays and spring crashes, so that's always just gonna be a part of my sound I think, I think no matter what I do it's always gonna be a part of that project... TGT: I did want to ask a bit more, I've really enjoyed that Moonshine mix, that's the one that came out about five months ago, so we're talking October 2018... you've had a very long relationship with Moonshine, so how did that relationship first come to be, and does that mean we're going to see more Bukkha out on Moonshine in 2019? B: Yeah, yeah, there's - alright, well my relationship with Moonshine was - let's see, 2019... - almost ten years, I think it probably started around 2011. That relationship started because of Radikal Guru, so I had known Radikal Guru since the beginning of both of our careers - quote unquote careers, because I've never really had a career [laughs]. So yeah, because of him I linked with Moonshine, and Moonshine gave me the first remix opportunity. And they've been wanting tunes, but for whatever reason I just - I don't know, because I had a regular job, I never saw it as 'I need to this, I can do that.' I was happy with just my regular job and making music on the side, so you know, that was that. But always, I just kept sending them tunes so they might want to play or maybe release. And it did take a while, I think I got my first release on Moonshine in 2016. The recent mix that I did has a lot of forthcoming tunes, but not all of them are Moonshine. Some of them are gonna be Infernal Sounds, the more dubstep ones... and then a good bit of them are gonna be on Moonshine actually. TGT: How often does your name get brutally mispronounced? B: Ooh, more than mispronounced, misspelled. Which I think is really funny. And you know what, recently I just found out that in I guess Croatian - I'm hoping that's the language they speak in Croatia - Bukkha means noise, it translates to noise. I thought that was pretty funny, oh shit man, that could be another meaning to my name, noise [laughs]. TGT: So what was the original inspiration then, because in some ways you know, Bukkha has a very dubstep feel to it, but it's not a word, right? B: Exactly, exactly. OK, long story short, basically I got the name from - I don't know how many people remember the show Wildboyz, it was the spinoff of Jackass - so in one of the episodes, I forget, Steve-O and the other guy [Chris Pontius], they go to India and they spend time with a cannibal tribe, the Aghori tribe there in India, and one of the guys in the tribe, his name was Buka. So I was like, 'OK, I kind of like the sound of that,' so I just jacked it and spelled it a little bit differently. And you know, stupid, I just had one of those moments where I'm gonna take this and misspell it and that'd be cool - I didn't know any better. I don't know, the name's cool, it's kind of like easy, I think [laughs], but I guess not if people mispronounce it and misspell it. I don't know, but yeah, I like it. TGT: Yeah, I think 'boo-kah' makes sense, but I could certainly see people trying to say 'buck-a' or something... B: Oh yeah, yeah, 'buck-a' yeah, they say that one a lot [laughs]. TGT: As long as they don't read 'bukkake' it's probably alright... B: Yeah, awww, yeah but I make fun of that - I make fun of that, too - I call myself that as well... how do you think I got my name? I like that genre of pornography - and they're like 'oh my god' - it's like 'no, I'm just kidding, I'm just kidding.' TGT: My understanding, this is going to be your first gig here in Denver, correct? B: Yes... TGT: Especially when you're coming to a new market - but obviously Denver has a big reputation for dubstep and bass music at this point in time - so what's your mindset when you know most of this crowd is gonna be familiar with what you've put out, and a lot of people will probably have listened to that Moonshine mix, whether they've already heard it or they're gonna check it out once it's being emphasized before the show; so what do you want to bring us, and what can the crowd be expecting on March 12? B: A lot of Bukkha [laughs]. A lot of my favorite tunes that I've made, a lot of my newer stuff that I haven't put in mixes yet, so if you like my sound then you'll like the new stuff. And then I'll also have stuff that friends have sent me, some dubstep or the dubwise tip - it's definitely gonna be something for everybody, it's how I do things. I don't want to say I educate, because that just kind of sounds a little pretentious, but I just want to show the people there are different sounds, different styles, you don't just have to be into this one thing, there's everything, and it all fits together if you just really listen to it, it all truly does fit together. TGT: Do you give much thought to who you're co-headlining with? In this case, it's Six Sunsets and Opus, does that enter into your thought process at all? B: To be honest, yeah. I did do a Shitty Dubstep event in the UK; now, if you know anything about Shitty Dubstep, you'll see that it's nothing but dubstep. And, that's probably the most nervous I had ever been, because it's been such a long time since I just did dubstep, and I don't really talk to too many of the new dubstep cats. So man, I just really had to dig deep and search for dubstep tunes, the hottest stuff for at that moment, even if it was new and nobody's even heard it... I reached out to some friends, 'oh yeah man, here have this one, have that one.' So yeah, but it all worked out, it was all great. I played dubstep, but I also did play "Discjockey," like "Discjockey" just went off - I mean, whether you like dub or not, it's just that perfect mix of trap/grime/low-end, but with a dub sample... TGT: Any final thoughts on things... B: ... I hope to be around as long as the greats like Channel One and Jah Shaka - that would be great, you know? Just play tunes, play music that I love, hopefully, my ears and eyes will still function in a way that I can make music still...

[thegroovethief]

#TGTfeature 011: Manudigital [X-Ray Production: Paris, France] Switching styles - but not ignoring any crucial basslines - after Denver’s own Kālī, it is #TGTfeature 011 with French digital reggae extraordinaire Manudigital. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. The versatile veteran multi-instrumentalist and producer has moved from strength to strength with his collaborative mindset driving his potent studio work, as well as his live performance videos. Manu shared his thoughts on the development of his current musical focuses, why the synth changed reggae music, and the realities of being a contemporary artist. A bit about Manudigital: - Multi-faceted digital reggae aficionado, he’s a beatmaker, bassist, producer, and composer in addition to an ambassador for the Casio Casiotone MT-40 keyboard - Beyond multiple singles and EPs, he has released two full-length albums on X-Ray Production – including this year’s Bass Attack, released in early October - His standout Digital Session video series blends raw live vibes with polished post-production; features include the latest from Luciano, as well as Capleton, Burro Banton, and Solo Banton & YT, plus highly recommended collaborations with Queen Omega and Junior Cat

TGT: How’s the reception been for Bass Attack, and which collaboration are you the proudest of? Any interesting stories about how a particular tune came together? M: The realization of this album was very cool! For 95% of the tracks, I asked artists with whom I had already had the opportunity to collaborate on other projects like their own album, one riddim, or video sessions, so it was like working with the family! I composed partly in Paris, at home, and in Jamaica, and most of the singers recorded their voices on their side. You know, I'm in the studio every day for various projects so I'm very used to recording compared to some bands or singers who record in studio only for their album. The coolest session was the one with Dapatch on the song “Strictly that Style," we recorded the track in less than an hour! That day, the composition, the voice recording, and the mix were chained very easily, we were exactly on the same wavelength – incredible!

Bass Attack by Manudigital

TGT: The Digital Session series has included some amazing live takes. What is the creative process behind these live recordings, and how do you decide which riddims are most suitable for artists? What can we expect in the future for this series? M: The Digital Sessions are part of my favorite projects! Because, in addition to music, there is a cultural, human, even sociological dimension for some sessions… the creation of these sessions is really just about feeling! I don’t conceptualize the thing too much before, we improve the riddim together on the spot, we also choose the lyrics, we repeat 3-4 times and record in 1 shot! It is very important for me to keep this natural aspect, I think that people feel it when they are looking at the sessions… I still have plenty of others to release soon! So stay tuned, the best is coming!

TGT: You are clearly a lover of digital reggae, fusing together modern production equipment and techniques with vintage 80s sounds. What attracted you to that original era of dancehall music, and why do you feel it’s so important to be still playing the Casio MT-40? M: For me, the 80s and 90s were a pivotal time in Jamaican music production, that's where everything changed radically! Before that, it took a whole group to record, but the Sleng Teng riddim appeared and everything became possible with just a synth! Artistically it is not necessarily the most creative period in Jamaica, but in terms of sonority it was the most prolific! For me, it is important today to combine this sound with more modern things; if you think about it the two are not so far… TGT: Bass Attack also showcases some fellow producers in Panda Dub and Ed Solo. How did those collaborations come together, and why did you feel like it was important to share duties behind the boards? M: Yes for Panda Dub, it was a long time that I wanted to make a track with him because I'm a super fan of his style! We met a lot of times on tour, so it was obvious to make a tune together! As for Ed Solo, he asked me to remix a track that I made with my friend Sherkan for the Tiger Records label, and as I'm a fan of drum & bass and jungle, it was really great news for me! Ed Solo is one of the best producers in the world in this style, along with Deekline, Congo Natty, and Benny Page… TGT: What advice do you have for up-and-coming producers? Any favorite production tricks or techniques that you’re willing to share? M: If you look at my videos like the Back Inna Days, you'll see that I always share a lot of stuff to my audience, like the name of the machines from which the original sounds of the classic riddim come, for example. But the best advice I can give to the youngest producers is that the production equipment is at the service of music and not the other way around… it is useless to spend thousands of dollars in material, the most important is to use it well.

TGT: How best to be heard in the busy musicscape of 2019? Is it collaboration with well-regarded artists, aligning with known brands like Reggaeville, or unique content that matters the most? M: I think there is not one way that matters most today, but this is the multiplication of lots of little things that will move forward, and the main thing is to make good music that makes you vibrate! But it remains only 50% of the work… after you have to be on all social networks, interact with your fans, and participate in all interviews and concerts that you can. TGT: Much respect, and thanks for all the amazing music!

[thegroovethief]

#TGTfeature 010: Kālī [FatKidOnFire; Infernal Sounds: Denver, Colorado, USA] Stepping even deeper into the depths of dubstep following Radikal Guru, #TGTfeature 010 is with Denver’s own Kālī ! She’s playing this Thursday at The Black Box along with Juss B. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. After years spent hustling within the bass scene as DJ, promoter, and writer, Kālī is rapidly creating a name for herself due to her unique production style. We chatted about what brought her to Denver, her musical evolution and current studio mindset, as well as her namesake. A bit about Kālī: - Part of the burgeoning Colorado dubstep scene, known for her forward-thinking selections and tight mixing skills - Her remixes have been quickly snapped up by tastemaking labels FatKidOnFire and Infernal Sounds - Recently dropped full-length mixes for Sub FM, Elemental Arts, and Radar Radio

TGT: I grew up in Denver, so coming back here was a family decision for me and I didn’t really realize how crucial Denver was in America’s bass scene in the broader sense… but you moved here primarily for the music, right? Kālī: A solid mix between the music scene out here and starting a new chapter with Zach (Mesck) in a place that’s more aligned with how we like to live and the environment that we like to be around. In terms of music, there’s actually something happening here. I was living in Santa Barbara for five or six years and there was really no dubstep scene at all. It would be rare to find people that would be interested in dubstep, and when you’d make that connection it would just be like ‘oh my God, that’s amazing,’ but then there’s nothing to do with it. I still loved it, it kept getting deeper and deeper, but there was nowhere to play shows, no one for me to connect with – it’s just super stagnant. I’ve been DJing for, come this summer it’ll be seven years, I never could really put it anywhere and I couldn’t really share that with people – there was no community. The more I’ve gotten into it, like gotten serious with it, making music and wanting to dedicate time and energy and push myself in that direction, it became really apparent just how you need a community and you need those opportunities to play shows and have people hear you play and have people hear your music. And me coming from a long DJing background, it’s just as important to show people that you’re good at DJing – have sets that are a journey – know how to blend things, and lace everything together. I wanted that chance to play shows, it was that simple. And you want other people to validate your music as well. So to move from California to Denver, it was a decision between me and Zach – who’s my boyfriend – he’s in a place with his music, having lived in LA for so long, he was getting sick of it. The scene in LA, there were so opportunities, there were so many parties, but over the last few years, it’s definitely dwindled. And so we were both in a situation, in our own separate cities, our own lack of a dubstep community – at these pivotal places in our lives both separately and as a couple: me just starting to really get into producing, him wanting to have more time to dedicate, and just being in a community for both of us was really important. Above all else both of us wanting to start a new chapter together and build something in a place that was intentionally thought out: Denver, dubstep, The Black Box. We’d be going online, looking for houses, and we’d find a place we’d like and look at the address and we’d type The Black Box in on Google Maps before anything else!

TGT: Has Denver been what you’ve thought it would be? Kālī: Yeah! It’s really early to say, we’re still getting a rhythm, but so far so good. Coming from a scene, wishing I could play shows… Zach and I were in the U-Haul driving from Arizona to Utah to here, and I’m randomly talking to Nicole [Cacciavillano; sub.mission & The Black Box] while we’re in a hotel in Utah, just through Facebook, and she asks if we want to play that Youngsta show back-to-back, and it's like, I’m not even in the city and I’m already being asked to play and already being accepted and getting validated: it’s just really refreshing. I feel like as long as you’re passionate and have good intentions, and you’re doing things for the right reasons, people will pick up on that and they’ll want to support you – that’s the thing with Denver it seems that everyone just wants to support each other as long as they see that you have good intentions. I feel like that’s a big part of this new resurgence: people are not afraid to do crazy shit that years ago wouldn’t really be considered dubstep, but people are just down to be creative in the craziest ways. As long as it’s sick – and maybe you’ve never heard it before and you don’t why it’s sick – and it’s just like the weirdest, coolest thing you’ve ever heard but you’ve never heard anything like it… you’ll support it. People are just so supportive and open as long as there’s talent and passion. TGT: Your last few remixes kind of fit into that template: it is dubstep tempo-wise –– Kālī: tempo and bass –– but it’s not dubstep in that very traditional sparse sound… Kālī: Or like mid-range, or certain signature things… and I definitely trip myself out, because I’m still kind of new at producing and so I’m still trying to find my sound and figure out what works, what I like, what I don’t like. Sometimes I find myself wanting to make something “more dubstep” and then it’s not as detailed or developed as my other thoughts, and that’s because I’m not letting myself do my own things. And then I’ll just sit down and not have any preconceptions in my head and I’ll make something ten times cooler because I’m not putting this pressure. It can be so many things, it leaves so much for interpretation of what actually is. And that’s what I love about the sound, there’s so much room for interpretation and so many different sounds you could play. At the start of it, dubstep didn’t sound like anything else, so that was all new and refreshing, and now there’s a new and refreshing take on a genre that’s so different from any other: it just keeps pushing its limits and pushing its limits, just shape-shifting in so many ways. I think that’s really amazing, it encourages so much self-expression. The more well-received it is, the more people are just encouraged to be weird and themselves. As different and as crazy as people get with it, no one ever loses sight of the fact that it’s soundsystem music. If you don’t have sub bass, and it’s not 140, you don’t have dubstep. But everything else, do whatever the fuck you want, put in a million high hats: I don’t care, it doesn’t matter! To have that just be the only qualification, and then you can just go and run with it in any direction that speaks to you and you want to hear as an artist and put out there, it just leaves so much opportunity. Sub bass for the soundsystem, 140 just because that’s dubstep, and everything else: be you, do you, be creative. What do you want to hear, what do you think is sick… yeah, it’s cool in that way.

TGT: For your “Misdemeanor” remix, what were your goals for the track and how did that come together creatively? Kālī: I was actually doing a radio show, talking to Ashley Roth – Siren – about this last night. It literally just came out of the fact that I think Missy Elliot is so sick, and I was going down this weird rabbit hole of Youtube videos of like 90s hiphop and R&B at Zach’s house in LA, and then I stumbled upon that song. Then on the train back home, from LA to Santa Barbara, I started it, and it just started coming together. That song, I’m still getting my bearings producing-wise, but there’re definitely moments where a song I’m making just shoots things to the next level for me, ten steps ahead of anything I’ve made previously. “Misdemeanor” was the first song in my whole production journey that that happened to me… TGT: It’s got that magic to it! Kālī: Yeah, whatever it is. And it came together so quickly! You sit down, and hours later you have something and you don’t even remember what you did to get there. For whatever reason, that just came together. I think because I was just so excited to put down vocals – I look up to her so much, she just has this inventive badassness that is so her and has always stuck with me. I think I was just really excited to give her a proper treatment. I didn’t know how I was going to do it, I just wanted to do a remix, and then it just came together. TGT: And how did the FatKidOnFire release come together? Kālī: I had reached out to Olaf, I’ve been doing blog writing stuff for years now, so I’ve already been connected to these platforms, helping write for their releases and helping promote stuff. So I already have a decent amount of relationships built with these platforms, just through my writing. So I reached out to him, and I was like ‘I don’t know if you’d be interested, but I’m trying to put this out…’ and they were automatically down to do it, so I got it mastered – that’s the first tune I’ve ever had professionally mastered – I had Zach do the artwork for it and he killed it, and then it came together and it got way more plays than I ever thought it would! TGT: Within Hindu mythology, Kali is often misunderstood; what drew you to her, and what aspects of hers are you trying to channel with your music? Kālī: So, I came across that name, and that goddess, when I was in college taking just like a Hindu religious studies class. We were just learning gods, goddesses: the religion. And one day we were in lecture, talking about her, and she came up on the screen, all black with her tongue out. Learning about her, everything, holy shit she’s sick – I was by myself in lecture geeking out at how cool everything about her was, and how much I resonated with the dark aspect of her. But what really sold it for me, she’s dark but she’s not evil; but she could be misconstrued as evil or a menace or a demon; but she’s really not at all, she’s guiding people to let go of their egos and to understand themselves and not be afraid of life and certain things. That really resonated with me because dubstep can be seen as this evil thing, and people have told me ‘oh, don’t you have to be mad to make this music?’ and it’s like ‘not at all – no!’ For me it’s like I recognize that there is a darkness to people, they’ve been through things and have had experiences that are negative, but it’s helped shape them. And you don’t deny those experiences, you don’t forget that you had them but you make them a part of you, you grow from them, personal negative bumps in the road, learning experiences that you carry with you… and also what really resonated with me with her, is how she encourages you to let go of your ego and just see the truth in things. I want people to recognize and be comfortable in the darkness that they feel, and just like themselves and be accepting of that part of themselves. Darkness isn’t a bad thing, it’s just a part of life. It makes life whole and people who they are… it’s more an expression of the things that I like, and what I like to see artistically and what I hear out of music.

TGT: Has there been a direct connection between being a DJ, writer, and producer? Kālī: It’s been such a clear progression. I started really getting into this kind of music in the middle of high school, 2009, something like that. It just came from being a fan, like anyone else. You love the music and you want to listen to it constantly and go to shows and share the music and those experiences. That was in Pennsylvania, and then I went out to Santa Barbara for college. The first two years I was into the music in Pennsylvania, and the summer before I left for college I actually started DJing for the first time, because my friends got DJ equipment and so we were just all kind of fucking around and learning it at the same time. It just stuck with me, I just started DJing around with them, and then I moved to Santa Barbara and I had met a few people that were DJs around there, so I got connected with them. It was dubstep, but not nearly as concise and pinpointed as it is now: my taste was still very much bass-focused but still being molded. So I started DJing in Santa Barbara, and I had friends who let me borrow their old DJ equipment, put Traktor on my computer, taught me the basics. So I started in my dorm room on the desk, just making mixes and fostering that interest more and more and more. Then I started working with promotion companies that were throwing dubstep shows at the time, so I was selling tickets for them, working the doors, doing all that stuff, wristbands, trying to do anything to be involved, I just wanted to do it. I got involved in that way, and then I just kept DJing at parties, when I was old enough I was DJing downtown at bars, more hiphopy-dubstep – and my stuff is still kind of hiphop-influenced but in a much different way than it was back then. My sophomore year of college I started writing for EDMTunes, I got an internship with them, and I wrote and made connections; that’s when I did interviews, towards the end of me writing for them I really got super focused on the dubstep/bass music aspect of it. I did that for a few years with them and then got asked by Tony – who’s the talent buyer at Bassrush – who I’d met at Shambhala one year, and we just got along really well and just had a fun experience partying, and then a couple weeks after the festival he hit me up. That was right up my alley so I started writing for them, and that was dubstep-specific writing. I was still DJing and stuff, and then I moved from college to downtown Santa Barbara and became an adult [laughs] and then when I had my own place, was paying my own rent, had a job, all that stuff: this is the beginning of my adult life, what do I want to do? OK, I want to make music because I had promoted for shows, done the whole ticket thing, had been writing about shows, doing interviews with people, doing event promotion stuff for LA people, and I had my own blog at one time, too, just dubstep-focused blog – nothing was satisfying enough. It wasn’t close enough. I realized I wanted to be even closer. I’m still not close enough to this music I love, so that means I have to make it! It was that realization of this is what I want to do, I’m an adult, I have all this time, my life is starting, how do I want it to start, where do I want it to go, what’s going to make me happy, what’s going to get me even closer to the thing I love that I’m already close to, and that was just making music. So that’s that.

[thegroovethief]

#TGTfeature 007: DJ Shiftee [2x DMC World DJ Champion; Hot Mom USA: New York City, USA] Changing genres from the reggae vibes of community radio host Dr. StrangeDub , #TGTfeature 007 is with party-rocking turntablist DJ Shiftee ! He’s arriving in Denver, Colorado soon for a show at The Black Box plus a MasterClass at Mile High DJ Supply. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. Widely respected for his technical skills and inclusive musical mindset, DJ Shiftee has been hard at work behind the ones and twos for nearly two decades. We chatted about technology, how he approaches a MasterClass, what DMC has meant to him over the years, and of course, sandwiches. A bit about DJ Shiftee: - Winner of the 2009 DMC World DJ Finals and the 2007 DMC Battle for World Supremacy - Label boss of Hot Mom USA, which has released his own productions as well as work by Roska, Doctor Jeep, Wongo, and many more - As a music educator, he’s taught the art of DJing at New York University and Dubspot NYC

TGT: As your recent live performance video of “Preemee” shows, you’re no stranger to synthesizing modern DJ technology and traditional vinyl. DJ++ you call it, for machines and keyboards. How has the increase in technology impacted your performance style? S: In terms of techniques and things like that, every new addition of technology is just some other bag of tools that you can use to manipulate the sounds that you want to use. So the first thing I ended up adding was pads – I would start to do pad drumming and jumping around with cue points, and then recently I started adding the keyboard too. But because the technology is so interconnected, the idea of a DJ is so fluid, it could really be anything under the sun. And for me, what it’s meant, the more that I’ve sort of worked with all this extra gear, is that my gear more and more, has become a way for me to perform my own music. Also, as I’ve grown as a producer and I have more and more original music – rather than, even the turntables, Maschine, keys – rather than it be flip something or do a live remix, I’m sort of looking at it maybe like a band would, where I’m taking the gear and it’s a means to perform my songs. Production has led the performance, especially with that kind of mindset: I need these original songs to perform. And so, having more original songs – that’s the reason I’ve started the keyboard out sometimes, to play certain parts. As my focus has gone more and more towards production, and my production has grown, that’s sort of has led the performance to be focused more on my music. Still being a DJ, working often in the context of DJing, a lot of times my sets will be hybrid in that some times I’ll be performing a song of mine, some times I’ll be doing a live remix, some times I’ll just be playing tracks, some times I’ll be mixing, and so the hope and the goal is that all this can make for a dynamic and engaging set where there’s a lot of different types of things that happen throughout the set. TGT: Your press talks up the correlation between your background in mathematics and your success behind the turntables. Any examples? Should other DJs be hitting the math books? S: No [laughs], simply no. The only thing that’s a little similar is if you’re mapping things with modifiers, it’s sorta like, program-y. I’d say the main similarity for me with it is just being able to think about the same problem for many, many hours in a row, and not sleep. There’s a certain focus with both.

TGT: Education is clearly a key element of your approach to DJing and turntablism. Your “Turntable Tutorial” for The Specialist was particularly illuminating. What will you be focusing on at Mile High DJ Supply for your Feb. 3 Masterclass? S: Well, I have things I’m planning on talking about, but also, I’ll probably talk with the people who are there to see the kind of things they’re interested in… what I would normally do in this general catch-all DJ master class, is go through different examples of how to do more than just go from track A to track B, what are approaches that you can do in using the technology to advance your sets. Different ways to use cue points in mixing, in scratching, in beat juggling, different ways to use different modes of working with cue points; using mapping to get new options or using samples to get new options for you; and then if people are interested in it, I’ll probably talk about my new work flow, where I’m running Traktor and Ableton at the same time off the same laptop and running kind of like backing tracks that auto-load synths and things like that. But the general focus that I’m planning on is how to get beyond A-to-B DJing. My hope is, any style of DJ, any genre of DJ, this would be useful and helpful to you to. This is our only class for the tour, so I’m gonna talk, Jon1st’s gonna talk, and at the end we’ll have a jam session. TGT: How’s the Level Up Tour going? Have you worked with Jon1st before? What other DJs/producers are you enjoying right now? S: Part of it is we’re on the same booking agency, so Jon got his visa to come to America and we were trying to tour at the same time, but I do think it made a lot of sense. I’ve known Jon for a bunch of years and I like him a lot because he’s a turntablist, yes, but he’s also music-driven and he has a sound to him. And the way he approaches things is similar to the way I approach things in that the technique is in service of the music rather than the other way around. So it ended up being a very natural pairing.

There are many producers that I’m digging a lot just from like a fan side of things. Personally I’m in a very hiphop-mindset right now, taking this sort of electronic background and experience that I’ve had over the last whatever number of years, but filtering it through a hiphop lens and taking those sounds and working with vocalists and making rap songs basically. Some of the rappers I’ve been working with are TT The Artist; this kid from Brooklyn, Fly Kaison; Cakes Da Killer; a lot of New York-based up-and-coming vocalists on my end. And then producers I’ve been liking a lot, that sort of fit that kind of sound, say TroyBoi – his album is really cool, it’s sorta EDM/Timbaland; always The Neptunes, like that track “Lemon,” that’s pretty close to where my head is at, the kind of music I want to be making; Mr Carmack always; Salva; Great Dane. Hiphop bounce, hiphop vibe, but where the palette of sounds touches on other genres.

TGT: DMC – what has it meant to you over the years, and why is it still relevant in 2018? S: For me, for like 10 years, that’s all I cared about: doing battles and DMC, and trying to be the champion. That really consumed my life for many, many, many years. So that was the main creative discovery of my teenage years was finding my first DMC tape and seeing what the DJs did and having my mind kind of blown. The first tape I got was this tape called DMC Champions, it was a VHS tape, I got it in 2000, but it was of the champions of ’94 and before. So who was there? There was like DJ Rectangular, Steve D, an early Q-Bert was on it, I remember this dude Baby G was on it – but it was sorta like the more old-school kind of things. I also remember DJ David, he won in like ’91 and ’92, he had a very funky hay-scratch that was memorable to me. So seeing that, not even seeing the new stuff, and then starting to find the new stuff like A-Trak and Craze from the late ‘90s, those were also big influences. There’s always gonna be an interest and a place for skill-based DJing and technique and people who work on their craft and put in those hours. What’s kind of exciting, in a bunch of the recent battles - like the new champion Rena is 12. K-Swizz, he won the IDA, he’s super young, too. There’s this young dude Dwells in New York, who’s really good. There’s always gonna be relevance and interest, and then how much that translates into the broader context of music in terms of interest and excitement depends 1) on how dope the champions are 2) how easily accessible is all the content and everything on the internet, and 3) is the music that they’re doing and using and making – is it engaging? Because there’s just so much stuff on the internet, that I think the era of where you come up and you scratch an ‘ahhh’ sound and some breakbeats and stuff, I don’t think that necessarily is gonna catch someone’s attention in the modern internet/ADD era – everyone has access to like all the sounds that have ever been recorded. So the more and more turntablists themselves approach it like artists, where they’re trying to have a sound, to make everything sound objectively good while still having that technique, I think that’ll be what takes it into the new era. TGT: Sandwiches. Tell me more, and do you research cities when on tour, or… S: I am on tour very excited for – it doesn’t have to be a sandwich – whatever the dope food is of a city: I wanna eat, and I wanna go there. Even if it’s far away or expensive, that’s one of the main things I’m interested in: eating cool, good food from different places. TGT: Any final messages to the people of Denver? S: I’m really looking forward to Denver, it’s always been one of my favorite places to play, and I look at it as kind of the bass music capital of America, in no small part to Nicole from Sub.mission and The Black Box. Nicole, when I was coming out of DMC and doing more electronic-leaning music, she was one of the people to book me ever. And so, I always love playing in Denver, all of the crowds in Denver – and Nicole from The Black Box is the OG homie – so yeah, I’m looking forward to come there!

[thegroovethief]

#TGTfeature 005: MAS1A [Singapura Dub Club, The Irietones, Chiney Money: Singapore] After fully recovering from all the bass brought by Doctor Jeep, #TGTfeature 005 keeps that future-forward focus with a versatile and deadly rapper, singer, and artistic creator: MAS1A! This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. Known for her fierce flows as well as her irie vibes, MAS1A is currently based out of Singapore where she is reinventing the SE Asian cultural scene. She kindly took the time to discuss her many creative projects, current influences, and exactly why she founded a reggae club in Singapore. A bit about MAS1A: - Constantly evolving, she’s blown up the Canadian hiphop charts, cut heavy tracks with Bassnectar and ill.gates, and recorded at Tuff Gong studios… and that’s all before her arrival in Singapore - Her recent work includes solo performances, regular events by Singapura Dub Club, annual invite-only Dub Club gatherings (2016 on Gili Air was amazing, I assure you), as well as the design and manufacturing brand Chiney Money - Currently recording her upcoming album, Irie Guide to the Far Eastside

TGT: How did you first get into reggae-related music, and why has it become such an important part of your life? M: I was working in LA around 2013 as a ghost writer, writing pop and rap verses. One day I wanted a 180 change from Hollywood life. After remembering songs my brother had played for me growing up including Peter Tosh, Toots and Maytals and Black Uhuru I thought the best choice was a move to Jamaica. Spending so much time in Jamaica allowed me to really immerse myself in the culture and fall in love with all it’s positive aspects. I started as a hiphop emcee and it was witnessing live toasting and sound system culture in street parties from Kingston to Orange Hill. I learned a new level of performing, entertaining and challenging myself artistically through studying how confident and unapologetically unique all the artists were. I also related to the positive message, while starting to feel a bit jaded by the direction of popular hiphop’s waning message.

TGT: What's the relationship between your current projects – MAS1A, Singapura Dub Club, The Irietones, etc. – and how do you manage them all successfully? M: Singapura Dub Club is a reggae & island community I founded in Singapore. Initially it was therapy for me to deal with missing Jamaica and adapting to a new culture and lifestyle. The Singapura Dub Club has since grown into a recognized and monthly event here in Singapore and we are so proud to have brought many great dub and reggae performers to Singapore and the SE Asian market. The Irietones, was the first reggae band formed that I worked with in Singapore. We were fortunate to play many quality stages from Vietnam to HK Reggae & Ska festival, and spread more Singaporean Reggae vibes through out the region. The Irietones also played as a house band for Singapura Dub Club, backing up not just myself but reggae talents that have passed through. MAS1A is my artist name and how I release my new musical projects. I haven’t released a new LP in 3 years, as I have been developing the Singapura Dub Club. Only now, I am coming back to creating under MAS1A. I think as creatives the balance between what you do inside and out is critical. It is important to give back and create platforms greater than just yourself and that could help the culture that you love grow. My friend in Jamaica always give me this piece of advice: “Masia don’t give away your last.” So when I’m down to my last resources of energy to put on shows, I have to circulate and replenish myself by creating music, art and relationships again - in other words, live life before sharing something new. TGT: You've recently hosted UK jungle legend General Levy in Singapore (with Johnny Osbourne arriving soon!); how’d the show go, and what was the reception like from the local crowd?

 M: The show was mental, we had people around all around the world at the show as well as Singapore’s new and old reggae and d&b heads. Crowd went nuts - the General’s energy is INCREDIBLE! TGT: Related, what's the reggae scene like right now in Singapore? 
 M: It’s bubbling and growing in many exciting ways. You have sound systems like Lion Steppaz and our own Singapura Dub Club, growing. The Dancehall Dance scene is super lit, with teachers like Blacka Di Danca coming through and working with the community. SE Asian bands are reaching out to come play Singapore - so definitely blood circulating and looking forward to hear new reggae sounds, unique to SE Asia. TGT: Your work is certainly eclectic, and often shows influences from multiple genres within a single track. Which styles of music and artists are you particularly appreciating right now? M: Kendrick, Peter Tosh, Betty Davis, Sean P. Since I’m in NYC right now, I’ve also been revisiting Prince records. I can’t believe he’s gone.

TGT: You’re also known for your exciting live shows, like your NYE bashment set in Japan with XLII; any advice on how best to mash up a crowd on the road? 

M: XLII is a DJ that plays music for a very very high-energy crowd. We call it the XXX$$$ workout! I think it’s great to have levels as a performer - in your voice, in the stage placement, in dynamic to keep the crowd engaged. I think an important thing that toasting taught me is that the vibe when performing goes both ways, you feed the audience something, if they like it they will come back twice as loud. If they don’t understand, you can break it down into a rap, or singjay for them. You’re all riding a wave together, and when they feel what you feel on stage rockin’ that’s the good “mashup zone.”

TGT: You’re currently at work on a new album… what can you tell us about the project, and how does Richie Berreta’s experiences from Dub Spot educator to Beyonce remixer fit in with the sound of MAS1A? 

M: The new album is called An Irie Guide to the Far Eastside, and will be delivered in a pocket-sized guide book format – which will outline the good vibes places in SE Asia. The places you wouldn't find on Trip Advisor and Yelp. This will also give you an insight into the places I've gone that inspired the music and collaborators chosen for the record. Richie is this incredible musical genius, has mixed down many of Major Lazer’s records and produced some official remixes. I met with Richie to discuss the album before working with him, and I was thrilled that he understood the sound I wanted, as he ranges as a producer from hiphop and dancehall to roots reggae. All elements of production played live. Most of all what impressed me about Richie was his passion for music. He would go through 3 different guitars just to ensure he got the right sound. We have agreed on a genre we'd like to call “Reggae Prom,” a sweet and nostalgic side of reggae. Imagine the movie Pretty In Pink went reggae. Richie isn't producing the whole album. I have a few producers on it including Navigator (Kuala Lampur), Part2Style (Tokyo), C Infamous (Hong Kong) and Cookie Cartel (Vancouver, Canada). Richie is the executive producer to ensure everything has a synchronicity and flow. I want the album to be your soundtrack as you explore the Far Eastside. STAY LOCKED IN WITH MAS1A: MAS1A Facebook Soundcloud Singapura Dub Club The Irietones Image Credit: Jason G. Lewis

[thegroovethief]

#TGTfeature 001: Selector TangoKiloZulu [Rootikal Radio/Territory Sound: Stuttgart, Germany]

Very excited to kick-start a brand-new series here at TheGrooveThief.com! This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. For this debut 001 installment, we’ve got a Q&A with veteran DJ and MC TangoKiloZulu, aka TKZ, who’s continuing to move from strength to strength within the German music scene. Direct from Stuttgart, his most recent Rootikal Radioshow is included below, and do make sure to check out the full archive over on TKZ’s SoundCloud account!

A bit about Selector TangoKiloZulu:

- hosts the roots & dub sessions ROOTIKAL SESSIONS STUTTYARD at club Freund & Kupferstecher in the heart of Stuttgart City

- hosts his monthly online radio show ROOTIKAL RADIOSHOW, which is dedicated to heavy roots, steppers dub, and soundsystem culture

- part of the DJ duo called TERRITORY SOUND, which combines dancehall & reggae, dub, rap & trap, jungle, and contemporary bass music, always with a Caribbean vibe

- recently toured Japan in October 2016 with TERRITORY SOUND, playing several shows in Tokyo and Yokohama

TGT: How did you first get into reggae-related music, and why has it become such an important part of your life? TKZ: I always loved music and can’t imagine a life without it. Being a kid in the 80s you get in touch with Laid Back’s “Sunshine Reggae” or 10cc’s “Dreadlock Holiday” just because it runs on the radio as you drive around in the car with your mom. I kinda liked the sound, but being an 8-year-old, you don’t dig deeper. I can’t remember hearing any “real” foundation reggae in those days. As a teenager of course the first contact was the king – Bob Marley. His album Legend was full of crucial hits and even The Wailers were playing in a tent festival where some friends and I sneaked in. In my small town, where I grew up, this was the first time I saw, heard, and felt a live reggae band and it was a defining experience.

Throughout my teenage years I was a hardcore hip hop fan and rapper on my own. Wu-Tang Clan was the power. As the mid-90s UK jungle wave hit Germany, I was fascinated by the energy, the melodic basslines, and those cool and ruff ragga lyrical samples. I started to dig deeper and find the original foundation tunes where the samples came from. In the 2000s I was totally into hardcore Jamaican dancehall. Badman style, bashment style... the harder the better. I loved the patois and creative use of language, the energy, the reality... the raw outcry of the sufferers. I went to Jamaica twice (2005 and 2010) and visited some studios, dubplate sessions, festivals, and street dances... including Vybz Kartel’s birthday party, a few times people bottling artists off the stage, stampedes, and gunshots. Jamaica’s nice but also very ruff & tuff. But I loved it.

The older (and hopefully wiser) I got, the more I wanted to know where all this is coming from, where the origins are. Also dancehall changed and I couldn’t identify with the whack productions: too many auto-tune effects and often-stupid lyrics anymore. So I started to dive deeper and deeper into roots and then into dub and found a treasure. An enormous mass of tunes and artistes I never heard before but instantly got caught by the arrangements, the positive message and the bass!!! When I first heard and felt Jah Shaka play a session in London, where I was visiting a friend, that was it. That was exactly what I wanted... and I wanted to do something in that scene too. So I started the sessions and the radio show... out of passion and fascination and to share this with others who feel alike.

So black music, rap, soul, reggae, dancehall and now also roots and dub are important parts of me and the soundtrack of my life. I only play conscious music in my radio show because that is how I feel and try to live my life. And how, in my opinion, everybody could live their life. Without hate, no ignorance, no intolerance, no sexism, no gun and violence worship, no homophobia – just roots & culture, love, unity, and positive vibes mi seh! TGT: What's the relationship between your current projects, Rootikal Radio Show and Territory Sound System? And how are they each going? TKZ: They are totally different and independent. The Rootikal Sessions with my partners Uli & Elmar (from Sentinel Sound) have the same topic, style, and music as the Rootikal Radioshow, but I do the radio totally on my own. At the sessions however, we invite guests to play with us. Either other soundsystems and crews or other selectors such as Indica Dubs and Dougie Conscious - who both visited us this year - to have a tuff session.

Territory Sound is a totally different project, which I’ve run with my friend Thorsten W since three years ago. We play a combination of dancehall & reggae, dub, rap & trap, jungle, and contemporary bass music, always with a good Caribbean vibe. It’s more about [having a] party and playing in a club style. We play back-to-back and sometimes I grab the mic. We save all the money we get from the gigs and do a big trip from it once a year. We started in the USA (LA, Vegas, SF, and back) and after that came Rio de Janeiro and this year Japan. We try to make as many music-related experiences on those trips as possible. So we were on b-boy sessions in LA with DJ Nu-Mark, in the clubs of Rio with Tropkillaz, Digitaldubs, and Mad Professor, or playing some gigs in Tokyo and Yokohama with local sounds this October.

It’s cool, because I can live out all the different styles I love. I can play a Garnett Silk [track] that gives you goose bumps on a Rootikal Session, or a badass Bounty Killa trap-edit that kicks your ass when I play as Territory. Music has so many facets. Check out my Soundcloud to listen to the Radioshow and the Territory Mixtapes – then you know what moves me. TGT: So what was the reception from the Japanese audiences, and what did you learn from that experience? TKZ: I always traveled a lot and saw almost the whole world already. So I had an idea what to expect. However, we definitely learned that reggae is a global thing and that you can make friends easy if you share the love of music. We were very warmly welcomed and the Japanese soundmen really appreciated us to be there and contribute to the sessions. One was club music straight, from r&b to dancehall, and one was a real roots & culture dance, and the third one was a bashment party. So we could play the whole range of Territory’s styles. Japanese culture is so different from ours; it of course has some effect on the parties. Every gig was (in our opinion) overbooked. There were always 4 to 7 other DJs/crews on the lineup. This has not only the effect that everybody has less time to get into it and to connect with the massive, but also that some try to prove themselves and play the hardest Kartel tunes and scream into the mic, even if there are only three people on the floor. Bit strange for us, as we are used to do an easy warm-up and then build up a vibe slowly up to the climax. Cool [thing] was, that people came to us and asked us to play some German tunes, because they wanted to know how reggae from Germany sounds like. All in all it was a great experience and I can recommend visiting Japan. Beautiful country, beautiful people and incredibly great food! Traveling with music is great. I hope to get invited to some dances and sessions in other countries in the future. I’m ready and willing to come. If activists and promoters around the world read this and want to have me in their area, just e-mail me ;) TGT: What's the reggae scene like right now in Germany? I assume there's a lot more going on than just [my personal favs] Jahtari and the Ancient Astronauts... TKZ: Yeah of course, there is a scene with all sub-genres and stuff. The biggest thing reggae-related in Germany is still dancehall. And Stuttgart is the dancehall capital due to a long history of soundsystems here. Sentinel Sound, who even won the World Clash in 2005, and also Jugglerz play internationally on a very high level. But the golden years are over. Around 2004, Gentleman was big, reggae was running the radio, Selector Papa Noah and I played with David Rodigan in front of 1,500 people… no problem. This is not possible anymore. Reggae is underground again. Although every “normal” club DJ plays a little standard dancehall section in his sets and gets a good reception… it again has this nerdy touch to be in the reggae scene. And there is also an even smaller roots & culture scene and again a smaller dub community. When I do my Rootikal Sessions with a big guest from the UK, I’m happy if 180 people show up. You can’t make money from that… it’s a break-even thing. Last time I had a loss of €300 due to high flight, hotel, and other costs. But the smiles on the faces of the people who feel it is worth the work and effort.

To be honest I’m not too familiar with the German reggae & dancehall scene right now, because in my focus are the very good roots and dub productions coming from the UK, Italy, France, Spain, and so on. I’m so into dub these days and there are too many releases in the other sub-genres to have everything on the radar. I’m self-employed and run an event agency and have some very big clients, so I work a lot every day (10-14 hours is normal). Unfortunately this results in only a limited time to pay attention to music. TGT: The most recent radio show from December includes everything from roots and dubs to dancehall and steppers; which styles and artists are you particularly enjoying right now? TKZ: I’m a big fan of the Conscious Sounds and Vibronics releases and my last show features 4-5 Moonshine Records releases… they have a very good output. There’s also every time an Indica Dubs production on my playlist. They really do great works over there in the UK. I go to London once or twice a year to catch the vibe at sessions there. Notting Hill Carnival is madness! Up to 40 soundsystems string up in the streets, from Channel One over to Aba Shanti-I to some wicked jungle and grime crews. But if you really want to know, what music moves me, then just listen to my radio shows, they are all on Soundcloud. I only put in the show what I really like and always make a very careful selection. I often start with something around 80-150 tunes I explored or received per month. And then reduce and squeeze it down to around 40, which is approximately two hours per show. So this is the essence of what I have and dig for this particular month. This is sometimes really hard, because I also have to kick out great tunes that I would love my audience to know, due to time reasons. In fact, doing the selection is a bit of a pain in the ass and takes a lot of time for me to decide what to keep and what to kick. TGT: Any advice to younger selectors looking to develop an online radio show? TKZ: Search your feelings young Padawan. Try to find out what the music is and what it means for you and then try to find your own style. Don’t expect fame and money from it… you have to put in passion and work and receive good feedbacks, good vibes, and love in advance. Take a lot of care to make a harmonic selection so that people can just listen to the whole show in one flow and feel like they have been on a musical trip or journey. Deal with the music and its history. You can’t understand the present without knowing the past. You won’t understand Alkaline without knowing Dennis Brown. But most important: have fun doing it! And now… go make your homework and explore the foundation of the 60s, 70s, 80s, and 90s. The Internet nowadays makes this a lot easier for you than it was for me and other people, who are for some time in the scene already ;)

  STAY LOCKED IN WITH SELECTOR TANGOKILOZULU:

TKZ Soundcloud

Rootikal Radioshow Facebook

TKZ Facebook

Territory Sound Facebook