Monthly Archives: May 2010

Dubstep Dossier: Deadboy


Meet Deadboy, another Londonite successfully mining the sonic territory between dubstep and UK funky. Over just two EPs, Deadboy is forging ahead with a sound that joins the lush soundscapes of Joker and the pulsing grooves of Geeneus.

Deadboy’s U Cheated EP relies on insistent percussion, warm waves of synth, and vocal house loops. The tracks are infectious and bass heavy – big slabs of dark disco. The broken two-step rhythms of the crunkish “Brock Lee Riddim” and the catchy vocals of the title track come together on “If U Want Me,” a single released last month.

His recently released Cash Antics Vol. 1 continues to push the genre forward, taking mainstream R&B songs and turning them into purple people eaters. Deadboy applies different treatments to two tracks by R&B chanteuse Cassie. “Official Girl” becomes “Unofficial Girl,” leaving the vocals intact but injecting a funky rhythm and sweet and sour synthesizers into the mix. On “Long Way 2 Go,” Deadboy pitchshifts the vocals, drops the tempo, and sprinkles wobble all over the chorus. Different approaches, similarly enticing results.

The highlight of the EP, however, is Deadboy’s take on Ashanti’s “Way That I Love You” which becomes a true dubstep ballad. The original’s descending piano lines are replaced with shimmering chiptune synths, and once again, the vocals are altered to give the song more warmth. The result is moving, melancholy, and powerful.

The Verge: Ebony Bones

Welcome to The Verge: a column dedicated to music on the edge of a breakthrough. After profiling an artist determined to show her ass, TGRI’s Audio Anglophile goes back across the pond for some dance punk.


Santigold’s eponymous debut was the sound of 2008, a way forward for Afro-punk artists and a heavily remixed palette for underground DJs. But nearly halfway through 2010, we’re without even hints at a follow-up. Who will pick up the torch and run with it?

My money is on Ebony Bones, a twentysomething British singer-songwriter who released Bone of My Bones on UK label Sunday Best last year (Ms. Bones has yet to sign with a US distributor).

Ebony Bones takes the pop-focused songcraft of Santigold and mixes in dance punk melodies with rhythms that range from dubstep to tribal. The result is a contagious, energetic sound that is dark and mysterious.

Songs like “W.A.R.R.I.O.R.” and “We Know All About U” clap and stomp along, all the while adding layers of synth stabs and booming percussion. The same can be said of “Don’t Fart on My Heart,” a rumbling song whose tone is juxtaposed against its flippant chorus and title.


Lead single “The Muzik” is a a Rapture-esque romp that finds Ms. Bones belting out “all we have is each other / and the muzik / to keep us warm” over a disco beat. The way she spits out “why don’t you take off your socks when you give it to me?” is a snarling ode to the B-52s, and the video is a very-Millenial collaborative effort with her worldwide fan base.


Her contemporary influences are evident, but the record feels more organic than a straight-pastiche of Santigold, M.I.A., and Karen O. A notable exception is “Guess We’ll Always Have NY,” a mid-tempo ballad that cribs the drums and feel of the Yeah Yeah Yeah’s “Gold Lion.”

While she has yet to breakthrough stateside, her Gaga-friendly, performance art stylings will no doubt set her apart from a slew of peers. Her style is all neon dance party, and she should fit right in when she performs at DC9’s popular Liberation Dance Party on June 4th. That’s right – you’ll be able to catch two Verge artists in just over a week.