Category Archives: Music

Future Grooves: xxxy

Posted on March 17, 2011 | Leave a comment

I changed the name of this column from Dubstep Dossier to Future Grooves when the old moniker simply didn’t do justice to the evolving underground electronic music scene. Similar name changes and re-branding lets artists establish new identities and foray into new sounds.

xxxy is Rupert Taylor, who previously released straight-forward dubstep as Forensix(mcr). Early buzz for singles “Reflections” and “Science Fiction” earned him a spot on last year’s essential Elevator Music. The compilation, by quintessential club/label Fabric, curates the strand of mutated dubstep (future garage?) that xxxy and his peers excel at. His contribution to the mix, “Sing With Us,” is deep and funky, with blasts of jazzy live drums.

[wpaudio url=”/wp-content/uploads/2011/03/xxxy_sing.mp3″ text=”XXXY – Sing With Us” dl=0]

The title of his Every Step Forward EP was instructive; with every step into this developing sound, xxxy becomes stronger, with his productions more staggering and immersive. Each additional layer is a new adventure, without weighing down the groove. “This Much” and “Just For Me” tweak vocal samples into percussion, a tactic he has perfected on his new single, the sweltering “You Always Start It.”

The flipside to “You Always Start It” is “Ordinary Things,” a rhythm and bass tune powered by a four-on-the-floor house beat and arpeggiated synth chords. It’s no surprise that Pitchfork tagged the relentless track as Best New Music.


As dubstep gives way to future garage, we’ll need new ways to name and describe it. Along the way, we’re sure to encounter new names for old faces. xxxy is definitely one to look for.

Download: Exclusive mix for Urb.com

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The Verge: Cubic Zirconia

Posted on March 16, 2011 | 2 comments

Despite their name, there is nothing fake about Cubic Zirconia (I couldn’t resist the wordplay). Comprised of veterans Tiombe Lockhart, Nick Hook, Daud Sturdivant, and Justin Tyson, Cubic Zirconia calls their music “ethnic disco.” Think acid house rhythms, R&B melodies, booty bass and electroclash lyrics.

Everything the band has released so far is a hypnotic mix of sex and swagger. Tiombe croons with the sultry warble of Erykah Badu, Andre 3000 and Blaqstarr, and fans of all three will find something to like in these left-field club tracks. The title of “Hoes Come Out at Night” tells you everything you need to know, and the breakdown of “Josephine” is confrontational yet catchy: “I’m leaving the club / stayed away from the yay’ / I don’t need any sleep / because my man’s not gay.” The videos for both mix hip-hop imagery with equal doses of Goddess worship and exploitation flair.

Cubic Zirconia exists in their own dark disco universe, and remixes of their tracks (which outnumber original numbers) are with like-minded beatmakers: Egyptrixx, Bok Bok, Dam-Funk, and DJ Sega (among others) all offer remixes that cross-pollinate their own styles with the originals. Ikonika tightens up the funky low-end on her version of “Hoes Come Out At Night.”

[wpaudio url=”wp-content/uploads/2011/03/Hoes Come Out at Night (Ikonika Remix).mp3″ text=”Cubic Zirconia – Hoes Come Out At Night (Ikonika Remix)”]

I was one of the lucky few to catch the band’s Sunday night gig at U Hall. If disappointed at the small crowd, the band didn’t reveal it: they banged through almost an hour of material, building a groove only hinted at on record. Tyson’s drumming is unmatched, and Hook and Sturdivant play a range of instruments with skill. And Lockhart is a frontwoman in the purest sense (not even letting a little wardrobe malfunction throw her off).

The band is readying a debut album and inking a deal with a similarly named record label (just think about it). In the meantime, download their free “Ready to Slide EP,” which features a cover of Kid Cudi’s “Maker Her Say” and a flip of “Moments in Love” by Art of Noise. This band is the real thing; the next time they play DC, it won’t be for a dozen of us.

Download: Cubic Zirconia – Ready to Slide EP

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The new R&B: Rhythm and bass

Posted on March 15, 2011 | Leave a comment

Each successive generation of musicians brings its own group of influences to the table. For a rising group of electronic music producers, this means mining the catalog of turn-of-the-century R&B in the service of soulful, hook-laden dubstep, funky and bass tracks. Producers like Timbaland and Magoo loom as large as Burial and Joker for these twentysomething DJs, and for good reason: their groundbreaking R&B dominated the charts for the better part of these producers’ formative years.

Last year, I profiled Deadboy, whose limited catalog is already filled with reworkings of familiar R&B tracks. Along with takes on songs by Cassie and Ashanti, his latest is a “slo-mo house edit” of the downtempo Drake / Alicia Keys jam “Fireworks.” Deadboy’s is an improvement on the original, as he pitches up Keys’ chorus and drops Drake’s pedestrian verses. His remix of the Burial-produced “Night Air,” by UK crooner Jamie Woon, adds a funky beat and soaring synths; he also can’t resist chopping up Woon’s vocals in the chorus.

[wpaudio url=”/wp-content/uploads/2011/03/fireworks.mp3″ text=”Drake – Fireworks (Deadboy Slo-mo House Edit)” dl=0]
[wpaudio url=”/wp-content/uploads/2011/03/night_air.mp3″ text=”Jamie Woon – Night Air (Deadboy Remix)”]

Meanwhile, Future Grooves featuree Kavsrave has been dabbling with the soulful side luvstep. His Numbers EP Quotes features the surging bass of the dubstep derivative, with samples similar to those utilized by Deadboy. His as-of-yet unreleased “Deluded” flips the chorus of “Replacement Girl,” pitchshifting the vocals and seemingly changing the gender of singer Trey Songz.

[wpaudio url=”/wp-content/uploads/2011/03/deluded.mp3″ text=”Kavsrave – Deluded” dl=0]

For fans of the critically-acclaimed James Blake, the R&B underpinnings of his self-titled debut are more obscured than on his earlier work. The dizzying “CMYK” relied on processed samples of Kelis and Aaliyah: hints of nostalgia in an otherwise forward-thinking song. It should be no surprise that Harmonimix, who crafted a jazzy, chiptune remix of “Bills Bills Bills,” was eventually revealed to be Blake: the 1999 hit would have been ubiquitous for the 22-year-old.

[wpaudio url=”/wp-content/uploads/2011/03/CMYK.mp3″ text=”James Blake – CMYK” dl=0]

The latest Luvstep mix by Flufftronix and Dirty South Joe shined a spotlight on many of these producers, including Submerse and Psychonaught. Psychonaught’s “super tweaked RnB resteps” of tunes like “Nasty Girl” and “Birthday Sex” are available for free.

The greatest discovery off Luvstep 2, however, is Two Inch Punch. TIP is a self-described “frustrated Soul / RnB singer” who produces grooves with influences that go even deeper than his contemporaries. The shimmering “Love You Up” and “Luv Luv” will be self-released on April 4 in the UK.



The largely UK-driven explosion of bass music has been a Godsend for an electronic music scene at the tail of the electro movement. For EDM fans who came of age when R&B dominated the airwaves, this new form of R&B – rhythm and bass – is a welcome mix of nostalgia and modernism.

Bonus: When they’re not putting out tropical bass, Nguzunguzu has gotten into the R&B fun, as well. They turned Ciara’s “Deuces” into Baltimore club, and their recent “Perfect Lullaby” mix for DIS Magazine launches with a remix of the classic “The Boy is Mine.” The entire mix is worth a listen:

MP3: NGUZUNGUZU – The Perfect Lullaby Mixtape (via DIS Magazine)

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TV theme song classics (90s edition)

Posted on March 14, 2011 | 1 comment

With the news that Nickelodeon will be re-airing classic 90s shows like Clarissa Explains It All and The Adventures of Pete and Pete, I’ve decided to take another look/listen at some of the television theme songs that defined Millennial childhoods.

Polaris – Hey Sandy (The Adventures of Pete and Pete)

Polaris, a side-project of college rock band Miracle Legion, were basically the house band for the surreal Nickelodeon dramedy, performing much of the show’s original music. “Hey Sandy” is a jangly, pre-grunge tune that may actually be about the Kent State shootings (what!). Pete and Pete is also notable for its famous guest stars, most of whom were not so notable to your 10-year-old self, like Iggy Pop, Debbie Harry, LL Cool J, and Michael Stipe.

The Presidents of the USA – Cleveland Rocks (The Drew Carey Show)

In the third season, the Drew Carey Show featured a new theme song: a cover of Ian Hunter’s 1979 “Cleveland Rocks.” While more famous for songs like “Peaches,” “Lump,” and their cover of “Video Killed the Radio Star,” the PUSA bring their usual post-grunge spin to the anthemic classic.

Rachel Sweet – Theme to Clarissa Explains It All (Clarissa Explains It All)

Rachel Sweet had a bit of a pop career in the 80s before retiring from the music business, and she also composed this totally 90s theme song classic. The nonsense vocal samples – “na na na,” “way cool,” “all right all right,” “just do it” – sound like Casio keyboard samples. That didn’t stop it from defining the early 90s for most of our cohort.

Splendora – You’re Standing on My Neck (Daria)

As Nickelodeon fans grew up, they found a welcoming home at MTV. If Clarissa was more sarcastic, she’d be Daria. The show, originally a spin-off from Beavis and Butthead, far surpassed its sophomoric origins and became the biting high school satire that still holds up today. Splendora might have peaked with this song, but they’ll live on in the hearts of Generation Y cynics forever.

[wpaudio url=”/wp-content/uploads/2011/03/Splendora-Youre-Standing-On-My-Neck.mp3″ text=”Splendora – You’re Standing On My Neck” dl=”0″]

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Clockwork celebrates one year anniversary

Posted on March 11, 2011 | 1 comment

Last fall, Will Eastman’s Bliss Dance Party hit the decade mark. Tomorrow night, the Nouveau Riche crew celebrates their fifth anniversary, at U Hall. And tonight, a burgeoning DC dance night turns one year old.

Clockwork, the monthly dance party thrown by DJs Ratt Moze, Chris Nitti and Philip Goyette at the Rock and Roll Hotel, hosts an all-star cast of DJs, including Brick Bandits DJ Sega and Tim Dolla. Rounding out the line-up are DJs Blastercase (Baltimore), Will Power (LA), and Cold Case (DC) for what should be a great night at the H Street anchor. I’ve been to quite a few Clockworks (including a false start at the Red & Black), so I took this opportunity to speak with Ratt Moze (government name Matt Rose) about tonight’s party.

Clockwork has a symbiotic relationship with the Rock and Roll Hotel’s growth as a weekend dance party destination. Rose credits this, in part, to the Hotel’s upstairs renovations, including a more accessible and visible DJ booth: “I think any DJ would agree seeing your crowd face to face makes a huge difference in how you play out your set.” The party has also benefited from its hosts settling into their musical grooves, putting a premium on diversity of songs and styles. Still, while the H Street explosion has been a net positive, he’s weary of it turning into Adams Morgan: “There are only so many times I can handle being asked to play Rihanna in one night.”

While a live performance from Libby of Baltimore’s Lazerbitch was stellar, Rock and Roll is moving away from live performances upstairs. The Clockwork boys will have to settle for guest DJs, including the Dirty Sweaty Nasty kids from Virginia (in April) and Jerome Baker III & Stereofaith (in May). Rose would love to see Scottie B on the bill, as well.

Tonight’s club music centric bill is a step towards that goal, but the lack of Baltimore club nights in DC is a sore subject for Rose: “I love Baltimore Club music so much, and to see the way it has been tossed to the side locally is disappointing.” He thinks it will take more than club music masters like Dave Nada and DJ Sega to keep it alive; the return of Low Budget and Jonny Blaze are bright signs on the landscape. But Rose puts the genre on the back of one man: “The beating heart of Baltimore Club music’s survival is James Nasty,” says Rose, who finds Nasty’s production and touring “unmatched” by his peers.

There is a lot going on tonight (and every Friday night), but meme-fanatic Rose has an elevator pitch for tonight’s Clockwork: “the atmosphere and music will make you feel like this.”

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Future Grooves: Cedaa

Posted on March 10, 2011 | Leave a comment

The emergence of footwork and juke is giving a new generation of producers a different sonic palette to play with, much like Baltimore club has for the past decade. Chicago can no longer contain the hypnotic, staccato sounds of juke, and it’s infiltrating dance music worldwide.

Cedaa, a twenty-year-old producer from Washington state, fuses juke to the seductive hybrid of funky-house-bass made by the Night Slugs crew (think Girl Unit). His tunes mix the frenetic, unpredictable energy of juke with the syrupy melody of the London scene.

Cedaa’s Old Growth EP is straight-forward juke, with it’s paranoia-inducing loops and samples; “Escalade” is a standout. His first single, “Tiffany,” features Miami bass shout-outs, while the B-side “Simba” cascades melody over a two-step beat.

Like other emerging producers his age (ahem, James Blake), Cedaa’s fondness for turn-of-the-century R&B shows. He flipped Justin Timberlake’s “Cry Me A River” into a white label called “Justine,” which makes an appearance in Girl Unit’s XL8R mix. Similarly, his remix of “Are You That Somebody” updates the Aaliyah-Timbaland classic into a pulsing, grooving dance track.

Cedaa is prepping an EP for French label B.YRSLF division, along with working on a collaboration with Brenmar called Amber. Grab a free track from his collaboration with Barrius, and keep an eye on this young producer.

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The Verge: Childish Gambino

Posted on March 9, 2011 | 1 comment

Hip-hop artists are constantly preoccupied with respect, with being taken seriously. In the case of Childish Gambino, this drive is even more prominent, thanks to his day job.

Childish Gambino is 27-year-old Donald Glover, currently of NBC’s Community and formerly a 30 Rock writer. While he chose his pseudonym (with the help of a Wu Tang name generator) to distinguish his rap game from his comedy one, his “childish” moniker has the opposite effect: I assumed it was a comedy-rap hybrid. Especially since this is all I had seen of his rapping:


But while Childish Gambino uses his considerable writing skill on behalf of sharp ad-libs and funny punchlines, this isn’t joke rap. With a staccato flow that owes much to Lil’ Wayne and Kanye, his closest comparison is Drake: there’s the TV background, obviously, and he sings his own hooks. The complete package, he also is pretty skilled behind the boards.

After a series of gimmick-based tapes, Gambino released the two-part I Am Just A Rapper tape, which found him rapping over indie tracks a la Chiddy Bang. The talent was evident, but rapping over Yeasayer and The Very Best worked better on paper: it seemed like a ploy to establish indie cred.

Gambino found his voice on last year’s Culdesac tape. His frequent topics, like Drake, are dealing with preternatural fame and wealth, separating real friends from hangers-on, and (of course) girls. While the limited scope of his lyrics gets a little tedious at 15 songs, the varied production and styles redeems the tape.

Like Kanye, his self-awareness is charming. Of his audience, he raps, “Crowd at my shows more mixed than Rashida Jones,” on “Difference.” He opens his new EP with a similar refrain, about his positioning between two separate but converging scenes: “Hard for a Pitchfork, soft for a Roc-a-fella.” “Freaks and Geeks” is the stand-out, with a “Power”-like beat and energetic verses that are brimming with references (“In the back of the bush, like Gavin Rossdale’s drummer”).

http://vimeo.com/20374589

What does the future hold for Childish Gambino? The path forged by multi-talented artists like Jamie Foxx and Drake is very real, even if establishing legitimacy in different arenas is difficult. Glover will host the MTVu Woodie Awards on March 16, and tickets are selling fast for his “I Am Donald” tour (his May 8th gig at the Black Cat is already sold-out). Childish Gambino is ready to be taken seriously.

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EP Roundup: Torro Torro, Deathface and Toy Selectah

Posted on March 8, 2011 | Leave a comment

Happy Fat Tuesday! Most of us are not in New Orleans for Mardi Gras, so what better way to celebrate the gluttonous (and hedonistic) day than with three new releases from leading labels? Here are some beads: show us your EPs.

Torro Torro – Blue Blouse (T&A Records)

The Toronto-based duo drops an early-2011 anthem: a slab of electro-house goodness, with throwback synth stabs and an addictive sample. The EP features remixes from top producers, who ably capture the spirit of the original without suffocating it. Zombies for Money give the song the tribal treatment and sharpen the edges on the synths (similar to their take on Steve Starks’ “Git Em”). The standout is the ultra-deep, super-funky remix by T&A’s own DJ Ayres.

Deathface – Fall of Man (Trouble & Bass)

Forget bro step. The hardest, most unforgiving sounds in the bass world come from Deathface. Claiming inspiration from influences as diverse as 90s hardcore and Magic the Gathering, Deathface’s follow-up to The Horror is simply brutal – what Al Jourgensen would be making if he was born in the 80s. The EP kicks off with the acid rave of “Bloodrave” and the surging “Fall of Man.” Offered with vocals and as dubs, “Gift of Fury” and “Sick of It” feature new member Adri Law (think Crystal Castles’ Alice Glass) who screeches over the unrelenting tracks.

Toy Selectah – Mex Machine (Mad Decent)

Toy Selectah was making global bass before it was cool (well, cool for bloghaus EDM fans). This Mad Decent EP features eight tracks over a range of sounds, from cumbia to tribal guarachero. Highlights are the jukey raverton of “La Ravertona” and Sheeqo Beat’s 3BallMTY remix of “Sonidero Compay.” The mini-mix is a good taste, but you’re going to want the full entree.

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What a difference a year makes: Dum Dum Girls in concert

Posted on March 7, 2011 | Leave a comment

A little less than a year after playing at DC9, Sub Pop all-stars Dum Dum Girls took the stage at the Black Cat. While the only new material the band released between then and now is the stellar He Gets Me High EP, 2011’s performance was head-and-shoulders above 2011’s.

(Photos courtesy Matt Dunn; from 2010 and 2011, respectively)

Fear not: the band’s trademark “blissed-out buzzsaw” is still firmly in place. Dum Dum Girls still look and sound like a time-shifted 60s girl group. But a year of performing as a unit has streamlined their set, tightened their harmonies, and enriched the band’s performance.

Last year’s show was so stoic and reserved that the band seemed uninterested in performing. There is definitely a greater sense of urgency this time around, even as the four piece maintains an air of (ironic?) detachment.

The development of the live show mirrors that of the band, from its impetus as Kristin “Dee Dee” Gundred’s bedroom project to full-fledged touring outfit. Along with their Ramonesque monikers and stylized stagedress, the bandmates share “Dum Dum” tattoos on their fingers; they’ve clearly bought-in to the Dum Dum Girls concept.

On Sunday night, the band hit the touchstones of their early records (“Catholicked,” “Hey Sis”), standouts from I Will Be (“Jail La La,” “Everybody’s Out”), and their newest material, which samples from their entire palette. Off the EP, the rollicking surf-drums of “Wrong Feels Right” places it somewhere between “He Gets Me High” and “Take Care of My Baby.” The former is the musical sequel to “Bhang Bhang, I’m a Burnout,” and the latter is a lovelorn ballad that resembles the slow dance of “Rest of Our Lives.”

The highlight, judging by the crowd reaction, is their version of “There Is A Light That Never Goes Out,” a spot-on update of the Smith’s classic that surpasses their muted covers of the Stones’ “Play With Fire” and Sonny and Cher’s “Baby Don’t Go.”

[wpaudio url=”/wp-content/uploads/2011/03/dum_dum_girls_light.mp3″ text=”Dum Dum Girls – There Is A Light That Never Goes Out” dl=0]

With a music scene that constantly spits out one-and-done performers, we often forget the treat of watching a band develop over albums, concerts and years. The nostalgia of the Dum Dum Girls isn’t just focused on the music of the past, but on that timeless experience of seeing a band grow and making them your own.

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Future Grooves: Untold

Posted on March 4, 2011 | Leave a comment

It’s been a few years since the reclusive Burial altered the course of dubstep with his ambient, sinister tunes. While many producers cite Burial among their influences, Untold just may be the one that carries the torch.

Untold is Jack Dunning, yet another Londoner experimenting at the outer edges of dubstep, garage, and house music. He has released music on venerable electronic labels Hessle Audio, R&S, and Soul Jazz, along with his own label, Hemlock. 2008’s Kingdom EP set the marker for his sound, with gurgling bass, off-kilter rhythms and tones that suggest mystery and an enticing uneasiness.

The title of his follow-up to Kingdom, Gonna Work Out Fine, doesn’t lie. Building on his dubstep bona fides, Untold introduced elements from UK funky and Chicago house, crafting songs for the dancefloor (as long as that dancefloor was in some dark, secluded warehouse). “No One Likes a Smart-Arse” and “Don’t Know. Don’t Care” have the synth stabs and crystal-clear piano melodies of a 90s rave, but the unforgiving bass of the aughts.

[wpaudio url=”/wp-content/uploads/2011/03/untold-dont-know.mp3″ text=”Untold – Don’t Know. Don’t Care” dl=0]

Untold’s sound is a constant work in progress, and he’s unafraid to stray from the dubstep orthodoxies of his early work. He released the exotic “Myth” with funky-king Roska, and he even ventured into tribal guarachero with last year’s “Anaconda.” And in a surprising turn, he remixed Ke$ha’s unavoidable hit “Tik Tok” into something surging and dark.

[wpaudio url=”/wp-content/uploads/2011/03/untold-anaconda.mp3″ text=”Untold – Anaconda” dl=0]
[wpaudio url=”/wp-content/uploads/2011/03/untold-tik-tok-remix.mp3″ text=”Ke$ha – Tik Tok (Untold Remix)” dl=0]

While Girl Unit’s “Wut” may be the biggest tune of 2010, Untold’s “Stereo Freeze” is a strong runner-up. The colliding bits of juke, club and dubstep are an unrelenting, otherworldly experience – exactly what we can expect from Untold now and in the future.

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