Category Archives: Music

Dubstep Dossier gives way to Future Grooves

After ten Dubstep Dossiers, this column was having an existential crisis. Since the first installment, I’ve noted how dubstep is constantly changing, mutating with the influence of other genres. With that in mind, I’ve always selected artists whose music can be accurately placed under the dubstep umbrella, even if it veers into other sounds. Still, I’ve often come across a musician and found myself asking, “is this dubstep enough?”

I don’t want to spend my time pigeonholing musicians. There is so much cross-pollination between the descendants of UK garage (dubstep, UK funky, grime, 2-step, bassline, et cetera) that it seems limiting and inaccurate to only write about “dubstep.” Especially when elements of dubstep itself continue to influence the experimental electronic music of artists like Flying Lotus, Hudson Mohawke, and Rustie. Wonky? Future beat? Glitch-hop? Who cares!

With all that in mind, Dubstep Dossier will be supplanted by Future Grooves, a column with the same goal of presenting cutting edge, bass heavy electronic music. No matter what you call it.

And so this post isn’t just words, enjoy Joy Orbison’s “Hyph Mngo.”

The Verge: Rat vs Possum

Welcome to The Verge: a column dedicated to music on the edge of a breakthrough. I spend a lot of column inches on bands and musicians from the UK but not nearly enough on artists from one of its former colonies.


Rat vs Possum is all about conflicting forces, from their name on down. The Australian act’s debut, Daughter of Sunshine, finds beauty in the chaos of juxtaposition. The seven songs are full of both hypnotic psychedelia and catchy pop. They click with electronic loops, but bounce along with acoustic melodies and vocal harmonies. And for all their complex layering, the lyrics are breathtakingly simple.

The album launches with a song that is prototypical of the entire effort. On “War,” a glitchy drum loop, simple chord progression, and dueling vocals bob and weave into a pastoral hymn: “I’ve been waiting for you to come home for so long / I’ve been waiting for you to come back, back from the war.” After meditating on the man-made, the band mixes the sounds of the jungle on an instrumental jam named just that.

As can be expected from an psych-art-pop collective, drugs just may be involved. “Pills” revolves around a sing-along of “I think I love you / but it just might be the pills.” Horns and keys sparkle during the breakdown, before things get confusing and the vocals start to collide like bad acid.

Rat vs Possum shows have involved copious amounts of glitter and bubble wrap. Hopefully they bring some of their art school magic stateside.

http://vimeo.com/4507004

Turn up and get down with the Munbreakton EP

Yes, TGRIOnline is now dropping moombahton daily. And why not? We’re just past the Summer Solstice and the time is right for the tropical tuneage.

Moombahton started as Dutch house, and now it’s going back home with Rotterdam’s Munchi (remember him?). Munchi and Charlotte’s DJ David Heartbreak have released the “Munbreakton EP,” six tracks that keep pushing the nascent genre forward.

Heartbreak and Munchi are at their best when crate-digging R&B and hip-hop and reworking it into smooth moombahton jams. “Sweet Tea” (named for the only thing the producers drank in the studio) adds a bit of baile funk to the instantly-recognizable melody and moans combo from LL’s “Doin’ It” for a bubbling hit. “Aponte o não,” pulling both from the Fugee’s classic “Ready or Not” and the Course remix of the same song, features a chill vibe perfect for whatever you’re sipping. And “Soltero y sin compromiso” is an ambient, swirling take on Lil Wayne’s “Single.”

Sonically, Munchi and Heartbreak bring new elements to the table. The synth in songs like “Pilulas Azuis e Brancos” (“Blue and white pills”) and “Boneknuckles” is raw, heavy, and unforgiving: siren calls to the dancefloor. Munchi utilizes the percussion of merengue and mambo in “Pero Que lo Que Mujer,” a no-brainer move that’s a perfect fit with moombahton.

The “Munbreakton EP” is the kind of release that keeps the developing moombahton sound exciting. “In my opinion, the possibilities with moombahton seem endless,” says Munchi. We have to agree.

Dubstep Dossier: B. Rich

Like most liquors, dubstep can be enjoyed on its own but really shines when combined with complimentary flavors.* While some producers choose R&B and B-more club mixers, others opt for electro and house. Pittsburgh’s B. Rich is one producer making such club-ready dubstep cocktails.

B. Rich (aka Barrett Richards) is another ex-club kid obsessed with bass. His tracks bounce with the non-stop beats of electro, the ravey synths and vocals of house, and the machine-gun wobble of dubstep. A song like “Killin It” on his Make Me Dance EP bangs with a best-of-all-worlds approach.

Lost among the superb remixes by Nadastrom and Dave Nada, B. Rich’s remix of Udachi’s “P-Funk Skank” is a fantastic 90s meets 00s take on the underground hit. And while he pulls from all types of EDM, hip-hop is also a defining characteristic of his sound. Just check the “Pop Bottles” sampling on the recently released “We Ball Harder.”

B. Rich has remixed and been remixed by A.C. Slater and the Trouble & Bass crew, who he’ll be joining tonight at U Hall for the T&B monthly basstravaganza. This hour-long promo mix, featuring previous Dubstep Dossier features Redlight and Doctor P, finds B. Rich moving all along the electronic music spectrum. So check the mix, grab a drink, and meet us on the dance floor.

* All alcohol-related inquiries should be handled by our friends the Edukatorz.

The Verge: Young Mammals

Welcome to The Verge: a column dedicated to music on the edge of a breakthrough. This (day late) post proves I’m not just stealing from the BBC. So there.


Down in Texas, Houston is a three hour drive from Austin. So while H-town is known for chopped and screwed hip-hop, it can’t help but be influenced by the city responsible for SXSW and Austin City Limits. That’s evident in the music of newcomers Young Mammals, a four-piece band whose debut album Carrots drops on Tuesday.

Carrots is full of atmospheric indie rock, in the vein of Broken Social Scene and the Flaming Lips. Pop melodies swirl with lush, reverb-heavy guitars. It’s noisy but not abrasive; a garage band melting in the summer heat. The music is frenetic and fun, just like their low-budget zombies-versus-band video for “Wires and Buttons.”

Many indie rock bands that oscillate between pop and noise reach too often for the latter. For the most part, Young Mammals strike a fair balance here. The songs average about three minutes long and don’t wear out their welcome; there’s enough drone to hook – but not drown – the listener. And except for the experimental “untitled” that closes the album, there is something for fans of straight-forward indie rock to latch onto during every song.

Young Mammals will rock out DC9 on Tuesday, with a solid and like-minded bill that includes Laughing Man, DEUTSCHMARKS, and Deleted Scenes. Don’t miss it!

Dubstep Dossier: Mensah

Dubstep is coming of age when our appetite for new music exceeds the output of our favorite musicians. As most producers forgo full-length albums for the drip drip drip of singles and EPs, the thirstiest fans seek out new music, carefully distinguishing oasis from mirage.


For fans of Bristol uber-producer Joker, newcomer Mensah appears to be the real thing. His Untitled Future Funk EP contains six heavy slabs of the purple-toned dubstep Joker is known for. Throughout the EP, melodic synth waves cascade over shuffling, two-step beats. Mensah’s toolbox isn’t limited to the staples of the sound, however. On “Rock City,” a grungy, distorted guitar riff collides head-on with a exotic synthlines. For a genre known for aggressive, mosh-pit sounds, the guitar is criminally underutilized by Mensah’s peers.

The simply-titled “Acid Dub” is the most dancefloor-ready cut. “Come with me,” it implores, down a rabbit hole of big beat and jungle, before opening up onto a vista of halftime house. The track is aggressive without being abrasive, a fine line that many dubsteppers have trouble walking.

While dubstep devotees wait for the next release from the enigmatic and elusive Joker, producers like Mensah are more than happy to develop the genre. So check out this sick mix that he put together for Disrupt on Inc. And remember, don’t fear the wobble.

The Verge: The Drums

Welcome to The Verge: a column dedicated to music on the edge of a breakthrough. For the record, I swear I’m not just copying this stuff from the BBC Sound of polls.


I really don’t want to the like the Drums. The last decade’s most regrettable alliteration is “Brooklyn blog buzz band.” Since the Strokes burst onto the scene, everyone has been on the lookout for four or five hipsters playing throwback tunes with a blasé attitude. When a new one arrives from that ever trendy borough, everyone is enthralled for the requisite 15 minutes, before discarding the band and moving onto the next one.

Are the Drums any different? On first glance, maybe not. They crib from the same post-punk and new wave standards as countless other Pitchfork-approved bands. Their videos even reach for the affected quirkiness of those of OK Go. So why bother?

Throughout their self-tited debut (released Tuesday), the Drums knock out relentlessly catchy, memorable songs, separating themselves from their peers. Jonathan Pierce’s vocals and lyrics are darkly romantic, owing much to Morrissey and the Smiths, especially on a crooner like “I Need Fun in My Life.” The album even kicks off with a Moz-like refrain: “You were my best friend / and then you died.”

Reverb-heavy guitars and bouncing bass lines are met with beats right out of the Joy Division playbook (except for those on “Me and the moon,” which I’m sure is an A-ha sample). Their influences are worn so firmly on their sleeves that I can’t imagine the band takes themselves too seriously. They aren’t Vampire Weekend, pretending they invented their style, but they aren’t She Wants Revenge either, ripping off 80s sounds in tongue-in-cheek fashion. Instead, the Drums present a pastiche that combines some of the best elements of familiar genres, without pretension.

And it’s fun summer music. I can see crowds bouncing and swaying along to these songs at outdoor concerts. Even a down-tempo ballad like “Down by the water” fills an essential role, providing the album’s lighters-in-the-air moment. But make no mistake, these songs are deceptively well-written, even if all they ask of the listener is to join them for a dip in familiar seas.

TGRIOnline x DJ A-Mac present… Culipandeo: The Moombahton Mixtape


Moombahton is perfect summer music. The chopped-and-screwed house elements and Latin percussion transport you to beach parties in tropical locales, complete with sand between your toes and a rum drink in your hand. But most of all, moombahton is built for that favorite summer pastime: dancing. With that in mind, TGRIOnline is pleased to present Culipandeo, a moombahton mix by rising selector and moombahton connoisseur DJ A-Mac.

Dave Nada and A-Mac have been 1A and 1B when it comes to the developing genre. A-Mac’s take on the Yeah Yeah Yeah’s “Heads Will Roll” was one of the first moombahton jams to catch fire, and the Calgary DJ continues to dominate the sound, dropping nine of his own edits on the mixtape. A-Mac’s skills don’t just lie in remixing, but in finding hot tracks and coaxing out a moombahton groove, as he does with the NROTB remix of Drop the Lime’s “Set Me Free” and the Highschool remix of Hot Chip’s “I Feel Better.”

The mix will keep you dancing for nearly an hour and hits the touchstones of the young genre. Tracks by the man himself (“KRS Moombahton Edit”, “La Gata Plastica”) are included for good measure, but the highlight just may be when Modjo’s “Lady” melts into Timbaland & Magoo’s “Drop.”

Call it what you will – el culipandeo, the booty shake, the hip roll – moombahton makes you dance. So cop it, crank it, and move it this summer! And be sure to show the DJ some love: find A-Mac on Facebook, Soundcloud, Myspace, and Twitter.

Download Culipandeo: The Moombahton Mixtape

Tracklist for Culipandeo: The Moombahton Mixtape

1. Opulent Sound – Stickin Moombahton Edit
2. Momma’s Boy vs MikiX the Cat – At Night **
3. Smalltown Romeo – Boom (Sammy Bananas Boombahton Mix)
4. Jacuzzi Club – Theme Riddim
5. Yeah Yeah Yeahs – Heads Will Roll **
6. Drop The Lime – Set Me Free (NROTB Carnival Remix) **
7. Dave Nada – KRS Moombahton Edit
8. Tom Deluxx Mat the Alien Moombahton Edit
9. Munchi – Metele Bellaco
10. N.A.S.A – Watchadoin (DJ Alvaro remix Uncle Jesse Moompatron Edit)
11. Hot Chip – I Feel Better (Highschool remix) **
12. Dave Nada – La Gata Plastica (Sabo Remix)
13. Dave Nada vs Dj Jean – MoombahLaunch **
14 . A-Mac – Hooo your crew
15. The XX – Crystalized (Lorcan Mak remix)**
16. Sabo & Cassady – La Curura
17. Mastiksoul ft. Carla Carlim – Baila Bonito **
18. Modjo – Lady **
19. Timbaland & Magoo – Drop **
20. DJ Dus – Pussy Marijuana Cumbow

** = A-Mac Moombahton Edit

How to Destroy Angels


The biggest question surrounding How to Destroy Angels is how the new project from Trent Reznor would differ from Nine Inch Nails. Even with former West Indian Girl frontwoman (and Reznor’s wife) Mariqueen Maandig on vocals, how far would the project veer from the sound, aesthetic, and attitude of the groundbreaking rock mainstay?

The band didn’t take long to start answering questions. After slowly dripping out teaser clips just over a month ago, the band has released it’s debut self-titled EP. How to Destroy Angels follows Reznor’s music-label-free distribution model: embrace the fact that music is essentially free, give the album away, and sell exclusive versions and premium material. However, it also follows Reznor’s recent musical endeavours.

Putting Nine Inch Nails on the backburner after nearly 20 years was supposed to give Reznor a chance to experiment with music that would not fit under the NIN banner. HTDA flows logically from Year Zero and The Slip, but it doesn’t break new sonic ground.

As a diehard fan of Nine Inch Nails, I will happily and eagerly devour new material from Reznor. Still, I can’t help feeling that this is a missed opportunity, especially with so many exciting trends in electronic music. Reznor owes much of his success to drawing on underground influences and giving them a mainstream shine (Skinny Puppy’s “Dig It” became “Down In It,” for example). I can just imagine the results if Reznor decided to make some Burial-style dubstep or Salem-ish drag music. Unfortunately, nothing on the EP would feel out of place in the recent Nine Inch Nails discography.

On its own merits, HTDA is worth the download (and not just because it’s free). The somber atmospherics of a song like “A Drowning” reveal more layers on each listen, and the four-on-floor attack of “Fur Lined” is as aggressive and sexy as ever. “The Space in Between” is accompanied by a grim video that finds Reznor continuing to push the envelope. So even if the answer is the easy one, we’re lucky that Trent is still answering questions.

Dubstep Dossier: Benga

Dubstep is a genre defined by bass. So what happens when a dubstep producer adds other bass-centric music – like Baltimore club – to the mix?


Seminal dubstep producer Benga‘s latest EP, Phaze One, does just that, laying down eight Bristol-meets-Baltimore bangers. Benga (real name Benga Adejumo) has been producing tracks since 2002, when grime first evolved into dubstep. His Diary of an Afro Warrior is a genre-defining record, full of stuttering two-step beats, ominous synths, and of course, heavy doses of stomach churning wobble. His breakout track was 2007’s dubstep anthem “Night,” a collaboration with fellow dubstepper Coki.


For fans of his earlier work, Phaze One does not disappoint. Most of the tracks cover familiar bro-step territory, like the grimey “eyeTunes” and “Your Band (Descending).” Even “Rock Music,” which starts with uncharacteristic timpani and strings, devolves into an abrasive grinder. But the most surprising tracks are where Benga play outside of his usual sandbox.

The EP is bookended by two tracks that would feel right at home in Baltimore. The succinctly titled “Baltimore Clap” combines a steady beat with a rising synth-line and some pulsing sub-bass. “No Bra, No Panties” may be the better combination of styles, with it’s airhorn-versus-sawtooth melody and lyrics that consist of “No bra / no panties / you playin’ yourself.” This one is definitely ready for the club, whether you’re in Bristol or Baltimore. And remember, don’t fear the wobble.