Serious Saturdays: Taking It Back With Toddla T

Toddla T is on top of the world. In the last couple of years, he’s obtained both a slot on BBC Radio 1’s In DJs We Trust and a residency at Fabric. So what’s behind Toddla T’s meteoric rise?

Let’s start at the beginning. Toddla T is Tom Bell, a 26-year old from Sheffield, a city in England that has contributed to everything from industrial (Cabaret Voltaire) to new wave (The Human League) to post-punk revival (Artic Monkeys). The Steel City has also been important to electronic music, as the home of the groundbreaking Warp Records and the birthplace of bassline. With that rich musical background in mind, Toddla T’s globe-trotting sound makes a lot more sense.

His stage name is a tribute to his early start: DJing in Sheffield clubs since 14, Toddla focused on music full-time at 16. Originally into hip-hop, he didn’t even like electronic music until going to parties run by Sheffield DJs Winston Hazel and Pipes. Techno, house, and especially dancehall would become the calling cards of Toddla’s sound.

Since 2008s much-hyped mixtape Ghettoblaster #1, Toddla’s mix of dancehall riddims, jump-up rave accents, and wiggly bass has filled playlists across the world. His unique style is on full display on his 2009 debut record, Skanky Skanky, especially on single “Shake It,” where MC Serocee commands the listener to “shake it, shake it / get naked, naked.”

Toddla T kept things moving in 2010, with the hands-in-the-air “Sky Surfing,” featuring vocalist Wayne Marshall. The video for the song shows Toddla’s fun-loving irreverence – a key to what separates him from his more dour counterparts in the bass world.

Toddla has remixed songs by artists as diverse as Hot Chip, Roots Manuva, and Ladyhawke. His finest moment, however, was giving the high-energy treatment to Gyptian‘s reggae anthem “Hold You,” with a little help from Double D on the mic.

His latest album, Watch Me Dance, is Toddla T at his most eclectic. There are plenty of the riddim-and-bass bangers that he’s known for, along with new experiments like the disco-funk title track and the Timbaland-influenced R&B of “Body Good.” The track that you’ll be playing on repeat, though, is the rave-throwback “Take It Back.” Like all of his songs, “Take It Back” is a feel-good jam designed for the dance floor.

Originally posted on the Mishka Bloglin.

Ready for the weekend #23

This weekend, pour one out for July, as summer is that much closer to ending. Make it count!

“Summer’s Twilight” by Eyvind Earle, via FFFFOUND.

The Plan

The Soundtrack

Did you see Brenmar‘s rhythm and bass set at last night’s Trouble and Bass? If you said “yes,” you’re probably a liar; after Wednesday’s Moombahton Massive, the U Hall audience was on the mend, not the dance floor. Right that wrong by bumping his latest mix, a collection of straight-up R&B jams for Dummy Mag.

Download: Brenmar’s ‘Slow Grind, Deep Hustle’ Dummy Mix

Tracklist

Electrik Red – So Good
Total – What About Us? feat. Missy Elliot (Remix)
Teedra Moses – Be Your Girl
Bobby Valentino – Slow Down
Mario – Let Me Love you
Mya – Fallen
Mariah Carey – It’s Like That feat. Fat Joe (Remix)
Jennifer Lopez – Love Don’t Cost A Thing (Badboy Remix)
Marques Houston – That Girl
Nivea – Don’t Mess With My Man feat. Jagged Edge
Montell Jordan – Let’s Ride feat. Master P & Silk The Shocker
Janet Jackson – I Get So Lonely feat. Blackstreet (Remix)
Omarion – Icebox
Keke Wyat – Nothing In This World feat. Avant
Cherish – Stop Calling Me
R. Kelly – The Zoo

Decoding NTSF:SD:SUV

The title of Adult Swim’s newest comedy, NTSF:SD:SUV, makes the target of its satire plainly obvious: the high-octane crime procedural. With its shakey-cam action sequences, melodramatic dialogue, and cash-in/spin-off model of programming, the genre is rife for parody. Appropriately, NTSF began as a fake promo on its Adult Swim neighbor, the hospital-drama parody Childrens Hospital. Like Childrens, it’s creator-lead actor (Paul Scheer) has surrounded himself with a hilarious cast. Here’s a breakdown of the NTSF team.

Character: Trent Hauser, lead agent
A combination of: The no-holds-barred techniques of 24‘s Jack Bauer and the snappy one-liners of CSI: Miami‘s Horatio Cane
Played by: Paul Scheer
Seen before as: Douchebag, MD Andre on The League, one third of sketch troupe Human Giant.

Character: Kove, head of NTSF
Inspiration: Nick Fury’s eye patch
Played by: Kate Mulgrew
Seen before as: Kathryn Janeway, captain of the USS:Voyager on the mediocre Star Trek series of the same name

Character: Jessie Nichols, lab tech
Trope parodied: The “ugly” girl who just needs to lose the glasses
Played by: Rebecca Romijn
Seen before as: Mystique in the X-Men films, Alexis Meade on Ugly Betty

Character: Alphonse, Trent’s partner
One-line bio: Field agent with an irrational fear of science
Played by: Brandon Johnson
Seen before as: Background characters in your favorite comedies

Character: Piper, Trent’s other partner
Major malfunction: Trigger-happy with something to prove
Played by: June Diane Raphael
Also known as: Scheer’s life partner and Casey Wilson’s (Happy Endings) comedy partner.

Character: Sam, head of communications
Not to be confused with: S.A.M., his robotic nemesis
Played by: Martin Starr
Cult TV roles: The lovable Bill Haverchuck on Freaks and Geeks and the loathable Roman on Party Down

While that covers the NTSF crew, the cast doesn’t stop there. Guest stars include, among others, Adam Scott, Jerry O’Connell, JK Simmons, Rob Riggle, John Cho, and even the bad guy from The Karate Kid.

“If you’re a terrorist planning on attacking San Diego, you better think again… twice.” NTSF:SD:SUV airs Thursdays at 12:15am on Adult Swim.

Video Rundown: Björk / Little Dragon / Pure X

I struggled to find a common thread between these videos, and there might not be one. A music video maven, a de riguer style, and a forbidden suggestion comprise this week’s Video Rundown.

Björk, “Crystalline”

Michel Gondry pairs up with frequent muse Björk for her “Crystalline” video. A vivid combination of stop motion and traditional animation, the clip is a dance-club version of A Trip the Moon (a film that has influenced music videos before). Gondry translates Björk’s lyrics literally: “crystals grow like plants” and “crystallizing galaxies / spread out like my fingers.” The result is mesmerizing; the song’s drum-and-bass breakdown particularly so.

Little Dragon, “When I Go Out”

“When I Go Out” on Little Dragon’s latest effort (Ritual Union) is sparse and ambient. The video by Italy’s Emanuele Kabu fills in the empty space of the song with a sensory-overloading video. A collage of discrete, 2D images layered to create movement and depth creates a GIF kaleidoscope effect (popularlized by everyone from M.I.A. to the Traphouse crew) that is as hypnotic is the song’s deep house groove.

Pure X, “Easy”

Shoegazers Pure X team up with director Malcolm Elijah for the video for “Easy,” the most upbeat track on their Acéphale debut Pleasure. The clip is built on fleeting glimpses of S&M (the theme of the album’s cover). But like their sound, the leather-gloved hands and stiletto heels are difficult to grasp. Instead of the fuzzy feedback of the music, however, the audience is awash in deep reds or the unnerving bleach of negative film.

Review: Mz. Bratt – Elements

Mz. BrattElements (2011) [Self-Released] // Grade: B

Mz. Bratt first appeared on the grime radar in 2006, appearing on Mary Anne-Hobbs’ essential Warrior Dubz compilation. On Terror Danjah’s “Give It To ‘Em,” the then-15 year old established herself as a grime spitter with skills beyond her years. With a smattering of material since then, listeners have awaited a more complete release from Mz. Bratt. With the Elements mixtape, fans are even closer to seeing what Bratt has to offer.

Mixed by DJ Kayper, another female performer making waves in a male-dominated scene, Mz. Bratt offers her grimey but precise flow over beats from some of the best in the business. A member of of Wiley’s A-List Music crew, Mz. Bratt kicks off the tape with an intro from Wiley himself, who spits a bit over Lethal Bizzle’s grime anthem “Pow 2011.”

The tape starts off strong with Bratt’s single “Selecta” a Redlight-produced piece of dubstep meets bashment; Bratt’s swagger rides the breakbeat-driven track right into the Hi NRG grime of “Sidechain,” which reunites her with Terror Danjah and Wiley. Next up is a track that should be familiar to dubstep fans: first it was DJ Zinc’s “Nexx,” then it was Ms. Dynamite’s “Wile Out,” and now it’s Mz. Bratt’s “No Way Out.” “No Way Out” demonstrates Bratt’s singing talent, before it is perfectly mixed into Flux Pavilion’s massive wobbler “I Can’t Stop.”

After that non-stop start, Bratt slows it down with “Sleeping with My Memories,” a luvstep jam that features frequent grime-collaborator Ed Sheeran; Bratt is at her best with this type of evocative storytelling. The respite from bangers is a brief one: Bratt takes on Travis Porter’s “Make It Rain” with some ratatat rap.

Here’s where the tape loses focus. “Killin Em” and “Get Dark” sound like Swizz Beatz and Neptunes tracks, respectively. Bratt’s rapping is still on target, but forgoing her UK roots doesn’t do her any favors. For her pop crossover to land, it will have to be on songs like “Speeding,” which features Dot Rotten behind the boards and on the hook. The beat rolls with the energy of dancehall, before fading into a Bratt freestyle over Tinie Tempah’s crossover hit “Wonderman.”

The next generation of grime belongs to artists like Mz. Bratt: performers who do grime and pop, old and new with equal skill. Don’t sleep.

Download Mz. Bratt’s Elements For Free (Click Here)

Originally posted on the Mishka Bloglin.

We Live In the Club: Trouble & Bass Takes Over DC

Trouble & Bass’s monthly takeover of DC’s U Street Music Hall has consistently been the preeminent dance club’s finest night. In a no-frills club built with bone-rattling bass in mind, who better to play God (or Satan) than the pioneers of the global bass movement?

In an attempt to outshine previous T&B DCs, the crew (represented this time by The Captain) brings an all-star lineup to the club next Thursday. Leading off is new DC resident Willy Joy, who has already brought the house down on several occasions. Moving from a DC newbie to a DC veteran, next up is Nouveau Riche bass fiend Steve Starks, whose latest track is, well, a “Problem.”

Forget the haters: club music is very much alive. Newark’s own Brick Bandit Tim Dolla brings his brand of Jersey club to U Hall. Expect to hear plenty of hip hop and R&B hits chopped up into swagged out bangers. Headlining the night is Brenmar, whose future bass take on club music makes him a producer to watch.

Building songs around the perfect sample, be it Aaliyah or Marques Houston (as he does in “Taking It Down”), Brenmar’s jams are a perfect way to come down off that bass high. DC: don’t miss Brenmar and company. You’ll be sorry.

Thursday July 28th, 10pm – 3am
U Street Music Hall
1115 U St NW
Washington DC
$10 Advance tickets | $5 before midnight
+18 to Enter

Originally posted on the Mishka Bloglin.

Join Jackie O and Denman for the newest Monday night destination

Slowly but surely, DCs Velvet Lounge has become an incubator for local DJ talent. The U Street dive bar hosts everything from Tropixxx, the moombahton mecca hosted by Cam Jus and Billy the Gent, to Lost & Sound, with house heads Chris Nitti and Mr. Bonkerz. Starting tonight, Velvet Lounge plays host to something more sinister.

Presented by nrdgsm, DJ Jackie O and Denman begin a new bi-weekly party: DESTINATION. These two have found a home at the equally grimey 9:30 Back Bar, but bringing the festivities to Velvet improves both the sound quality and the drink prices.

As for the sonics, Jackie O and Denman promise tons of bass: from hip-hop and club to grime and dubstep; think Trouble and Bass in DC’s own little laboratory. Not specific enough? Then listen to Denman’s brand new mix, Hell is From Here to Eternity, which moves from future bass to trap music to unforgiving grime. At exactly an hour in length, it’s a microcosm of DC’s latest destination event.


DESTINATION
9-Close // 21+ // FREE
The Velvet Lounge
915 U Street NW, Washington, DC

Ready for the weekend #22

This week saw both the last shuttle landing and Postcultural’s first hacking. Obviously, both monumental occasions. With this unbearably hot weekend about to start, remember that a lazy day with Netflix and a cold drink is often the easiest path to happiness.

Hat tip @VeeShip for the photo (via Atlantic Wire).

The Plan

  • Friday: Friday Cool Off is a new weekly at the Red Palace. This week features DJs Matt Rose and Cam Jus, two dudes who always throw a chill party. Plus, the ice cube on the flyer looks hella good right now.
  • Saturday: Boogie Down may be a little off the beaten path at Zeba Bar in Columbia Heights, but Ben Howell and Space Agent will house you. Drink specials galore and a pants-optional dress code in honor of birthday girl Lexi Rusk!
  • Sunday: The annual Capital Fringe Festival ends on Sunday, so this is your last chance to catch some offbeat performance art until next year.

The Soundtrack

Not sure about some of this weekend’s events? Here’s a double shot of brand new mixtapes from two of the DJs in question. Space Agent drops a sexy poolside disco mix (with Lolita art, natch) and Cam Jus provides the requisite moombahton with his summer promo mix.


EP Roundup: DJ Ayres / Cedaa / Derek Allen

Rather than following artists for new releases, sometimes it’s best to follow record labels. Here are three new offerings from some of the most reliable, tastemaking labels in existence.

DJ AyresI’d Fuck Me EP (T&A Records)

Based on its title and cover alone (both homages to Silence of the Lambs), listeners might expect something darker here. But fear not: DJ Ayres isn’t Buffalo Bill – he just starts parties. “Flashing Lights” (named after a party that Ayres threw with Nick Catchdubs and Jubilee) is disco house theme music with a funky bassline that’s more Studio 54 than Public Assembly. “Liberation” is the kind of soulful tech house that collaborators Nadastrom are known for. It wouldn’t be a T&A release these days without a tropical jam: the evocatively-titled “Panty Crickets” fills that void with tribal drums, squeaky synths and an pitch-perfect rave whistle. The Tomb Crew, Swick and Grandtheft try to hypercharge these tracks, but sometimes the direct approach is best.


CedaaJasmin EP (B.YRSLF division)

I’ve been following Cedaa’s juke-inflected future bass for a while now. The follow up to the Old Growth EP is definitely more mellow, with the juke beats a pulse rather than an explosion. On title track “Jasmin,” saccharine synths play against guttural chanting. There isn’t much of Japan in “Nippon,” just an elastic melody and industrial undercurrents. Two collaborations round out the originals: “20K,” with Distal, might refer to Twenty Thousand Leagues Under the Sea, as it’s aquatic effects and waves of bass get pretty deep. “Windbreaker” with Slick Shoota is a juke-meets-rave banger complete with break beats, diva vox and airhorns. Remixes by Myrryrs, Chaos in the CBD, Sine, and DJ Hilti round out the EP and provide four new names to watch out for.


Derek AllenDJA EP (Mad Decent)

Long-time Mad Decent affiliate Derek Allen comes out from behind the boards for his debut record. Allen’s vocals are the perfect complement for these luvstep jams, his hip-hop and bass production skills on full display. Drums thunder on “Trying to Come Alive” and synths wobble on “Shoulda Listened;” the autotune on “Trying to Come Alive” is the EP’s rare misstep. “Susperia” (featuring Top Billin) feels like an 808s & Heartbreak outtake. Allen’s cover of “Spirits in the Material World” by The Police updates the song for the 21st century. The depth of the Mad Decent roster continues to impress.

Dragged out of the witch house: Tri Angle Records

The Internet killed the major record label business. Like Bruce Willis in The Sixth Sense, the Warners and Universals of the world are already dead (spoiler!) – they just have to come to terms with it. As the majors wander aimlessly, searching for answers that won’t come, indie labels have never been stronger. With a seemingly never-ending stream of genres and sounds to mine, record labels can plant their flag, carve out a niche, and make a name for themselves.

That’s exactly what Tri Angle Records has done. They’ve been on the forefront of the drag / witch house scene since last year’s compilation of re-imagined Lindsay Lohan songs Let Me Shine For You. Tri Angle is the brainchild of Robin Carolan of 20JazzFunkGreats, one of the leading proponents of witch house, in conjunction with techno label Kompakt.

After Let Me Shine For You, Tri Angle got serious, releasing Balam Acab‘s See Birds EP. See Birds is a nocturnal journey in all phases, from nightmare to dream to hazy awakening. Throughout the EP, echoes of horror movie drums are juxtaposed against airy, wistful strings and keys, a style epitomized by its book-ended title tracks. “See Birds (moon)” rumbles with murky bass blasts, while “See Birds (sun)” floats with bubbling aquatic sounds that give way to an upbeat, chiptune rhythm.

I’ve written about oOoOO previously. oOoOO is the easiest Tri Angle artist to fit under the witch house umbrella. His eponymous EP is more energetic than See Birds due to a preponderance of programmed beats. It also brings dream pop vocals higher up in the mix, whereas Balam Acab uses vocals to shade and color his compositions.

The most critically acclaimed Tri Angle artist, How To Dress Well (Brooklyn’s Tom Krell) fuses the ambiance of his Tri Angle compatriots with a deconstructionist’s take on R&B. Love Remains is haunting and romantic, with Krell’s breathy falsetto a counterpoint to the full-throated opulence of contemporary R&B singers. Like dance-focused rhythm and bass producers, HTDW feeds off nostalgia for 90s R&B, as Krell’s borrowed melodies leave the listener grasping at half-remembered dreams.

Combine the R&B of HTDW and the dance music of early industrial and you have Holy Other. Pneumatic beats keep time while synths and ghostly vocals fill in the blanks. “Touch” is Holy Other’s take on Burial-esque atmospherics, with “I’ve been looking for your touch” a weeping refrain.

The latest release in the Tri Angle catalog is Rainforest, by Clams Casino. As the title suggests, it is a technicolor nature symphony, with track titles like “Treetop” and “Waterfalls.” Clams Casino (real name Mike Volpe) has a background as a beatmaker for based rappers such as Lil B and Soulja Boy, but his tracks work better instrumentally. His diffused soundscapes and chopped & screwed samples melt and sway over left-field hip hop beats.

Next up on Tri Angle is more Balam Acab and the debut of San Francisco’s Water Borders entitled Harbored Mantras. Press materials cite industrial pioneers Coil and the dance music of Rinse FM as the inspirations for Harbored Mantras. “What Wiwant” delivers on that vague promise, with an undercurrent of sub bass, a collage of tribal effects and decidedly Gothic chanting.

Also keep watch for material from Ayshay, Tri Angle’s latest signing. Ayshay is the stage name of Fatima Al Qadiri, a Senegalese artist who was raised in Kuwait. “WARN-U,” both in song and video, seem to match the witch house sound and aesthetic, albeit with a distinctive Eastern vibe.

Call it witch house, drag, or chillwave, but when these ephemeral trends are over, Tri Angle Records will be left standing.