Aidonia – Heart is Hers (feat. Aisha Davis)

I haven’t heard that many tracks from Aidonia; he’s one of those mid to late ’00s dancehall artists you hear about all the time, see his name on countless mixtapes, and probably already heard a bunch of his tunes at parties, but you never actually went out of your way and check for his tunes. That’s until I heard the title cut from Stephen “Di Genius” Mcgregor’s incredible Bad People riddim which completely shifted my view on a couple of vocalists — but more on that shortly.  “Heart Is Hers” features Aisha Davis and is produced by Equiknoxx producer/artist collective (who are also responsible producing another impressive Aidonia track titled “Negative.”) This is what dancehall sounds like in post-808s & Heartbreak/weird-emotional-electro-pop-hop era? Dancehall is going in so many different, exciting directions at the moment, and as for this particular type of sound which has been bubbling for the last few years I think it’s safe to point to  T-Wayne & Yeezy as references.  As Aidonia sings – “Song is too dead/it needs more life – Needs a faster melody/more melody/groove your body…”

BD1982 is at the top of my criminally slept on list. Representing the Seclusiasis camp from Tokyo, where he moved from NYC a few years ago, dudes managed to get in with Goth-Trad and the infamous Back to Chill crew while simultaneously cooking up some of my absolute favorite tracks. He’s got a new 12″ that is dripping Xenon.

A. side is Dutty family 77Klash on the gunman tip over the crushing Water Faucet Riddim. The flip is the skittering Space Boots with remixes from some of the the biggest up and comers on the scene the U.K’s Slugabed and Montreal’s Hovatron. It’s hard to describe what happened in Vancouver last month when I dropped the Slugabed mix (Dev79 call it “hyper color style”) since the combination of howling low end fiends and gorgeous writhing Canadians basically led to sensory overload and total black out. If this is the sort of thing your interested in….cop the rest of the tracks @ Beatport Bleep Juno Download iTunes


BD1982 “Space Boots (Slugabed Remix)

More soon from the infatiguable Seclusiasis!



jj – Ecstasy

“Lollipop” has been sampled by David Banner, covered by rock and country musicians, and now versioned by a mysterious Swedish pop outfit, with a radical lyrical shift, a stretch, an expansion – bottles are replaced with pills, and shawty is getting high on her own supply.  The same aesthetics, but more drugs and less sex. Either way, Wayne, Jonsin, and Static will be/would be proud.



Jahdan Blakkamoore – Never Gonna Stop (produced by Matt Shadetek & DJ /rupture)

from BAZOOKA SHOT mixtape, which is coming next week. Jahdan sounds incredible, and very smooth. Matt & Jace are on some old skool grime ting w/ this riddim.  Some of the elements in it reminded me of Eskiboy around 2003-05. The tune also has a great slow down dancehall grind, lighters in the air vibes too.

BUZZROCK WARRIOR coming this September!

We’re pleased to announce the 12″ release of “The General” the first single from Jahdan’s Buzzrock Warrior album, coming this fall.  The release is a collaboration with the Liondub International label which is only fitting since Liondub and I built the riddim for “The General” together.  Liondub has also enlisted two of his friends Marcus Visionary and Noah D. on remix duties and they turned out two dutty dubstep mixes.  Both of them have been coming with a lot of fire lately all over the place.  This is a UK pressing so it will be easier to find over there but some copies will be arriving stateside soon.  Downloads will be available before too long but currently the release is vinyl only.

Buy it:

Japan: Newtone

UK: Juno, Black Market, HTFR

Netherlands: Triple Vision



Z-Ro – 25 Lighters

an epic screwed freestyle joint from another overlooked Southside rapper, Z-Ro. This is from Crack, an album which finds the much loved and respected Southern rapper in usual low spirits exploring themes such as isolation (there’s something about Z-Ro’s loner persona, being from the lone star state, lone star state of mind?), crime, fake friends, and selfish women with a few bright, joyful moments—but it seems overall, still uncompromisingly gloomy like much of his previous works.

is what I typed into YouTube and found these. Spoek Mathambo’s mix a while ago inspired me to go and look for some of this weird slow house that they make in South Africa. Some of it is really cool, and the videos are great. Like this one:


And you can’t go wrong sampling Yo Yo Ma:


In my mind I think of this as snaredrum house, because of the snare patterns, which people often say ‘soca’ to talk about it. This really doesn’t sound like soca at all but it DOES sound a lot like what they’re calling Funky in London, especially the beats. Anyway I like it. I feel like the recent changes in house have made it a lot more interesting and fun and I might now go and try to make some, we’ll see. I almost never work at 120bpm which is kinda what makes it appealing to me.

And WTF is this?:


Lil Wayne – Can I Talk To You (Feat. Nutt Da Kidd & Mack Maine)

I’m not going to talk about this track (from The Leak V) It’s great, you already know… but what can we say about this new picture/image? Emotional, laughter, astonishment, what do you feel?
Lil Wayne threw away the pen and the pad, completely erasing the distance between himself and his art.

pictures courtesy of The Smoking Section.

today i realized that im leaving for europe in a few hours, rather than a day & half from now… SO. MUCH. TO. DO. B4 LIFTOFF.

so my brain feels like MC Smear’s gifford — you caught her slow, now watch her go, and/or follow his rabbithole in the world of paral-lel utubeuniverses

dates for my Euro jaunt can be found on myspace, and the next US gig is this one in SF (flyer below). ALL KUMBIA ALL THE TIME, aka Tropical Storm Bersa con Zizek Gang desde Buenos Aires!!!!

(we havent started talking about the DUTTY ARTZ BK PARTY on March 21st b/c we’re too busy lighting the studio on fire)


mobb deep purple vision

I remember the first time I heard slowed down, or screwed music. I
was in an old lincoln towncar, driving through Orlando, FL with a dude
named Cleon. It was hot as hell, and me and some guys from NY were
down there shooting a no budget gangster flick. We shot in the hotel
we were sleeping two to a bed in and used real guns for ‘props’.
Driving around during the day in the heat Cleon would play these
slowed down CDs that this dude Pookie Duke (who was also acting in the
film) would make using a cassette machine and a CD burner. Anything
was fair game, erika badu (sounding like a man talking about tyrone
slowed down, yikes), michael jackson, and lots and lots of southern
rap that I had never heard of. Usually just bare drum machine beats
and people saying violence. Slowed down, high out of my mind as I was
most of that week, in that heat, it sounded absolutely satanic. I
asked Cleon about it and he explained: “Well, during the day, when
you’re driving, you listen to the slowed down one. Then at night at
the club you listen to the fast one. But boy, if that DJ in the club
played the slowed down, he would have a riot. People would just get
TOO crunk.” I went to that club (still cant remember the name) and I
could see what he meant. Certain songs couldn’t get played halfway
through, even at regular speed. People would get too hype and start
fighting. Sort of like grime raves in the UK, and why they banned
“Pow”. But after hearing that stuff, and how demonic it was, I
couldn’t get the slowed down idea out of my head. Afterwards I
learned about DJ Screw and the whole codeinated Houston slowed down
scene, and got pretty into that. My two favorite from that style if
you’re looking for something to check are the S.L.A.B. – The Anthem
album slowed down, and David Banner’s first album slowed down by Michael 5000 Watts (jpeg on link is wrong but tracklist is right).

The slowed down hook has now become a staple of American commercial
rap, and lately some American Dubstep producers have started using
slowed down voices in their tracks too. I was out at Dub War and
heard some of these played and decided to make one of my own. I
picked one of my most favorite songs of all time, Mobb Deep’s “Shook
Ones”. I originally just wanted to use the acapella phrase that my track starts with.

“I’m only 19 but my mind is old and when things get for real my warm
heart turns cold”

I was gonna take that, make that a hook and give it to one of my 19
year old grime mc friends in London. But then I got bored with that
idea and felt that the drop wasn’t quite hard or deep enough and just
decided to sample the whole chorus, slowed down, with the beat in
there, and give the track a bit more of a opiated houston vibe. The results
are here, in 320 mp3 format.

Download it, play it, voice on it, do whatever you want with it.

It’s a big bait illegal sample so you’ll have a hard time making money with it, plus I just don’t care that much.

Lately I’ve been pretty down on the whole music industry, and
especially making money inside it. It’s kind of pathetic. Some
people I know fight and struggle so hard to make a living from music,
and I did that for a few years too. Now that I’m back in NYC though I
make non-music money, and it’s so easy compared to music it’s like a
bad joke. And because I’m not putting economic pressure on my music,
I’ve been enjoying making music again. It’s kind of a fucked up. The
most fucked up part about it is, considering the amount of money most
people I know make selling copies of their music (cd, vinyl, mp3,
whatever), it’s basically not even worth it. The only money worth
making is performance money, and the occasional license to TV or a
video game, and for those reasons it may actually turn out that giving
away all your music for free on the internet will actually make you
MORE money. Hopefully the whole industry will collapse in one final
fit of coked up executive self-defeatery very soon and we, the
artists, will be able to figure out some new way that actually works
for us economically. My best idea so far is something like the TV
tax in the UK. Everything is free on the internet (like it already
is) and iff you own a computer or mp3 player you pay a yearly tax to
the government and they pay publishing money to the artists. Either
that or build that tax into mp3 players and internet service charges.
iPods for example, have been making Apple a SHITLOAD of money based on
the non-advertised idea that the player is expensive, but the music is
free. I want some of that money Steve Jobbs.