ZZK’s Mash Up King is back and he comes bearing gifts once again.

We love Villa on this blog and some of his mash ups really got me interested in this scene in the first place.

We have done numerous features on him in the past and here’s perhaps the most enlightening, a 2 part interview:

Part 1


Recently he wrote to me to say he’s starting his first South American tour next week and here’s his parting gift to Generation Bass, 24 Mash ups 😉

Thanks Villa and all the best with the tour bro’.

All of you based in South America, if he is coming to your town/city/shithole make sure you try to catch him live.

Villa Diamante – Mashups 2010



phpZUmZTV 1990_Remix).mp3



Just grabbed this from our homie, Ben of Akwaaba music, who in turn was introduced to it by Catherine Barnes.

This track is really NUTZ but original and I LOVE it!!!!

The first part sounds like a funked up female Fela Kuti complete with Rooster crows and then the second half descends into a kind of acoustic gospel blues!

I mean look at the title “Sosomoneycockplease”.

Break down that

I’m sure the “cock” in the title refers to the animal but who knows!

I think this is an artist to keep your eye on, as this video and track indicates that we can expect some very interesting stuff to come from this artist.

Apparently you can grab Sosomoneycockplease from iTunes.

You can also hear more from Edoheart at her My Space.  Other tracks on their are not as catchy as “Sososmoneycockplease” and some blur the lines between songs and poetry/spoken performance in experimental avante-garde fashion!

Mister Wicked!! Mister Whacka!!


This kid is Fire!! Mister Whacka also known from his parents as Bouwe de Vries is a 15 Y.O from Utrecht, Netherlands!!

He is Aggressive and Dark!! but also Melodic and explosive!! HE IS ABSOLUTELY SICK!!
He does these unpredictable drops but keeps the melodic way!
Hearing Impairment by Mister Whacka
He is great in Dark-step or Dubstep.. and i don’t even want to talk about his DnB!!!
One of the coolest kids i have recently listened to!!
You Have to listen to this:
The Madman(WiP) by Mister Whacka

This one is a good example if his melodic side
A New Day (Ft. Luka) by Mister Whacka

All your bass belong to us
All Your Bass Are Belong To Us by Mister Whacka



Dubsteppers’ lookin’ for their Momma:












12. FLeCK



Ok, today in London, UK,  it is Notting Hill Carnival day, the second largest street festival in the world!

So here’s a trio of grooves to get you into that mood!



SamBaRapSTeP, need I say more?

Cavalaska & Mc Dom Lampa – Samba Groove (SambaGrime version) by cavalaska



Been a while since we had this dude on here.

He’s back with a free album you can grab on his Bandcamp page. Man it’s a KILLA album, been blasting it all week, really, really excellent stuff and could not recommend it highly enough. Perfect for the dubby Notting Hill Carnival vibe.

Here take a look at the tracklist:


Here’s a mix to ease you into that.

Promo Mix for a Free Album @ by Ealzee



At the behest of Norman Jay, Reso has been meddling with the Rumba and here’s the result. Part of the Bacardi pioneers project, google it to find out more.

Ok, that’s it, my contribution to the carnival

Boriken Groove by Reso



Majiika led me on to this artist, great stuff, brilliant remix by Akira Kiteshi.



Now, I have not heard a dubstep remix of a popular track like this first one before, amazzing remix by this dude who friended me on soundcloud.

The MIA remix is a great one too!

Balls of Steel is a DJ and producer from Oakland, CA with a penchant for massive bass and sometimes even some pretty melodies. Originally trained classically, he turned his efforts toward electro, house, and dubstep in 2009, making bass-heavy dance music.

Steve Angello & Laidback Luke – Be (Balls of Steel Dubstep Bootleg) by Balls of Steel

Steppin’ Up (Balls of Steel Remix – HARD LA / M.I.A.) by Balls of Steel



Ok my favourite Australian Dubstepper is back with 2 sikk tracks, 1 free, 1 stream, check them out!

Filth Collins – Hold Tight (VIP) by Filth Collins

Filth Collins – Broken (Hulk Rmx) by Filth Collins



Good enough reason and yep still sounds freshhh!

Found this on an old CD from 2008, one of my very early dubstep tunes. Was one of my fave things that I wrote back then and i reckon it still sounds pretty decent today so thought I’d chuck it up here as a freebie exclusively for my followers.

Droid Sector – Comatose [Free 320] by Droid Sector



Naarsty track from this 21 yr old unsigned artist.  Covered him a few weeks back as, in addition to dubstep, he makes some stonking DrumSTeP too!

Welcome to Zion VIP (Free Download) by DANEJAH


AWESOME track been in my record bag for a little while now!



One of our regulars is back for another week.

This time he’s come back with a classic Pink Floyd remix.

I’ve been noodling with this bootleg for a while, played it out a few times, so far responses have been positive.I will probably do a version 2 remix which will be more complex and longer, but I’m too busy right at the moment to put more time into it, and I wanted to get it out to the world in time for Burning Man 😉

Alternate Download Link (with no limit)

Pink Floyd – Brain Damage (Omega Remix v1) FREE 320 Download by OmegaDubstep

Check out one of his new releases too:

This is my remix of my good buddies Future Simple Project’s “Snow Lion”. I guess this fits into the “drumstep” category – faster (160) and more dnb influence, but still half-time kick and snare, and some heavy wobbles. I’m really feeling this tempo/style, so expect to see more tunes like this from me in the near future 🙂

This whole ep is fantastic, check it out:

and check out more Future Simple tunes here:
Future Simple Project

and here:

Future Simple Project – Snow Lion (Omega Remix) Available on Addictech by OmegaDubstep



Don’t know what Ian Brown would make of this but I do know he’s huge into my Bro’ Celt Islam’s music and Celt does ocassionally play live with his tabla player, Inder Goldfinger.

Those strings are so ICONIC and I do like this remix!

Ian Brown – F.E.A.R. (High Rankin & Evolve or Die Remix) FREE DL by High Rankin



One of our favourite artists of 2010 and occasional contributor to Dubstep Monday.  Fleck will be back making some more DM posts very soon.

He’s remixed a Herr Muller tune for us which will appear on the forthcoming debut release on our digi label.  Watch out for more from him as he will be featuring prominently on some some of our future releases cause we just love his work sooo much.

Here’s a video to his great track VAMPIRES that some dude/fan just put together without his know how but yeah he likes it and I think I do too 🙂


Exclusive for Generation Bass:PUNJABI STEP!!CHALLA DUBSTEP!!

Born in Ludhiana, Maninder Jheeta AKA g-ta is an upcoming Producer from Dubai.
He is no stranger in the Asian Music Equation coming out of Dubai, India & Pakistan!
Massive tunes!!

because it is not free on SC
g-ta – Challa Dubstep

Also we want to share to the planet more of his wonderful music
here we have
Dogar (g-ta’s Dubstep Remix) by g-ta

To have at least a nice gifts for you guys he is dropping These AMAZING tunes as FREE DOWNLOAD
Awake (g-ta’s Desi DnB Remix) by g-ta

Sharabi Mash up by g-ta
More Punjabi-step
Sahiba Dubstep by g-ta

Classic sound gets the treatment
Maan Kari Na Ft. Manak
Maan Kari Na Ft. Manak (Final) by g-ta

AND last but not least
Another FREE DOWNLOAD jewel!!!
I totally loved this one!!!!

Khapp by g-ta

Album Stream: Spoek Mathambo – Mshini Wam


One of their (Fader’s) favourites BUT one of our favourites too 🙂

Via The Fader

FADER cover star Spoek Mathambo’s Mshini Wam is released August 30th on BBE, but we have the privilege of offering you a full preview of it for the next 48 hours. As you can probably guess by our current issue, it is one of our favorite albums of the year, and we’re excited to be the first place you can hear it. Listen below, buy the album on Insound and read our cover story in FADER Issue 68.

Spoek Mathambo – Mshini Wam by Peter Macia – The FADER

Magnificent Sunday Villero


Well.. Caballo finally doing a Villera post!!
i have to admit it is not easy for me to write about cumbia villera because i have to contextualize how i discovered this type of cumbia, and like many…i hated/loved it.. to me it was really fun to watch and dance, but i never took it seriously as a musical style until living in the US in where i had to work doing incidental music.
i was mainly doing a lot of music from all over the world and villera was Really hard because it has this strong influence from Argentinian CUARTETO, which to me was a tropical variation of Milonga & latin grooves, specially in the Bassline, but Villera added this Chichera psychedelic Guitar and a really strong Bass Drum pattern that was really hard to get in sample/loop so i had to loop 80’s rock. ( Read the Story after the post)


This is la Cumbia de los Trapos from Yerba Brava

La Repandilla doing a great Villera version of Colegiala



Damas Gratis


PS: if u are Aregntinian Hope you like my Selection of Cumbia Villera and if you want to know how i discovered!!

Back in ’97 i was very into Death Metal on one side and Noisecore- Ragga Core on the other..
Basically i was a long haired, barely shaved, dark person.
i also felt like my own family’s black sheep who played in a band.
Someday my aunt, who always liked the posh side of life, comes over my place and invites me over her club in where i could either play golf or go swimming.. (there’s no human power to make me play/watch golf) so i chose it was time to get my annual bath..

Hours later i was in this club when an Argentinian girl also in her 20’s came over asking if i had a lighter.. (i have never smoked so i said no.. but as soon as she opened her mouth i had a crush on her accent!!! and on her as well..
I invited her a beer.. (no smoker..but i was a WORLD CLASS HEAVY WEIGHT DRUNK!!) and obviously if you are musician. you’ll understand me, in less than 3 seconds the conversation turned into music..
i Said i was in a band.. and she replied: A CUMBIA VILLERA ONE?
How on earth this girl thought i was in a Cumbia band? i had long hair!! sort of beard, and love dancing!!
DO NOT LAUGH AT ME.. this is the way i looked back in 97-98 HAHAHA ..
caballo villero

The next day i turned my TV on and saw a Villera band.. they all look like my band mates.. even same guitars!!!
Everyone but MY FAVORITE !!

And i wont even dare to post Mayonesa from Chocolate.



You know I like some of my stuff pretty weird and off the beaten track.  To me it’s not weird, it’s pretty much the norm, it’s just that other people think it’s weird 🙂

So how about some “Txalaparta” ?

It’s a game- like percussion encounter between 2 people involving 2 planks of wood which are struck rhythmically with round wooden sticks or other objects making a sound similair to a wind chime/marimba! – see pic below!

This is usually accompanied with some sitar, throat singing, some morrocan sounding castanets and strong basque flavas!

Just the kind of thing I love, Transnational Folkism 🙂

Grab this free track, xclusive to us, and then read all the official PR below written by a propa’ journo’


The album is definitely worth exploring if you love your Transnational Folkism and want to hear something different and fresh!

Release date 17 September 2010-usual on-line & physical outlets worldwide!


It can be a game, a friendly duel. It’s a dialogue, where it’s just as important to listen modestly as to make a bold statement. It can be made of wood, ice, stone.

The answer to this riddle: a Basque percussion instrument, the txalaparta, wooden planks laid over trestles and struck with sticks held vertically. It resonates in the hands of Oreka Tx, an ensemble whose album, Nömadak Tx (on World Village), finds them exploring new voices and connections for this ancient and once endangered instrument. American audiences in cities like Minneapolis, San Francisco, Washington and Chicago will get a unique chance to experience these worldly experimenters in September 2010.

“It’s a very different understanding if you’re used to playing your own instrument and mixing it with the band,” explains Harkaitz Martinez de san Vincente, who along with Igor Otxoa founded Oreka Tx. “You have to share the txalaparta with another person. It’s the sharing of the rhythm that’s difficult, and that’s the challenge.”

Oreka Tx—Martinez and fellow txalapartari Mikel Ugarte, joined by several other musicians fluent in Basque and global sounds—have taken their instrument, which they make themselves, from precious folk symbol to cosmopolitan high art. The sound recalls the marimba, but only in the way a piano resembles a pipe organ. Its satisfying union of rhythmic and melodic colors can be exploited in full, thanks to a duo of performers who are constantly engaged in improvisatory give-and-takes and passionate interwoven conversations, establishing and breaking down each other’s beats.

Between France and Spain, the Basque people have strong ties to the land and their language—though no links linguistically to the surrounding peoples—and a past that extends back to the beginnings of human settlement in Europe. The origins of the txalaparta (pronounced CHOLL-uh-PART-uh) are shrouded in the same sort of mystery as the Basques themselves: Its sound has been connected to everything from galloping horses and successful cider pressings to hill-to-hill communication.

Yet more recently, it was firmly linked to Basque identity, as a distinctive, unmistakable, very audible instrument banned along with the language under Franco. Condemned to silence, the txalaparta nearly died out, leaving a mere four players (two sets of brothers) by the 1960s. Thanks to a cultural revival movement, however, the instrument gained a new lease on life, and by the 1990s, was being taught regularly to interested students.

The txalaparta’s near brush with extinction means musicians can do almost anything, and be doing something radical. “It’s a young instrument, and anything you do is new,” Martinez muses. “You feel very close to the development, and by building it yourself, you also get very close to the instrument.”

For Martinez and Otxoa, this closeness combined with a love of travel led to their recent exploration of nomadic culture and txalaparta potential, Nömadak Tx, a project that included a recording, documentary film, and now live multimedia performances. Listeners get a glimpse of Oreka Tx’s epic journey to the Sahara, the Arctic, the Subcontinent, and the steppes via images and sounds interwoven with live musical performance.

The musicians of Oreka Tx went in search not only of nomads, but of people who share some of the Basques’ difficult fate as minorities without a recognized nation-state. They played with a throatsinger from the reindeer-herding Tsaan of Northwestern Mongolia, related to the Tuvans just across the border in Russia. They worked with musicians in refugee camps in Algeria, facing displacement and hardship after Morocco’s invasion. They made music with Adivasi musicians in remote, overlooked corners of India.

And wherever they went, they made a txalaparta from local materials that defined the nomads’ lives. They carved planks of ice with the Sami of Lapland. They struck stones in the Sahara, to reflect the desert’s power.

These innovations not only helped them connect with musicians on their travels, but changed the way they performed on the txalaparta. “It was so nice to be working with different materials like ice,” Martinez smiles. “The sound is very different compared to wood. You can’t hit it hard, so you have to play softer. We didn’t just make new songs on our journeys; we made a new approach to playing.”

Regardless of the materials and style, the instrument itself, while a meaningful part of Basque heritage, is also a powerful symbol: Two players must interact respectfully and intently to make any music at all. The dynamics of the instrument point to new ways of relating between cultures.

“It’s a nice symbol: Two people have to play same instrument, have to listen and respect other, to do one positive thing. The music doesn’t belong to one or the other,” Martinez reflects. “It can represent nicely the meeting point of different cultures and people. And it gives us another way to express that we Basques want to exist as part of this plural world, to give another color to the world.”

Sexxy Saturday Cumbia : Roots of Chicha 2


An incredible volume 2 release from Barbès Records. Been blasting this all week.

This is, for me, the next best thing in cumbia after Colombian Cumbia 😉

Take a listen for now. We’ll come back to this again next month with a free download.

The Roots Of Chicha 2 (Sampler) by pressjunkiepr

Cultural phenomena streak through popular consciousness like meteorites. There’s a significant, even life-changing, impact made somewhere, but for many it’s only a moment that flickers by, soon to be swallowed back into the cosmos. Chicha might have been like that. Instead, a once-obscure music that enjoyed a fanatic embrace in the Peruvian slums of the 1970s has become a full-fledged global occasion – thanks to the stunning success of a 2007 CD called The Roots of Chicha.

The album, released by the Brooklyn-based Barbès Records, was a passionate act of cultural appreciation: a heartstrong effort to turn the world on its ear with something it had never expected to hear. It took listeners back to the late 1960’s, when a number of Peruvian guitarists from Lima and the Amazon created a new electric hybrid, which mixed cumbia, surf, Cuban guaracha, rock, Peruvian folklore, and psychedelic touches. This new wave of Peruvian cumbia came to be known as chicha. Scorned by the middle-class and the official tastemakers, chicha remained mostly associated with the slums of Lima, where the ever-growing population of Andean migrants embraced the music and its players as their own.

When Olivier Conan released the first volume of Roots of Chicha in September 2007, he couldn’t have foreseen the kind of impact it would have. The musician, who co-owns the club Barbès in Brooklyn and owns the label of the same name, had fallen in love with the music on a trip to Peru in the summer of 2006. Back in New York, he started his own band, Chicha Libre, as an attempt to share his enthusiasm. Then he released a compilation of some of the best chicha tracks from the ‘70s. The music quickly found an audience in the US and in Europe. Musicians and DJs embraced it as a lost link between rock and Latin cultures. Accolades flowed from the New York Times, NPR, Le Monde, El Comercio and the BBC. One of its songs was covered by the band Franz Ferdinand, actor Elijah Wood praised it profusely in an interview to Paste magazine. Chilean rock group Los Tres gave a copy of the record to then-president Bachelet, which somehow became national news.

And now, there’s more.

Roots of Chicha 2 showcases 11 bands and 16 tracks recorded from 1968 to 1981. This is music at once familiar and exotic –  rooted in the changing sounds fostered by the worldwide musical revolution that took place in the late 60’s – yet the music remains oddly timeless. The new collection is not a sequel. It’s an attempt to rectify some of the biases and inaccuracies of the first volume. Here, the selections focus more on the urban aspect of the music and less on the Amazonian side. It highlights some lesser-known bands, and broadens its scope to include some of the early Cuban-influenced groups that would play such a crucial role in the elaboration of the chicha sound. And it introduces some of the later bands, such as Los Shapis, who played in the more Andean style that would eventually define chicha. More roots. More chicha.

This collection includes such crucial chicha outfits as Grupo Celeste, which had a huge influence on the emergence of Mexican cumbia; Chacalon, the legendary “bad boy” of chicha; Ranil, the doggedly independent folk hero from Iquito; Manzanita, unheralded yet dazzling; and Los Destellos, whose seminal role in the evolution of chicha is further documented here.

The new edition is next chapter in a fascinating story. Even as a new audience for chicha has begun to develop far, far away from Peru, it’s the effect that the music has had in its contemporary homeland that has been the biggest surprise. For decades, chicha had been scorned as the trashiest expression of Lima’s slums. While the music certainly lived on with the working class, many journalists, students and musicians were becoming increasingly interested. Roots of Chicha became a perfect excuse to explore this obscured chapter of their popular culture. News that a gringo was interested in chicha found its way in many of Peru’s mainstream magazines, newspapers and TV – including canal cuatro and the very official El Comercio.

Within two years, a Peruvian cumbia revival was in full swing. Not only were old bands such as Juaneco y su combo and Los Mirlos given sudden attention, but popular Peruvian rock bands started paying homage to the music. All of a sudden, Peruvian cumbia found itself in the hip clubs of Barranco, the “bohemian” neighborhood of Lima. After 40 years, chicha was no longer invisible. Still, as if to avoid the social stigma attached to the music, people were calling it cumbia, not chicha.

Chicha still belongs to the slums.



You know we never leave you without some downloads and so here’s some from a previous post I did on Juaneco!

Go HERE to grab them!



Here’s a sneak preview to what will be our DEBUT release on the Generation Bass Digital Label.

A 6 track EP with remixes by FLeCK, Sonido Del Principe & Coco Bryce.

Coming out worldwide in September 2010.

Herr Müller – Uh 128kbps by generation bass

Herr Müller – Huh (FLeCK remix) 128 kbps by generation bass

This is not an indication of the direction that our label will go in as we want to surprise you with each new release.

Do let us know what you think..LOVE & HATE

Big thanks to our boys VideoMit & (Mr)VideoVince for making the preview for this release.

Generation Bass presents Herr Müller. from Videomit on Vimeo.