And here’s part II of this special on FOOTWORK! I do hope you enjoyed the first part. Mike of Planet Mu hooked me up with NEEMA, affiliated with Ghetto Teknitionz aka Ghettotekz, who are DJ Rashad, DJ Spinn and DJ Earl), he runs the Juke Trax Online label, and is very passionate about footwork. I asked him sim questions as well about FW and got slighly different answers of course, plus we focussed a lil more on production as well, check it:

-how did FOOT WORK evolve? and whats its predecessors?

Footwork really is the evolution of house dance mainly in Chicago’s black communities.  A lot of the moves you see nowadays is just super sped up house moves.  For a lot of us, Cajmere’s track, the Perculator was really what really began the footwork dance movement.  Just to give you an example, one of the original, as well as most popular footwork crews was one called House-O-Matics.  They truly believed their dance was house dance, and they’re right absolutely right!

Music wise, it basically goes from house to ghetto house to juke and footwork.  juke and footwork aren’t usually classified as different genres simply because they grew out of the same time, and often by the same artists…a lot of whom were former footworkers.  RP Boo, Spinn, and Rashad all came from House-O-Matics while DJ Clent came from Tha Tunnel.

And there’s not a real big difference between juke and footwork.  Structurally, it’s really a lot of the same stuff, and the two sound structures are both incorporated into tracks all the time.

Now, the music has had an evolution over the past 10-15 years.  The most noticeable is that it has sped up from tracks being in the 130-140 range up to a standard of 160..155 for RP Boo.  Additionally, the tom patterns have had to change a bit since the mid to late 90s, and a lot more tracks don’t just have claps on the 2 and 4.  There’s a lot more focus on snares and kicks.

Additionally, the footwork tracks that I’ve seen people pick up on the UK are a bit dated, meaning the style has changed up a looooot since it was merely tracks with huge reliance on toms and one or two word samples.  I’ve attached some files that you can fee free to put up on your site.  But yeah, they really don’t sound anything like the Nate tracks people seem to really like out there.

-what’s the basic FOOT WORK tempo and build up? and what are your basic FOOT WORK production tools? (or which software do you use?)

I sort of mentioned this when I answered the previous question, but the tempo is pretty much set standard at 160.  some tracks have just the craziest rhythm patterns, so mixing it in and out quickly requires a friendly standard tempo.

Production tools depends on who makes it.  A lot of the older heads try to enforce the MPC 2000XL, or 3000.  A lot of the kids who start out trying to make tracks usually use off Fruity Loops.  There’s a few producers who use Fruity Loops who are just soooo good at making tracks with Fruity Loops that you would never be able to tell they were just making stuff on their desktop…however, there’s a lot of kids who use fruity loops, and for whatever reason, you can tell.  And if they’re serious about making tracks, they either try learning how to use Fruity Loops better, or they invest in getting an MPC, because everyone tells em to get one! haha.

As for sounds, a lot of people think it’s the 808 drum machine.  And a lot of the sounds are 808, but there’s a mystery machine that is cheap as hell, that RP Boo mentions in Dave Quam’s interview with him, the Roland R70.  That thing has the best 808, 909, and various other roland sounds which just can’t be beat!
-who are the best producers right now in the genre and where can we find and buy the tracks?Right now, as much as dissensus thinks I’m biased because the guys are my friends, they just can’t fathom the fact I’m pretty much friends with almost all the producers that are involved in Chicago Footwork, so I really have to say it’s DJ Rashad & DJ Spinn right now.  Traxman is still legendary, DJ Roc from BOTC is legendary, RP Boo is legendary, but those 2 (Spinn N rashad) have changed the way the music sounds so much within the past 1 or 2 years, they have gotten huge recognition because of it.  They even won an award from Walacam for best crew of the year simply because of what they’ve been creating.

As for sites, right now, there’s isn’t really one.  Electrobounce used to have some reputable juke and footwork tracks, but has started to let anybody who submits music to get a distribution deal.  We were actually trying to, and still are trying to create a website, to try and fix the problem, but I have spent the past 8 months, over $3000, and now up to 8 developers who have screwed me over.  I don’t know where the hell to go to, so if you could help me out, I’d really appreciate it!

-Mike of Planet Mu has this amazing FOOT WORK/JUKE mix up now on mixcloud, have the guys in chi found it as well? How do they react to this influencing people in Europe right now?

For the whole juke and footwork genre, we always thought a lot of the footwork tracks were never something that would pick up internationally, but it was cool for us to make em simply because we were so dedicated to the scene here, it didn’t matter!  Now that it’s picking up more than the clubby juke tracks are, it’s sort of speechless, haha.  Not a lot of people out here have heard Mike’s mix just because it’s so insular out here, but those that had were pretty damn happy to see it!  I know a lot of people were wondering why there was a lot of Nate & Trouble tracks, just because they’re sort of outdated here, but you take what you can get, haha.

Thats actually the biggest thing I’ve seen thats sort of puzzling to some people here.  It’s like, “why are there so many nate, and pope tracks on this mix?”  They’re sort of outdated, and no one really wants to footwork to some of these tracks in the first place.  It was even hard for me to understand as well why so many people in the UK were really into the Nate, Tha Pope, DJ Darkness (who know goes by DJ Oreo), and DJ Yung Tell EM.  But that’s the only stuff that was available to be heard on stuff like Imeem and youtube, so thats what shaped the opinion that that was our Chicago Footwork music.

The main reason you won’t find a lot of the more recognized guys is because a lot of the dj’s never got the recognition they deserved when they made huge hits, and other people were taking their fame, so they made their tracks damn near impossible to be taken outside of a close circle of people who they trusted.  A lot of dj’s play 90% their own material simply because they dont want to find their track on limewire with someone else’s name drop at the very beginning.  But the guys are starting to come around and trying to change that.

And you bring up an interesting question, how will people out here react to Europe being influenced.  I feel a lot of the footwork tracks I’ve heard from the UK have been more dubstep/uk funky blends with juke and footwork…so the bpm is around 140.  But here’s the thing, there’s tons of producers in Germany, Belgium, and France who have been making juke and footwork tracks for a few years.  DJ Hilti and Big Dope P are both amazing names that run off the top of my head for people who really know how to make a dope track. Basutbudet from Sweden has made a lot of ghetto tech, as well as juke tracks, and is now coming up with some style that’s blowing my mind, and the Regulate crew from Belgium have been knowing whats up for a while now!

In fact, the Chicago ghetto house scene, while insular, has had strong connections with Europe for a looooong time.  If anything, the highlight on Footwork is more like Chicago’s return to the spotlight, allowing the next generation of artists after DJ Funk, Jammin Gerald, Paul Johnson and DJ Deeon to continue a highly treasured Chicago-Europe connection.  A few guys have been out to Europe a few times, but becoming house hold names is what we really need to be.

And there are some out who are distrustful of European artists, and feel like they may appropriate the music yet again without giving the proper dues to Chicago artists.  But we have the unique opportunity right now where the technology allows us to talk to the artists who were inspired by our work, and bridge the gap between our respectfully awesome cultures.  If I were to focus on the UK for example, the Night Slugs crew has been so open and receptive to us, we can’t do anything us but consider them brothers.  Then to actually be able to talk to Mike from Planet Mu is an honour, and having gchat conversations with Headhunter is sort of something you scratch your head to and say, “Was I really just talking to Headhunter?”

Yes, these guys are huge, yes, they are more popular in the States playing juke/footwork tracks or juke/footwork inspired music than we are, but they’re more than thrilled to actually take time out of their week and set up a real dialogue, and they’re more than willing to help bring us out overseas, and give us the exposure so many have waited their whole lives to get.  I think with the right producers, and artists promoting and making this music, such as Bok Bok, Girl Unit, Headhunter, U-Ziq, this isn’t going to be a musical fad, this is going to change UK music long-term, and we’re happy to work with people who are actively trying to put the spotlight on us.

-do you have any plans to release more FOOT WORK music (besides the JUKE tracks you release) in the near future? and where can we find/buy tracks?
I personally don’t make tracks, but a lot of the guys out here are in the process of making their own labels.  It’s just such a terrible history of crappy label after crappy label being somewhat popular for a short period of time, but then pulling shady practices, so no one wants to mess with them anymore.  Now, it’s hitting that point where everyone is pretty much saying the only person I know that can’t screw me over is myself.  It’s actually a really good thing.

As for Spinn N Rashad, they’re actually going to have the first vinyl release on the new label, Ghettophiles within a month.  It’ll also be available through Beatport, Itunes, cellphones, and all those other music stores that distributors tell you you can sell your music through but no one really uses or cares about.

-since this genre is really created to do the dance too, how will this translate to Europe you think?
Its actually funny as hell, because besides it’s acceptance in the electronica music scene, we get to expose the dance to various dance scenes out in Europe.  A few of the footwork guys out here have actually created an exchange with a few members of the UK jazz fusion group, the Floor Technicians.  The dance moves, history, and people who participate in them are soooo identical.  We consider them our overseas brothers, simply because it’s basically the same culture.  Even Uk jazz fusion tracks are being picked up out here, and are being sampled to create new styles…it’s awesome!

As for Europe, it truly matters on the region.  Like I mentioned earlier, we’ve been friends with people like Big Dope P, Booty Call Crew, Mister Ries, and Dave Luxe for a while, and they not only fully embrace juke and footwork, they make it and play it at major events!  Booty Call Crew tries to make the music mainstream by throwing huge parties with headline acts like Armand Van Helden, Major Lazer, and Laidback Luke, but for the rest of the night, play straight up juke tracks.  Regulate does very much the same thing, with booking acts like DJ Sega, Bird Peterson, and Scottie B, but have the rest of the artists playing original & amazing juke tracks.  Hell, Regulate booked DJ Rashad, DJ Spinn, and BIg Dope P for their last Regulate Party!  That was legendary for the guys!

However, we really want to see how the UK runs with it.  Will it be seen as IDM music, or will further fusions between dubstep/uk funky occur with footwork tracks, or will people be willing to accept it as its own genre?  I think the biggest problem I see right now is people making all these comparisons of Juke and footwork tracks to jungle.  The best way I can prove these are two completely seperate genre’s of music is by the evidence of sampling.  If juke had been inspired by jungle in any way, you would have heard someone sample a jungle track by now, but it hasn’t happened.  It’s just two completely different scenes, and while we are completely ecstatic to hear people see similarities in our music, I also see it potentially hindering the full growth of the impact this music could have on UK music.

But on the good side of the UK, they’re actually incredibly original with how they make their tracks.  It’s such a relief to hear someone make a new style of juke and footwork tracks.  We listen to soooo many tracks by soooo many artists everyday, and it all sounds the same.  The last thing a good juke track is is formulaic, but so many people send us tracks that are just so uninspiring, it’s gotten depressing.  To hear IRL or Footcrab means an experimentation of sounds that we haven’t even thought of yet!  When you have producers like Headhunter, or Girl Unit making footwork tracks, all that is is friendly competition, and friendly competition always leads to amazing innovations.

now for some music!
via our homie DAVE QUAM: RP BOO – THE ISLEY’S
crazy video collection of NEEMA: youtube can be ripped

here’s a bunch of ripped FOOTWORK tracks, all low quality, but it’s the best I can do right now, check it and if you find an actual CDR or release –  BUY IT!



A new sound has been tearing up dancefloors all across Europe the last couple of months, but it has been tearing up clubs and dancebattles in Chicago for a couple of years already! With recent releases by the mighty PLANET MU, some of the tracks are now easily available and via youtube you can check out a sh*tload of songs if you are interested. I emailed some people to tell me a little bit more about this new phenomenon that’s been on my mind since I first heard about it from this guy at a recent show. here’s something to get you started:


I decided to get in touch with MIKE PARADINAS, head honcho at PLANET MU to ask him some questions…

-so when did you first hear of FOOTWORK?
It was about 2008 when I heard DJ Nate from my friend Marcus, we listened to DJ Nate on youtube! It is still the only way to hear a lot of these tracks (now they have taken down imeem and jamglue).

-how did FOOTWORK evolve? and whats its predecessors?
Footwork is a direct descendent of chicago house. for example, the repetitive vocal from 1988:

and tracks like lil louis videoclash and cajmere percolator are still sampled in juke trax today:

chicago house evolved into Ghetto house during early 90s with the main record label being ‘Dance mania” and DJ Deeon, Funk and Slugo being big names of this period. DJ Clent made one of the pioneering tracks of the footwork sound in:

where u can hear that he isn’t using the 4/4 bouncy beat anymore… Juke evolved from Ghetto house but it has a more bouncy sound than footwork, which is a type of juke for the footworking battles. So u can hear that the music got a lot faster until it is now 160bpm, sometimes even 165bpm (dj nate)

I am more interested in the half-speed sound of juke where it is less bouncy. this was pioneered by RP boo (aka arpebu):

-who are the best producers right now in the genre and where can we find and buy the tracks?
The best producers? that is truly subjective! I can tell you who I like, the DJs on my mix! but a lot of them are not making footwork anymore, they are making rnb hiphop. DJ Nate, DJ Elmoe, DJ Killa E, Tha Pope, DJ Trouble, DJ Metro, they are not making footwork or juke anymore as far as i can tell. I like RP boo, but i dunno if he is making anything at the moment… Of those still making footwork, I love DJ Roc, DJ Rashad, Traxman (who has released house on dance mania for around 15 years or more!), DJ Diamond,DJ Lil Rome, and there are many more…

-you have this amazing FOOT WORK/JUKE mix up now on mixcloud, have the guys in chi found it as well? and how do they react to it?
Yeah, they haven’t said much about it, I got a lot of friend requests from chicago guys on facebook! I had a lot of emails from people loving it which is nice.

check that mix right here:

Mike Paradinas Footwork/Juke Mix by Mike Paradinas (A.K.A. Μ-Ziq) on Mixcloud

-Do you plan to release FOOT WORK tracks on Planet Mu in the near future?
Yes, we have a 12″ and an album coming from DJ Nate this year (THIS IS OUT RIGHT NOW IN FACT!), and in addition to this, we hope to release 12″s from DJ Rashad and DJ Roc. And I am in the process of compiling a various artists footwork compilation album – this is where i got the majority of tracks for the mix – from artist submisions…

check DJ NATE’s release out on PLANET MU:

DJ Nate, born Nathan Clark, grew up in the westside of Chicago, he’s 20 years old and started making footwork tracks 5 years ago. For ‘Hatas Our Motivation’, Nate’s first ever worldwide release beyond small edition cdrs and tracks posted on youtube, he uses the basic palette of samples from pop and hip hop, pitched, layered and triggered into unusual edits, usually with a repeated phrase used to spur on the dancing. This hypnotizing effect, combined with sparse 808 drum patterns, often with busy fills, relentless triplets and off-kilter accents, is used to create very different variations in his sound. ‘Hatas Our Motivation’ is six tracks from Nate’s archives. We think there is plenty here to get your head around or just enjoy if you’re already familiar with a few of the tracks here
review from BOOMKAT: Without a doubt, DJ Nate’s ‘Hatas Our Motivation’ is one of the most beguiling, vital releases of the year. Nate is a 20 year old producer from Chicago and pioneer of the Footwork sub-strand of Juke, the Booty derivative descended from DJ’s Funk, Rashad, Spinn and more. Even inside Chicago itself, Footwork is a niche concern, reserved for frenetic dance battles between rival crews performing a style somewhere between Jazz Dance and Break dancing. Quite honestly, it’s some of the most mindblowing dance music we’ve heard in the last decade, from the hyper concatenated construction to the use of elephantine bass drones and liberally freeform approach to sampling. We’ll save the proper gush for his forthcoming 25-track collection ‘Da Trak Genious’, but in the meantime these are the first 6-tracks of Footwork to receive a commercial release outside of the US (in fact, quite possibly anywhere), therefore demanding your attention, RIGHT NOW! Here, you’ll find stone cold classics such as ‘Hatas Our Motivation’, ‘Ima Burn Him’ and the ultimate marmite flavour of his Evanescence-sampling ‘See Into My Eyes’. If you don’t want to look like a doyle on the floor, we’d recommend you get some Footwurk practice in the privacy of your own home. Essential!!!!!!!!!!!

since this genre is really created to do the dance too, how will this translate to Europe you think?

 Haha, I dunno, i cannot see people footworking in london… maybe very badly. But i think the music is already becoming an influence over here. Addisson Groove, Ramadanman, Ikonika, Mark Pritchard, Untold, Girl Unit, those producers are all making Juke and footwork influenced music with a UK perspective, and i think it will work in a cross-pollinating musical way, rather than importing the culture wholesale…

Thanks so much Mike for shedding some light on things, but the best way to check out this music is of course by listening to it! mike hooked me up with NEEMA, who we will talk to in part II, and he hooked me up with some shareware for y’all… peep the tracks below – all are limited to 100 dl’s each!!!!

+ a full pack of FOOTWORK mp3’s coming in part II! stay tuned…



Dj rashad-hornz gone wild by La Naranja Mécanica



In the interests of fairer representation of the fairer sex on this blog, here’s a leather- and snakeskin-clad piece of sexy electro from a stunning all-girl act who seemingly disappeared after firing off this feisty track and enticing video.

All I can tell you about Jane Wayne is that they were a delectable-looking duo; that one of their members played in a number of South African punk rock bands; that they collaborated with Richard IIIrd (aka Biscope and producer of the bulk of the new Spoek Mathambo album) on the cracking “Ctrl Alt Del” track.

And that they then dropped out of circulation, leaving titillated listeners – many of course from the male fraternity! – lusting for more. It’s a pity all around: this tune has fabulous feminine menace and exhibits plenty of promise; their image was carefully crafted and (skin) tight, and the video slammingly mashed-up emotionally-charged black and white (and black vs white) archive footage – check it out here.


I’ll keep my ears (and eyes…) open for news on Jane Wayne – in the meantime feast your senses on one of the most seductive “one-hits” to emerge from SA in in years…

DOWNLOAD: JaneWayne – ControlAltDelete_featuring_RichardtheThird



You know what BANGER ® means!!!
SOOOO…. Get ready to grab few FREE TRACKS!!! and check some EPIC WINS!!

Nuff Respect to all the people who are here!!

Let’s start with:
Munchi Feat Caballo- RUAS DE GRECIA by caballo
Petrona Martinez rmx by Sonora
Sonora – Tierra Santa by SONORA
you can download the whole EP here!! it is amazing!

Let’s move to a melodic dubstep!!
Dog Days Are Over (Almost Royal Remix) – Florence and The Machine


Dog Days Are Over (Almost Royal Remix) – Florence and The Machine by AlmostRoyal

This babe was born a BANGER®!! FREE
Dunkelbunt,Shazalakazoo,Dizzee Rascal:Kebab Bonkers(SuperStereo bootleg) by djSuperStereo

Robert Miles – Children (How Old I Am Dubstep Remix by -toxiK)
DOWNLOAD IT FOR FREE if soundcloud is done
Robert Miles – Children (How Old I Am Dubstep Remix by -toxiK) FREE DOWNLOAD LINK IN DESCRIPTION by -toxiK

Not Free but still EPIC
Beating Hearts (Louis La Roche Remix) by Ocelot Official
Kitty Kat by Minnesota
Subvert – Speaker Humpin (Dov & Funk Monsta Remix) by Dov



Well, what can you possibly say about a legend that has not already been said?

Well, I can add that we had a great experience hanging out with Hank (and his lovely Manager Jo-Ann) at the Generation Bass Festival!

Both of them were super great, down to earth, humble people, who we could relate to on more than one level. Man we’re fam now and I hope it stays that way 🙂

It seems that Generation Bass might have opened up Hank’s ears to some brand new sounds that he’d never encountered before. I think what most impressed him was the wide range of music that we were covering, I think he found that fascinating.

What fascinated us, puting aside, that we were in the company of a legend, was that he seemed not to have lost any of the enthusiasm and passion that he must have held for music when he first started out. The fact that he was into Dubstep intrigued us as we’re hugely into the same. Subsequently, I’ve been getting him into DrumSTeP and he’s loving it!!

Man, it was so great to see that he was still very open to learning about new music, new artists and keeping an open ear to the underground! I enjoyed taking him around from venue to venue, introducing him to everybody and seeing the astonished look on their face and seeing him check out everybody!

It was even more surreal when we were left wandering the streets at 4am in the morning trying to find somewhere to hang out and eat! I suppose that’s part of what makes him so great, his ability to continue to relate to us ordinary folk 🙂 and maybe that’s what I liked about him most.

After all, this is the dude who produced one of the greatest albums ever, to have graced this planet. So we were in the company of a very important figure in the history of music, but it felt as though he was just like one of my homies’!

Here’s some info about Hank, punctuated with some pics from our meetings:


[Hank & Jo-Ann)

Producer Hank Shocklee is one of the preeminent figures of the rap world. Producing successful albums for Public Enemy, LL Cool J, Bell Biv Devoe, and EPMD, as well as remixing albums for Peter Gabriel, Tricky, and Sinéad O’Connor, Shocklee pioneered a new brand of production in hip-hop music with his noisy, layered style based on equal parts rap, punk, and rock.

Starting his career as a DJ with the party crew Spectrum City, which included Chuck D among others, Shocklee helped run a nightclub as well as host mix shows at Aldelphi University’s student-run radio station.

After gaining momentum with his Spectrum City DJ Crew and the Super Spectrum Mix Show radio show on WBAU, the pause tape song Public Enemy #1 that was played on the air caught the attention of a just starting out Russell Simmons and Rick Rubin.  Hank put the group members together and got it signed to Def Jam in 1987.


With the signing of Public Enemy to Def Jam Recordings and the eventual group’s rise to stardom, Shocklee’s efforts shifted to the studio full time and he assembled the Bomb Squad Production team. He served as Producer and Executive Producer for the group and led them to the success of 1 Double Platinum, 4 Platinum and 2 Gold Albums.  Shocklee also managed Public Enemy along with Russell Simmons.  Public Enemy soon became Def Jam’s biggest global act and went on the road for a series of successful world tours. As the Bomb Squad, Hank went on to also produce groundbreaking albums such as Ice Cube’s Amerikkka’s Most Wanted and many more classic hits for artists like Slick Rick, LL Cool J, Madonna, Janet Jackson and many others.

Shocklee’s success led him to MCA records in 1991 where he created the S.O.U.L. label with Bill Stephney and signed acts such as Ed Lover & Dr. Dre, The Young Black Teenagers, Son of Bazerk and released the soundtrack for the movie Juice which introduced the late Tupac Shakur to the world.  S.O.U.L. helped to create the template for MCA’s Black Music Department.  Always drawn to his creative pursuits, after a couple of years with MCA the S.O.U.L. label was dissolved and Shocklee returned to the studio and developing artists.   In 1994 Shocklee returned to MCA Records as Senior Vice President where he oversaw the A&R, Marketing, Promotion, and Sales divisions for the company. During his tenure there, he Executive Produced and supervised projects for many Multi-Platinum artists such as Mary J. Blige, Pattie LaBelle, K-Ci & JoJo, Gladys Knight, Avant, Res and Immature.

After many years of working within the confines of a Major Record label, Shocklee decided to pursue his visionary and creative interests and launched his own independent company, Shocklee Entertainment in 2000 along with fellow ex MCA employee Jo-Ann Nina.



So Hank Shocklee came to Tilburg for 2 reasons:

1. To participate in an interview at the Pirate Conference.

Indeed the interview was great and provided an insight into his views on sampling and where he stands with that today amongst other things. I hope to be able to bring you the video footage very soon.


2. To perform at the GB Fest on the Friday night.

I managed to catch half of his show because I was dj’aying at around the same time at the venue upstairs. The first half that I did manage to catch surprised me, although I expected a wikkid bangin’ set and it was, it was not made up of just Hip Hop but dirty, filthy, Dubstep beats too.

It was a killa set and we recorded it and so we’ll post that on the blog very soon!


You can take a listen to Hank’s dj style via these 2 xcellent Bomb Squad mixes, Vol’s 1 & 2 that you can download for free!!!





There’s also vol’s 3 & 4 too but they’re coming with the Part 2 feature and the vids later on 🙂

Remember to watch out for Part 2 when we’ll give away another 2 Bomb Squad dj mixes. We’ll also show some video footage of Hank at the festival.

For now, I’ll leave you with some great shots of Hank shooting some hoops and just wanna say:

Thank you so much Hank & Jo-Ann, you are both ultra-coool peeps and we’re so proud to be part of the fam 🙂





BOMB SQUAD LINKS: // News_Music_Film_Media_Tech

Bomb Squad // Live Electronics

Live & Direct // 24/7 on Twitter

Herr Müller – uh!

4966809693 851c6b52f7   GENERATION BASS PRESENTS HERR MüLLER    Generation Bass

With pride we present the very first release on GENERATION BASS’ new digi-label:Herr Müller “Uh!”This fabulous piece of sci-fi dubstep is downloadable through all sorts of channels, but we now also present a free cut from the album to spread through your blog/site/thang.Graphic designer by day, Dutch born Herr Müller has been crafting tunes for a long time, and this monster of an EP was the right time for GB to snatch him up for their new label. Bass heavy, catchy as hell plus retro futuristic and bubbling with arcade sounds, this contains tracks both aimed at heart and feet. Remixes are also added by Greek dubstep producer Fleck, skweee originator Coco Bryce and nueva cumbia producer Sonido Del Principe.Generation Bass is by now a recognized force when it comes to bass driven global music from all directions, and this is the first of many new releases coming from us this year.This is a great, easy level access point for people who are looking for new sounds, without borders in style or geographically speaking…

ArtistHerr Müller
Album Titleuh!
Release Date28 September 2010
Description Our debut release by Herr Muller is out now!It includes remixes from our GB fam, SDP, FLeCK and Coco Bryce.
Tracklist1. Uh!
2. Drinking Problem [Explicit]
3. Bionicism
4. Midnight Iron
5. Y’all Know the Name 6. Uh! (SPD Remix)
7. Uh! (Fleck Remix)
8. Muller Beat (Coco Bryce Remix)
Download storesJuno
DJ Tunes

Stream Here:

Generation Bass Presents Herr Müller – Huh EP by generation bass

Go to Beatport.comGet These TracksAdd This Player

Watch the preview & full length vids:

Herr Müller “Uh” from Videomit on Vimeo.



Our debut release by Herr Muller is out now!

It includes remixes from our GB fam, SDP, FLeCK and Coco Bryce.

Go and check out Coco Bryce’s xcellent blog 20 Shot Sequence over here for all things skweee & music of the future.

We’re on Beatport now:

Go to Beatport.comGet These TracksAdd This Player

Plus loads of other digital stores including I-Tunes:







Stream Here:

Generation Bass Presents Herr Müller – Huh EP by generation bass

Watch the preview vid, full length vids coming soon:

Just want to say by supporting us , you might help in a little way to make the small changes that we want to see in the dance scene!

We’re in this for the LOVE, not the money (money, what is but “official” releases help us to create that presence on that stage where we can fight for that change in our own little way!



My personal favorite Dj from Barcelona-EL TIMBE– brings what I, Caballo, feels is one of the greatest LATINO DUBSTEP Mixes I have ever heard.

El Timbe seems to reinvent himself every single “ismo” ; This time he drops LATINO DUBSTEP n GLOBAL BASS TIMBERISM!!

I haven’t heard one dropped like this before!!

I am speechless!


ismo5 tracklist

Big up to folCORE and el Timbe



Burning Man is one festival I’d love to play at, hopefully, next year!

DubSTeP MonDaY:


2. BAR9













Just blown away by this and so had to include it again!

The EP is available on Juno Download, iTunes release date coming end of October 2010.

Limited Release Exclusive – Junodownload:



One of my favourite songs of the past year and remixed by one of my favourite dubstep producers, what else could you ask for!

Foals – Spanish Sahara BAR9 Remix by BAR9



Don’t like to get too political on this thing but pics/incidents like this one make you wonder whether 9/11 was really any different to what happened here, yet you don’t hear about it everyday!

On a brighter note, Trasnantional Dubstep tracks like this get maxxed out fairly quickly, and so here’s an alt link:

Download here




Love everything they do and with them branching out into more tracks of their own, the future is looking rosy.  Of course hats off to Bassnectar for being one of the figureheads of this whole movement!

LIFE [clip] (Forthcoming on Simplify on Addictech!!!) by Love and Light

Neon Thwomp Suace Clip (Forthcoming on Addictech on Simplify)!!! by Love and Light



Our matey, David is back with a track he made especially for a compilation which is being sold with proceeds going to a good cause:

The Do LaB presents… Lightning in Your Ear: A free track from L.A. cultural bass ambassador David Starfire!

In an effort to give back to the artistic community that birthed the festival some years ago, The Do Lab in conjunction w The Confluence are releasing an artist compilation built from artists who performed at the 2010 Lightning in a Bottle festival. All proceeds will go directly to the charity for the preservation of the rain forest and indigenous culture through the sale of music derived from the Amazonian tribal sounds from the very cultures in need of protection.

Lightning in a Bottle Music and Arts Festival:
The history of LIB spans more than a decade, and friends, family, and co-horts of the Do LaB are thrilled and astounded that it’s been more than ten years of making miracles and catching Lightning in a Bottle! Together with all of our friends we will converge on a beautiful new location and transform it into a wonderland for the senses, once again capturing Lightning in a Bottle.
The event entailed 4 days and 3 nights of activities and entertainment including music, performances, inspiring art, yoga and meditation classes, sustainability workshops, clothing and craft vending, tasty organic foods, camping and much more!

The Do LaB:
Based in Downtown Los Angeles, The Do LaB is an ensemble cast of creatives ranging from artists, event producers, lighting designers, DJs, constructors, welders, costumers, musicians, and the performance troupe Lucent Dossier. Since 2000, The Do LaB has been dedicated to treating experience itself as the art form. Their exceptional annual events–including the Lighting in a Bottle Music Festival–and jaw-dropping, large-scale art environments, have been attracting a devoted following among the West Coast’s underground creative community, and around the world.
*The Do LaB’s portfolio includes clients such as the Coachella Music Festival, Ford, Audi, Red Bull, Scion, the Virgin Music Festival, Speakercraft, Esquire Magazine, AIDS Project Los Angeles, Stop Aids Organization, and many more…

Released by: The Confluence Group
Release date: Sep 21, 2010
ISRC: US-QY5-10-78913

Lightning In Your Ear Compilaion – David Starfire -Tumbi Blaster by INgroovesmarketing



Nova say PunkSTeP ain’t a genre but a Parrrty!

Well sounds great to me and this is what PunK is all about.

Controversial song with controversial lyrics by a controversial band paying homage to the conspiracy theories.  We live in very paranoid times when we don’t know who is telling us the truth and who keeps spinning that BIG lie to stay in business!

Whatever your motivations, Nova, Big Up from me!

NOVA – Terrify by Punkstep



The title of the first song is so funny and so is the sentiment behind it.

Some real naaaartyness here!

Exotope – Dirtier Than A Swan Fucking….Blah Blah Blah (Fuck Youtube) by EXOTOPE

Exotope – Violation (Free Download) by EXOTOPE

Jerry Blam – No Breathing Til Brisbane (Exotope Remix – Free Download!!) by EXOTOPE

Exotope – Brrr (Free 320kbps Download) by EXOTOPE



Dubstep Re rub of Foreigner’s 80’s classic “Cold As Ice”

Specimen A drop an exclusive free download of their eagerly awaited dubstep bomb ‘Cold As Ice’, a monster cover of Foreigner’s 80’s classic given a nasty bassline makeover 2010 style. This one drops hard like the

Watch out for their next single ‘Chasing Shadows’ dropping soon on Funkatech Records.

Direct download link



You know I love to support my home city.

This should really have appeared on last Friday’s DrumSTeP post but I forgot about it and so here it is instead.

Very interesting idea, keep bangin’ away homie!

Dry Lips by Dilemma



Not sure who HK is but I have a feeling it “might” be somebody quite well known behind that name, any guesses?

Who’s Jack? (Pre Master) by Harold Kensington



Here’s my friend Amirella, skanin’ on rollerblades to an awesome Reggae choon!



Heard my matey Coco Bryce play this last weekend at Gen Bass Fest and it blew my mind. His set was also one of my personal faves of the entire weekend, I’m hoping we recorded it and so will stick it up once we have the files.

This track is not really Dubstep, more like Lazer Crunk but it is awesomeness!

Plastic Caramelo=GLAMPETA LORDS! Exclusive song for GB!!


Not a while ago, THE GUARDIAN, made a review about Electro champeta, in where Generation bass was mentioned briefly.
Two of the bands mentioned have a special relationship in their own way with me.
Qurrambeat, is -quoting The Guardian- the artist moulding the genre into strange new shapes , undoubtedly. His electro style takes champeta’s African-Colombian rhythms and creates weird, skeletal and primitive dance tracks that sound completely new, rather than being particularly champeta in form.
And the second Band:
US-based Colombians Plastic Caramelo are pioneering a form that they call “glampeta”, which sounds like a Colombian MIA.
They are pushing the genre to a BOOTY-LIKE riddim!!
It’s like Major Lazer meets Picoteros!!
Leading them is Christian Castagno, who, alongside his wife, Tatiana, explosive liseth, gaspar and my very good friend Lalo Yunda are changing the Champeta world!!’s the band alter egos
electrobrain/ christian castagno
ta-tease/ tatiana llinas
lenka/ liseth bitar
gasparhymes/ gaspar guerra
eddie whyte/ lalo yunda

GRAB THEIR NEWEST SONG in Exclusive for GB!!
Shake That Chocolate

Shake that Chocolate was directed by my school pal Sergio Zaraza.
These guys are just Amazing!
and i am sure we are going to hear about them much more once their new album is ready!!

Grab their TUNE for FREE!!
Plastic Caramelo
Plastic Caramelo
and Check their dope Video


Now..if u want to know why Plastic Caramelo has a special relationship with me (caballo)
Lalo from Plastic Caramelo (dread guy) went to school with me.. and we used to listen to hardcore, punk, and heavy metal with Sergio!!
So when i found Plastic Caramelo i was super happy!! cuz i saw my only close school mates were not that far from what i was!!
Well..we were like ..i was always making funny

caballo kid