So while I’m writing this I find myself at Wayne & Wax’s house, where his daughter is giving me a laptop to work and my wife a cooking pan to cook me dinner haha.
Yesterday I had a gig here in Boston for the first time, which was awesome!! It was probably the gig I was most nervous for lol, because it was Wayne’s party and I didn’t wanna fuck up. Also I met some sick Breakcore producers at the party and even a sudden surprise visit of Drumcorps! And who would’ve thought that there were so much Dominicans up in here, a bunch came to the party so you know I gotta hit up some of these Dominican spots for food haha. BOW!!
Besides the gig I also had my 2nd release ever which was the Moombahtonista EP on Mad Decent, FINALLY!
Seriously everything was on point with that man, from Angel Doze and Blass on the release and Wayne & Wax doing the write up, to Franklin ‘El Medico’ doing the mastering (a.k.a. TEH reggeton engineer!). It’s not the last you will hear from that release and be on the lookout for that. I’ve seen all the support on Twitter/Facebook/Blogs.
THANK YOU so much for that man!!!
Seriously it’s incredible to think that I’m already more than 2 years in this and after the whole brain thing last year (basically spending the entire year recovering), I’m ready to do this shit again!
That is not the only thing, because I also had the release on Mau5trap being on Noisia’s ‘Split The Atom’ remix album.
It’s incredible, also being the only remix I was intimidated to make lol. and of course… I’M ON A RELEASE WITH NOISIA AND CURRENT VALUE FUCK YEAHHHH!!!!!!! Ok. Yes. Just letting you know – i’m that stoked haha.
This track was a mix between Skullstep/Moombahcore/Metal/Baile Funk, and just an attempt to let people know that Moombahton can be way more than bleepy-ton haha.
With this it was my first succeeded attempt on mixing Moombahton with the darker side DnB, which i’ve been planning on for a long time haha. First glimpse you could hear on the Nadastrom collabo on ‘Say My Name’, which Matt with his DnB background made so on point.
THOSE REESES MAN!! lol.
OK, ok. I love talking about shit and I talk even more about music, but this is to introduce the 3rd release this week.
Introducing the free EP once again at the end of the month, this month with the long delayed 3ball Dub EP!
This contains the ‘Skrillex Es Un Montro’ track, 3Ball remix of my favorite Dubstep track Noah D’s ‘Serious’ and a 3Skull remix of Chase & Status’ ‘Smash TV’ (still a favorite on my MP3 lol). And as you might know, I like to write some more info on the tracks when releasing it – and that’s what I’m doing now BOW!
1. Chase & Status – Smash TV (Munchi’s 3Skull ‘Shoryuken’ Remix)
So this is still one of my favorite DnB tracks. FUCK, that filtered synth thingy that goes on the thirds is SO GOOD.
I always wanted to remix this track so I eventually did and I was still doubting to release it, but eventually after a remastering I did now as you can see lol! I put some Street Fighter samples in it and some reeses and Skullstep snares and also an unexpected random Street Fighter fight somewhere in the track for fun, lol. And of course the most important element which is the 3ball. BAM!
2. Munchi – Skrillex Es Un Montro
HA! I remember when I first heared this track, and I was like WTF. Tittsworth showed me when it still was called ‘Untitled’ lol. I made a Moombahcore remix of it which I never put out, but only played on gigs.
Then I made a 3ball remix of it and waited until it was out there so that I could put it up on Soundcloud. I’ve been asked a shitload of times for this remix, until someone put up a ripped version and everyone started playing out that lol. And on Youtube people said that it was Moombahton, because it was on a Moombahton mixtape for some reason. But after a long delay here is haha!!
3. Noah D – Serious (Munchi’s 3Ball Remix)
My favorite Dubstep track. Yes, this track. I fucking love it. Everytime Nicon played it at the Subway parties in Rotterdam – I just waited for that track to come up haha. It was actually going to be an official remix, but since I kinda took too long I was like it’s all good. Free shit is what it’s about anyway BOW!
So today is Munchi’s day, the fourth in line to shine as “THE ORIGINAL MOOMBAHTONISTA”!
For me, he is the Original Moombahtonista!
You should know the score by now:
-Brief Q & A with our Moombahtonista
-The almighty EXCLUSIVE!
All of this below is obviously subjective to my own experiences of watching Munchi grow from where he was at when he came to us in 2009, to where he is at now. Munchi’s own observations will obviously differ but this is not his life story but just a glimpse of his musical rise from my very own eyes.
Of course all of this is in BRIEF, I’ll do the full thing when Munchi starts becoming a bit more BANKABLE..Lolz….
So Munchi came to us, Generation Bass, I think, way back in or about September 2009. He just messaged us saying he had loads of stuff that he was making and would we be kind enough to check him out. So we did and initially he wasn’t doing anything out of the ordinary but we could see he had skillz and potential.
We started blogging him in early 2010 but even back then we didn’t realize the fury this kid would unleash onto the world but we knew he had “something”.
He released some free Dubstep & Baltimore EP’s in 2009 and in early 2010 he released a scope of works ranging from Kuduro, Nu Cumbia , Baile Funk and then came Moombahton.
Sometime in 2010, I asked him to join our blog as a contributor, which he gladly accepted with great excitement. He has done and continues to do, a range of posts. Less so nowadays, but that’s understandable given his meteorotic rise to fame last year!
The first track that got me was his burialesque take on Dubstep with “Madre, No Llores”, unreleased at the time I heard it, but subsequently released on T&A in late 2010.
This track just resonated with me on a deep level cause it showed a different side to him. It displayed naked emotion, an honesty, a truth, a yearning and I loved that.
Then came all of the Moombahton stuff and then we knew he was onto something special.
I call him the ORIGINAL MOOMBAHTONISTA because although Dave Nada invented the genre, Munchi showed us what we could do with it, he showed us it had a future beyond remixes/edits. He created the first truly original piece in the genre.
Without him, it is debatable Moombahton would be where it is now.
He then teamed up with David Heartbreak. He had found his musical partner and also a hiding place. I think he found solace in Heartbreak, not just as a motivator and someone who inspired his thoughts as to the future possibilities that lay ahead of them, but also as someone he could hide behind to shy away from the publicity. I mean Heartbreak fits the bill at 6 4″!
Together they released their first free EP together and called it “Munkbreakton”.
This heralded 1 further major innovation and 1 further heartfelt track for me.
The further major innovation was the creation of Moombahsoul with “Aponte o Não”:
If you know your Portuguese you already guessed it. Heartbreak sended me this crazy Moombahton concept with the Fugees ‘Ready or Not’ joint. When i heared it I was so inspired. It led me to hear that great remix of The Course again. I totally forgot about that track. So i added me in it and the subtile synths of The Course’s rmx and it seemed ment to be like this. It’s a smooth party track, something you can vibe to in the club while sippin on something. I see this as a example of a good Heartbreak & Munchi collabo. This time in a other type of vibe, which we love making aswell. A more subtile approach.
The further heartfelt and standout track for me was the Lil’ Wayne inspired “Soltero y Sin Compromiso”.
I lost count the number of times I played that track, it just melted me. It was sensitive, atmospheric, warm and again had a sense of longing to it. Man it was DeeeeeP! It’s as though it stated Munchi’s search for something higher, omnipotent and unattainable in this world, it was spiritual!
This track further reinforced to me that we were seeing the signs of something special developing in this kid.
This is what he said about the track at the time (it’s no longer on his soundcloud & I don’t know why):
Soltero y Sin Compromiso
I have to be honest. Don’t like Lil Wayne’s music as I did when I was a kid. But when he released the ‘Single’ joint I knew that that was my anthem right there. It wasn’t after a long time that I started to work on this track, i loved the ‘It’s all good’ vibe on this track and i didn’t wanna change it.
Not to say that it has a Ambient Dubstep vibe to it, but it was certainly influenced by that. Also with hiphop, because its a hiphop track obviously. Alot of bass aswell, because.. well I just love bass. I like to think this is something you can vibe to on a summer afternoon on the beach, just chillin with a cocktail. It’s summer, so it’s all good my friends.
Then on July 14th 2010, all HELL broke loose.
I heard “FIREPOWER”!
We were blogging Datsik a lot in those days and also as far back as in 2009, when not many really knew who Datsik was. I had the pleasure of opening for Datsik in my home city in Birmingham in March 2010. So were were blogging about him furiously. I had no idea Munchi was also listening to Datsik. I knew he was into Burial and Loefah and those dudes but I had no idea he was into the more aggressive stuff. So it was a huge surprise when I heard his Datsik edit of “Firepower”.
Man it BLEW MY MIND!!!
I was about the 8th person to hear it on his soundcloud and I just said:
“fuuuuuuuuuuckkkkkk!……..NEXT LEVEL SHIIT!…The apprentice becomes a MASTER!”
I immediately knew then something big & new had been borne. It was like NOTHING I had ever heard before and the aggressiveness of it also surprised me, cause we weren’t used to this side of Munchi.
So I thought I got to do a blog of this track and sensationalize so that the world hears it, cause the world needs to hear it!!!!
The “Firepower” track was for “me”, the moment when I saw Genius in Munchi and I then became one of his staunchest supporters. Up until that moment, the kid was showing a lot of PROMISE but “Firepower” changed all of that and showed us the work of a GENIUS! He had started on his journey to becoming a bona fide LEGEND.
“Firepower” had acted as a major catalyst for the movement. When I heard the track I could see back then the vision Munchi had created for the future of this Moombahton movement. He had given it mouth 2 mouth resuscitation and had breathed new life into it.
All the Dubstep & Drumstep heads who were visiting our blog started to get into it and we started seeing a flow of Moombahcore edits. Without “Firepower”, I doubt we’d be as far advanced as we are with the movement today. It opened up the doors to a whole new world for a broad range of people.
I’ve said many times that Moombahcore and NOT Moombahton, has almost single-handedly helped to push this movement forward. It is still flava of the month and has a much wider audience and appeal, than Moombahton, at the present time.
However, saying that, I think the excitement for Moombahcore will start to fade thereby allowing Moombahton to grow from strength to strength as it is much more diverse. It has an ability to mutate to incorporate all sorts of things, which will allow it the longevity, which I’m not sure Moombahcore has. We’ve already seen this with Dubstep, with a huge swathe of opinion now moving away from Brostep, because of Brostep overkill.
A few months later he had immortalized Caspa’s “Where’s my money” with another Moombahcore edit.
So Munchi gave the movement impetus by creating the first truly original Moombahton track thereby securing a future for Moombahton.
With Heartbreak by his side, Munchi helped to create Moombahsoul, a sub-genre ,which Heartbreak has taken to new heights, and which is also now recognized as an integral part to the whole scene.
Munchi breathed new life into the Moombahton movement by inventing Moombahcore, which has acted as a major catalyst for moving the movement forward and spreading it’s appeal further and wider than any one of us could ever have imagined.
But Munchi imagined it and he was the only ONE in the world who had!!!
After inventing “Moombahcore”, Munchi’s world changed, he started working with M.I.A., Crookers, Noisia, Diplo and the Mad Decent crew and he has also received applause from the likes of Skrillex, Laid Back Luke, Crookers and many, many others.
The future is now his.
A lot has happened since then and he has made loads of GREAT stuff including Juke, Ambient, 3ball, Trap and more Moombahton, which we can’t cover here in this piece.
He has now also created “MoombahSkull” with a major remix for one of the scene’s most respected Electronic producers’, Noisia:
Noisia – Tommys Theme (Munchi’s Fear Is Weakness Rmx)
Damn. Honestly, this was the first remix I was intimidated to do lol. Noisia is top shit and they know their shit exceeding the onpoint level. I started with a Trap Bubbling remix, but I was like nah I can’t do Noisia like that. So I scrapped that one and made a new version, the version you are listening now.
This track to me is the 1st succeeded attempt to merge Moombahcore with the darker side of Drum & Bass. Breakcore, Skullstep or Raggacore – these are the parties I used to go. Dark and loud as fuck. It was either those parties or Reggeton/Bubbling ones. Haha, it’s a weird combo i know lol.
So this is basicly a mix of Skullstep/Moombahcore/Metal/Baile Funk.
For me the BOSS himself Current Value is about as hard you can get in the darker DnB and one of my favorite producers, so being on a pack with Noisia AND Current Value, man you can’t even imagine how hyped I am!!!
Representing the 108 roots, and trying to show that it’s not only about fucking bleepy-ton haha. Try to do Moombahton better than that and be more creative – there is so much you can do with Moombahton fam-lationnnn!!
Introducing a sub-genre of a sub-genre lol, Moombahskull is like a lil’ bro of Moombahcore. Just a bit way more agressive and mad at the hypocrite world we call home.
This is the first in lineup for some more to come. BOW BOW!!
THE MOOMBAHTONISTA EP
Here’s what Munchi says:
* wayne & wax writing the write up (one of my first supporters callin my shit moombahton and the first i could really talk about on this subject. also he saw the connections that im talking about, hes a university teacher about this shit man its fuckin awesome AND im playing over there tommorow in boston just because its my dude wayne and i wanna hang out there haha!)
* angel doze and dj blass on the release – without a doubt my favorite reggetonero and reggeton producer all time.
* the exact cover i wanted, till EVERY single detail. by my dude brian life, he is fucking awesome to make my view happen.
* hopefully the video will be on point, im working on that at the moment
* and of course this fuckin interview and your writeup – i appreciate it so much!!
Remastered and mixed, Munchi’s debut Mad Decent EP Out this tuesday features all the songs the launched Moombahton to the next level!
Munchi-Moombahtonista EP 1.Sandungueo 2.Pero que lo que mujer 3. La Brasileña Ta Montao feat. Angel Doze 4.Toma Berimbau 5.Toma Essa Porra VIP feat. DJ Blass
Soon as the first moombahton edits hit the net, Munchi was ready. Slowing down Dutch house tracks to make mutant reggaeton made a lot of sense to a resident of Rotterdam with roots in the Dominican Republic. Munchi knew as well as anyone (and better than most) that Dutch house and reggaeton were kindred genres, each a skip and a jump away from dancehall reggae. He began cooking up his own moombahton that night, emerging with much more than another set of edits. Arguably the first originals of the genre, Munchi’s tracks were built from scratch, imbued with touches of baile funk, cumbia, kuduro, bmore, samba, breakcore and more. Unlike Dave Nada’s seminal edits or influential remixes by A-Mac, Uncle Jesse, and Melo making the rounds, Munchi could put his name on his tracks front and center. Blowing up the blogs, he proved himself prolific and popular almost immediately, releasing acclaimed promo packs by the pound and building a devoted audience.
By pursuing his own singular vision of what the genre could be, Munchi pointed the way — lots of ways actually — to move moombahton beyond surprisingly serviceable novelty remixes in order to make it a genuine genre. His cross-breeding fusions even birthed a substyle he dubbed moombahcore, a steroidal take on the sound that now boasts hundreds of its own adherents. After Munchi’s wildly successful experiments, moombahton became a lot more kitchen-sink. This EP collects the classics, marking the moment that Munchi blew the frame open. Club wreckers that set the stage for a wave of producers learning to love the space between the kicks, the place to wind your hips. You’ll find it all here: evocative samples, epic build-ups and drops, thick-ass drums, sudden jokes and, of course, that trademark jingle. It also features new twists on old bangers, like lacing “La Brasileña Ta Montao” with brand new vocals from Angel Doze, Munchi’s favorite reggaetonero, making it the first real meeting between moombahton and its Puerto Rican cousin. Munchi’s amped about his first EP for Mad Decent and will be touring in support over the next couple months, bringing Munchi Presents: Moombahtonista Tour to cities in the US and Europe with a launch at Moombahton Massive in DC on February 15th.
– Wayne & Wax
Rajiv Münch, better known as Munchi is a DutchProducer and DJ of Dominican descent, born and raised in Rotterdam, Netherlands. He is credited to have made “the first truly original work” for Moombahton, taking “the sound to the next level”  and being the originator of Moombahcore. Even though Munchi is credited mainly for Moombahton, it was his versatility that brought him into public attention.Notably producing a wide selection of genres and incorporating these elements in his music. This is best represented in the ‘Murda Sound’ debut on T&A Records, consisting of a wide variety of genres doing Munchi’s versatility justice. In December 2010 Munchi was featured with 3 tracks on M.I.A.’s “Vicki Leekx” mixtape.
Munchi started making music in 2004 when his brother bought him Acid Pro. He met future collaborator David Heartbreak via Myspace in 2009. After Munchi mentioned Dave Nada’s Moombahton EP, Heartbreak invited him to Charlotte to learn more about the genre. While touring the U.S. in March 2011, Munchi had a seizure caused by an intracerebral hemmorrhage. After learning what happened, DJ Ayres, Tittsworth and Dave Nada organised a fundraiser “to pay for surgery, medication and flight home for the non-American insured producer”. He spent 9 hours in coma and 11 days in the hospital, but when noticing the overwhelming support it inspired him to recover faster during 2011.
Dubstep Promo – [SEL-PR001]
Baltimore Club Promo – [SEL-PR002]
Baile Funk Promo – [SEL-PR003]
B-more 2.0/2.1 + B-more Dub VIP’s – [SEL-PR004]
Moombahton Promo – [SEL-PR005]
Munbreakton EP (with David Heartbreak) – [SEL-PR006]
Cumbia XXX – [SEL-PR007]
Kuduro Promo – [SEL-PR008]
Fuck H&M (with David Heartbreak) – [SEL-PR009]
H/M (with David Heartbreak) – [SEL-PR010]
Rotterdam Juke EP – [SEL-PR011]
Murda Sound EP – [T&A019]
Moombahtonista EP – [MAD136]
Summer of Moombahton – [Self Released]
Verano del Moombahton – [Self Released]
M.I.A. – Vicki Leekx
Munchi – Break Your Fucking Face
David Banner ft Lil Flip – Like A Pimp (Munchi Has Bad Table Manners Moombahton Edit)
Juvenile – Back That Ass Up (Munchi Reggeton Edit)
Datsik – Firepower (Munchi Moombahcore Rmx)
TC – Where’s My Money (Caspa Rmx – Munchi’s Kinda Agressive Right Now Moombahcore Rmx)
Soulja Boy – Pretty Boy Swag (Diplo & Munchi’s ‘Dude, I Can Make This In 5 Min With Acid Pro’ Edit)
Munchi ft M.I.A. – Murda Sound VIP
Munchi ft Chito Rock – Bebe De To
Munchi – Despair – [Moombahsoul Vol. I]
Munchi – Gracias – [Moombahton Massive II]
Munchi – Jimi Knows – [Verano Del Moombahton]
Munchi – Virtud – [Moombahsoul Vol. II]
Nadastrom & Munchi ft Jen Lasher – Say My Name – [El Baile Diabluma]
Munchi ft Lakey – Not Usually
Munchi – Fuck This
Steve Starks – Git Em (Munchi Kuduro Rmx)
Bassanovva – Chickenlover (Munchi Likes Em Fried Moombahton Rmx)
Dogz & Bumps ft Mc Zulu – Carnival Madness (Munchi’s Only Beers & Rubbers Rmx)
Nguzunguzu – Unfold (Munchi Likes Excessive Amounts Of Bass Mambo Juke Rmx)
Dillon Francis & Dave Nada – Brazzers Theme (Munchi’s Fuck That It’s Bangbros Rmx)
Autodidakt ft Spoek Mathambo – Fake Fred Perry (Munchi Is Muito Random Rmx)
Buraka Som Sistema – Hangover (Munchi Airhorn Alert Rmx)
Professor Angel Dust – Go (Munchi Thought Criminal Rmx)
Bert On Beats – Bone Dat (Munchi’s ‘Nope This Aint Moombahton Dude’ Trap Bubbling Rmx)
Deco Child – Pray (Munchi’s Destino Solitario Rmx)
Noisia – Tommy’s Theme (Munchi’s Fear Is Weakness Rmx)
Q&A & THE GENERATION BASS EXCLUSIVE
This time round, we have the Q&A in video format and also these 2 video’s are the Exclusives for this piece.
We get up CLOSE & PERSONAL with Monsieur Big Hair and you know his hair is like the 8th Wonder of the World. I didn’t hear a word he said, I was too busy looking at his hair!!
Beautifully shot by James of DEFINATE and probing interview questions put forward by our boy DJ Nappy. It’s not a long piece but just a short 2 stage interview.
Dj Nappy also says his piece after the videos’ in tribute to Munchi.
“I’ve been loosely following Munchi for months to shoot an interview.
DJ Umb recently gave me a heads up that he was in New York, but I had
no idea that he was planning on staying there for a couple months.
After a few messages back and forth, I met Munchi for the first time
in person as James Definate was filming for Crizzly at Webster Hall in
Manhattan. In less than a week, I organized for him to spin an
impromptu set at the most prestigious university in the country.
I should be asleep. After a day of work and 2 hours of legal
nonsense, I headed to pick Munchi up from my local train station. We
had dinner and played some tracks back and forth at my house. We hop
in the car and head to Princeton University where James Definate (who
had run all the way to North Jersey get another camera because his is
on the fritz) filmed an epic interview. I played tracks for an hour,
and Munchi played nearly 2 hours when he was only billed for an hour
long set. Each and every track was insane. And most of those tracks
were his. I’d come up every once in a while and say ‘this is sick as
fuck’, without knowing who produced it. He’d just smile and say
The party ended abruptly at 3am. We dropped a couple people off and
ended up back in my driveway. And instead of going in the house,
Munchi and I sat in the car throwing ideas and theories back and forth
at each other for an hour. It continued for another couple of hours
indoors until the sun came up, and we went to sleep.
2 and a half hours later, I’m up and showered, and wake Munchi up to
do the same. He packs up, we grab breakfast at my parent’s coffee
shop, and I drop him off at the train station before I head to work.
I write this nearly 24 hours after I initially picked him up, and I’m
on less than 3 hours of sleep.
I’ve known of Munchi’s music since Dirty South Joe posted his “Best Of
Munchi” mix on Mad Decent’s blog. Not only was it a technically sound
display, but the actual content on it was mind-blowing. Since then,
Munchi’s career has skyrocketed. This isn’t because he followed a
formula, or because he had an insane marketing scheme. It’s because
the music was THAT good. It was different and unexpected. People
believed in it. People STILL believe in it.
I don’t normally write this much. The only people that will
understand or care are the people that understand and care that there
is a heartbeat behind every song that you listen to. You’ll get
what’s given to you from the video interview. We talk about music.
It’s shot INCREDIBLY well. But I personally got inspired by the music
he played, his giant smile as people were enjoying the sound, and his
willingness to share advice and information as if it was his duty. To
have moments of that evening documented will give me something
phenomenal to look back on.
I’m extremley careful not to state the man’s intentions. He has an
incredibly specific view on what is happening, how he feels about it,
what’s next, and what it all means. Every time I asked him to clarify
something, it turned into an intense explanation. He could (and
should) write a book on what goes through his mind. At the end of the
day, he’s more knowledgeable about music than anyone I know. He feels
a respect for all cultures, and doesn’t release a track until he feels
that his sound can be a solid and unique representation of a culture.
He thinks bigger than genres. “
Ballroom, it’s clear to see, is having a moment – even one of the biggest UK dance 12″s of the year, Joy Orbison and Boddika‘s ‘Swims’ is effectively a re-edit of a US ballroom anthem, namely Tronco Traxx’s ‘Walk For Me’ (1998) – that being said, I started gathering some more info on this genre and threw my stolen bits together in this piece, enjoy!
Vogue or voguing is a highly stylized, modern house dance that evolved out of the Harlem ballroom scene in the 1960s. Inspired by Vogue magazine, voguing is characterized by model-like poses integrated with angular, linear, and rigid arm, leg, and body movements. This style of dance arose from Harlem ballrooms by African Americans and Latino Americans in the early 1960s. It was originally called “presentation” and later “performance”. Over the years, the dance evolved into the more intricate and illusory form that is now called “vogue.” Voguing is continually developed further as an established dance form that is practiced in the gay ballroom scene and clubs in major cities throughout the United States—mainly New York City, Los Angeles, Atlanta, Philadelphia, Washington D.C., Miami, Detroit, and Chicago.
Formal competitions occur in the form of balls held by “houses”—family-like collectives of LGBT dancers and performers. Some legendary houses include the House of Garcon, the House of Icon, the House of Khan, the House of Evisu, the House of Karan, the House of Mizrahi, the House of Xtravaganza, the House of Ebony, the House of Revlon, the House of Prodigy, the House of Escada, the House of Omni, the House of Aviance, the House of Legacy, the House of Milan, the House of Infiniti, the House of Pend’avis, the House of LaBeija, the House of McQueen, and the House of Ninja, among others. (“Legendary” in ballroom terms refers to a house that has been “serving,” that is, walking or competing on the runway, for twenty years or more.) The House of Ninja was founded by Willi Ninja, who is considered the godfather of voguing. Members of a house are called “children.” Sometimes children legally change their last name to show their affiliation with the house to which they belong. check:
As voguing entered into the mainstream, the ‘house ball’ scene came downtown mixing with the fashion crowd of Manhattan. With this shift, Voguing was first seen outside the ball scene at legendary dance clubs such as Larry Levan’s Paradise Garage and Junior Vasquez’s Sound Factory. Here the music evolved from the pertinent classic disco tracks of the 1970s into a harder house sound as artists such as Masters at Work, Armand Van Helden and Junior Vazquez. Wicked cool label SOULJAZZ have now put together an awesome comp with lots of classic VOGUE tunes – The album comes with extensive sleevenotes by Tim Lawrence, author of ‘Love Saves the Day: A History of American dance music culture, 1970-79’ and ‘Hold on to your Dreams: Arthur Russell and the Downtown Music Scene, 1973-92’.
the most sampled cut in VOGUE – like the amen break for this genre:
In recent years, MikeQ has emerged as the voguing new school’s most celebrated DJ and producer: his sample-heavy tracks combine the stepping feel of classic ballroom with a razor-sharp modern edge (often built around the Master of Work-sampling “ha” crash that appears on many of his, and other ballroom producers’ tracks), throwing nods to UK Funky and Night Slugs style club music; Night Slugs artist Kingdom, in fact, recently released some of MikeQ’s music on his new label Fade to Mind.
“It’s just the music itself, it’s so different and I can’t quite explain what it is, but Ballroom has this sound and it’s like that 90s house sound, it’s just that cunt feeling. I’m also greatly influenced by my favourite producer and good friend Vjuan Allure – one of his remixes of ‘The Ha’ was the first thing that caught me…if it had been a different track playing, I might not be here today.
“So it’s that, as well as from growing up in NJ where house music is still such a great thing. I grew up in my later years hearing that stuff as well as what DJ Tameil and Brick Bandits was putting out at the time. You’re not going to be a teenager in the Newark, NJ area and not be exposed to and love club music. It’s a Jersey thing…”
End of Feb already.. had a huge month with Blip Festival Australia happening so apologies if I missed some things this month.. (pic from Graff artist Gameboyone.)
The one and only ChipBass powerhouse that is James York aka Cheapshot is about to drop a new release called Streets of Bass and its going to be huge.. a follow up to the amazing zOMG! release last year you can hear for yourself with this exclusive preview of the track Minger.. Stay tuned to Cheapshots Facey for download details KeFF
Awesome Chipbass / Skweee / Game Boy wonk from this Finnish bro. Really love hearing his particular sound develop hopefully see a new release soon
O Samuli A
Some more stuff from Finland, wonky Chipstep available on Vinyl!! Really keen on the groove that is in some of these tracks
Kodek & Not Fear
Straight up Ice Funk Skweee, great to hear Kodek exploring some new sounds and working with other artists this is really quality .. cool fun video and name your price download.. no excuses grab it.
DA CHIP – DAFT PUNK REMIXES
So the first one of these came out a few years back this one is even better. Including some of the biggest names in Chipmusic and some of the hardest bassheads as well (Cheapshot, cTrix, Knife City, Sabrepulse to name a few). really liking the sound of a lot of these tracks and its all free grab both this one and the old one from the site HERE
Australian Voodoo Bass scientist delivers this new freebie. It was the last track he played as the Opening act of Blip Fest Australia and it really left an impression on me.. Huge Abstract Massive rhythms and great sound design.. grab it!
Finland is killing it this month.. This release is one of the first that I know of that is an artist who is active within the chipmusic scene being released on a well known Skweee label. A great release and very true to the skweee stylings whilst keeping a very authentic chip flavour as well. Highly Highly recommended. Also a reminder that this guy is part of weekly beats and has been uploading some great jams HERE
wasssup foot work lovers! just a quick post inbetween those larger thangs to throw some stuff out there that needs to be listened to! First of: all you dudes out there really need to get down with TRAXMAN. his upcoming album on Planet Mu is mindblowing and setting new boundaries for the genre. I cant embed the player here, so you are just going to have to head on over there for yourself to see whats what. JEEZ, killer joints man!
here’s an older TRAXMAN joint:
Cornelius Ferguson a.k.a. Traxman is from the west side of Chicago and one of the longest serving producers working in footwork with releases stretching back to the glory days of ghetto house on Dance Mania records in the nineties. He’s also one of the co-founders of Chicago’s two-decades-old Geto DJz clique and a member of DJ Rashad & DJ Spinn’s Ghetto Teknitianz and was one of the creators of the legendary mixtapes on coloured cassettes which were the prototype for footwork’s evolution. His unique brand of footwork is very strongly rooted in Chicago’s history of soul, funk, house and ghetto trax; he’s a veteran and renowned crate digger who has provided the sample sources for many of footwork’s classic tracks over the years. His deep knowledge of music (check the mixes he occasionally throws up on the net) makes him one of the city’s most versatile and skilled DJs and producers. MORE THERE
nowww this is HOTTTTT!!! RASHAD & SPINN:
+ another new joint – PREVIEWWWW:
over here is a new joint by DJ RASHAD – recommended by our homeboy DAVE QUAM over his twitter… damn what an amazing track!
and some awesome joints bt the GHETTOPHILES – start following their soundcloud if you know whats good for ya..
plus an older joint by DJ MANNY!
and a cool joint by the MASSACORAMAAN ft DJ RASHAD!
After weeks of planning, hours of work, slow internet connections, and crashed Ableton sessions, The 110BPM Collection, Vol. 1 is finally here. To quote Sum41, this compilation is all killer, no filler. You can stream all the tracks down below or through our SoundCloud, and the whole thing is available for FREE download in all its 320kbps, ID3-tagged glory. If you like the tracks, be sure to comment on and let the artists know just how awesome they are.
OktoRed’s debut EP on Generation Bass will be dropping soon and it’s a glorious excursion into floor-killing Post Moombahton. It’s like nothing I’ve heard before in this scene and I’m just a lil’ frightened that people might not get it until at some time into the future. I really think what Oktored does is soo Next level, it’s not flava of the month atm but it’s def a flava from the future!
Until then, grab this wikkid remix he’s done of a classic Jeff Mills track and check out some of his other future shiit by visiting his soundcloud!
Greetings fair readers. At this moment I write to you with a mouthful of gauze soaking up blood as what turned out to be a week long adventure of succeeding in getting a couple wisdom teeth pulled has come to an end. Spending all week popping Percocet every three hours or so into my system has made it rather difficult for me to stay focused however easy to stay euphoric. Finally I feel like I can begin to focus again which is much needed in my case. There are too many projects on my plate that I must pay more attention to.
One is as follows; I noticed I like to ramble about on here a considerable amount on politics, society, economics, world news etc. I’m always trying hard to make enough connections between my words and my work (posting cumbia). So I’ve decided to pick up my (which was soon to become buried) website for Nu Cumbia Experience. Also named after cumbia this blog however won’t take from Sexxy Saturday Cumbia. Actually the plan is to host different podcasts and radio broadcasts throughout the week as well as have specific cumbia artist exhibitions that will go deep into the artists and post a considerable amount of their work (this on occasion). The other thing I wish to do there is bring on a few different bloggers to spout out opinions, essays and the like. It might be interesting so please allow me a little time to get it working. The site is up and is at Nu Cumbia Experience.Com. The pro about this for Sexxy Saturday Cumbia is that it will cross promote by links to Generation Bass as well as my archive of Sexxy Saturday Cumbia blog posts. Keep an eye out for it. I really want a place that’s open to the market of ideas and free thought. I don’t want people to feel that they must stick with one sided opinions. No I want people to stand up and debate so we can get the truths out.
Sounds good to me! I have some cool ideas in store. I’m hoping to push this blog in particular to new levels with the cross promotions while keeping this blog unique.
Onto the blog we go starting with the soon to be legend Den5hion with his intense remix of Cumbia Poder by Celso Pina and El Gran Silencio. Den5hion brings his unique flavor into this making it much more powerful. This is Den5hion all the way!
Current Sydney resident DJ Faby mixed together this eclectic funky cumbia mix which is like none I’ve quite heard before. It starts traditional, goes into funk and brings into it reggaeton, then onto salsa.
One of my all time favorite producers released several new tracks this past couple of weeks. H.D.L.T. is the name and he never ceases to stimulate my imagination. He keeps it chill, dark and unique. Here is his latest.