06th Jul2012

Feature: Femme Fatales feat. Far Too Loud & Tigerlight: Turn It Up – Desibel

by admin

Femme Fatales featuring Far Too Loud and Tigerlight - Turn it Up Desibel

Back again with some amazing artwork from mostly my fellow deviant artists. I haven’t done a Feature in a while, so I figured it was time to do so.

Please click on the images to visit the artists’ homepages.

Also, click on the music artwork to visit the soundcloud page of Far Too Loud feat Tigerlight
This is a collection of beautiful artwork, sourced from my personal favorites that I have run into around the web.
Also, this post features Far Too Loud & Tigerlight in Turn It Up – Desibel. Tigerlight is hot hot hot in the EDM world right now. She herself is a femme fatale! With quite a voice, as you will see if you click play. Far Too Loud is a renown breakbeat production machine. Definitely hit play and enjoy the music with the images.
For those of you that enjoyed the AK1200 interview, I have another ace up my sleeve, it seems! XL Crew, enjoy!!:D

Far Too Loud Feat. Tigerlight - Desibel

Far Too Loud Feat. Tigerlight – Turn it Up Desibel

Far Too Loud feat. Tigerlight – Turn It Up (Desibel) by Far Too Loud


Released by: Bazooka Records
Release date: Jul 3, 2012

I can't go any further by sounchy

I can’t go any further by sounchy

The Milky Nun by jaroslav-aurumlight

The Milky Nun by jaroslav-aurumlight

Release me by aokera

Release Me by aokera

Lyssa by Tsabo6

Lyssa by Tsabo6

Venetian Vanity by Ophelia's Overdose

Venetian Vanity by Ophelia’s Overdose

Asian Inspired 08 by vinegar

Asian Inspired 08 by vinegar

Batgirl by Jamie Tyndall

Batgirl by Jamie Tyndall

Lara by twiggette

Lara by twiggette

Nereid by Stassy Summer

Nereid by Stassy Summer

Bubble Gum Dream by Schizophrenic Kitty

Bubble Gum Dream by Schizophrenic Kitty

Loved to Death by Kitty Kosmo

Loved to Death by Kitty Kosmo

Corset Curves by Poppy Photography

Corset Curves by Poppy Photography

02nd Jul2012

Sound Off: AK1200 Exclusive Interview

by admin

AK1200 Exclusive Interview July 2nd 2012

Ezz the one AK1200 is in the house!!!!

He’s “here” at genuineindividual.com, about to school and re-school the massive with an exclusive personal interview!

>>>>>NOTE! I do NOT mind and infact ENCOURAGE the copying/pasting/spreading/infiltration/translation of this interview!! I claim no copyrights! BIGGUPS DNB/EDM FAMILY!

My interview request (begging) began after I caught sight of a tweet by AK on twitter that stated “@ak1200 my idol as a young dj was Carl Cox. who are these brand new edm fans idolizing and how much depth do next generation dj’s bring?”
Screenshot here:

The tweet that kicked off a questioning that spurred this interview into existence

I was on this tweet like hot cakes. The anthropologist in me, much less the bass head in me couldn’t STAND to sit idly by and let that tweet go unanswered.

So, today, the one and only AK1200 is going deep in-depth with genuineindividual.com to answer his own question, as well as a few more I’ve cooked up for him.

Here is a recent mix, live by AK1200:

BG: Welcome, & ezz the one AK1200! So glad you’ve agreed to this Q&A session and I hope you can set the record straight…or perhaps, back on the deck where it belongs.

Q:First, a warm up set of questions. The artist in me is dying to know…what is your favorite color? smell? taste? sound? feeling?

AK: I like blue and green, well any combo of them both. I love the smell of OG Kush. I like something that starts sweet and finishes hot. I like the sound of rain. I like the feeling of accomplishment and appreciation.

Q: For those that might not know you, how long have you been DJing/spinning? Can you summarize briefly your history in the EDM scene? Also, an essential question..do you have a favorite set or performance, is it recorded, and can we download or purchase it?! Readers: I will include a full Discography at the end of this interview.

AK: I started DJing in 1989. It was after I discovered a club night called Aahz. It was a whole new world to me, and I was hooked. It was all about the vibe, and

when these kids from England making tunes started using hip hop and jazz loops all chopped up, I found my passion.

I followed these people and this sound through all of its cycles until it became known as drum and bass. My passion has always been more for the music and the ability to expose it to people who otherwise had no idea of it. Even now I find my true devotion is to the music, not to being a DJ, or else I would be playing something more crossover. I have always tried to push the music and especially the American artists creating the music. Through the years, it has been a battle not only to get people interested but to keep them interested. It hasn’t helped that some of the core fans became too snobbish about “their” scene, and constantly put people off of it with the elitist attitude and constant bashing of things that aren’t exactly what they want to hear. I guess it is like that in most scenes, but I can’t say it hasn’t affected me through the years, especially on message boards. At the end of the day, all I care about is the longevity of DnB. I do not have a favorite set or performance, they all seem to blow right by me over the years. There are loads of sets out there of mine for people to grab if they look around.

Q: Going quickly to the nitty gritty, can you answer your own question that you asked on twitter? “Who are these brand new EDM fans idolizing and [more importantly] how much depth do the next generation DJ’s bring?” Also, how exactly does a DJ bring depth, what did you mean by that?

AK: Sometimes it gets frustrating to see new artists come in and not care about the history. To them, its only their own history that they bother with, so their inspiration is limited in the sense that they don’t have much interest in anything other than what is popping off right this minute.

It took a long time to get to where we are, and there have been thousands of pivotal tunes, not just in DnB, but in all genres of Dance Music.

People used to make tunes influenced by Roy Ayers or Kraftwerk etc. people made tunes with influences deriving from soul, hip hop, reggae, funk, rare groove, disco, rock and roll. That was a huge wealth of knowledge all having the same basic foundations. Music theory was a big deal. knowing how to layer sounds and create moments, and write music that drew you in and drove you around. Now, it seems much music is made for novelty, who can get the noisiest lead line or heaviest bass sound.

They focus so much on the technical details, that they lose the stripped down basics of it all: the vibe, the melody, the movement, the feeling, the soul.

Once upon a time people recorded stuff onto a reel to reel tape and spliced pieces together, then samplers came and you could actually cut loops or use filters. Go back and listen to some of the dance records made from 1989 to 1992, any genre, it was all so similar then, it was house or techno or breakbeat or whatever, but all those tunes were made on shitty computers and samplers. People werent able to make the tunes with such high quality like now, yet I bet you anything you can listen to those old tunes over and over again and still appreciate what the artists were doing and how they did it. I feel like some music is just dumbing people down, and it takes away from the significance of the art inside music.

It seems like all of this “BASS” music has just been forced inside its own little bubble and people boxed themselves in to what should sound like what and who should use what synth and so on. it was never ever about that until about 4 years ago, and it seems like now, when EDM is at its biggest, the bubble has to break and influence needs to come from deeper places.

Can you imagine what some young computer hotshot who knows abelton backwards and forwards could do with music if they spent a year researching the bands that made all these breakbeats that people sample or the vocals they use, snatched from accapella sites?

When I said Carl Cox was who I looked up to, it is because this guy was just someone playing all kinds of music and making it his own, he was using 3 decks, and he was fusing techno beats with breakbeats and with accapellas and with house grooves and was having the time of his life doing it.

He would dig for records from all over the world just to have something cool to throw in. Nowadays, it just seems so one dimensional. Maybe the internet allowing things to become so accessible has made people lazy, well not lazy, but took the time away from the thrill of the hunt and instead spent on seeing how deep inside of a plug in they can get and lost the whole plot, lost the general vibe, the freedom of expressive music.
Look, so many dnb tunes sound either like fast dubstep tunes (drumstep), or they sound like pitched up deadmau5 or Skrillex tunes with cheesy lead sounds and dirty bass. Now it’s to the point to where people are calling themselves “BASS DJ’S” ??? What the fuck is that all about? Yeah, man, lets play 40 tunes in a set that vary in tempo but all pretty much sound the same and we will melt peoples faces off… The whole thing to me is absurd. You may say, I am stuck in the past or I should deal with it because it is the way things are now, but does that mean it is really doing anything for the state of dance music? great so now people of every genre can mix and match and play the same tunes….

you just lost all of the creativity the rest of us spent over 20 years trying to develop,

and now you are inside your own little bass bubble where everything can work, and then what? Where does it go from there? I guess thats what I was trying to say in that tweet.

Q:What do you suggest these new EDM fans start listening to–not only DJs active in today’s EDM culture, but also some old-school/OG DJs that helped build the EDM scene from its infancy?

AK: I think people should go back and listen to music of all kinds from all ages and find the common bond between that and every other music form and incorporate it into the dance music they make, so instead of a fad, people are coming with substance, music that will matter 20 years from now, and give kids inspiration to move music forward. I just want people to look outside the box and not regurgitate the same stale dance sounds from a 5 year period of an art created centuries ago. honestly do you think so much of yourself that a tune you make in 2 days will in 40 years be as well received as say, a Led Zeppelin tune that took the band 2 days to write and record? no, and they don’t even care. Why don’t people care? That bugs the shit out of me, all of these talented people making simple little throwaway tunes just for the novelty of “killing” the dancefloor 4 minutes at a time.

I just think the more people who buy into the current state of the scene without trying to expand it, the less chance dance music has to become influential to kids 20 or so years from now.

If we are the “rockstars” of our day, it is certainly our obligation to leave a legacy behind, not just a bunch of slop that tarnished the face of what could have been one of the biggest music forms to spawn new genres of future music.

Q:What is your definition of a DJ? Any and all definitions!

AK: A DJ is the person who plays the music for the people who came to dance. At this point I dont care how they do it, as long as they care what they do. DJing can be the most rewarding thing in the world, but

stand for something, whatever it may be, don’t just be a human jukebox.

Be your own person, look at how shit has gone down for the last few years, between the big fad of using old names but switching the first letter of each around to everyone using the same font in their logos, it shows how little effort people really put into their career, and the kids lap it up like it’s the best thing in the world. It’s mental,

I mean the whole Paris Hilton thing, JESUS CHRIST!!!!

really that is what we have been reduced to now?

And its these asshole superstar dj’s like afrojack and david guetta and swedish house mafia or whoever else that piss all over their fans from the main stage, who turn this scene into a big joke and all the fans are just “their” flock of sheep who will follow them and love everything they do and you can literally watch them see how far they can go and still get away with it.

I am all for whatever technology can help people get the job done, i don’t really care.

I use cd’s. they sound good, and they are light, and I can burn a tune on cd and play it right away. The real thing I care about is the craft, and how much you care about the position you hold. I think I covered it in my rant about these main stage festival dj’s: they are taking the piss, giving people false senses of hope on what the music industry is about, and they are sending the wrong message. Have you seen Molly? GET THE FUCK OUTTA HERE!!!!!

I dont care what you play on or what you play, but give a shit about who you play for and stand by what you play. Own it and represent properly so you can maybe be an inspiration to someone who really wants to be a DJ.

Q: The dubplate culture was very specialized and exclusive. Can you explain to the readers what exactly a “dubplate” is, what the culture as a whole represented, or what it meant to you? How has technology through the years such as Napster, Limewire and finally Beatport & other legitimate mp3 download sites have affected the scene? What is your reaction to a “DJ” that rips youtube video sounds and attempts to “spin” them? Are there any methods producers or djs used to “fight back”, especially during the Napster/Limewire years? Have sites like Beatport created a monopoly for exclusive tunes or are there still leaks in the system that make VIP mixes or tunes difficult to keep exclusive?

AK: A Dubplate is an acetate test plate used for mass producing vinyl, its the reference disk. In the dancehall community, these record cutters saw that you could just go and burn a tune and play it out, it maybe got 20 plays before it started to lose its grooves. that way they could decide how big a tune could be and press a number of tunes accordingly. Over the years it became the essential tool for soundclashes and battles between dj’s, who could have the dopest newest shit available only to them exclusively on this plate they had cut. In the jungle scene, it was similar, when you were given a tune or the ok to play a tune, the dat would be left at a plate cutter and you could go and get it cut, or you would get a dat in the mail or handed to you and you could cut your plates from that. Then it became cd’s people would send and you would cut a plate from the cd’s but

it was still something exclusively given to you and out of respect, or “the dj’s code of ethics” that you would not give that out AT ALL.

When the internet got big with file sharing, tunes would get leaked in a really big way, and all of a sudden people would be playing tunes they were not meant to have and had no permission to play. Once upon a time you could get hurt for something like that, but again the way things are nowadays, all that went out the window and music is expected to be free and for anyone to grab whether the artist wants or not. God forbid the artist gets pissed off that his/her shit got leaked, then they become the asshole for not wanting people to play it yet.

I think people gave up on fighting it, and now its just a free for all, that is why most producers only make money from performing, and DJ’s dont sell mix cd’s anymore.

Q: I personally have heard of several DJs calling themselves or others “Button Pushers”. What does that mean to you and what would you say if someone called you that? Why do you think this particular phrase has stuck around or taken off so much recently? It just seems to be a term that is everywhere, do you agree? Its prevalence seems to be giving the term a nearly “acceptable” place in the world of DJ culture. What are your thoughts on such a linguistically embarrassing word becoming prominent in articles, interviews or discussions of the DJ as a musician or artist?

AK: I think what people mean by button pusher is someone who doesnt mix traditionally, that they use auto sync or they watch the waves instead of listen to the sounds to get something on beat. I dont think about it as it does not pertain to me, I have never been called a button pusher and if I were, I could give a fuck. I mix tunes, actually I am to the point to where I make a habit of turning the channels up before i throw the next tune on so people can hear me start the mix and get it on as I go. I dont quietly get it on beat in the headphones and slowly fade it in, fuck that, you can hear what I hear in the headphones, it may be sloppy for a second but at least you see what is happening.

Q: Alright, I have to bring this up. Deadmau5. “We All Hit Play”. Rolling stone interview. Gut reaction? Instinct of wanting to tear his mousey head off? *ahem* How does it make you feel to have this “prominent” EDM “DJ” say the things he has about what you (and I) consider to be the art of DJ’ing?


I never read it, I could care less, I dont buy into anything that kid says, he made a shit ton of money off of these fans and he is just encouraging people to make this an even bigger joke. He is telling everyone how dumb they are and how easy this is, and you know what, he is right.

What is happening now is easy as fuck and anyone at all can do it, he is proving it, paris is proving it, all of em are proving it, the difference is to me, is what the fans will stand for…. if you want to buy into all the stupid shit, then expect to be treated accordingly.

If you want to be serious and passionate about music, then follow dj’s and artists who give a shit about the music and its history and more importantly, its future.

Q: Would you agree with me when I say that 2012 has been a pretty big year for EDM in general, one of the largest examples being that a newly prominent EDM Producer named Skrillex was awarded 3 Grammys? How do you think Hollywood has or possibly will pervert the EDM scene? What of Skrillex himself and his fan base? Quite frankly, it pissed me off and seems that Hollywood has opened a bit of a pandora’s box by awarding Skrillex the Grammys. I feel, personally, that Skrillex is standing on the shoulders of giants in the EDM world (you being one of them imho) and that if they are going to start passing out EDM Grammys, there needs to be some sort of retroactive award business going on. Thoughts?

AK: Again, I stopped thinking about all that.

I am happy for Skrillex. He is a really nice guy, often misunderstood and always thrown under the bus.

He made a groundbreaking record that got the worlds attention. For that he earned the grammy’s and all the accomplishments and accolades that go along with it.

I think like all things, EDM because of its popularity will become exploited and every drop of blood squeezed from it by the powers that be, and what you will have left, lying in all the rubble, is the rest of us,who want to keep pushing the music forms we care about and the art it stands for.

But honestly dont blame skrillex or deadmau5 for that. they took shit to a new level, and i think part of what deadmau5 was frustrated with, is who else is gonna come up and offer something more than what they did, not from what they did, but what was inside the artist from his or her creative ability to bring sound to life in a true form.

Q:Speaking of Hollywood…what in the world is your reaction to Paris Hilton and Kim Kardashian announcing DJ tours? How does the hottest, newest DJ/Production technology tie in to these Reality TV/Hollywood Stars turned “DJs”? It seems as though their “DJ tours” just came out of nowhere. Are we looking at pre-programmed laptop sets? What gives? (aside from me gagging)

AK: yeah i covered that extensively above :)

Q:What would be a list of some *essential* listening you’d suggest to any or all new EDM fans? I’ll give you a headstart: Drowning by AK1200! 😉

AK: I just posted up a mix a friend uploaded from a tape of mine made july 1992, I have listened to it 3 times in a row. I dunno really. I mean i get ideas from old music.

I like all kinds of music and i try to find the common bonds between that and what new music has, and i follow those bonds.

The brilliance of music in itself, is it recycles and grows at the same time. its like drawing little circles over and over and then slowly expanding the size of the circle.

That is what music should always do and always be doing. Just like how a record spins, music must go on and on. Take what you need and start something fresh, let it go on and on. Years from now people will take what we did and make something fresh and it will go on and on.

Q:I remember when I first spoke to you, I expressed my distaste for DJ rivalries. What is your take on trash-talking in the EDM scene between producers or djs or promoters? Is there a place for rude or blatant criticism to be constructive, and if so, what is, or is there a way to walk that fine line? Do you have any “beef” with any DJs or Producers or “Wannabe”s in the scene now? If so, who, and….why? How should he/she/they act instead, or do you have any advice to them..or is it just past that point?

AK: I thought about this for quite a while, and

I realized its just not even worth the time to try and get people to see your own points of view.

I don’t have any beef with anyone, however, I will say whatever the fuck I want to say about whoever the fuck I feel like saying something about. I tell it like it is straight up, as you should be able to tell by this point of the interview.

I think its more of a general respect thing. We were always told to respect our elders, I understand that now probably because I am the elder. I respect what people feel passionately about. If they truly believe what they are saying, then I am all about it. What I don’t like is when people try to use someone elses name to get themselves attention. I dont believe in riding coat tails, and I dont believe in starting fake beefs for attention. People that do that are transparent. Again this is where the fans come in, or should come in. People are only going to give you just enough to keep you there, and if that is good enough for you, so be it. for me and the people i came up with and around, we do it differently.

We know about the struggle and we know how hard it is to be taken seriously so we can see the humility in our success and our failure.

At this point, i dont give a shit, you guys go knock yourselves out and out “bass” the other or whatever the fuck you wanna do, create the bride of dj frankenstein and turn a socialite into a main stage millionaire. I am gonna be here doing what I do for the fans I have, the only fans that matter to me, fuck all the rest, they get what they search for.

Q:What role should a fan have when supporting a DJ? On the dancefloor/in the club as well as online/in social networks? Can idolization be dangerous or is it welcomed in such a way that that is how a DJ builds his/her fan base? How has social networking changed the face of the Underground EDM scene & the perception/idolization of DJs? I know for me, when I was first in the scene, only very specific papers or online forums had the “in” news about the upcoming shows–now it seems to be much easier to promote…would you agree?

AK: I totally agree.

I think this is a fan based world, and without fans you are nothing, thats why i get so animated about these assholes who treat their fans like they are stupid sheep.

I expect more out of a fan if they are going to be a fan. Dont just sit there and get cake thrown in your face and tweet about it happily. Fucking support the music and the artists you like, go see them, send them a FB message, share a link to their page or just go out to see them when they are in the area and tell them that they mean something to you. Hopefully it will be someone like me who would appreciate it and be humbled by it, and not a fucking ego maniac. I guess I should say i understand the ego thing, you get caught up in always being told how good you are or whatever, and so many people come up to you, you start to see right through them onto the distance behind them, and dont pay attention or whatever, and yeah i guess if you have a crowd of 60,000 people at any given night, it’s difficult to individualize people…but you got to do your best to try and maintain a connection between you and your fans. I learned the hard way that I should be thankful for what I have, and I try my best to give back as much as I can whether its mixes or tunes or just a little bit of my time. You will see how some of these people will change their game up if they were to all of a sudden lose a grip of their fanbase, then they would treat you all better, and make more of an effort to live up to their name.

Q:I myself contacted you via a social network for this interview–it seems to make you, you masters of the craft, such highly, highly regarded legitimate DJs so much more…down to earth and…real! A bit of mystery seems to be taken out of the picture. How do you feel about that sense of mystery and of your near absolute necessity to remain accessible to your fans via social media?

AK: I dont even know to be honest. I mean, on one hand I am glad people can see who I am as a person and relate to me during my ups and downs, we are human, and very real. On the other hand, it is difficult to separate the husband and father in me from the persona I have as a professional.

I guess in the grand scheme of things, it helps more than it hurts and it is probably one of the things thats kept me going this long.

Without all the support I get on a daily basis through my various sites etc, I would have probably given in to the anonymous hate of message boards etc and quit altogether. At least this way, there is an identity to associate the person talking to you, rather than a fabricated screen name who just creates an account to blast people all day long.

Q: I’ve always seen or heard your live sets and consider them to be, seriously, works of art. How would you describe a true DJ’s role or, responsibility even to the crowd, the fans, the scene when it comes to spinning or building/performing sets? How much feedback does the crowd really have at a live show? How should a true DJ act during a performance, or is there a way to act? Have the demands of a true, legitimate DJ changed over the years? Do true, legitimate DJs answer to those demands, and if so, how?

AK: For me personally,

I feel it is my obligation to create a unique experience for each and every crowd I perform for.

I can understand if I was a band and we played all the songs that made us famous. but I am a DJ and I play mostly other peoples tunes, so why on Earth would I play the same tunes over and over again in the same pattern?

A DJ to me, is the person who comes in the room and looks at the crowd and figures out what they want to hear, and follow the crowds lead and play to them specifically.

Some things work better in different regions, you cant just go do what you wanna do and leave. I get shook real easily when there is no crowd, I trainwreck, I fucking get all nerved up. or when there is the one person deep in the crowd who looks like they arent having a good time with their arms crossed giving me the stink eye. It is truly my intent to please each and every person that comes to see me or happens to be at a place I am playing. Of course I want to leave a good impression, and I want to come back, I dont want the promoters to lose money because of me or my lack of crowd, so i try as hard as I can to give the crowd as much of myself as i can. Again, the mixing thing, this is kinda why i drink and get on the mic and mix with the channel up and start the mix on the beginning of the mix point and you hear it all and hear it get into sync and out of sync and whatever. I am just a dude playing tunes that i think you want to hear and we all have a good time together. Thats it.

Q:If there is any advice you would give to the NEW DJs or button pushers of the EDM scene, what would it be? Do you have any advice for the NEW EDM fans? I certainly think they should learn their history, but it seems to be so scattered about or disjointed, as if there is no one place to learn & absorb EDM Culture’s broad & varied history.

AK: Ok, if someone absolutely loves Skrillex, take the time to learn what it was that influenced Skrillex, then learn about them and find out who it was that influenced them and learn about them and so on. It’s not hard to do especially now. If you can scan the web for tunes, certainly you can scan the web for artists and influences.

If you are a new DJ, try to find an angle that sets you apart from others. If you are a new fan, embrace everything you hear. When you go to a show, go early and see the opening dj’s and open your ears to what else is out there. Support your local promoters and their weeklies.

These people lose money every week because they believe in a genre of music or scene and cant do it without your help. Be the bigger person, and always try to learn something from every situation. Respect those who came before you and the efforts it took to make things possible for you to do what you love. Learn the tunes, learn the artists, learn the scene, expect more from the people you pay to see. There are people making more money from EDM now more than ever, while some of us make half as much to work twice as hard. Is that me sounding bitter? Maybe, but it’s reality, and it only changes when the fans dictate the change.

Q: Drum And Bass Movement is a website, championed by you, if I’m correct, located at www.drumandbassmovement.com. It is a social media, content driven website dedicated to uniting the Underground Drum and Bass EDM Scene Worldwide. Can you tell the readers a little bit more about why you decided to start the movement and what your plans are for DNBMovement in the future?

AK: Actually it was something that i was brought into early on, I havent been on there in a minute, I should be but regretfully i have been too consumed with all the other aspects of my life, both professional and personal. I guess it did what I anticipated and became a freestanding format to run on its own by dedicated lovers of the music.

Q: How do you tell an old-school head from a new EDM fan? Magical Powers?

AK: Aside from age, I guess its their taste. I am so thankful that EDM is so popular right now,

I can only help guide the people into different areas of the audio spectrum. I keep my head down and bust my ass in hopes that at some point they will give DnB a chance, and if they do, my job has been done.

Q: What legacy do you want to leave behind as an artist? What legacy do you feel you already have left behind and what can your fans look forward to in the future? If I don’t hear something about the epic tune “Drowning” in this historical/legacy-oriented response, I might cry!;)

AK: I always said,

I just want to be known for being someone who gave as much as or more than he ever got from this industry.

Honestly, my heart has always been in the right place. Would i love to get rich from music and never work again? ABSOLUTELY. is that gonna happen? No. Every day of my life I try to do something to further the message that DnB sends. I represent this music as best I can, and I have been true to myself and to my fans.

Drowning just sort of happened and I became associated with it, but it wasnt mine. I am glad it became such an important song to so many people and am honored to be associated with it so closely.

It certainly helped me get to where I got, but it means nothing to any of the new crowd, they dont know the tune, and even if they hear it, the vibe of the scene is not like it was when the tune came out so they dont truly identify with it.

I hope I am remembered as something much more than the guy who made Drowning famous.

For Reference, Cleveland Lounge’s “Drowning” remixed by the one AK1200
Tune via Youtube:

Hah, My final and only comment about this wonderful interview and mainly the last question: No AK, No. You will definitely NOT and are definitely NOT only remembered for Drowning! (As you stated, that was just one of my favorites of the time;) I even remember it being one of the first tunes I let my little sister listen to!)

::::I guess this about sums it up for round one of AK120 vs BassGeisha here at GenuineIndividual.com… I hope you all enjoyed it and feel free to submit any questions you’d like to see in a possible “round two” with AK1200 in my email: sarah at genuineindividual dot com. Thanks for reading guys, and a



To Contact the One AK1200:











FOR BOOKINGS – Rob@CircleTalentAgency.com

AK1200 Full Discography via http://www.discogs.com/artist/AK1200 (Opens in a new window)

Shoot To Kill (CD, Album) Run Recordings 2002

Singles & EPs

AK1200 Meets Danny Breaks – Porn Star Style / Cum With Me (12″) Eatflax Recordings 1998

Fake ◄ (2 versions) Breakbeat Science Recordings 2002

AK1200 vs. Dom & Roland – The Lycan Revisited / Deja Nu (Mathematics Episode) ◄ (2 versions) Breakbeat Science Recordings 2002

Junior’s Tune (Digital Remix) / Carousel (12″) Breakbeat Science Recordings 2002

AK1200, Gridlok And Danny Breaks – Porn Star Feeder / Dub 4 Dub ◄ (2 versions) Project 51 2008

Junior’s Tune ◄ (3 versions) Big Riddim Recordings 2009

AK1200 Feat. Terra Deva – Fake (Subsonik & Smooth Remix) (12″) Subsonik Sound Recordings 2011

Funky Sounds (12″) Phattraxx, Phattraxx Unknown

DJ Mixes

Untitled (CD) Not On Label 1997

Sub Base Classics: The Drum & Bass Mix By AK 1200 (CD) Sub Base Records USA 1998

Fully Automatic – Drum ‘N’ Bass – Continuously DJ Mixed By AK1200 (CD, Mixed) Moonshine Music 1998

Prepare For Assault (CD, Mixed) Moonshine Music 1999

Lock & Roll – A Drum & Bass DJ Mix (CD, Mixed, Comp) Moonshine Music 1999

AK1200 W/ MC Navigator* – Mixed Live: Moonshine Overamerica, San Francisco (CD) Moonshine Music 2001

At Close Range (CD, Mixed) Run Recordings 2003

Weapons Of Tomorrow (CD, Mixed) Moist Music 2007

AK1200 & Gridlok – Autopsy (CD, Album, Comp, Mixed + CD, Album, Comp) Project 51 2008


Drowning (Curtis B Remix) (File, MP3, 320) Zone Records 2010

Drowning (Terravita Remix) (File, MP3, 320) Big Riddim Recordings 2010

AK1200 Biography


The longest running D&B DJ in the USA. Member of the infamous Planet of the Drums crew. Founder of Big Riddim Recordings. Dave, AK1200, has been a driving force within Drum and Bass culture in America since its inception. From his legendary mix CD’s to his extensive list of high profile remixes and original tunes, he has maintained a presence within the scene for more than 20 years. For lack of a better term, AK is a “classically” trained DJ, mixing live for each crowd. Every set is unique and completely dependent on what gets the best reaction from the floor that night.

In a time where the EDM scene has completely reinvented itself, AK1200’s explosive sets have been spreading the fever to a whole new fan base. These new fans, hungrier than ever for the absolute best in electronic music, are steadily looking not for their house, but for their home. Once they hear “the one” set that changes everything, they will have found it. AK1200 plays those sets, trust! And D&B will become your home, it always does.

AK, alongside Bill Hamel, and Meaux Green have recently formed a new project titled 2against1. Under this moniker expect a constant surge of electrifying d&b tunes aimed straight for the neck, and when they hit, they gonna hurt. AK1200 and 2against1. that’s two names you best get to know, cos shits about to go down.

For bookings – email Rob@CircleTalentAgency.com

25th Jun2012

Showcase: SPL – Sub.Mission Podcast 051 – “An Introduction to Underground Darkstep”

by admin

SPL Sub.Mission Podcast 051

An Introduction to Underground Darkstep Drum and Bass feat. SPL Sub.Mission Podcast 051

SPL is one heavy hitting DJ. I’ll let the Sub.Mission Podcast speak for itself.
Go ahead and download this sucker if you’re all up innit. Not sure if SPL will keep this Podcast up when a new one is made.
One may consider his style Darkstep, as found on the wikipedia article quoted below. However, on this podcast SPL has tagged the mix as “Dubstep Drumstep Drum Bass Moombahton Moombah”

If you think this hits heavy right off the bat, just wait. It can get even darker & heavier my friend! If you are new to heavier DNB/Dubstep/Drumstep/EDM, take a moment to read the wikipedia listing below for other artists known for helping define this genre. I am going to go ahead and call this Showcase of SPL’s 051 Podcast an “Introduction to Underground Darkstep” because this article will attempt to shed a bit of light…or darkness…into this seemingly now rarely known genre.

When I was first getting into DNB, NEUROFUNK was blowing UP as in BOOOOOM. Because of this being the particular style that was extremely popular during those first years of my introduction into Drum and Bass aka DNB, it is definitely my favorite style of DNB…with Techstep, Drumstep and Darkstep being close seconds.

Read on my friends & enjoy!

Especially if you have no idea what “Darkstep” is, check out this awesome podcast generously given for free listening and downloading by the one SPL. Even though he has not listed it as “Darkstep” on Soundcloud, this podcast is kind of a “starter Darkstep” mix. It may not be full on Darkstep, at least, according to the one SPL. I know for a fact and can probably guess, that the reason he did not tag the mix as such would be that he can get much, muuuuuuch darker. 😉

I am NOT a history/genre specialist…at least no where near how Antares, my boyfriend can be. I’m going to step out on a limb and say that Dylan of Freak Recordings & booking company Anger Management could be considered Darkstep. He began Therapy Sessions, an all dark, nasty, dirty, grimey drum and bass event that began in the UK. Since then, it has gone worldwide here is a quick quote from wonderful wikipedia on Therapy Sessions:

The first Therapy Sessions event

was held at the Herbal club in London in 2003, and has since expanded worldwide with shows in the United States, Romania, Belgium, Switzerland, Czech Republic, Spain, Germany, Austria, Netherlands, Portugal, Mexico, Ecuador, and Argentina. Artist performances include Dylan, Robyn Chaos, Dieselboy, Limewax, SPL, Donny, Raiden, Evol Intent, Technical Itch, Cooh, DJ Hidden, Eye-D, Counterstrike, Zardonic, Current Value, Machine Code, The Panacea, Audio, Forbidden Society, and many more.

Now, there could be a LOT of debate as to whether or not that particular quoted list of DJs are Darkstep DJs. I’m going to go ahead and say they are NOT all Darkstep, but all have a wide range of DJ skill & ability to play a multitude of genres.

Here is the exerpt from Wikipedia on Darkstep

This small exerpt can get really technical, for anyone wanting to know more, please google your unknown terms. It is amazing how, especially once you put the pieces together, these genres evolved.


is a subgenre of drum and bass that fuses elements of darkcore with uptempo breakbeats and ambient noises (similar to those characteristic of neurofunk). Darkstep music is typically composed in a chromatic scale. The amen break, the firefight break, and other breakbeat samples feature prominently. Darkstep comes from techstep. Whereas neurofunk (which also come from techstep) relies on science fiction soundscape and really clean production, darkstep bring back elements of darkcore like horror movie soundtrack or vocal snippets, overdistorted techstep bassline and industrial soundscape. The rhythms are usually more complex and heavy than in neurofunk. Quite often the snare is metallic and ringing, creating a dissonant feel.

Notable darkstep record producers

  • Counterstrike
  • Donny
  • DJ Hidden
  • Edgey
  • Enduser
  • Evol Intent
  • Gein
  • Limewax
  • Nanotek
  • The Panacea
  • SNM
  • SPL
  • Typecell

See also:


aka Sam Pool has spent the last decade taking risks and breaking the mold in electronic music. Received internationally, SPL feeds the ears and souls of bassheads worldwide. From thousands of screaming fans in St. Petersburg and Kiev arenas, to massive club nights in Holland and New Zealand, to stateside venues such as the legendary Fox Theater in Boulder, Colorado, SPL delivers with passion and musical prowess that goes beyond the current state of dance music. Because of his international experiences and influences, SPL has launched into new territories time and time again.

SPL’s most recent approach forays into the depths of

dub-hop infused hyper-bass music.

Combining elements from the pulse of an all-night party and a healthy dose of Trap-Star Crunk, a unique and highly energetic experience emerges every time SPL gets on the decks. For those who cannot wait for a show, the same sound and intensity can be found in his recent tracks. Either way, SPL is bound to take your head on an intergalactic-bass journey, and leave you begging for more!


DJ SPL – Taken from an ATL Dubstep Flyer (represent!!) Southeast BASS

SPL – Sub.Mission Podcast by SPL

Contact Info for the one SPL:

Click to visit Hollow Point Recording’s website! Opens in a new window/tab.

Hollow Point Recordings Logo - Expanding on Impact

Hollow Point Recordings “Expanding On Impact” – Record Label of DJ SPL

Quoted from SPL Sub.Mission Podcast 051 Soundcloud:

(Opens in a new window/tab)

Check out my mix I did for Sub.Mission Dubstep! http://bit.ly/Mav3Su

Sub.Mission Podcast 051 Tracklist / Tracklisting

Triage – Radium (SPL Remix)

Foreign Beggars – Contact

Triage & Antiserum – Aneurysm

Egyptian Empire – The Horn Track 20th Anniversary Edition (SPL Remix)

SPL – Close to You

SPL & Eye-D – Incoming

SPL – H.A.M.

SPL & Triage – Buckshot

SPL & Triage – Party Foul

SPL – Quasar

SPL – Reach Out

Flinch – When I’m Gone (SPL Remix)

The Bassist & Triage – Phat Sack (SPL Remix)

SPL & Babylon System – Gangster (SPL VIP)

Triage – Brawl VIP

I hope you all enjoyed.. more to come!
bassgeisha out xx

19th Jun2012

Showcase: High Rankin feat. James Pryor – Episode Eight – You are a right sort

by admin

High Rankin feat James Pryor - Rankin Radio Episode Eight - You are a right sort

I just,
I just can’t much comment on how funny this ridiculous podcast truly is.
It is definitely something I look forward to every Monday!

Join in the #teamsexy chat at 8pm GMT (UK time) at http://www.new.livestream.com/rankinradio
This next monday i definitely hope to join in on the craziness, lmao!
No telling what to expect, that is truthiness.

I’ve not even made it all the way through the podcast and I’ve been dying laughing.

There’s some interview on this podcast that I #1 have no idea who it is of/about..some English “bloke” I believe is the word… and at times it is definitely hard to understand anything He or the female interviewer says because #1 well, they’re english & sound funny regardless. (story after the podcast in a moment) #2 it was done in a club with loud music in the background and #3 the ridiculous dude was drunk apparently off of vodka and cranberry.
So, just something to look forward to this go around!
Hit up these two #teamsexy bassheads on twitter:
@HighRankin @Pryor_27

Rankin Radio – Episode 8 – You are a right sort by High Rankin

Back once again with the ill behaviour, Rankin is joined by the endlessly sexy, James Pryor. Rankin airs his interview with Guetta where they talk butt-plugs and making love to 20k people at a time. We take a trip into the world of Danny Dyer, Hammish writes James a beautiful poem and all the usual offenders do their thing. Jingles as always by Tigerlight.


J Majik & Wickaman – In Pieces (Mike Delinquent Remix)
Saul William – List Of Demands
EL-P – Drones Over Brooklyn
Technotronic – Pump Up The Jam (Eptic Remix)
Drumagick – Easy Boom
Danny Daze – Your Everything
Temper D – Face The Door (Out soon on Suicide Dub)
Dom & Roland – Can’t Punnish Me

Alright, here’s my non-English speaking, English speaking moment for you all.
I used to work at a company that had half of the establishment in the UK. It actually proved quite annoying to work with R&D since there was a small window of time I could actually contact them.
Anyway, Two English co-workers came to visit along with the other Englishman who already transported/moved over to help on this side of the pond. It was the three of them PLUS their female counter parts and guess who… me. I, being the “native” of my city took them to a good bar/pub where they could all sit, talk and have some drinks.
I swear, I was sitting at this table full of English folks and I swear to you on all things I could not understand a single word they were saying. What really hurt my brain is that I KNEW they were speaking the same language I was used to speaking!!
It was the most surreal non-English/English moment in my life.
I could MAYBE catch a word here or there but they were all from Leeds, UK and I have no idea what dialect of English that is, but it is definitely one that I do not understand when spoken at high speeds! lolol.
I personally live in the Southeastern USA and so, even compared to my Northerners aka “Yankees”, I am usually considered to speak quite slowly in comparison–especially in comparison to the English co-workers I was in charge of escorting around the city!
I can hardly imagine what my southern accent must sound like to an Englishman. It must be quite hilarious and I can understand why Southerners must sound stupid–it isn’t because we ARE stupid… it is because of how “slow” and drawn out our phonemes, morphemes and other linguistic characteristics are. However, do not ask me to explain why it is that southerners speak slowly and with drawls? sp?
After hearing a table full of English co-workers babble on and me finally giving up on not understanding a word they were saying, It gave me a quick preview into what in the world it would be like if I crossed the pond and experienced the mother country of England for myself.

In fact, it took me several minutes of High Rankin and James Pryor in my first episode of Rankin Radio to understand what the heck a Jobby/Jobbies are/were. Yes, yes, I finally get it. ffs.

Anyway, I’m not nearly as funny as the podcast I embedded.
quit reading and go listen
bassgeisha out 😉

18th Jun2012

Showcase: Subshock – Richter Scale EP

by admin

SubShock Richter Scale Planet Human EP Promo Mix

From the one and only PLANET HUMAN http://soundcloud.com/planethuman comes the mighty SUBSHOCK with his RICHTER SCALE EP PROMO MIX

To download the free mix, I’m assuming you must have a twitter account. (at least, that is what I used. it also offers facebook sharing to unlock) This is the first time I’ve seen this “unlock” twitter business thingamajig.
Once you unlock aka tweet that you’ve downloaded the new mix from @SubShockMusic via @Planet_Human you are free to download the mix at the link provided below. A bit like sandpaper on the face..like the good kind, you know, 5 o’clock shadow man face sandpaper. This human fan could truly care less, despite seeing others scoff at the unlocking, as this post will definitely be tweeted/facebooked/soundclouded anyway!

BassGeisha Twitter SubShock Planet_Human

Also below is a full tracklisting,
My favourite part was the tease (not a drop!!!!!) of the Demo & Cease – Ladies Night VIP.

That has to be one of my favorite things (of course, everything in moderation) when a DJ properly teases & doesn’t drop a tune, but instead leads it into something different all together. Makes that DROP so much HEAVIER!$!!%#!#%!#% I will actually be showcasing a newly discovered DJ I found on Soundcloud very soon who did the same thing & immediately earned my respect.

I’m drooling to get that Demo & Cease – Ladies Night VIP on vinyl asap. Such an epic choon, and yes I know it came out a while ago, hush. I have two important records to order: Siamese Dream and the aforementioned one, but plan on waiting until it isn’t uh, 100’F outside so the records won’t warp or melt before they arrive at my door step. At this point I’d think you’d have to package them on dry ice to get them to the SE USA safely! I learned that the hard way :( One copy of Siamese Dream died en route to my house. It arrived all warped & I almost teared up. (shhhhut it).

OKAY Enough blabbing. I guess all this talk of vinyl mailing issues just reinforces the use of Serato and or CDJs. I can’t, however, get used to the cue-button jump around & act like i’m doing something style of “dj’ing” that the newbs seem to be pulling off. Thank goodness RAW Thursdays is having an all vinyl night soon.


Subshock – Richter Scale Mix (FREE DOWNLOAD) by Planet Human

Subshock - Richter Scale EP Promo Mix

Fresh on the heels of his recent “Richter Scale EP” release, Subshock is back again with a mix filled with 100 minutes of pure bass driven destruction. Turn up your speakers and strap in for safety, because this one is truly going to shake the richter scale!

TWITTER UNLOCK DOWNLOAD – http://socialunlock.com/~851
FACEBOOK UNLOCK DOWNLOAD – http://on.fb.me/subshock-DL

Like Subshock on Facebook – https://www.facebook.com/subshockmusic
Follow Subshock on Twitter – http://www.twitter.com/subshockmusic


1. Dieselboy & Bare – Beyond Thunderdome
3. Excision & Downlink – Crowd Control (Original Mix)
3. Atomic – Orbit
4. Jay-Z & Kanye West- Why I Love You So (Schoolboy Remix)
5. Knife Party – Fire Hive
6. Daft Punk – Da Funk (Schoolboy Remix)
7. Bong – She Said
8. Numbernin6 & Bare – Garbage VIP
9. Dream – Go Hard (Crizzly Remix)
10. Bare – Dirtybit
11. Bare & Datsik – King Kong (Skeptiks Remix)
12. Skism – Rave Review (Dodge and Fuski Remix)
13. Muffler – Gang Warz (Bare Remix)
14. Adroa feat. Messinian – End Boss (Original Mix)
15. Muffler- Move (Nightwalker Remix)
16. Downlink- Factory (VIP)
17. Schoolboy – Zombies Ate My Neighbours (Original Mix)
18. Yelawolf- Growin’ – Up In The Gutter (Kill The Noise Remix)
19. Porter Robinson – 100% In The Bitch (Downlink Remix)
20. Bro Safari – Uncrushable
21. Subshock – Bomba
22. Tittsworth & Alvin Risk – Pendejas (Original Mix)
23. Dillon Francis – Masta Blasta (Original Mix)
24. Oh My – Dirty Dancer (Alvin Risk Remix)
25. Dillon Francis & Diplo ft. Maluca – Que Que
26. Dub Elements & The Streets Are Ours – Lazer Girl
27. Bare & Datsik – King Kong (Billy The Gent X Long Jawns Remix)
28. Jack Beats – Shutterbug (LeDoom Remix)
29. Dillon Francis – IDGAFOS 2.0
30. Bro Safari – The Clap (feat. ETC!ETC!)
31. Subshock – Lets go
32. Swedish House Mafia – Save The World (Knife Party Remix)
33. Borgore feat. Shay – Flex (Document One Remix)
34. Bro Safari- Cold Turkey (Original Mix)
35. Bare & Datsik- King Kong (Lucky Date Remix)
36. Subshock – Back Up (VIP)
37. Kroyclub – New World Order (Space Laces remix)
38. Martin Solveig & Dragonette Feat Idoling – Big in Japan (Les Bros Remix)
39. Dubsidia – Kill Humans (Dirtyloud remix)
40. Knife Party – Internet Friends
41. Knife Party – Internet friends (Poisound Remix)
42. Subshock – Bring the bass (Drumstep Mix)
43. Terravita – Lockdown (Bare Remix)
44. Bare & Datsik – King Kong (Terravita)
45. Nero – Crush On You (Knife Party Remix)
46. Subshock – Catch me
47. Datsik – Don’t Feel Right (Original Mix)
48. A F K – On Tha Floor
49. Dodge & Fuski – Come Again (Phetsta Remix)
50. Knife Party – Bonfire (Original Mix)
51. Subshock – Disco Rocket

18th Jun2012

Critique: Stereogum VS BassGeisha: Smashing Pumpkins – Oceania

by admin

StereoGum's Michael Nelson vs  BassGeisha: Smashing Pumpkin's Latest Album, Oceania

Alright, to preface this ridiculous article,

I ended up, somehow, on a proclaimed “Indie Music News, Mp3 Downloads, Music Videos, Reviews” website called “Stereogum”.

I’ll admit it loud and clear, I am a Smashing Pumpkins fan. Probably always will be one.

The quoted article below is by Michael Nelson entitled “Premature Evaluation: The Smashing Pumpkins Oceania”
I have copied the critique in full below, followed by MY personal comment/response as well as an issue of the entire website for you to view yourself.

Quoted from: http://stereogum.com/1063892/premature-evaluation-the-smashing-pumpkins-oceania/franchises/premature-evaluation/comment-page-1/#comment-7767121


It’s easy to rag on Billy Corgan for being a hypersensitive narcissist who says ridiculous things, but he’s been doing that for two decades now. (The first time I cringed at a Corgan comment? In 1994, when he reportedly said to Kim Thyail, after an uncomfortable interaction with the Soundgarden guitarist, “You hurt me deeply. You hurt me deeply in my heart.”)

But Corgan’s post-’90s music really shouldn’t be judged alongside that aspect of his persona. No, the essential problem with the latter-day Smashing Pumpkins records (starting with 2000′s Machina/The Machines of God) is that they fall prey to what Rob Mitchum — in his review of the band’s 2007 album Zeitgeist — called “the ‘Zero’ dimension.” As Mitchum (accurately) assessed it, Corgan had left behind his band’s softer side, to the music’s detriment.

That was only a problem, of course, to the extent you didn’t enjoy songs from the “Zero” dimension … until the first couple EPs from the Pumpkins’ ambitious Teargarden By Kaleidyscope project emerged in 2010, which suggested not just a nadir for Corgan but popular music in the 21st century. Today, it’s easy to look at the quote-unquote Smashing Pumpkins and look away in disgust: There’s ol’ Charlie Brown (front, center) with a bunch of demographically diverse scrubs, at least two of whom probably never even saw the inside of a studio while the music was being recorded.
He’s made such a mess of things that really, how do you even accurately catalog Corgan’s, um, catalog? The new Oceania is technically the band’s ninth studio LP, but that seems misleading: It leaves out 1994′s Pisces Iscariot, a collection of early non-album tracks that is better than the majority of the music released in the ’90s, yet it includes Machina II/The Friends And Enemies Of Modern Music, which was never released to stores and is plainly an addendum to the more traditionally distributed Machina. And how to account for Teargarden, an ongoing “album” of which Oceania is considered a segment? Furthermore, what about Corgan’s 2005 solo album, TheFutureEmbrace, which shares at least as much DNA with the Pumpkins as the band’s own fourth album, 1998′s Adore, or the lone release from Corgan’s Zwan — 2003′s wildly underrated Mary Star Of The Sea — which shares even more of that DNA?

In terms of its personnel, Oceania may be a “Smashing Pumpkins” album in name only (Corgan is obviously the only original Pumpkin left in the patch), but from a musical perspective, it feels like it deserves that name. The album opens with “Quasar,” and the guitar-bass-drums interplay with which the song begins recalls two other Pumpkins album openers: “I Am One” (from 1991′s Gish) and “Cherub Rock” (from 1993′s Siamese Dream). It’s a far cry from those classics, of course, but it’s a good omen — an announcement that, maybe, Corgan has exited the “Zero” dimension. Like much of the best Smashing Pumpkins work, the album never settles on one sound, although it’s blatantly dreamier and less rat-in-a-cage raging than any other Pumpkins’ LP released this millennium. The album’s entire second quarter — “Violet Rays,” “My Love Is Winter,” One Diamond, One Heart,” and “Pinwheels” — is composed of ballads, but their tones and instrumentation vary (from acoustic guitars to Adore-esque synths). The title track is a proggy marathon that tries to squeeze about half of Melon Collie into its nine minutes. And the album closes on three ferocious guitar-heavy anthems that veer in and out of the “Zero” dimension without getting stuck there. All along, new drummer Mike Byrne serves as a more-than-passable stand-in for departed skinsman (and Corgan’s only real collaborator) Jimmy Chamberlin. The album’s immediate highlight is “The Celestials,” a sweeping, swelling, quiet-loud-quiet ballad that kind of makes me feel like I’m flying; it’s easily the catchiest song Corgan has written since “1979.” (If radio and MTV still existed, they might even play the thing.)

It’s typical to overreact when a once-great artist — previously believed to be deep into his dotage — hits that sweet spot again, but I don’t think I’m being hyperbolic when I say that Oceania is Corgan’s best album since Mary Star Of The Sea, and the best Smashing Pumpkins album since … Melon Collie? (Adore apologists will take exception to this.) He’ll never again reach the heights of those first three albums — who will? — but it’s good to hear, at least, he’s climbing.
Written by Michael Nelson for Stereogum.com

So, Not that everyone isn’t allowed their opinion but, oh, my, god how many times have I heard or read an article similar to this one? About how the Smashing Pumpkins will never return to their former glory, they are stuck in a hole bla bla bla..
Well, I was just slightly fired up enough to where I critiqued the critique. haha.
Also, let me lead you here so that you might know what else I am referencing:
Apparently Billy Corgan said he would piss on Radiohead.
Here’s the quote:

Billy Corgan of Smashing Pumpkins

Billy Corgan had some words for Radiohead and their “pomposity” in a recent interview. Here’s Billy:

I can’t think of any people outside of Weird Al Yankovic who have both embraced and pissed on Rock more than I have. Obviously there’s a level of reverence, but there’s also a level of intelligence to even know what to piss on. ‘Cause I’m not pissing on Rainbow. I’m not pissing on Deep Purple. But I’ll piss on fuckin’ Radiohead, because of all this pomposity. This value system that says Jonny Greenwood is more valuable than Ritchie Blackmore. Not in the world I grew up in, buddy. Not in the world I grew up in.

So I find myself defending things. Is Ritchie Blackmore a better guitar player than me and Jonny Greenwood? Yes. Have we all made contributions? Yes. I’m not attacking that. I’m attacking the pomposity that says this is more valuable than that. I’m sick of that. I’m so fucking sick of it, and nobody seems to tire of it.

(via Antiquiet)

Yankovic and Corgan, rock’s greatest pissers. For more on the Pumpkins-circa-2012 front, you can stream Oceania for free today if you want
Quoted from Stereogum: http://stereogum.com/1062011/billy-corgan-will-piss-on-fucking-radiohead/franchises/wheres-the-beef/

Quoted via full interview at Antiquiet http://www.antiquiet.com/interviews/2012/06/billy-corgan-interview-oceania/

Alright, while I’m not going to touch Billy’s quote of pissing on radiohead, for the irony, I DID reference it in my critique of Michael Nelson’s critique of the Smashing Pumpkins new album that I still have not heard yet. For the record, however, I have a lot of respect for Radiohead, although they are by no means a favorite band of mine. (sorry, they just aren’t). That does NOT mean that I don’t have any albums on Compact Disc by them!

Here it is:

Smashing Pumpkins Oceania

Smashing Pumpkins Oceania

bassgeisha | Posted at 9:12am 0
Ugh well, nice critique I guess, but it makes me rather sick.

ZERO was a f*king epic tune that whether you like it or not, still has shirts in production *today*. Which I think its rather crazy considering it was released in 1995?? That’s nearly 20 years later. So getting stuck in the “Zero Dimension” as you call it, I can’t exactly agree that is a bad thing. If everything they crank out sounds the same then sure, but I personally don’t believe this is the case, even with this album and I haven’t even heard it yet >.< I personally LOVED Corgan's The Future Embrace, and in fact got my musical production name from it. No, I'm not sharing it yet, sorry. The Smashing Pumpkins will forever be in my heart as a strong, alternative rock band straight from the 90's that kicked a$$ not only because I have their albums & songs memorized but also because —it showed me & other girls/women at the time how D'arcy Wretzky could set an example for all females to engage in massive bass bada$$ery!—- Even when she left & was replaced yadda yadda, having that female bassist was almost a Smashing Pumpkins expectation or look expected from the band.

To harp on Corgan because his music is changing is like punishing a teenager (or younger/older, I suppose) for growing, learning, and being shaped by life’s events.

Are you the same person you were 1 year ago? 5 years ago? 10-20 years ago? I’m going to generalize and say OF COURSE NOT.
So WHY do you expect the same lot of music from a band that has been through a lot of changes, been affected by the same world events, and their own personal events? You speak of the Zero Dimension. What if they were stuck in a Cherub Rock dimension? You’l be slapping them on the wrist for that too!!

This article sounds quite like a LOT of other opinions/websites where the author(s) is jaded or cynical about Corgan/The Pumpkin’s past glory, and wants to see them achieve similar status. I believe this could very easily affect the way the album is perceived/heard.

Yet oh my god when it comes to (i’ll use RADIOHEAD–simply because I do enjoy irony)…radiohead you are so far up their a$$es that you can’t see straight and praise every single strum of their guitar or vocal that comes out of Thom Yorke’s throat. Give me a break.

Michael Nelson, perhaps it is time to revert back to your childhood (yes, I’m going somewhere with this). Go play Operation or Jenga or some other childhood boardgame like Sorry. **Find a way to view the world in a new light, in a new perspective,** instead of from your jaded Stereogum article-writing-cynical opinionated being that youv’e engendered.

Then, maybe if you rewrote the article, listened with fresh, new ears and MAYBE tried to perceive what Corgan was after with the album, it may be a constructive critique that I enjoy, that maybe even Corgan would enjoy and might acctually have an effect on the band as is stands today.

Is this not the essence of a critique? to get inside the heads of an artist with a fresh, objective, constructive opinion? That’s how I was taught in art school. And while this is a music website, I’m sure you can see the symbiotic relationship!.

This is very unfortunate because I am brand new to your site. Seeing such opinionated journalism is one thing — seeing something that has been rehashed and rehashed over and over again “ohh the pumpkins aren’t as good as they were with Siamese Dream, etc”… it gets old before I even finish the article because I’ve heard it so many times before. Not to mention it threatens my “new user” status. I don’t know how many people or hits you acquire each and every day, but it does make me wonder if/how/why you lose viewers and/or if you are even remotely interested in keeping them. (can’t help it, it’s the marketing & advertising and possibly the anthropologist specialist in me).

bassgiesha signing out.

Click on Expand on the ISSUU PDF Viewer below to see the entire website including my reply.

14th Jun2012

NPR, Morning Edition – From Something to Nothing: ICE-T Interview about Rapping & MC’s

by admin

NPR Morning Edition ICE-T From Something to Nothing: The Art of Rap

So, as on most mornings when my car (poor widdle new beetle !#%)&!#%thing $$$$$) is in the $hop, my boyfriend Antares & I ride to work (well, rather, he drives me to work) in his car. He prefers to listen to NPR on a nice soft volume. (I’m a totally different story. I blast anything from DNB/Dubstep/EDM to rock n roll cranked up as high as it will go on my way to work) Anyways, today we happened to hear a particularly wonderful interview of ICE-T. When we tuned in he was discussing the difference between MC’s and Rappers. He even called Dr. Seuss a Rapper, lol.

Thrilled with this history of Hip-Hop (leading to Breakbeat) culture, I immediately jumped to the NPR interview page and immortalized the interview via ISSUU PDF. All credit due was given, of course. I DID take it directly from their website. (durh)

Below is a mostly direct transcript of ICE-T’s interview with NPR Morning Edition.

I do *know* that this transcript is edited. ICE-T talked about a brief history of Hip Hop culture and did discuss how breakbeats, DJing and breakdancers came about. Another thing I can also attest to is that when he describes “us” in the next quote, he was talking about himself as an MC (that is, unless I heard incorrectly.–will verify with Antares what I heard.) Unfortunately, NPR I KNOW did omit in my opinion, important portions of the interview that clarifies exactly what he was speaking of. Here is the quote I am referring to about MCs:

“I guess you consider us poets,” says Ice-T. “I would say competition poetry — a verbal gymnast — because a lot of the great poetry doesn’t rhyme and here rhyming is essential.”

Below are two ways you can read the interview. I have also included a link back to the npr music website where the transcript was copied.
I decided to immortalize the article in ISSUU PDF format, which is at the end of this article.
My personal favorite quote is basically the last paragraph that is (definitely edited) recorded in this version of the transcript. To paraphrase: Ice-T speaks about how rap and/or hip-hop has become irrelevant to today’s current events. I couldn’t agree more.

I may as well take this moment to also say that I knew when Rihanna came on the scene, that the way the African American community treated this beautiful, bright rising star would define their legacy of how they treat women for at least a decade. Great job Chris Brown.

(Asshole.) I will never support him, by the way. Okay, Okay, you can’t base an entire culture’s legacy on a single person’s inability to conceive of respect for women. I mean, Beyonce and her sisters haven’t even endured what poor Ri Ri has. It’s almost like the Tina Turner era all over again with Rihanna. (yes I am a fan of hers, and yes I have almost every album of hers on Spotify–great service btw, generally speaking. Aside from the fact they removed Pink Floyd’s Pulse Album AND Dieselboy’s Project Human and Sixth Session. GRRRRRR. On top of that, don’t even try to expect a response from Spotify’s “customer service”. it is a joke. Soundcloud is equal to if not better. But only for the hottest/latest tunes.) ANYWAYS On with the edited article.

To note, I did just leave a comment on the article’s page about the edits/cuts from the transcript. Particularly about the development of breakbeat culture and break dancing. I’m assuming it should be posted eventually (pending moderation now). How interesting that NPR claims to be such a pure news reporting agency or conglomerate & yet they blatantly edited this simple article? What are they running out of KB to hold the entire transcript? Give me a break. text is the smallest bandwidth hog there is today.

UPDATE! Finally my comment posted (so I also updated the ISSUU PDF 😉 Please read the comment below.

Bass Geisha (BassGeisha) wrote:

I am quite dissapointed to see that this transcript has been edited/chopped/shortened. I just heard it on the radio on WUTC this morning and I specifically remember him talking about breakbeat culture, break dancers and how they came about.

We are an underground culture, but dang, if ICE-T says its a part of history, who will you listen to and credit as saying that it is?

I am very much a part of the underground culture/scene including breakbeats, drum and bass and dubstep (NOT JUST SKRILLEX AASDFASG) break dancing used to be very popular, atlanta was especially well known in the early 2000’s as a breakdancing hotspot! Here in my city, we have just a few now. I blogged about this article as soon as I could get to a computer. Also, why can we not embed/share the interview vocally? Just wanted to say, just definitely dissapointed by the editing/cropping of this interview.
Thursday, June 14, 2012 8:05:57 AM

ANOTHER UPDATE, this seems to be changing by the minute – to the point where I haven’t even officially posted this article. Just tweeted @MorningEdition and expressed my aggravation at their edited content of the interview. They replied 28 minutes ago and said the full interview would be up soon. When this happens, I will update this article and the ISSUU yet again. Thank god for social media?! Below is the screenshot of the conversation:

Morning Edition NPR Twitter Conversation about ICE-T Interview editing

Morning Edition NPR Twitter Conversation about ICE-T Interview editing

I will try to download and possibly upload the interview and embed the audio if possible in an attempt to replicate, duplicate, infiltrate and immortalize, but for now, please visit the website as quoted below.
Okay, off my soap box. Read on!!!
I hope you all enjoy!

****REMEMBER! You can always read it as an actual article/PDF by clicking “Expand” on the ISSUU at the bottom of the page!

~ bassgeisha out.

ICE-T and Chuck D NPR Morning Edition - From Something to Nothing Article on History of Rappers, Hip-Hop and MC's

ICE-T and Chuck D NPR Morning Edition - From Something to Nothing Article on History of Rappers, Hip-Hop and MC's

UPDATE #3 6-18-12
NPR Finally put up the ENTIRE TRANSCRIPT of the ICE-T Interview. Please view it below. I am also updating the ISSUU.

Let’s hear, now, about a documentary with quite a soundtrack. The hip-hop artist Ice-T wants you to think about the art of making rap music.

ICE-T: This film isn’t about the money, the cars, the jewelry, the girls. This film is about the craft – what it takes to write a rap, what goes on inside the head of the masters.

GREENE: Ice-T has come a long way since the time 20 years ago, when his lyrics to the song “Cop Killer” sparked a huge, national controversy. He has a new documentary out that took him from Harlem and the South Bronx to Detroit and South Central, Los Angeles.

Ice-T talked to artists like Doug E. Fresh, Ice Cube, Snoop Dog, Run DMC. And he focused on how these artists go about creating rap lyrics and beats. Ice-T joined us from member station WABE in Atlanta. Good morning, and thanks for talking to us.

ICE-T: Hey, thanks for having me, man. It’s cool to be here.

GREENE: You said that this was a film that you just had to make because, as you put it, rap music saved your life. Can you explain that?

ICE-T: Well, you know, before rap came along, I was, actually, actively in the streets; getting in trouble, doing the wrong thing. My father died early. My mother died early. I started hanging with the gangs. I’m on the streets; I’m committing crimes. And the music came along, and this music just took me on a different road. I mean, now you see me, I’m on television. I’m on “Law & Order”; I’m playing the cops.

I mean, if it wasn’t for rap – that was my first step into the legitimate world. Now, people look at me like oh, I love him; he’s so respectable.


ICE-T: You know, I was a pretty bad person early in my life.

GREENE: Rap, there’s a lot of – I mean there’s a lot of anger that you can hear. Was it a way to express the anger and frustration of, you know, a tough life on the streets?

ICE-T: Well, rap is rock ‘n’ roll. Rock is when you push the buttons in the system; when you say, I’m not going along with what you’re saying. That’s rock, whether it’s done with guitars, or it’s done with just beats. So rap is rock – and there’s anger in rock. There’s anger in punk. It’s a real voice, uncensored, and you will hear anger when you uncensor the voice.

GREENE: Let’s talk about the creation. You do call rap an art, and I wanted to play one clip of what rapper Big Daddy Kane told you in the film.


ICE-T: What’s the difference between a rapper and an MC?

BIG DADDY KANE: Well, a rapper is, you know, someone that rhymes. I mean, you can consider Dr. Seuss a rapper.

ICE-T: Right.

BIG DADDY KANE: You know, that’s someone that rhymes, you know? You rhyme cat with hat, you know, then you can be considered a rapper. MC is someone that either has that party-rocking skill or that lyrical skill.

ICE-T: Right.

BIG DADDY KANE: Doug E. Fresh, Busy B…


GREENE: I don’t know if Dr. Seuss would love every bit of the rap that you guys make. But I guess I wonder, I mean do you consider you and other MCs poets? Is that the art that we’re talking about?

ICE-T: Really, when you say the word MC, people don’t even really know what that word means. See, back in the day – I’ll give you a little, quick history lesson.

GREENE: Yeah, give it to us.

ICE-T: Back in the day, DJs found out, with the use of a mixer, that they could play the breakdown of a record. That’s the part where the record goes (Singing) Get down, do-dum, do-dum, do-dum.

And they usually – there’s no words over the break. When you’re at a club and the breaks happens, that’s when you try your best moves. That’s when you dance the best. So the hip-hop DJ found out that since that’s the best part of the record, why play any other part of it? So before you know it, the DJs are spinning Steve Miller Band. They’re playing Aerosmith. You know, I used to have my DJ play Black Sabbath, like (Singing) Dun-dun, do-dun, dun, boom-ta, boom-boom-ta-boom-boom.

OK, the kids that really danced off it were called break dancers. That’s what breaking means, the dancing off the break of a record. Now, the DJ is doing this incredible thing. He hands the mic to somebody and says, tell them how great I am.


ICE-T: That’s an MC, a master of ceremonies. Now, the MC would say hey, the DJ is good but you know, I’m kind of fly. And he slowly stole the show, and he’s supposed to be rapping about the DJ. So when we say a rapper, a rapper can say a rhyme. But an MC can rock a party, you know?

And I guess you consider us poets. I would say competition poetry – or verbal gymnast, because a lot of the great poetry doesn’t rhyme.

GREENE: Here, rhyming is always important.

ICE-T: Here, rhyming is essential.

GREENE: The evolution of your life was kind of – I thought – captured in a New York Times Book Review, when you came out with a memoir last year. They said you’ve gone from robbing people to rhyming for them; from singing about killing cops, to playing a cop on camera. And you, of course, on “Law and Order: SUV,” as Fin. And I guess I wonder, being a cop on screen so often, and looking back to “Cop Killer” 20 years ago – I mean, what do you reflect about?

ICE-T: I mean, honestly, I’ve never been a cop hater. You know, when I was breaking the law, the cops were the opponent. I just thought I could outsmart them. Anybody who speeds thinks they can outsmart the cops. So at that time, you know, I was breaking the law. I knew what the law was; I was breaking it. Why am I mad at the police?

“Cop Killer” was a song about brutal police. It was a year before Rodney King, and I was living in the world where the cops were snatching people out the car, beating their (BLEEP). So I was like, what if somebody went on a binge after y’all, after the brutal cops. How would you feel about that?

GREENE: I want to play one more clip from Big Daddy Kane in the movie.


ICE-T: If you were going to personally train a rapper to be great – you met a new cat – what would be the first lesson you’d give him?

BIG DADDY KANE: Well, the first thing I would try to teach him – the very first thing would be originality. You know, say – I think that is so important because it’s like it is – whenever you’re following a trend, trends come and go.

ICE-T: True.

BIG DADDY KANE: So, when that trend is gone, you’re gone.

You’re basing your career on a banging beat and a catchy hook. So you know what you just did?

ICE-T: What did you do?

BIG DADDY KANE: You just made your producer a star.

GREENE: And I – that last bit right there – you just made the producer a star – I guess I wonder, what is rap and hip-hop today? Is it less about lyrics; and is it more about the beat, and the producers getting more attention?

ICE-T: Yeah. Truthfully, you know, a weak rapper can hide behind a lot of production. And that’s why, in the film, we didn’t have them rap with music. We always did the a cappella version so you can actually hear the lyrics.

I think all music – not just rap – has fallen into this very diluted, delusional state, where everyone’s singing about money and having cars, and having all this fun; when really, people are losing their homes. You’ve got the Wall Street situation, the sub-prime situation. You’ve got a black president. We’ve got wars. We’ve got unemployment. But the music doesn’t reflect that. And I challenge anybody to show me a music that’s on the radio that reflects that.

GREENE: Ice-T, thank you so much for talking to us.

ICE-T: Church.

GREENE: That’s rap musician Ice-T, speaking to us from member station WABE in Atlanta about his new documentary, “Something from Nothing: The Art of Rap.”


GREENE: This is MORNING EDITION from NPR News. I’m David Greene.


And I’m Renee Montagne.

15th Feb2012

LEGION: Signal of Design Tour in Chattanoga 2/23/12

by admin

Underground Drum and Bass, Dubstep and Dance Electronic Music!

LEGION: Signal of Design Tour Coming to Chattanooga, TN

RAW Thursdays Underground, Electronic Dance Music, Djs, Dubstep and Drum and bass

Okay. so, here I am with a just-completed-out-of-the-box-fly-by-the-seat-of-my-pants GOTTA GET IT OUT TONIGHT …flyer!
I’m actually quite happy with this. I can’t drop all the details yet!
Come out to Raw Sushi Bar & Grill this Thursday to get the full flyer with event details and keep a lookout on facebook for an event page coming your way!

is their URL if you’d like to catch up on their unique sound.

Legion Signal of Design Tour in Chattanooga, TN at RAW Sushi Bar and Nightclub, 2/23/12

tease tease tease!! Keep a lookout on FACEBOOK for the EVENT page!!

Legion is a new outfit consisting of Advance, Hunter, and Black Sound Effects. Advance has had a long career in Drum and Bass with multiple releases for Renegade Hardware as part of Quadrant. In 2008 Advance stepped out on his own with a release for Dieselboy’s Human Imprint, which was also featured on Dieselboy’s most recent mixed CD, “Substance D,” and also completed a collaboration track with AK1200 and NC-17 for Trace’s DSCI4 Recordings. Hunter has been in the dance music scene for well over 10 years as a DJ, promoter, and professional sound engineer. He has worked in the studio with Impulse of Sinthetix/Corrupt Souls and Dylan from the Upbeats on unrelated material. Black Sound Effects has been doing Live PA shows for some time now dabbling in other genres of dance music, but his main focus has always been producing avant-garde Drum and Bass. Through a random chance meeting in early 2009 Advance met up with Hunter and Black Sound Effects and the trio hit it off immediately forming the group, Legion, and their own label, Sine Language Imprint.


Granted, if you like a quiet place to eat sushi and drink, don’t come upstairs to the Attic on Thursdays! 😉

What I can say is 21+ to party with ID. $5 laydies all night and $7 gentlemen’s admission 😛
Seriously, I wanna drop the lineup but it will have to wait until Friday.
I’ll try my best to update this blog by then, but at the very least, look it up on facebook events!!

I have so much that I want to write, and not nearly enough time to write it 😉

07th Feb2012

From Tomorrow With Love: Why it is essential to promote local talent alongside headliners in the local scene

by admin

From Tomorrow With Love

Alright, let me start by saying that in my city, I’ve been in the “underground” drum and bass and dubstep scene for a “long time”. I’d say it all began when I was around 16-17 and local DJs would setup in a public plaza during a downtown event called “Nightfall”. Instead of going to see the main acts at Nightfall, which featured a lot of country, bluegrass, rock and folk music, I would be in the park plaza dressed up as a candy kid and dancing my butt off to whatever the DJs felt like playing that night.
I can even remember this was during the pre-digital camera days and when radio shack still sold car audio equipment. So I’d say what, late 90’s

This post featured pixmilk.deviantart.com’s “From Tomorrow With Love”. Please click on the image to view the artist’s page!

From Tomorrow With Love by Techlove.deviantart.com

It wasn’t until I turned 18 that I was finally able to traverse the 120 mile/2 hr drive to Atlanta to start seeing world-renown djs perform. Unlike my city, Atlanta has always had a bigger, more established local drum and bass/dubstep scene. While ATL throws down not only on the weekends, but also throughout the week, the promoters in my city were steady rockin any venue that would host our “underground” parties.

Venue changes were constant. You couldn’t keep up with where the next party was going to be unless you “knew” someone.

Chattanooga, like any other city, has always had the die-hard never-say-quit locals that consistently and that is the key word–CONSISTENTLY supported the scene.
Talk to any promoter in any city, however, and I guarantee you they can affirm that promoting regularly scheduled parties and hosting local dj talent can easily be a losing game.
What has been unique to my city, however, is the dynamic range of ups and down the scene has experienced throughout the past few years.

Myself, being part of the “older crowd” (gosh that sounds weird to say), you know–one of those die hard local fans that supported the shows as much as possible, began to see a huuuge influx of a new generation of bass heads! While this was really exciting, to be honest, we couldn’t quite figure out how this secondary, younger generation just sprung up out of nowhere and began throwing what they titled “Bangers Ball”s. It was literally an unbelievable amount of younger millenials that had discovered this awesome “new” thing called dubstep.

These “Bangers Balls” were easily pulling over 200 or more (not sure of the max number but I believe it was closer to 600) heads to the shows,

while the older die-hard-not-gonna-give-you-up shows were averaging on a GOOD night about 50 heads!
Yes, Bangers Ball showcased regional talent, but more importantly the local dj talent as well!

Well, ultimately, the inevitable happened. The two promoter groups Bangers Ball x Scenic Rhythm Foundation (one of the oldest dnb/dubstep promoters) joined forces.
The older crowd, having seen the enthusiasm for the dirty, grimy dubstep in the new generation, literally rose up to meet the challenge, raised the bar, while also sprinkling in the older crowd’s beloved dirty, grimey drum and bass. Overall, The younger crowd and the older crowd merged.

Here is where I will pose some questions and some possible solutions.
Just like in the past, the scene has shrunk yet again to the die hards. But this time, it wasn’t just the older generation coming to the shows.

We could blame it on venue problems. One of our best venues for hosting parties basically began “screwing over” the promoters, trying to force them to rent out a more expensive upstairs venue when the promoters knew that the downstairs, street-level venue was THE preferred place to host a show.

It was right in the middle of downtown, on the sidewalk, and the massive amounts of bass booming from the venue echoed well across market street and the downtown scene. We were here. We were having fun, and we knew how to throw a party.

Although the venue problems with the promoters began before the incident I’m about to describe, the following incident solidified the death of that disrespectful venue as a whole.
On Christmas Eve, 2011, a gang fight broke out in the back parking lot of the venue. Several people were shot and wounded, but not killed. The event made national news. The entire City of Chattanooga was affected and is now recovering through city-leader and school-lead meetings dealing with gang violence.

The City cracked down on the venue, revoking the venues rights (which also doubled as a church on sundays and somehow allowed the church to rent out and avoid normal safety precautions, etc, that a larger, more experienced and lawful venue would have to have in place to stay in business).

So, just as the scene has always done, the local promoters and djs, passionate about what they do and the music they enjoy and their performances, ADAPTED, moved venues…to literally right across the street.

And this was months before the tragic gang violence.

Many KUDOS to those two influential promoters and their supporting crew! Hollllahhh French, Wallin, Akshen, and all the local DJs that perform on a weekly basis at a DNB/DUBSTEP event at RAW Sushi Bar and Grill in Chattanooga TN on THURSDAY Nights! (another post to come soon probably;)

So, the real question comes down to this: What makes our smaller, local scene so vulnerable to this seeming rollercoaster of attendance or interest?

I have a couple theories. One of which is easy, too easy to blame: the economy. However, that doesn’t settle well with me. It doesn’t seem like the only factor at play.
My second theory is more involved in sociological and ultimately cultural theory. I’d definitely say that the general question in all of the “old-school” heads when Bangers Ball “blew up” in Chattanooga, was, what the f*&k?? How are they pulling so many heads to their parties??

I’m here to theorize that it has everything to do with the promoters AND performers general interaction with their “customers”/”clients”/”attendees”.

Also, at the time the Bangers Ball was at its prime, online social media also played a role.

Bangers Ball, pulling upwards of 600 heads in a small city, was nearly unheard of! It was their promotion on Facebook especially as well as other social media outlets that created the necessary “hype” to keep that monthly on its feet! Not to mention the promoters AND Djs would be out, making friends, checking on the crowd and generally socializing that lead to the respect and loyalty of their fan base.

I believe just by explaining the history of the perceived “rise” and “slide” of the scene that I have set myself up to explain why there is a perceived lull in activity.

#1 Changing venues.

People are creatures of habit. They do not like change, period. Once you attend an awesome, mind-blowing evening in an awesome venue, you want to return to that venue again, due to some residual sub-conscious assumption that good times = particular venue.

#2 The interaction of the promoters and the djs with the crowd.

If the promoters and djs (NOT SAYING ANY LOCALS AREN’T DOING THIS, but that this is something to be aware of…) do not engage after their set or create personal, lasting bonds with their fans, the fans, psychologically could read that many ways. Such as, “they don’t care that my friends and I are here”.

I know that whether or not you are a dj, promoter or fan that whenever you get personalized attention from one of your favorite, respected and possibly famous talent, it makes you feel good. It makes you feel accepted and it retains loyalty as a beneficial side-effect.

I can’t believe I’m analyzing it this deeply but. Here we go: #3 VIP, Free Entrances and General Public Cover Charges. I hate to say it but, shame on you promoters that let your attending public in for free—especially if they are not either a)a performer or b)a performer’s +1. Even then, if a promoter is going to go so far as to let the performers +1 in for free, there’s no reason to do it every single time a party is thrown. If there is an established list of resident DJs, then maybe perhaps let the residents in free…but not to the detriment of the scene! Any Dj, performer or their +1 HAS to understand that not paying = no parties.

Are people paying a 5.00 cover at the door then turning around and leaving, demanding their money back? Sorry, no refunds. Tell them when they enter.
Are people complaining about a 5.00 cover to begin with? Try making it 2.00 or 3.00!

THEN there’s this whole creation of a VIP stigma.
What’s the best way to explain this…Okay, when you go to a major concert like KoRn or Smashing Pumpkins or Of Montreal or *whatever*…the general public already *knows* and *expects* there to not be general public access to the headliners.

Granted, it is ultimately up to the headliners as to whether or not they visit fans after a performance, but just the creation of a VIP area or limited access area creates a psychological sense of mystery, curiosity and desire.

People are always going to want what they can’t have, but at the same time they will always respect it, too.
Alongside of this sense of mystery and the unknown of the “VIP” area, comes the hope and desire of the “normal” fan to “ascend” to that level. If it helps, consider it a “keeping up with the Jonses” mentality. If a couple audience members are invited back to meet the performers, it generates that ever-sought-after “hype”. The attendee gets bragging rights and hence wants to share their experience, which just creates more hype and enthuses their friends to join in on the fun!

HOWEVER! This VIP section can be a double edged sword…….especially for the local talent.

It is the locals (performers and promoters) that “hold down” the local scene.

They need to be out and seen mingling with the crowd to maintain the precious loyalty that keeps the scene alive.

The main reason I am writing this article is due to the very annoying fact that a newbie venue in town has booked a headlining DJ—DJ Caspa, and chose NOT to include or promote ANY local talent. *Cough* Track 29, Chattanooga, *Cough*.
So, okay.
Let’s say that Track 29 in Chattanooga TN wants to remain open (as I’m sure any normal venue would want to do).

Considering they’ve booked a headlining “underground” dubstep name and not included ANY local talent, not only is it detrimental to the die-hard local scene because our local dj talent is not being showcased as it “should” (I say should because generally all promoters know that you book locals and headliners together…at least, that is how things have always been since I joined the scene in the late 90s/2k), but also by excluding showcasing the local talent, they are not perpetuating the momentum they are trying to create!!

I’ll try to say this one more time, in another way.
Dear Track 29,
Do you know what the word “BOH” means? How about “Big Ups?” no, no, that is beside the damn point.

Look. If you want to bring headliners to Chattanooga and tap into the underground scene that obviously has local support (think back to the 600k) You’re going to HAVE to produce and support the local producers and performers. It’s like, running a farmers market and not buying local produce. Does that make sense?
Momentum, a word I touched on just a moment ago, is what will perpetuate and grow a solid, loyal fan base in this city.

So far, I have not been to Track 29, Chattanooga TN. I must admit I am still very skeptical of it, despite me knowing some of those behind the effort. It isn’t because I doubt it is a good venue, but that I have seen the attempts to bring major talent to our city fail time and again.

I may or may not attend the Caspa show this weekend. Yes, I want to but it is yet to be determined whether I wish to cough up the cover charge during the middle of a move. I may simply sit back and keep my ear to the ground, so to speak, as I’ve done for years, and end up analyzing what, if any effect the show may actually have on the local drum and bass/dubstep scene. And, per usual, if I do not go due to hectic moving schedule/cleaning etc, I will plan on treating myself to a show in one of the surrounding cities: Nashville, Knoxville or Atlanta.
However, if I am not too exhausted this weekend and am able to attend, I will post about the show and my perception of its success in my small town.

All of this post has come from my applied/learned knowledge in the fields of sociology, anthropology and *ahhhhhh!!!* Marketing. I’d love to hear any or all of my friends sound off.

17th Jan2012

March 2012: iPad3!

by admin

iPad3 Fever has Begun

Oh my gosh asdl;fkhaglhsahgmnqeitpyqte
Okay, let me start out by saying that last year, I won an iPad 2. It was the first thing I’d ever won in my life. Then I had to sell it when a roommate didn’t make rent…so I could cover the mortgage and utilities. Yeah. bummer.

However, the iPad2 was just a teaser for me. Not only did I not have a full on Macintosh computer with which to utilize the iPad 2, but the resolution, aka screen size was not condusive to high quality, high resolution painting experiments.

I just read this, however, from wired.com:

None of the leaked details are particularly new, but that it comes from Bloomberg and they’ve seemingly got full confidence in their source(s) makes them a bit more credible than rumors prior.

Here’s the gist of it:

1. The next iPad (Bloomberg calls it “iPad 3″, though even that detail is of course unconfirmed) is said to have gone into production this month, with production ramping up until February, with a launch in March.
2. It’ll have a quad-core CPU (as opposed to the dual-core A5 found in iPad 2)
3. It’ll have a “high-def” screen
4. Support for LTE (4G)
The most curious bit? The use of the phrase “high-def” instead of “Retina” with regards to the display. If Apple was throwing around the “Retina” term internally, at least one of Bloomberg’s three sources presumably would’ve thought to mention it. If the sources mentioned it, Bloomberg would have squeezed it into the article somewhere — and they didn’t. With leaks like this, what’s not said can be as important as what is. Higher-res screen? Yes. But the absurdly high-resolution that a “retina” iPad would require (something like 2560 x 1920, higher than any monitor Apple has ever made regardless of size)? Probably not.

oh my !#%)!&^@!#)!%&!_%#&!#%
I read previously on ipad3.com or something similarly silly that the screen resolution would be much higher on the ipad 3. Which, is why, up until this point, I don’t have an iPad.
I did, however, save my Bamboo iPad stylus(es)
The most I can hope for is that Brushes can keep up with the mounting resolutions. For ultimately, if I am to use an iPad for drawing, I’ll need the Brushes App on my full-size Macintosh.

For Now, it is the EXOPC

My beloved little exopc touchscreen windows tablet that is 64 bit and can run the entire photoshop suite! (albeit on only 1.67ghz)
but hey, I had my doubts at first for the little exopc and it has blown my mind and expectations out of the water!
I also love confusing everyone who sees it and thinks it is an ipad.

On a more personal note, The holidays this year have TOTALLY thrown me off my game. I know I haven’t updated in a minute. This will soon change. One of the longest/largest freelance projects I’ve done is coming to a close. I also have several other projects coming to a close and I think that I will reserve my freelance time for special customers, instead of trying to adopt new customers.
This should hopefully give me time to practice my digital painting. While I’ve got the iPad3 in my crosshairs, somewhere down the line I plan on eventually buying my own Cintiq tablet. If you do not know what I speak of, look here: http://wacom.com/en/Products/Cintiq.aspx

So, anyway things are settling down. My bathroom should be fully repaired this week, sometime this month the new roof should go on, and hopefully one day this month I’ll get my car back!!! It has been in the shop for over a month now. It is getting kind of ridiculous.

Oi also, if you’ve read this far, I have lots of new new art to show off and the artists’ permission to show it!
So be on the lookout for more inspirational posts and features and showcases!
Much Love & Luck