A small set of pics from our event January 19th, "Inauguration Celebration 2013!" Fundraiser and Happy Hour for the YMCA DC Youth and Government Program and UC Merced Alumni Association of Washington DC. Big shouts to DJ Soyoof WuTang DJs and DJ APER of Apuesta Por El Rock! for bringing in classic Hip Hop and the best Rock en Espanol! Also big respect goes to the nice folks at Chief Ike's Mambo Room and GreenLine Initiatives for coordinating.
Of course last to all of you donated and danced the night away.. it was a fantastic evening of Tropical, Hip Hop, and Rock!
Also big shout to all volunteers! I'm not trying to make you vicitims of onlinestalking, so I won't list you... but you know who you are!
If any other pics, send them my way at hnajera@gmail.com
For this episode, I wanted to pull together music that was separate
(stupid racism) at the time of their airplay in the 80s. My hope is to show how
the music - no matter White, Black, or Latino - were actually quite similar in
their search for outer-worldly escapist vibes… Clean funky synths mixed up with
drum machines and vocodoers to make the music as plastic and out there as
possible. Much of it was still playing with pop styles, which made it quite
digestible and danceable. As you see, I stuck mostly on the NYC Downtown Electro/New
Wave/Hip Hop vibe, so my dream is Jean-Michel Basquiat would groove to this! Enjoy and check the soundcloud player for download or stream!
Part 1: Ummixed… boring chat and eccentric beats!
Get Into the Groove – Madonna
The Beat – ESG
Need You Tonight – Inxs
Show Em’ Whatcha Got – Public Enemy
Tribe Vibes – Jungle Brothers
I would Die for You – Prince
Computer Love – Zapp
White Mice – Mo-Dettes
Once In a Lifetime – Talking Heads
Pay to Cum – Bad Brains
Part 2: The mix!!!!
Electro, Funk, New Wave, House, Techno and Freestyle for
your Jelly Shoes!
I can’t wait – Nu Shooz
Genius of Love – Tom Tom Club
Safety Dance – Men Without Hats
Everybody Get Up – Salt N’ Pepa
Because I got it like that (instrumental) – Jungle Brothers
Set it Off – Strafe
I Saw You (Walking in the Rain) – Oran “Juice” Jones
From 1935: The first to piano loops sound like a sample waiting to be
rapped over. The rhythm pulses underneath like most dance tunes. After
his horn intro, he goes into telling a story using rhyme, ala Slick
Rick... After the 2 call and responses, the repetitious "Moe's kicked
the Bucket" line sounds like a hook, or a vocal sample used commonly in
Dance/House tunes where repetition is King... think about it and enjoy.
I"m totally going to drop this in a set!!!
The embed has been giving me trouble, just in case, listen here... http://www.youtube.com/watch?v=95zqe-Qz-SM
Nice article discussing the continuing path into ubiquity that hip hop is taking. This time, in the comparison of two white female "rappers" Interesting read
I spent ten days in Basel, Switzerland and Wiesdbaden, Germany; visiting and taking in the touristy and "normal" life. I ate my share of snitzel, brotwurst, and plenty of beer. Along this path, I came upon dozens of tags and grafs in neighborhoods, train and bus stations, farms, roads, bridges, and so forth. By now, I'm sure Hip Hop tags can be found everywhere... but it struck me peculiar when it was like... I dunno... next to some old house built in 1468.
Tagging is not exclusive to Hip Hop, but the majority of the styles drew from it. I didn't see an overbombardment of tags, except near the skate shop in downtown Wiesbaden (Wiesbaden is actually an "uppity" city 40 minutes from the more bustling Frankfurt, making it more unique). Where kids would ride their boards at night drinking from liqour bottles. Otherwise, the tags and grafs were pretty spread out from one another... all quite visible, and no sign of competition or tagging over. It seemed quite civil.
I took a bunch of pics and want to share. I went to the skate shop and asked what were some German Hip Hop artits worth checking. The guy behind the counter mentioned a friend of his, and this other cat who apparently is quite big. So, I have those here for your listening pleasure while you check the pictures. BTW, I chose to not panorama the grafs cause I want to show you the context in where some of these were done... enjoy
oh yeah, all pics were taken by me... if some are blurry, it's caue i took them on a train going 200km per hour... sekkle! and copyright 2012
This right here is social consciousness critiquing 101 of Madonna's Superbowl Ready -- "Give Me All Your Luvin". Obvious:
if this wasn't made for the Superbowl, i dunno what is...
Of course, there is a subordinate/dominant relationship with the POC cheerleaders behind the white lady Quaterback
Of course there is some white-centered melting-pot during the rap interlude with Nicki and MIA wearing Madonna's throwback Marylin Monroe steez
This feels A LOT like some Blondie "Parallel Lines"
The dichotomous Grrrl Power against all boys is jive played out
Giving M.I.A the Dubstep track for about 8 seconds...
In some respect, I can't see Madonna going to anyone else as they are the only provocative female entertainers in mainstream, showing light on the lack of range in pop culture for females. As I type, i cannot think of anyone else who could be there... Brittney, Christina, Gaga (maybe)... they are all stale bread. I'm kind of satisfied that these two women of color, and Rhianna, are the "it" women of provocation and pop imagery... I'd take these three any day over Beyonce, Shakira, Mariah Carey, or Christina Aguilera.
In another respect, M.I.A. carries her flaw of acting REAL privileged and REAL down in an inconsistent way. We have Nicki with her butt-implants and doll posturing -- lending itself to another version of the Beyonce, Rhianna, Christina cyborg thing. It all kinda works, but not convincing until we are given a more complex layout of innovative and provocative pop-art, around them, that isn't derived from the overrepresented spitfire, whore, slut, model. I'm still wrapping my head around the mechanization of female bodies and the tension/conflict of the transnational culture.
Then take a look at M.I.A. "Bad Girls," another attempt at flipping the script by taking U.S. subcultural components (Bling, Hyphy, Ghost Riding) and applying it to a middle-eastern landscape. Throwing in old and dirty high end cars from the 90s adds a flex of "we broke, but not that broke cause we can still cop the gringo cars." The carrying over of U.S. created subcultures to an international audience is nothing new, as this has been happening as early as the Jazz era. The flipping is becoming a bit repetitive with the "Born Free" video following the same script. A rather novel choice of cultural isms to bring together. But all together not that impressive. I'm not that surprised that its only static items; location and clothes, that signify an "other." The only action of "other" is someone riding a horse. I can imagine mainstream kids digging the novelty of the donuts and ghost riding.
Good article that brings up the generational gap in Hip Hop - particularly calling of a rise in socially conscious Hip Hop in the mainstream. I like how the article distinguishes the generational gaps taking place, noting how this isn't the same as before... and the failure of the older socially conscious rap to entertain. I don't know if one rapper signifies a monumental shift, as thug and party rappers have always thrown in a socially conscious rap once in a blue moon. I do agree that the distance the mainstream version of the genre has made with these types of lyrics is to note.
The question is if this trend is a function of marketing and media interest? Or is there a true surge taking place? I imagine that the first go round of socially conscious Hip Hop was a by-product of the Civil Rights/Black Power Movements, as many early rappers were a part, or direct descendents of these movements. With Post-9/11 kids taking up the mic, they are surrounded by a type of social fabric that can rival the disparity of poverty and class of the time before the Civil Rights era.
I pray that old-fart Hip Hop people aren't going to start saying "finally, the REAL Hip Hop is back"... there are two reasons why this is a dumb statement. 1. The social consciousness current rappers are bringing up is HIGHLY different from your rap music from 1993. In certain respects, I give Kanye and Blu the title of socially conscious rap as they are aware of their surroundings and reflect on it. Plus, they are interesting to listen to... truth is, Immortal Technique, Killer Mike, Mr. Lif, Dead Prez are all nice but shoving cultural analysis is not that interesting to me. 2. Hip Hop was party music first... a lack of "social consciousness" in a rap song does not make it less authentic. Remember old-farts, we were dancing to Biz Markie rapping about picking boogers... so lay off the mightier than thou.
Hip Hop is a medium, an artform, that can be filled with whatever you want. I am a very socially conscious person, and I enjoy rap where people are aware and comment on their surroundings... but when you are not entertaining, I'd rather you just write an article for me to read.
There was just way too much good stuff going on this year. I enjoyed a lot of Hip Hop again, I found a wonderful wonderful sense of home and place with the rise of all this glorious bass music coming from a Latinidad context, more importantly a non-western one. I'm pretty much off the Dubstep bandwagon after the Skrillex takeover, but have enjoyed some great stuff from Nasty FM (my new favorite UK Bass station) as well as a lot of Future Garage and post-Dubstep stuff. Its been a good year as I got a fulltime job and am back at making my own beats. Big things to come and Bass music is in good hands right now as there are not particular genres overshadowing, lots of experimentaiton, cross-pollination, and plenty of ass shaking to do.
So, what I've done this year is comment on the biggest trends and styles I dug this year. Within these, I rate specific artists, producers, or DjS who are murking and repping the style. Take a look and see what grabs ya.
Happy Holidays, New Year, and all that...
Biggest happening for AmericanPupusa 2011!!! - GLOBAL BASS/TROPICAL
Favorites: Nguzunguzu, DJ Javier Estrada, Munchi, Uproot Andy Honorable Mentions: Sabbo, Chanca Via Circuito, Daniel Haaksman
I had a lot of fun discovering music this year, particularly the wonderful Global Bass/Bass Music coming from Latinoamerica (which also includes the U.S.). This area has caught my attention for several reasons: it strongly connects my sense of Latinidad as hybrid music, its bass and soundsystem culture, but more importantly, it moved my thoughts on sampling, and in this case the use of "ethnic" sounds, to the transnational - a more congruent, non-exploitative, place.
This music adopts the cumbia basslines, dembow riddims, guiros, polyrythms, etc of our cultures, but doesn't lay them on top of traditional beats coming from the westernized traditions of Hip Hop, House, Dance, Trance, Acid, etc. Non-gringo beat patterns are used, traditional horn sections are replaced with bright synths, and drums are filtered and dirtied for soundsystem capacity. Its this ownership of who we are bleeding into production, arrangement, and samples, alongside a sense of free experimentation that makes Global Bass/Latino Bass so refreshing. What I also dig is that the Latino U.S. is included in this conversation, placing it closer on the transnational vibe.
It's hard to pick which producers or tracks stood out the most. Any given producer or DJ in this world will play and spin just about anything and everything. To pinpoint is to go against what I enjoy most about Latino Bass tracks. But if there was a producer(s) who epitomized that approach the most, it would be NGUZUNGUZU. Looking at their work, its straight bass music, it can flex in more traditional places, yet they are pushing boundaries and bringing elements together in an almost subversive fashion. I must add that I was completely impressed with Javier Estrada's work... even more experimental than NGUZUNGUZU, I am amazed at the amount of experimentation and fucked-upness he brought in to, what I see, is a a quite rigid genre of Norteño dance music.
There were a few directions instrumentals went in my world. The first was to love your synth sounds and work them out on some electro funk boogie. The other was to dip your productions in some pads, ambient sounds, and atmospherics that took you to up to celestial levels. I'm quite surprised that Prison Guarde's Système Hermès has not received so much attention. I figure with soundcloud, band camp, and cheap technology - everyone is a producer and a lot can get thrown down the cracks, but this is almost offensive. It's playful, grand, funky, and fun. There are thoughts in the arrangements and you get swag along with electronic bits, which brings the best of all worlds together. Top tunes to check are "What you Need" their remix of the Weeknd's vocal tune, and "New Love/Old Girl"
Sometimes, what everyone else thinks is cool is alright by me. Clam's Casino must be the producer of the year for so many folks, and that is A O K. While more mainstream folks would consider Lex Luger holding that title, I think they both have a lot in common with those fluttering chopped hi hats and chopped and screwed legacy in there. Yet, Clams takes it on some high above the ground places, sounding like God's iPod and shit. With down and dirty folks like ASAP Rocky bringing that gutter, it makes it a great line to connect Hip Hop to its next-world/level capabilities that have been lost for many years.
As a producer, Lukid is dextrous. He flexes around the Hardcore Continnuum but provides a good dose of cerebral enjoyment through the medium of dance music. Its dope atmospherics are part of the "dark" legacy that Jungle and Drum and Bass brought, but postmodern with its range of BPM and riddim choices. He is Burial but on his own place and ideas... and its worth checking all his work. Finally, Balam Acab maybe coming and going, but I think he left an impression on me, showing that Burial can be a start towards a new direction, while being a legacy to our Jungle and DnB past.
Hip Hop 2011
Favorites: Calez, Danny Brown, ASAP Rocky
I took a better listen at Hip Hop in 2011. There was the same usual crap, there were the usual indies, and there were the usual internet/blog tunes that have just enough energy to catch my attention, but not enough juice to last the entire track. This year did bring some significant and full-hearted love for Hip Hop with Calez, Danny Brown and ASAP Rocky. Calez's "Middle Finger" has enough old school to touch on its legacy, but these elements are disregarded enough with simplistic production to make sure you understand that the rapper is young, fresh, and open. His mixtape has not 100 fantastic, but there are some gems. What I appreciate is that he has good use of his voice, word choice, and robust flow that makes him a solid solid rapper.
On a WAY different level - Danny Brown brings back a different tradition to Hip Hop, of the classic toaster. Danny's delivery, words, subject matter, and beat selection all funnel towards that crazy, fuckec up, hardended, but cracked up ethos... all these wild elements are forced down into this basic center - feeling like a collision of elements to create energy of nuclear levels. He sounds rude and crude, and his beats match perfect... is that synthesis and unique delivery that makes the dude nice.
And what more can I say about ASAP Rocky that everybody hasn't said.. I agree with most review and stories of this guy. ASAP carries the legacy now set with ODWGKTA, but rejects it as well - 'Fuck Swag' could just as much be a arm separating him from Tyler as much as the Swagger Like Us era of Jay-Z and Kanye. And, I hope he doesn't end like Wiz Khalifa.
UK BASS - Dubstep, Post-Dubstep, Future Garage, Grime
Faves - Machinedrum - Room(s) LP, Burial - Street Halo EP, King Midas Sound - "Goodbye Girl (Kuedo Rework)", Blawan - "Getting Me Down"
I don't think I was listening to much Dubstep this year. I have transitioned away from being a follower of the traditional "Hardcore Conntinuum" folks (Hip Hop/House to Rave to Jungle to UK Garage to Grime/Dubstep thing), moving to a Global Bass kinda guy, inclusive of the HC and U.S. dance genres. Even so, the UK are doing big things as always with Future Garage and Post-Dubstep exploits taking place. My hat is tipped to producer Jamie XX for killing it hard this year; being indie/dance with a Bass mindset, dropping some seriously unique music and mixes. He is as close as you can get to a white guy breaking out of the traditional modes of beat structures. Not too far behind is the bliss and clean beauty of Machinedrum, who ties all styles of UK Bass through filters and individuality to make some sweet sweet cuts of Footwork, Jungle, and other dirty-end dance.
For my honorable mentions, I was a bit worried about my hero Burial slacking and fading out, being that there is this post-Burial stuff from Alam Acab and others, but I can rock "Street Halo" all day, its fucking urban as shit and has that garagey/Goldie vibes that I dig.
R&B
The Weeknd - "Thursday", Frank Ocean - "We All Try"
Oh my oh my... I'm super impressed with The Weeknd and Frank Ocean! While the rest of the R&B kept on with its bright synths, BET/MTV sensibilities, and waste of time subject matter... The Weeknd's Thursday seemed to add dub-style productions to counter the clean productions from the mainstream, used voice as instrument that bled with productions, and took the notion of 'the playa' to dirty dirty dirty depths. He tells you exactly how painful his torture is going to be, swooning you with dead flowers and poisonous chocolates... bringing out a bravado and confidence that he'll get you which pales everyone else. Absolutely amazing!
While "Novacane" caught everyone's attention, Frank Ocean impressed me with "We all Try." Ocean's songs have the same scripts as most, but you get a sense that
he has a bigger thought in there, a social consciousness along with it. He was able to speak about things everyone else feels, but had no one to speak on them. My favorite line "I don't believe marriage is between a man and woman/but between love and love" also shows a bold independence that anyone else doesn't have the balls to get close to in mainstream/indie R&B.
ODDS AND ENDS
"Jess and Crabble Present Bazzerk," Traxman, Ballroom/Vogue
I could've told you that Kuduro was my number 1 genre of last year. I haven't slacked on it, but with all this stuff coming from the Latino Bass scene, it had to take a spot in the back burner. Even so, Ballzerk is an essential compilation. Going through each track, you see a how a genre transitioned from the "I'm just brand new, so we can do whatever we want" freedom to "We are mature now, but we got the tools and skills to keep pushing forward." Its a few steps away from formula and complacency, but for now, the choice of snares, arrangements, and fucked up samples make it so juicy and ass shaking!
Otherwise, I still dig the sounds from the Footwork/Juke Chicago school of thought. Since Footwork broke into all these other dance scenes (Danny Brown, Addison Groove, Machinedrum, etc etc etc) I took a look back and found some of the true school gems, in particular Taxman, that sound fresh and raw, which reinterpretations and upgrades to mainstream status cannot touch still. Juxtapose this with the Vogue/Ballroom stuff that is happening now in NYC, where Diplo has put his mitts on, and its a wait and see of where this genre will go. For now, we have some glimpses inside, and it looks quite appealing with its gay-black-urban swag, industrial sounds, and don't give a fuck approach to production and arrangements.
Radiowaves (notitle) by ill.selection
A yummy atmosphereic beat that blends dub, Hip Hop, and DJ instrumental music... loaded up on synths and a very plastic bass sound. enjoy and ITS a FREE DOWNLOAD
Heavy D was the undisputed king of "Party Rap". His work and role in Hip Hop is one of the most underrated in the genre. It was Heavy who gave us the strong use of the Hip Hop hook. His presentation, taken directly from 60s Soul groups like The Temptations, gave Diddy the template to present Biggie Smalls and the Jiggy era of 2000s Hip Hop... and if you haven't found the connection between the naming of "Heavy D" and "Biggie Smalls"... then you must stop reading, and start looking up some youtube clips.
Heavy D's presence, and the crew of Party Hip Hop - which included EPMD, Beastie Boys, Salt N' Pepa, and Kid n Play - served as the counter balance to the Hardcore, Social Conscious, and Gangsta rap that was moving in to take over. His reappropriation of being "big" and "heavy" was a key element in Hip Hop's stake as liberation music. The genre was about reappropriating the ghetto, urban, and poor aesthetic of street life... Heavy D took it upon himself to not subdue his size, but relish in it, he was the "overweight lover". This was another balance, where lyrical and party rocking skills would be the tools to equalize Slick Rick (blind in one eye), Chubb Rock, Big Pun (obsese) Biggie, Humpty Hump (ugly), and so many others, alongside brute strength and attractive looks such as LL Cool J or Big Daddy Kane. Heavy D proved that anyone can be swag. (yes, Gucci... you owe Heavy)
Musically, it was Party Rap that served as the bridge for Diddy and Suge Knight to usher in the mainstream success of Hip Hop in the 2000s. Groups such as Naughty by Nature, NWA, Cypress Hill, Onyx, and Wu Tang could not touch the commercial success of a Biggie or Tupac without the thump thump party tracks they rapped their hardcore lyrics over. It was Party Rap that helped us dance to someone like Eminem, 50 Cent, or even Clipse. The irony was that it was the overrepresented presence of these "Hip Hop Gangsta Rap" that made the genre mainstream. It was during the Party Rap era where folks were unsure Hip Hop as safe music.
And, no mainstream rapper cannot survive without Heavy D's use of the Hip Hop hook. As much as we love Heavy, it was singing "NOW THAT WE FOUND LOVE" at the club that made us rock. The tip towards 60s soul styles, and the hook, would draw the connection to the past, and bring in the new of "New Jack Swing" and "Hip Hop Soul" with Tone Tony Toni, Mary J Blige, Faith Evans, Missy Elliot, and Alicia Keys.
I've been going down memory lane this week, as my birthday came and went, and I am now in a new demographic bracket! So, I've been looking to the past for musical inspiration, as well as reworks and forward thinking from the now...
I am highly impressed with Ghe2o Goth1k and the chop up sloppiness of Venus X.. They bring a fresh intersection of goth, bass, hip hop, and punk that makes me imagine what Mudd Club and other hallowed spaces could've been like. The remix album from King Midas Sound does a good job in bringing the Indie producers such as Hype Williams and Nite Jewel alongside tru-school bass heads without sounding out of place or choppy.. showing how the lines are blurred all along. I'm particularly impressed with the Kuedo remix of Goodbye Girl, as I wasn't too impressed with his solo (too spacey for me), so he redeemed himself. In Hip Hop, I'm REALLY feeling that spacial, airy, open-air production vibes from Aarabmuzik, Baths, Clams Casino, et. all.. ASAP Rocky's Peso totally flexes in that direction! And, for the first time, I'm promoting a soundcloud track by somebody named Fista Cuffs, the track is on that mid-range bassey thing that just about EVERYONE is one, but its fresh as it brings on that chunky 3ball Mexican Ranchero stomp that i'm kinda vibing with lately. Finally, I was on a David Bowie/Krautrock and 80s Post-Punky/New Wave tip... enjoy!
A nice read on the newest template of Hip Hop production. Again, it seems like minimal is the way of Hip Hop... but taking these spacial elements to new directions, and cutting into the tastes of Hip Hop audience is still a magical mystery that occurs every few years. I have the Juicy J and Lex tape, and while I'm not a big fan of Trap music, its bangz...
A piece about one person's journey into Acid House - bumping along and making connections across House, Hip Hop, Electro, and all things during the 80s. Its quite cool as it speaks of a journey across genres, at a time where jumping ship and moving along was considered being a "sellout" from your tribe. A precedent set for all of us in Post-modern times...
So yes, as you can tell... I'm REALLY trying to get stuff out there... I want to put out these rough drafts to get my ears open and to work my self towards a proper all deep and thinking piece.. .each of the tracks has some idea I can probably use sometime... plus, it gets me to not worry too much about leads and synths, which is not my strong suit...
Electric Peel (Rough Mix) by ill.selection
Original new music by yours truly! I got a new Akai sampler pad jonx, and this is my first flex with it! I hope you likes. It's going to be something bigger for sure, but I was too excited to hold this back... have fun! And feel free to send your thoughts my way.
Soooo... here is a fun and bumpy piece of work I produced. I imagine it to be Reggaeton in disguise as Hip Hop. My latest motivation is to create a bunch of riddim tracks that are quickly put together, (see my Soundcloud "Geekbeet" and "Recharge Riddim") but have enough force and thought put in there to show creative strength (I guess I'm taking my cue from Hipster Chillwave or something, sounding passive but with some substance behind the cotton candy).
Recharged riddim v1.2 by ill.selection
So did some fixing up, in particular with the snare... I wanted to make it less tinny, and have some bite to it... let me know what you think. And if you want to rock this at your next party, please do! And, I can give this as an MP3 free upon request...
Happy creating and supporting!
Juice
So, here is a bright approach to what I would consider to be a Hip Hop instrumental of sorts. I've been dazzled by the beauty of music at the moment. And, my new job with youth has influenced me to return to Hip Hop as a source. I am both excited and scared of creating Hip Hop as its pretty much been done for the last 40 years, and there are so many great producers, known and unknown, that my self-esteem as a producer is tested.
The intent of the track was to produce some bright airy sounds swishing around while the drums keep a steady pulse along the way. I would say my mixdowns need work as I push bass volumes to levels that drown out other sounds... I need to work on that. But, I can also just say its Hip Hop Chillwave and see how that flies. Anywho, I like it this way, rough in the mixdown and using snares that are not normally used in the lexicon of Hip Hop drum kits. I consider this my practice beat as my goal this year is to not linger too long on music, but just produce produce produce... in hopes my production muscle is worked out and I can have a sense of accomplishment, risking repetitiveness and time to explore production tools.
But alas, its always gonna be a journey, might as well try to find shortcuts along the way.
oh my oh my... after all eyes are on Beyoncé, her Billboard Music Awards performance last night, and that Diplo Pon de Floor sampling shit song Run The World running the video-waves right about now. It seems that this lady run tings... One of my favorite music magazines Fader posted up "Till the End of Time" apparently produced, purposefully this time, by Diplo. The post by Fader connects this piece with Drake's "Money Dreams Can Buy", and Indie/Post-Dubstep producer Jai Paul, through a sample from Paul's song "BTSU"
What I'm digging is the connections across Dubstep, Indie Rock, Pop Soul, and Dance in this weird trajectory and mashup of individuals from so many different scenes... transnationalism all over the place. As you know, one of my favorite things to do on this blog is to draw connections across genres, nations, and identities in this new-school crossover mashup cut/n/paste 2.0 thing... It may not matter to you, but border-crossing is something of an interest to me.
So, here are the songs below to show you the connects.. One final plot twist is how much "Till the End of Time" sounds like TV On the Radio's (another Indie band) which I threw at the bottom.... happy connecting ya'll...
Level 1: The Indie Post-Dubstep original...
Level 2: Taking the sample to a Rap audience via Drake
Level 3: Diplo takes the same sample, speeds it up and throws up some marching drums and horns to the mix... I'd post a vid, but apparently there are some copyright things gwan... but check the Fader post above for the mp3, or the defpenradio link.
AND plot twist... putting the Indie spin on all this...
