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Samstag,
31.01.2009
DEEP MEDI NIGHT
mainfloor: dubstep
MALA - DIGITAL MYSTIKZ (deep medi musik, london)
QUEST & SILKIE (deep medi musik, london)
CLOUDS (deep medi musik, helsinki)
MC SGT POKES (deep medi musik, london)
ORSON (version, düsseldorf)
2nd floor: drum & bass
J-CUT (Play / C.I.A. / Santorin / Köln)
MERZO (U-Club / Wuppertal)
MACOBOY (United Untitled / Köln)
MURA (United Untitled / Köln)
MC K-ROSS (Culture Rock / Düsseldorf)
visual
art:
DAS BEN (Berlin)
DIE HEIKE UND SEINE HENNE (u-club,
Wuppertal)
U-Club
Wuppertal
Start
22 Uhr - open end
Eintritt 10 Euro
TICKETS HIER BESTELLEN
Mala, Dubstep Mastermind und Pionier dieses neuen Sounds aus den Katakomben im Süden von London, kommt mit einer ganzen Abordnung von DJs des derzeit heißesten neuen Dubstep Labels 'DEEP MEDi' nach Wuppertal.
Seit der Gründung von Deep Medi Musik vor zwei Jahren kann sich Labelchef Mala (aka Digital Mystikz) vor öffentlichen Interesse kaum retten. Produzenten wie Kromestar, Goth-Trad, Quest, Silkie und Mala selbst haben auf diesem Label an der Seite von DMZ Veteranen Coki und Loefah ihr neues Zuhause gefunden. Bei den Veröffentlichungen konzentriert man sich nicht auf Quantität sondern auf Qualität. Vielleicht ist es das, was letztendlich die Spreu vom Weizen trennt. Mit seiner Arbeit geniessen Mala und seine Crew jedenfalls internationalen Erfolg. "Deep Medi Nights" finden rund um den Globus statt und verbreiten so das Dubstep Virus um die ganze Welt.
Wir freuen uns also auf einen Abend mit viel Bass, Groove und dem neuesten Swing aus London!
Ausserdem erwartet euch am 31.1.08 ein Drum & Bass Floor mit Merzo und Gästen sowie visuals von DAS BEN aus Berlin und der HEIKE UND SEINER HENNE.
Wir freuen uns also auf einen Abend mit viel Bass, Groove und dem neuesten Swing aus London...
Begonnen wir um 22 Uhr, der Eintritt beträgt 10 Euro.
300
DPI PRESSEPHOTOS:
Bitte das Motiv anklicken...
Gegebenenfalls "Linkziel" auf die Festplatte speichern...
 
 
 
Links:
DEEP MEDI : http://www.myspace.com/deepmedi
MALA: http://www.myspace.com/malamystikz
Infos Mala - Digital Mystikz
There is no such thing as a neutral education process. Education either functions as an instrument that is used to facilitate the integration of the younger generation into the logic of the present system and bring about conformity to it, or it becomes the "practice of freedom", the means by which the men and women deal critically and creatively with reality and discover how to participate in the transformation of their world. The development of an educational methodology that facilitates this process will inevitably lead to tension and conflict within our society. But it could also contribute to the formation of a new man and mark the beginning of a new era in Western history. For those committed to that task and are searching for concepts and tools for experimentation, Paulo Freire's thought will make a significant contribution in the years ahead.
P. Freire, Pedagogy of the Oppressed (foreword by R. Shaull), 1970, p.11, Penguin Books
DUBSTEP
A story by Martin Clark
Lately
it would be easy to assume that dubstep = halfstep. Indeed lots
of recent dubstep sets are dominated by this style, which uses
one snare per bar and is designed to give a slower, skanked out
feel. Mala Digital Mystikz's recent set, however, performed at Forward>>--
a vastly smaller venue than
he's now used to playing-- was gloriously rhythmically diverse.
Premiering a ton of dubplate weight-line freshness, his FWD>> appearance
was an excursion in
polyrhythmic delight. From the off-4/4 of "Anti War Dub (version)" to
the interrupted house rhythms of"Hunter", it worked a treat and played on the strength
of having three producers all in rich form.
Mala's long since pioneered the "up" vibe in dubstep through "Neverland" and "Anti
War Dub", in
delicious contrast to Loefah's ultra dark "down." A keen
house fan, he could have simply injected four
kicks on the beat, and made house at 138bpm. Instead he took the
interesting route.
One dub, with an unmistakeable "BURY THE BWOY!" sample
in it, takes polyrhythm literally, with
galloping kicks coming across like two tracks mixed out of phase.
Try mixing a third track outta that?
One of the criticisms of halfstep is that it lacks energy, and last
year steps were taken to respond to
this. On some tracks, notably Coki DMZ and Skream's remix of DMZ's "Ancient
Memories" (out soon on
DMZ), the rapid fluctuation of the bass became a real vibe-driver,
propelling ravers towards skankheaven.
Tonight was no exception, with Mala showcasing a new Coki riddim
that wobbled the b-line
until the roof shook. With the drums almost inaudible, it was almost
like a beatless Wiley Devil Mix, but
with the synths driven from East London through the dark, choking
Blackwall tunnel into Southside
Croydon-style sub bass regions. When Wiley did it in early grime
circa 2003 it was the MC's bark that
drove the rave. In dubstep 2006, excessively mutating bass waves
do the same.
But in this sea of dubstep Devil migrations and offkilter offbeats,
one slab of halfstep minimalism stood
out like a mile. The tune of the night-- the one that made jaws hit
the floor-- was Loefah's remix of Vex'd"Third Choice".
Minimalism is a tricky game. When you pick fewer elements you've
got to get them right. Get them
wrong, the crowd is waiting for the next tune from your intro. Get
them right, and it's bliss. Loefah's "3rd
Choice" remix is a dark, twisted kind of bliss, but amid his
pain there's pleasure. Based around an old
school bass stab, part bleep techno, part 96 Metalheadz, part grungy
2steppers-- take your pick-- Mala
only played a few minutes of this seven minute remix that was finished
just that day. Has Loefah topped
his own "Mud?"
Disclosure alert! The following copy is on a project I've been involved
with and want to bring you world
exclusive news of, right here. Since Skream's "Request Line",
the success of the DMZ nights and Mary
Anne Hobbs' Dubstep Warz show the explosion in interest in dubstep
has been unprecedented in its six
year history. Users on the Dubstep forum tripled to 1,500-- pretty
amazing given most dubstep
pressings couldn't shift more than 300 units as little as two years
ago.
You'd be forgiven amid the hyperbole for thinking a new scene had
been born - when in fact Croydon's
finest have been struggling away for six years or more. And while
the scene's current stars and hot upand-
comers are undoubtedly burning brightly, the sound also has a rich
past.
Over the last four months I've been working on a project entitled "Ammunition
and Blackdown
present...The Roots of Dubstep" for Tempa. The plan is to re-present
the best of the now lost or obscure
early dubstep 12"s. The selection will draw from proto-dubstepper
Steve Gurley, go through the best of
El-B's Ghost Camp, Zed Bias, Artwork, Horsepower, Skream and Benga,
and end at the first Digital
Mystikz anthem-- perhaps a beginning of a new phase, if ever a line
can be drawn. We've spent months
agonizing over which tracks have stood the test of time instead of
those that merely sounded big back in
the day at Forward>> over the Velvet Room sound-system. We've
tracked down lost producers to prize
mixed masters from their vaults. There will be an unmixed CD, so
the productions can be heard in all
their glory. There will also be a vinyl double-pack featuring two
out-of-press classics and two still
unreleased anthems dropping in early June.
Back in the Velvet Rooms days and before (circa 1999-2001), it is
important to remember there wasn't
a name for this sound. It evolved out of the dominant UK garage scene,
where saccharine-sweet vocal
2step would sit next to Todd Edwards 4/4, DJ Zinc's breakbeat garage
experiments mixed into Narrows'
caustic Belgian rave or Timo Maas' remix of house anthem "Dooms
Night". It was an exciting time for
London's diversity of 138 bpm sounds.
As the Velvet Room sessions took garage in a more concerted, darker
direction, its mix of dark 2step
("nu dark swing"), breakbeat garage, and proto-grime (also
then known as "8bar" or "east beat") was for
a while collectively referred to as "The Forward>> sound." At
this time all parts of the dark garage
spectrum influenced each other. Current dubstep purist Youngsta played
mostly 8bar, and Wookie's"Storm" and majestic "Far East" were Forward>> anthems.
Slaughter Mob played Ghost dubs. Oris Jay
evolved from his 2step roots to produce breakier hits like "Confused" and "Said
the Spider". And that
doesn't even cover Lanslide, Jay Da Flex, and Zed Bias' broken beat/dubstep
fusions.
It's recently come to light that it was Ammunition who first coined
the term "dubstep", doing it in a press
release supplied to XLR8R magazine, for a feature on Ghost and Horsepower
Productions. It was
subsequently used on the DJ Hatcha CD Dubstep Allstars, Vol 1. The
Roots of Dubstep, therefore,
documents strictly what the term dubstep refers to, and not the other
shades of the Forward>> sound.
For decent early breakbeat garage compilations, check the Bingo catalog.
For proto-grime track down
Slimzee's mix for Ministry, downloads of the N.A.S.T.Y. Crew's N.A.S.T.Y.
Sessions, or early grime sets
(there's an early N.A.S.T.Y. one here as part of my Dizzee Rascal
interview).
The next Dubstep Allstars will be a double CD, with one disc each
mixed by Youngsta and Hatcha.
Legendary dubplate cutting house Transition is starting a dubstep
label, which is perfectly sensible since
most of the London 12"s are mastered there. The first release
should be Skream v Distance "Wise
Men". Distance is also working on an album for Planet Mu. Pinch's "Punisher" is
also dropping on Mu.
Portugal's Numestro and 23Hz will be releasing a four-track vinyl
EP late May, on 213 Underground.
This will include the super subby "Galleon Dub". Scuba's
crisp'n'clean electronica/dubstep excursions
continue with the mournful "Dreams" dropping soon. Dub
Police, Quiet Storm's label, is dropping the
Caspa EP, including the lush "Cockney Flute". Burial's
much anticipated debut album is out in May on
Hyperdub. Finally, the BBC have done an excellent documentary and
online hub on dubstep, check it
here. Who likes me hat? Wed: 04-12-06 |
