#TGTstylee

[thegroovethief]

Well, I just added a whole stack of KGNU radio shows over to my Mixcloud archive (where I try my best to collect all event and radio recordings)! 19 shows, wow. Glad to be caught-up now, haha! Here's a few of my favorites from the bunch:

And, just to round out the math, figured I'd release a mix I've been sitting on for a few weeks now, too:

Hope you're staying safe, and making fact-based health decisions...

[thegroovethief]

Charlie P – From Mi Born LP After watching the quite enjoyable documentary, which follows UK reggae singer Charlie P as he returns to his hometown Southend-On-Sea to meet the band he first performed with as a youth, diving into the full album was a logical next step. To say From Mi Born, which is out now via OBF's Dubquake Records, doesn’t disappoint is an understatement. Skillfully backed by The Goldmaster Allstars, Charlie P shines just like the great child stars of Jamaica: Dennis Brown, Billy Boyo, and Beenie Man, through to Wayne J.

The extended opener “4 Policemen” is tough roots music, and sets the tone well. Over a mesmerizing bass groove, enhanced by mournful horns, young Charlie P finds himself in the back of a police car, and later before a judge, lamenting his plight while questioning his guilt. “Oh Jah” glides in on a brass hook, contemplative, propelled into hazier territory on the ensuing dub.

FROM MI BORN LP by Charlie P

A vintage-sounding cut in all the right ways – with some exquisite horn solos – “Secret Survivor” highlights the fortitude needed to be successful: ‘every time I get knocked to the floor, I get up and fight once more; every time I get knocked to the ground, I get up and fight without a sound.’ A bit of a crooner, “One Time Girl” is balanced out nicely by the dread-inspiring bass line that supports the determination needed to pursue a love not yet realized. The skank is nicely layered, with a melodica shining through sweetly. A full-on ska explosion, “Movin On Up” is not only lyrically credited to the singer’s late mother, but is also a very optimistic track, a beacon of hope amongst the challenges highlighted elsewhere on the album. The dub is wise indeed: the rhythm is allowed to dominate, with a lengthy drum and bass section, while the vocals and horns take turns reminiscing about the original. “Yuppy Girl” is a solid effort, a preview of Charlie P’s future, showcasing some different styles on the mic. Here, the horns plus the vocal do combine to give the track a slightly dated feel; that is a clear goal of the project though, not an inherent weakness. “We Can’t Give Up” is the last vocal of the album, a straightforward ode to perseverance and a notable lyrical contrast to “Movin On Up.” The charm of the ‘youngest of the veterans’ during this era is evident here, as the aforementioned documentary also highlights well via archival footage. Heavy from the drop, “One Time Dub” flips the romance of the original into something deeper, darker, and ultimately more impactful. The digital bonus tracks are both dubs, delightfully of standouts “4 Policemen” and “Secret Survivor.” The first propels the keys to the fore, and is arguably the most unhinged on the entire release, as far as effects go. The fact it’s a sprawling six minutes-plus is strictly a positive. More of a stomper, “Secret Survivor Dub” surely made the dances of Southend shake, and – like the LP as a whole – certainly stands strong today. Honestly, it’d be great if more of today’s reggae vocalists lifted the veil of their early years like this. It’s a nod to the past, obviously, yet more importantly is an enjoyable indicator of the power of youth, and the value of unexpected perspectives, that allow the genre to continue to thrive and develop.

[thegroovethief]

Have you checked out my exclusive interview with Emch of Subatomic Sound System? Audio's out now via KGNU:

Or check out the full radio show here:

[thegroovethief]

The Groove Thief [TGT] puts the dubwise dedication of the summer festival scene to the test with "Bass Weight Nah Hesitate," a special mix of conscious 140 business. .the future of dub is the present. bookings/contact = TheGrooveThief@gmail.com

01. BFM - Magic Carpet [Intro] 02. Charlie P - Dub Controller [TGT Dubplate] 03. MiKrodot - Jah Love 04. Mr. K - Damage (6Blocc Cutty Ranks Edit) 05. Prophet - Champion Sound 06. EGOLESS - Bubble Beat 07. Modi Bardo - Bloodfire Hustle Dub VIP 08. Dubblestandart (ft. Lee "Scratch" Perry) - Blackboard Jungle Dub (Subatomic Sound System Remix) 09. PELiGRO - How The West Was Dubbed 10. Ego Death - G13 11. DJ Madd vs Horace Andy - Cuss Cuss (TMSV Remix) [TGT Edit] 12. TGT - Over Dem [Beenie Man x Saule] 13. Turner - Section 14. Leaf - Hive Dub (Bukkha Remix) 15. Critical Hi-Fi & Daddy Freddy - Dem Only Know 16. Critical Hi-Fi & Junior Roy - We Nah Need 17. Ziggy Marley - See Dem Fake Leaders 18. Kabaka Pyramid (ft. Masicka) - Choppingz 19. Cotti - I Don't Give A Dub

[thegroovethief]

#TGTfeature 008: Lea Luna [Magik Muzik; Dim Mak; Raid Recordings: Denver, Colorado, USA] Fresh off my interview with world champion turntablist DJ Shiftee, #TGTfeature 008 is with the skilled Lea Luna, who kills it on the decks whether bass, house, or beyond! She took the time out for a chat just before headlining a hometown show at The Black Box. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. Known for her passion and dedication to dance music as well as the art of DJing, Lea Luna is also a chart-topping singer and a respected music journalist. She kindly shared her thoughts on bass music, repping Denver, dealing with online trolls, and more. A bit about Lea Luna: - With nearly 20 years behind the decks, she’s played numerous noteworthy clubs: NYC's Limelight, LA's Avalon, and Denver's own Beta - Frequently called on for vocal collaborations, she’s recently worked with the likes of Sydney Blu, Manufactured Superstars, and Quivver - Also known for her production work, she regularly releases her own music, including “Rock Show” out via RAID Recordings

TGT: You’re leading an excellent lineup of bass talent at The Black Box, all representing Denver. What styles will you be bringing for this set, and how do you determine ‘tough bass’ in 2018? LL: I’m definitely planning on keeping it bass-driven, much like my last Black Box set was. Bass house, maybe a few breaks, maybe a few trap drops to break it up. I’ve always said this as my overarching quote: “Genres don’t define artists, artists define genres.” I pretty much live by that ideology. I’ve been DJing for nearly two decades now and have seen many music fads come and go (fidget, for instance, was one such fad genre in the bass category I used to like that died). Everything all stems from two main influence points- the first influence is the roots of the underground— the old history behind the emergence of the new sound. People like classic vocal hooks in newer remixes if they were a part of the scene back in the day, and bass house wouldn’t be where it is now without the original house music and garage innovators. The second influence is technology. Bass music sounded way different before the VST (virtual instrument) plugin Serum was invented because producers had different tools. I remember when the VST called Massive first came out and dubstep as a genre resulted. Electronic music is largely affected by these nerds who make virtual instruments and how artists interpret that technology as tools for creative flow. While everyone as listeners are pulling apart which bass music artists are making new genres, most real artists are at home dorking around with compression ratios and wave tables trying to invent an actual noise. So it’s hard for me as an artist to talk about bass music as an evolving fad because I sit here with the tools all day looking at the other perspective of what’s really evolving. TGT: Denver is certainly a unique place! How would you describe the realities and complexities of the scene here as a local artist with a global following? Any advice for up-and-coming DJs/producers on navigating our “island?” LL: I could not be more proud of Denver, and even electronic music as a scene in general. This city used to only offer these (beloved) secret warehouse-type hideout parties with a bunch of obscure DJs, vinyl collectors, and underground ravers interested in coming, and now every large venue in the city is wall-to-wall packed with dance music fans on any given night. There’s a lot to be accredited to the increase in our culture, but also a lot that has been bastardized. What I will say to the new kids is if you’re out here letting a controller do all the work for you onstage, playing the top 40 dance chart releases in order so you can be popular, you are sh*tting all over my craft and culture. It’s not a popularity contest and the DJ booth is not a bottle service area. The best way to become a DJ is to care about actually DJing. Be authentic, know your roots, respect your predecessors, respect women, respect other subgenres, and don’t spend your life savings on social media likes. Inspire people, ask for help, collaborate, offer something OF yourself before asking about something FOR yourself. Create. Learn. Be humble (but please stop humble-bragging). Start a crew. Give a damn, you know? We’ve all had our bouts with fame and drama as artists, but if you’re not creative at all and you’re not keeping it real, you shouldn’t be doing this.

TGT: There’s a lot of debate about whether certain strains of electronic music have reached full saturation, or have become so derived they’ve practically lost relevance. What are your thoughts on the current electronic dance scene, particularly within house music, and what’s your approach to keep your own productions sounding fresh? LL: People of the underground like to worry I’m too commercial, people of the commercial world like to worry I’m too underground. Some people want to hear music everyone understands, some people act rude when something becomes popular because they want to be viewed as purists. Like I said before, know your roots, know the trends, give a damn, create something original, and keep it moving. That’s the motto. If I claimed to be a purist 10 years ago and stuck to it, I’d be in hot water right now trying to play washed up music that pales in comparison to new mastering and technology on those fresh new funktion-ones (the incredible speakers they have at Black Box). If you stay current in your arena and true to your roots, genre and saturation thereof can be left to the listeners to decide. Ain’t nobody got time for that in my world. Artists. Define. Genres. I play what I think is ahead of the curve, and what I think is classic, all in one set. There’s no genre about it, but I will say that my tempo lately in clubs is 122-128, with an occasional drop to 100 just to grab people’s attention. All things house, garage, and breaks fall into that first category, and trap/twerk drops (second category) make life fun.

TGT: You’ve recently posted about receiving online threats from a random stranger. This is, sadly, nothing new for female public figures. How can readers (particularly men) succeed in eradicating this all-too-common misogyny within our music community? And offline, what should promoters and venues be doing to keep their dance-floors safe? LL: As for keeping clubs safe - I truly believe in strength in numbers. I have a strong, supportive, loving crew of friends and fans, as well as professionals and security guards. I take threats very seriously and file reports and blacklists when they happen to protect myself and other women. I have very strong security measures held at all of my shows, including this one. But in the big picture, the biggest thing that is going to make any club a safe environment is a positive example of the members of any audience at any show ACTING RIGHT TOWARDS WOMEN. If you see someone put something in someone's drink, report them. If you see someone abusing a woman either verbally or physically any way whatsoever, DO SOMETHING. Inaction is still an action. I come with a large group of friends that I deeply trust to every event and there is no way in hell someone is going to act in public like they do on the internet towards me or any woman in my presence and get away with it. One time someone lifted my skirt up and hit me on the ass at a show and although they were "only joking," they were being held by the neck of their shirt over the patio rail and reprimanded by my friends a split second later until security came and got them. These types of people will always be outnumbered and will never get away with what they think they can. They try it on the internet because they can troll and hide. [As for online threats:] Here’s the deal. People are jealous. It happens to both sexes, but primarily females because sexual iconography or lack thereof triggers people who writhe in unnecessary hatred from the comfort of their hate-hobbit computer den. Being attractive does not make me stupid or talentless. There is no such thing as “using” your looks. I look this way. That’s a fact, maybe a hobby, not a tactic. I also write music consistently and contribute a lot to this scene. Do all girl DJs do that? Likely not, but many do. The problem lies in the prejudice, pegging all women as having a backhanded agenda or a lack of intelligence or avoiding authenticity. This claim emerges from the hearts of people whose mothers didn’t hug them, whose girlfriends cheated on them, whatever. Hurt people hurt people. Do I care what these specific people think? No. I care if I screw up publicly and true fans lose interest in me. I care about staying true to myself and my brand, and I care about doing what I say I’m going to do for my shows, my opening DJs, the promoters who believe in me, my agent and manager, my crew, my friends, and my fans. Anyone who is so clearly coming from a place of jealous bigotry who tries to threaten me, embarrass me, or thwart my success always fails. Because they aren’t battling me, they’re battling something very dark and unhappy inside themselves. TGT: And, to end on a lighter topic – what’s your favorite spot in town for a post-gig meal? LL: Post gig? I’m always exhausted around then, but definitely just as junk food hungry as anyone at 2am leaving a bar. I rarely go out after bar hours to eat though. I’m more likely to hit a grocery store for a pizza to pop in the oven at home or if I’m feeling extra self-loathing I��ll get cheesy popcorn and pop tarts from a gas station [laughs].

[thegroovethief]

In honor of the limited release of The Groove Thief's CD-only mashup project, Best Go Lo, here's a special A/V Mix from the Pomegranate Sounds crew!

An anagrammed collection of recent TGT pairings (2015-2018), the album features fourteen tracks of unexpectedly dubwise vibes. CDs (no digital, no repress) are available for purchase, please contact The Groove Thief via FB message or by email.

[thegroovethief]

#TGTfeature 012: Bukkha [Moonshine Recordings/Dub-Stuy Records/Infernal Sounds: Valladolid, Spain] Diving deeply back into the bass bins, following France’s digital reggae extraordinaire Manudigital, it is #TGTfeature 012 with heavyweight producer Bukkha, an American based out of Spain. The audio interview was featured on KGNU Community Radio's "Dub Palace" show. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. The low-end enthusiast has released weighty wax on respected labels and tested sound systems around the globe. While he works with a range of tempos and styles, there’s always a sense of dub, or at least dub wisdom, in his work. Prior to his Denver debut at The Black Box, Bukkha spoke about his production work, his Preacha project, limited-edition vinyl, working with vocalists, and much more. A bit about Bukkha: - Heavyweight bass producer, he’s maintained a strong relationship with Moonshine Recordings while also working with labels like Dub-Stuy, Grand Ancestor, Infernal Sounds, Lion Charge, and ZamZam Sounds - Known for his stellar vocal collaborations – a recent example is the grime/trap cut “Chasing Dreams” featuring Rider Shafique - His late-2018 mix for Moonshine is filled with forward-thinking productions, many his own, and demonstrates the potency of proper dubwise sound system music

TGT: How'd your upcoming USA tour come together - seems you're bouncing around a bit? B: I don't know, everything just panned out really well. I ended up hitting up the cities that I didn't get to last year really, for the most part. You know Arcada, Portland, Denver, San Antonio, Maui, so, it's very exciting really. TGT: Yeah, yeah, and a bit eclectic as well... B: Definitely all over the US man, like kind of circular in a way. Oh yeah shoot, even Miami, how I can forget Miami, I'm so excited to go back to Miami. TGT: At this point in your career, do you find it more fun to be still going to new places, do you also enjoy going back to a crowd you've had success with before, and now you're being welcomed again with open arms? B: Both man, both. It's always nice to go to somewhere new, but it's kind of like a home situation - you go to one place, and you've made a really great impression, so like everybody's waiting for you to get back and rock it. Yeah, I just find myself in that position now too, where I can go back to a place, feel welcome, everybody's looking forward to it. It's either as good, or even better than the last time. TGT: Glad to hear that, I know a lot of effort goes into putting these overseas tours together, and do you know big differences between being booked in Spain and mainland Europe, compared to the UK and the US? Or do you feel like the scenes are pretty equal in their expectations and taste? B: Well, I mean, here's the thing, it's like, I think that if you get booked and people go there to see you, then they kind of know what to expect. I don't - I mean I guess I might - surprise people with some of the stuff that I play sometimes because I kind of am all over the place; just like my productions really, I do a lot of steppers, a lot of dub/reggae stuff, but at the same time, I've made dubstep early on, and just starting messing a bit more with drum n bass and jungle, kind of jukey stuff, all that get stuff gets thrown into my sets. I try to add a little something for everybody. TGT: So that means you're not letting the larger perceptions, like that Europeans only love steppers, for example, you're not letting that impact your selections on any given night? B: No, no, no, no. Not at all. TGT: You just mentioned a lot of different genres, has that been part of you as Bukkha, or is that you wanting to get out of the 140 box? B: Ooh - both. Both. And I mean, everybody's gotta grow, I definitely don't want to just stay stuck in a genre or a certain tempo and it keeps things a little bit more interesting. I've done everything from like, I think the slowest tune I've done is 110, and now even I'm working close to the 200bpm range, which I mean would really be 96-99bpm but you know... so yeah, I'm really just all over the place, because I don't want to get bored with it. For me, even when I go to shows, four or five hours of the same stuff, it just kind of gets, for me, a little boring, I just like a little variety. So I do that with my productions as well. I don't want people to get sick of me, too, I think that's probably like a fear, I definitely don't want people to get sick of me, like 'oh shit, here's Bukkha again with some stepper, or here comes some dubstep' - you know, just switch it up man. TGT: That is good advice for all producers, right? Mixing it up is not a bad thing, even if you're well-known for a certain sound. B: Exactly, exactly.

Chasing Dreams by Preacha ft Rider Shafique

TGT: And, can you talk a bit about the relationship between Bukkha and Preacha, your newer project (or alter-ego?) - how do you describe it? B: Man, alright, so here's the thing. Preacha was originally supposed to be kind of like a digital reggae project. That's what I was gonna do. And then somewhere along the way, the new tune I did with Rider Shafique, it was not digital reggae at all, it was just like more grimey, I guess trap, I keep wanting to call it that. I don't know, I'm not even limited with that project anymore, whatever happens, happens. I think the next Preacha project is gonna be like jungle/drum n bass, that's what I'm gonna shoot for. I don't know, so we'll see what happens. TGT: That means, maybe you started Preacha with more of a firm line dividing the two, but then that's kind of disappeared...? B: Exactly, I don't why, but yeah, that's just how it's kind of worked out. TGT: Will we get to hear more of these digital reggae productions though, since that's actually one of my favorite styles of music ever? B: Yeah, actually, yeah man. I'm still gonna do it, and I'm still gonna try and put them out on NICEUP! as Preacha is exclusive to NICEUP! Records. I've sent the label owner, Shepdog, some of the newer stuff, and he's like 'oh no, I love it, I love it, let's try and get a vocalist on it.' So yeah, the last couple of things have been more digital reggae, but also with the intention of maybe trying to go jungle and drum n bass. TGT: And those are working in very similar bpms really, like Chopstick Dubplate they do a lot of jungle obviously, but then they'll have reggae remixes that are basically just cutting the tempo in half, right? B: Yep, yep. TGT: Does that mean you've already got some vocalists lined up for that, or is that still in the works right now? B: Still in the works, definitely got some vocalists in mind, but you know, still gotta see how I get them. That's always the toughest part is communication. TGT: Do you find that you're wanting to go back to vocalists you've worked with - you know given the success of the Rider Shafique track are you hoping to do more with him? - or do you view that as 'that was great' but who else can I work to bring a new tone and new lyrical perspective to your production work? B: Actually, let's see. I've worked a lot with Junior Dread and he's been great. I think I'm kinda gonna give him a little break since we did quite a few tunes together. I've got Killah P on some tunes TGT: Including Dub-Stuy right? B: Exactly, that's how it all first came about. Rider, we've got a couple of things as well, so yeah. I think it's on my last Mooncast mix, I put him in there. I don't know, sometimes it just depends on the tune, you might have a vision, who you want to hear on the tune, but I'm always open to working with new people, and also old, familiar faces. If it works, it works. TGT: I don't wanna get too in-depth on the business side here, but what's your approach to find a new singer to work with? Are you doing this all through Facebook or since you have relationships with a lot of record labels, are they able to help? B: It's a good mix man, most of the time it's me going on Facebook and reaching out, if it just seems like there's a bunch of circles to go through, then I'll reach out to a label... let's say I send an instrumental to a label, and they're like 'this is tune is great, but it could really use a vocalist' or something like that. So I'm like 'OK,' and then you talk about it, and then they might make a recommendation and then they reach out because they might have the link. It's definitely a mix. TGT: And does that mean you've kind of got a dream list of vocalists that you're hoping to work with? B: Yeah [laughs], there's a list, but that list is kind of getting smaller and smaller, as I've been pretty fortunate in working with a good bit of vocalists lately. TGT: Definitely, but I do know you're not scared of sampling classic Jamaican sounds. B: Not at all [laughs].

TGT: I think the most notable recent release is that absolutely killer "Discjockey" with Dubbing Sun... so how did that collaboration come about, since I know Dubbing Sun do a lot of work with Digid usually, so what brought you together, and why'd you decide to tackle such an iconic vocal? B: Well, I was in Austria last year, like around this time, and they had helped set up a couple of gigs for me, so after my gig with Dubbing Sun out in Austria, we just kind of kicked it for a whole week and we worked on a good bit of tunes. Right there and then we had started "Stop Dem" - TGT: the b-side on that? B: - yeah, exactly, the flip. And it was just so weird because we were talking about the WAR label, and we're like we really miss that label they have some really great tunes, blah blah blah, and then maybe a month or two later DJ Madd reached out to me and he was like 'hey, you got some tunes for WAR?' I'm like 'whaaat - what's going on here?' I mean, it was honor, first of all, that he reached out; secondly, we already had one tune, and then I was like 'yo, yo, David' - that's Dubbing Sun - 'David, you got another sample somewhere around there?,' a sample you know, we can use for a tune? And he was all pumped man, he couldn't believe it either. So he was like, let me reach out to one of the other guys from Dubbing Sun because it's a collab project, and so he got that "Disc Jockey" sample going on - it's like 'oh bro, this is perfect.' And the funny thing about that tune was it started off as another stepper, so we're gonna have two stepper tunes on there. When I sent it to Madd, he goes like, 'this sounds great, but can we do more of a dubstep version of this?' And I was like 'ahhhh man, alright, cool.' So we did that, we just switched it up and then it completely took on a whole new body and it sounded great. The other one, the stepper version, is like a dubplate song. Somebody's gonna be lucky enough to hear it whenever I play out. TGT: Well, keep in mind you're coming to Denver soon - B: yeah [laughs] TGT: - we're happy to hear that! And related to that, I wanted to ask, what are your thoughts on these limited edition vinyl-only releases? WAR is 500 copies, it's a very very limited thing... B: Man, OK - it's kind of a double-edged sword, I think [sighs]. OK, like, this is gonna sound really funny: I don't play vinyl, but I love collecting it. I might play it at the house and stuff, but it never leaves my home. I treasure it. But nowadays, people seem to be, or promoters might look at, Spotify, and look how many plays you might have on Spotify. And if you've only got a vinyl-only release, it's not showing up on Spotify. It's either or, I don't know how much it affects what... me personally, I like them. Some exclusive thing, whoever got it, got it. And that person either is gonna collect it and/or play it out. And then only that person has it, which I think is cool. It does give it a certain exclusivity, not everybody should have the tune, because then everybody's just gonna play the same tunes over again, and over and over and over again. TGT: But I suppose you're in a better position because you've got the digital right [laughs]? B: [laughs] Yeah, exactly, I don't know - it's cool, I mean - I made it [laughs]. TGT: I do want to kind of rewind because I noticed an interesting thing... you mention very specifically on your Facebook profile that this started as a bedroom project and it's obviously evolved well beyond that, while I find a lot of producers kind of want to pretend that they didn't start in a bedroom and that they just magically emerged on a club floor with ten killer 'plates you know - so why have you decided to include that in how you present yourself, and do you think that's an important message for other DJs? B: To be honest, I really never gave it much thought you know? For me, it just really is how it started. And the thing is, I didn't start making dubstep. Like, I was just making... weird music. Like weird instrumental music. When I first started I was listening to a lot of Radiohead, Mogwai, Explosions In The Sky, these bands... when I first started they really blew my mind. Then I started getting more into the avant garde electronic stuff, like Squarepusher, Luke Vibert/Wagonchrist, Aphex Twin - so I was like 'man, how are they doing this stuff?' So I was just in my bedroom trying to do this sort of stuff. TGT: What time period would that be? B: Oh - let's see, this was probably in 2004-2005, I was in the last couple years of my college career and I was kind of looking for an outlet too, you get senioritis and just looking for something to get rid of that stress, and yeah, I was doing that... and what was funny also, Luke Vibert was doing grime and I guess dubstep-ish beats, but I didn't know what it was called, it just sounded really good to me, really bass-heavy and all that stuff. And basically, when the Dubstep Warz show with Mary Anne Hobbs came on, a friend showed it to me and I was just like 'holy crap, this is what that is, alright.' So I don't know, that sound just kind of stuck with me, and I kind of stuck with it, and practiced it, and not even gonna say mastered it because it's still evolving and there's nothing to master - you do what you do and hope that somebody likes it I guess. But I think really as long as the producer likes it, then other people will like it, too. You believe in your product, so to speak. TGT: For sure, you need to right? If you as a music-maker are satisfied with what you've made, then I don't think it an inappropriate assumption that there will be listeners out there who want to hear it, so the challenge is more getting that music to the right people, yeah? B: Exactly, exactly.

TGT: What methods do you use to try and reach fans at this point in time, or do you feel like you've gotten over that initial hill of exposure? B: Luckily, I've been working with the right labels for what I do. And because of that, then more labels have reached out, and they kind of know what they're gonna get from me. Although man, it's still is kind of just tough, because I might want to experiment a little bit more, and it just might not fit a certain... so, the only other thing that helps is doing mixes, or guest mixes for radio shows, and if somebody hears it and really likes it - that's great. The last mix that I did for Moonshine, that was a great help, and the timing was perfect. Everybody was heading out to Outlook [Festival], so a lot of people were downloading it, and then I reposted it again after Outlook, and even more people started downloading it, because there were like some tunes in there that, I didn't know but Mala and Truth and N-Type were like pushing at Outlook, so people were like 'well, who did this tune' and they saw that it was me, and it was like holy crap. So yeah man, the timing was perfect for that mix. I think it surprised a lot of people because it included a lot of stuff that they just didn't expect from me because I had been doing more dubwise stuff. TGT: Yeah, and does that mean you're maybe trying to get a step away from always having there be a Jamaican air, shall we say? B: No man, not really, it's always gonna be a part of my sound I think. I'm a sucker for delays and spring crashes, so that's always just gonna be a part of my sound I think, I think no matter what I do it's always gonna be a part of that project... TGT: I did want to ask a bit more, I've really enjoyed that Moonshine mix, that's the one that came out about five months ago, so we're talking October 2018... you've had a very long relationship with Moonshine, so how did that relationship first come to be, and does that mean we're going to see more Bukkha out on Moonshine in 2019? B: Yeah, yeah, there's - alright, well my relationship with Moonshine was - let's see, 2019... - almost ten years, I think it probably started around 2011. That relationship started because of Radikal Guru, so I had known Radikal Guru since the beginning of both of our careers - quote unquote careers, because I've never really had a career [laughs]. So yeah, because of him I linked with Moonshine, and Moonshine gave me the first remix opportunity. And they've been wanting tunes, but for whatever reason I just - I don't know, because I had a regular job, I never saw it as 'I need to this, I can do that.' I was happy with just my regular job and making music on the side, so you know, that was that. But always, I just kept sending them tunes so they might want to play or maybe release. And it did take a while, I think I got my first release on Moonshine in 2016. The recent mix that I did has a lot of forthcoming tunes, but not all of them are Moonshine. Some of them are gonna be Infernal Sounds, the more dubstep ones... and then a good bit of them are gonna be on Moonshine actually. TGT: How often does your name get brutally mispronounced? B: Ooh, more than mispronounced, misspelled. Which I think is really funny. And you know what, recently I just found out that in I guess Croatian - I'm hoping that's the language they speak in Croatia - Bukkha means noise, it translates to noise. I thought that was pretty funny, oh shit man, that could be another meaning to my name, noise [laughs]. TGT: So what was the original inspiration then, because in some ways you know, Bukkha has a very dubstep feel to it, but it's not a word, right? B: Exactly, exactly. OK, long story short, basically I got the name from - I don't know how many people remember the show Wildboyz, it was the spinoff of Jackass - so in one of the episodes, I forget, Steve-O and the other guy [Chris Pontius], they go to India and they spend time with a cannibal tribe, the Aghori tribe there in India, and one of the guys in the tribe, his name was Buka. So I was like, 'OK, I kind of like the sound of that,' so I just jacked it and spelled it a little bit differently. And you know, stupid, I just had one of those moments where I'm gonna take this and misspell it and that'd be cool - I didn't know any better. I don't know, the name's cool, it's kind of like easy, I think [laughs], but I guess not if people mispronounce it and misspell it. I don't know, but yeah, I like it. TGT: Yeah, I think 'boo-kah' makes sense, but I could certainly see people trying to say 'buck-a' or something... B: Oh yeah, yeah, 'buck-a' yeah, they say that one a lot [laughs]. TGT: As long as they don't read 'bukkake' it's probably alright... B: Yeah, awww, yeah but I make fun of that - I make fun of that, too - I call myself that as well... how do you think I got my name? I like that genre of pornography - and they're like 'oh my god' - it's like 'no, I'm just kidding, I'm just kidding.' TGT: My understanding, this is going to be your first gig here in Denver, correct? B: Yes... TGT: Especially when you're coming to a new market - but obviously Denver has a big reputation for dubstep and bass music at this point in time - so what's your mindset when you know most of this crowd is gonna be familiar with what you've put out, and a lot of people will probably have listened to that Moonshine mix, whether they've already heard it or they're gonna check it out once it's being emphasized before the show; so what do you want to bring us, and what can the crowd be expecting on March 12? B: A lot of Bukkha [laughs]. A lot of my favorite tunes that I've made, a lot of my newer stuff that I haven't put in mixes yet, so if you like my sound then you'll like the new stuff. And then I'll also have stuff that friends have sent me, some dubstep or the dubwise tip - it's definitely gonna be something for everybody, it's how I do things. I don't want to say I educate, because that just kind of sounds a little pretentious, but I just want to show the people there are different sounds, different styles, you don't just have to be into this one thing, there's everything, and it all fits together if you just really listen to it, it all truly does fit together. TGT: Do you give much thought to who you're co-headlining with? In this case, it's Six Sunsets and Opus, does that enter into your thought process at all? B: To be honest, yeah. I did do a Shitty Dubstep event in the UK; now, if you know anything about Shitty Dubstep, you'll see that it's nothing but dubstep. And, that's probably the most nervous I had ever been, because it's been such a long time since I just did dubstep, and I don't really talk to too many of the new dubstep cats. So man, I just really had to dig deep and search for dubstep tunes, the hottest stuff for at that moment, even if it was new and nobody's even heard it... I reached out to some friends, 'oh yeah man, here have this one, have that one.' So yeah, but it all worked out, it was all great. I played dubstep, but I also did play "Discjockey," like "Discjockey" just went off - I mean, whether you like dub or not, it's just that perfect mix of trap/grime/low-end, but with a dub sample... TGT: Any final thoughts on things... B: ... I hope to be around as long as the greats like Channel One and Jah Shaka - that would be great, you know? Just play tunes, play music that I love, hopefully, my ears and eyes will still function in a way that I can make music still...

[thegroovethief]

Updating two late roots cuts - Horace Andy's 1980 anthem "Money [Money]" and Errol Dunkley's gem from 1978 "A Little Way Different" - is certainly a tough task, yet Cultural Warriors readily rise to the challenge. The result is a dynamic Evidence Music six-track (12" and digital), sensitive to the origins and the times, that endows selectors with lush bass-forward productions; each comes with dub and instrumental as well.

"Money" opens with an Eastern-tinge alongside Horace Andy's vocal, before the synths build up to rolling steppers. Layered, there's ample intrigue beyond the bass bins. "A Little Way Different" takes that framework and arguably pushes it even further, with subtle touches ranging from sonic twinkles to background vocals. Dunkley's optimistic vocal contrasts well with Andy's blunt economics while riding the evolving riddim nicely to an echo-laden conclusion.

Money by Horace Andy, Cultural Warriors

The dub of "Money" opens up beyond the opening vocal, a classically-influenced approach done well by pressing the bass and crucial lines of Andy's to maximum effect; the melodica and the melodic synths take turns filling the resulting space. Dubwise Dunkley is kept sparse initially, pairing down the beat, before eventually caving to the pulsing low-end. This results in a near-techno feel at times, although the drum fills and vocals keep an appropriate balance. The instrumentals stand strong on their own as well, ready to keep the vibe alive for those singers and deejays bold enough to trod where legends lie.

[thegroovethief]

It's 2019! Fresh review coming soon, but have you checked out my final mix of 2018 yet? "Roots & Dubs VI"

or

[thegroovethief]

#TGTfeature 011: Manudigital [X-Ray Production: Paris, France] Switching styles - but not ignoring any crucial basslines - after Denver’s own Kālī, it is #TGTfeature 011 with French digital reggae extraordinaire Manudigital. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. The versatile veteran multi-instrumentalist and producer has moved from strength to strength with his collaborative mindset driving his potent studio work, as well as his live performance videos. Manu shared his thoughts on the development of his current musical focuses, why the synth changed reggae music, and the realities of being a contemporary artist. A bit about Manudigital: - Multi-faceted digital reggae aficionado, he’s a beatmaker, bassist, producer, and composer in addition to an ambassador for the Casio Casiotone MT-40 keyboard - Beyond multiple singles and EPs, he has released two full-length albums on X-Ray Production – including this year’s Bass Attack, released in early October - His standout Digital Session video series blends raw live vibes with polished post-production; features include the latest from Luciano, as well as Capleton, Burro Banton, and Solo Banton & YT, plus highly recommended collaborations with Queen Omega and Junior Cat

TGT: How’s the reception been for Bass Attack, and which collaboration are you the proudest of? Any interesting stories about how a particular tune came together? M: The realization of this album was very cool! For 95% of the tracks, I asked artists with whom I had already had the opportunity to collaborate on other projects like their own album, one riddim, or video sessions, so it was like working with the family! I composed partly in Paris, at home, and in Jamaica, and most of the singers recorded their voices on their side. You know, I'm in the studio every day for various projects so I'm very used to recording compared to some bands or singers who record in studio only for their album. The coolest session was the one with Dapatch on the song “Strictly that Style," we recorded the track in less than an hour! That day, the composition, the voice recording, and the mix were chained very easily, we were exactly on the same wavelength – incredible!

Bass Attack by Manudigital

TGT: The Digital Session series has included some amazing live takes. What is the creative process behind these live recordings, and how do you decide which riddims are most suitable for artists? What can we expect in the future for this series? M: The Digital Sessions are part of my favorite projects! Because, in addition to music, there is a cultural, human, even sociological dimension for some sessions… the creation of these sessions is really just about feeling! I don’t conceptualize the thing too much before, we improve the riddim together on the spot, we also choose the lyrics, we repeat 3-4 times and record in 1 shot! It is very important for me to keep this natural aspect, I think that people feel it when they are looking at the sessions… I still have plenty of others to release soon! So stay tuned, the best is coming!

TGT: You are clearly a lover of digital reggae, fusing together modern production equipment and techniques with vintage 80s sounds. What attracted you to that original era of dancehall music, and why do you feel it’s so important to be still playing the Casio MT-40? M: For me, the 80s and 90s were a pivotal time in Jamaican music production, that's where everything changed radically! Before that, it took a whole group to record, but the Sleng Teng riddim appeared and everything became possible with just a synth! Artistically it is not necessarily the most creative period in Jamaica, but in terms of sonority it was the most prolific! For me, it is important today to combine this sound with more modern things; if you think about it the two are not so far… TGT: Bass Attack also showcases some fellow producers in Panda Dub and Ed Solo. How did those collaborations come together, and why did you feel like it was important to share duties behind the boards? M: Yes for Panda Dub, it was a long time that I wanted to make a track with him because I'm a super fan of his style! We met a lot of times on tour, so it was obvious to make a tune together! As for Ed Solo, he asked me to remix a track that I made with my friend Sherkan for the Tiger Records label, and as I'm a fan of drum & bass and jungle, it was really great news for me! Ed Solo is one of the best producers in the world in this style, along with Deekline, Congo Natty, and Benny Page… TGT: What advice do you have for up-and-coming producers? Any favorite production tricks or techniques that you’re willing to share? M: If you look at my videos like the Back Inna Days, you'll see that I always share a lot of stuff to my audience, like the name of the machines from which the original sounds of the classic riddim come, for example. But the best advice I can give to the youngest producers is that the production equipment is at the service of music and not the other way around… it is useless to spend thousands of dollars in material, the most important is to use it well.

TGT: How best to be heard in the busy musicscape of 2019? Is it collaboration with well-regarded artists, aligning with known brands like Reggaeville, or unique content that matters the most? M: I think there is not one way that matters most today, but this is the multiplication of lots of little things that will move forward, and the main thing is to make good music that makes you vibrate! But it remains only 50% of the work… after you have to be on all social networks, interact with your fans, and participate in all interviews and concerts that you can. TGT: Much respect, and thanks for all the amazing music!

[thegroovethief]

Here's my calendar for the rest of December, more info and some links accessible via Facebook... looking forward to all these fun sessions to wrap up 2018!

[thegroovethief]

TGTreview: Little Harry - Youngest Veteron [Top Smile] When you hear talk of the revival of reggae, it’s usually focused on the updated 70s roots style championed by the likes of Chronixx and Protoje. Quality indeed. Yet, it’s equally fantastic to see singers from bygone eras returning to the mic for fresh triumphs. Hailing from the early 80s, having found success with both rub-a-dub and digital, Little Harry is a prime example of this type of renewal.

Youngest Veteron by Little Harry & High Smile HiFi

This return has been fueled primarily through his work with Swiss crew High Smile HiFi, who provide the production work here on the singer’s long-awaited first full-length Youngest Veteron (though his rocksteady throwback “Life No Easy” was my own label’s Pomegranate Sounds’ debut). Strictly produced in a forward-thinking, though past-referencing, digital style; the twelve-track features two previously releases, “Hard Life” and “No Friend A Dem” (each available on 7”), as well as ten new tracks including lead single “Kingston City.” The album opens with the pounding “Nah Lef Di Earth,” which highlights Little Harry’s melodic flow, as well as the fact that this project is no time capsule. Over a booming beat, the singer’s makes it clear he has more work to do. “Youngest Veteron (Hypa)” celebrates himself and other veterans, while lamenting the frustrating realities they can face.

“Kingston City,” shouted out as ‘my place,’ is an ode to not just the Jamaican capital, but also to its vibes and opportunities. Enveloped in positivity and a churning riddim, it’s the hardworking migrants from the country who receive the most love and respect here. Then comes a warning, as “Gunshot” soars in on a siren and shuffling bass. Little Harry continues with his conscious mindset and lyrics, calling out violence as a disgrace, all over a slow simmering vibe. Switching approach, “So Many Girls” rumbles in to nice it up in a different fashion. “Wine (Wine Wine)” is likewise focused on movement, specifically feet and hips. Both tracks showcase the glossier side of the dance, although the latter’s riddim is more intriguing via its subtle additions to the leading rhythm section. “Hard Life” is still a stand-out four years after its initial release, when I wrote that ‘the veteran Jamaican singer has the confidence and vocal prowess to address harsh socio-economic realities while still creating a catchy tune’ – read my review for NiceUp for more! Next up features the first of two guests, the equally re-ascendant Junior Cat – if you’ve missed it, check out his scorching live showcase alongside Manudigital. Displaying the pressure of opposites, Little Harry calls for “Unity In Our Community” through ‘no violence or ignorancy; strictly love and militancy.’

Then shimmers in the other previous review of mine for NiceUp – ‘a simple-yet-tough groove, “No Friend A Dem” is led by its thick bass and quirky teasing melody while Little Harry calls out the disloyal and hypocritical.’ “Baby Girl” is hardly the lovers tune one might expect, rather a yearning bubbler defined instead by its catchy hook of ‘miss my baby, miss her very badly… life goes on, life goes on.’ Sammy Gold joins in for “Ghetto Vipers,” his whispered croon cutting nicely across the thickened low-end, providing a dynamic counterpoint to Little Harry. A triumphant tipping of his hat to the genre, “Reggae I Love You” is far more tender and heartfelt than the average send-up: ‘reggae is my honey, reggae is my baby… sweet reggae music, yes I love you; and I just can’t go on without you.’ Hard to argue with an ending like this.

[thegroovethief]

Make sure to read my debut feature over at Dub-Stuy Records: "Sound System Style & Fashion: From Clarks to Zapatillas, an overview of fashion in Reggae & Dancehall" Fashion has been a crucial element of the dance hall since long before dancehall music arrived. Whether the bowler hats of ska or the cool suits of rocksteady, the Rasta tricolor of reggae or the flamboyance of dancehall, the performers, dancers, and appreciators of Jamaican music alike have always possessed a keen sense of style. The look of Bob Marley is nearly as legendary as his music at this point, and the iconic Rockers showed the world how Jamaicans actually dressed, not just sounded...

[thegroovethief]

--> TGT UPCOMING CALENDAR & Protoje Interview Special WED May 30 : "Reggae Transfusion" on KGNU Community Radio [88.5FM/1390AM/KGNU.org] (10pm-12am) SAT Jun 2 : Summer Social Sponsored by Peloton West @ Peloton West (12pm - 5pm) ** WED Jun 6 : Support KGNU & Burritos with The Groove Thief and Blood Preshah @ Illegal Pete's Colfax (5pm-10pm) ** ++ THURS Jun 14 : The Groove Thief & Friends @ Milk Bar (9pm-close) FRI Jun 15 : In-Store Session @ Boulder Wellness Center (2pm-6pm) SUN Jun 17 : "Dub Palace" on KGNU @ Goosetown Tavern LIVE! (10pm-12am) ++ WED Jun 20 : "Reggae Transfusion" on KGNU (10pm-12am) ** = on Pomegranate Hi Fi ++ = w/ Bloodpreshah --------------------------------------------------------------------- Fresh from the airwaves last night, here's my May 27th session of KGNU Community Radio’s “Dub Palace” show, a Sunday night offering dedicated to dub, dubstep & future dub! The first hour features a 30-minute interview with Protoje aka Protoje Indiggnation, prior to his June 28 concert with Kabaka Pyramid at Cervantes' in Denver, CO, celebrating KGNU's 40th Anniversary! There's also an eclectic local bass music showcase later in the show...

PLAYLIST = S'Kaya - African Brothers [TGT Dubplate] Dubmatix (ft. S'Kaya) - African Brothers Dub Linval Thompson - Fussing And Fighting Linval Thompson - Rubbing And Dubbing * PROTOJE INTERVIEW * Protoje – Blood Money Scientist - Don’t Give Up Your Culture Dub Protoje (ft. Chronixx) – No Guarantee Scientist – The Mummy’s Shroud Augustus Pablo – Java Black Uhuru – Dub Town Dub Syndicate – Police In Helicopter (Dub Version) Jerry Johnson – Saxman Special King Tubby & Prince Philip – The Dub Station Protoje – Bout Noon * PROTOJE INTERVIEW * Nat Birchall Meets Al Breadwinner - In The Hills Barrington Levy - Why Did You Leave Me Jejah - Forever Loving Dub Boom Sound Dubmatix (ft. Tenor Fly) - Show Down (Bassbin Remix) * LOCAL SHOWCASE * Ras Dave - When Me Talk Gracie Bassie - People Pleaser Dread Foxx - Deliver Me Dub (VIP) DRTY HBTZ - Drenched Khonsu – Riddled (Heavy Korat Remix) Roklem & Sebalo – Zero Khandro – Moon Samurai Dr. Cloud – Deep End Krushendo – Stardust Pomegranate Sounds (ft. Scotty McD) - Rasta Style * LOCAL SHOWCASE * MaÏs – Same Ship Singers & Players - Kunta Kinte Benny Fishel – Purified PS - don't sleep on The Inaugural Reggae on the Grass (Free Concert Series), it'll be July soon enough!

[thegroovethief]

#TGTfeature 010: Kālī [FatKidOnFire; Infernal Sounds: Denver, Colorado, USA] Stepping even deeper into the depths of dubstep following Radikal Guru, #TGTfeature 010 is with Denver’s own Kālī ! She’s playing this Thursday at The Black Box along with Juss B. This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. After years spent hustling within the bass scene as DJ, promoter, and writer, Kālī is rapidly creating a name for herself due to her unique production style. We chatted about what brought her to Denver, her musical evolution and current studio mindset, as well as her namesake. A bit about Kālī: - Part of the burgeoning Colorado dubstep scene, known for her forward-thinking selections and tight mixing skills - Her remixes have been quickly snapped up by tastemaking labels FatKidOnFire and Infernal Sounds - Recently dropped full-length mixes for Sub FM, Elemental Arts, and Radar Radio

TGT: I grew up in Denver, so coming back here was a family decision for me and I didn’t really realize how crucial Denver was in America’s bass scene in the broader sense… but you moved here primarily for the music, right? Kālī: A solid mix between the music scene out here and starting a new chapter with Zach (Mesck) in a place that’s more aligned with how we like to live and the environment that we like to be around. In terms of music, there’s actually something happening here. I was living in Santa Barbara for five or six years and there was really no dubstep scene at all. It would be rare to find people that would be interested in dubstep, and when you’d make that connection it would just be like ‘oh my God, that’s amazing,’ but then there’s nothing to do with it. I still loved it, it kept getting deeper and deeper, but there was nowhere to play shows, no one for me to connect with – it’s just super stagnant. I’ve been DJing for, come this summer it’ll be seven years, I never could really put it anywhere and I couldn’t really share that with people – there was no community. The more I’ve gotten into it, like gotten serious with it, making music and wanting to dedicate time and energy and push myself in that direction, it became really apparent just how you need a community and you need those opportunities to play shows and have people hear you play and have people hear your music. And me coming from a long DJing background, it’s just as important to show people that you’re good at DJing – have sets that are a journey – know how to blend things, and lace everything together. I wanted that chance to play shows, it was that simple. And you want other people to validate your music as well. So to move from California to Denver, it was a decision between me and Zach – who’s my boyfriend – he’s in a place with his music, having lived in LA for so long, he was getting sick of it. The scene in LA, there were so opportunities, there were so many parties, but over the last few years, it’s definitely dwindled. And so we were both in a situation, in our own separate cities, our own lack of a dubstep community – at these pivotal places in our lives both separately and as a couple: me just starting to really get into producing, him wanting to have more time to dedicate, and just being in a community for both of us was really important. Above all else both of us wanting to start a new chapter together and build something in a place that was intentionally thought out: Denver, dubstep, The Black Box. We’d be going online, looking for houses, and we’d find a place we’d like and look at the address and we’d type The Black Box in on Google Maps before anything else!

TGT: Has Denver been what you’ve thought it would be? Kālī: Yeah! It’s really early to say, we’re still getting a rhythm, but so far so good. Coming from a scene, wishing I could play shows… Zach and I were in the U-Haul driving from Arizona to Utah to here, and I’m randomly talking to Nicole [Cacciavillano; sub.mission & The Black Box] while we’re in a hotel in Utah, just through Facebook, and she asks if we want to play that Youngsta show back-to-back, and it's like, I’m not even in the city and I’m already being asked to play and already being accepted and getting validated: it’s just really refreshing. I feel like as long as you’re passionate and have good intentions, and you’re doing things for the right reasons, people will pick up on that and they’ll want to support you – that’s the thing with Denver it seems that everyone just wants to support each other as long as they see that you have good intentions. I feel like that’s a big part of this new resurgence: people are not afraid to do crazy shit that years ago wouldn’t really be considered dubstep, but people are just down to be creative in the craziest ways. As long as it’s sick – and maybe you’ve never heard it before and you don’t why it’s sick – and it’s just like the weirdest, coolest thing you’ve ever heard but you’ve never heard anything like it… you’ll support it. People are just so supportive and open as long as there’s talent and passion. TGT: Your last few remixes kind of fit into that template: it is dubstep tempo-wise –– Kālī: tempo and bass –– but it’s not dubstep in that very traditional sparse sound… Kālī: Or like mid-range, or certain signature things… and I definitely trip myself out, because I’m still kind of new at producing and so I’m still trying to find my sound and figure out what works, what I like, what I don’t like. Sometimes I find myself wanting to make something “more dubstep” and then it’s not as detailed or developed as my other thoughts, and that’s because I’m not letting myself do my own things. And then I’ll just sit down and not have any preconceptions in my head and I’ll make something ten times cooler because I’m not putting this pressure. It can be so many things, it leaves so much for interpretation of what actually is. And that’s what I love about the sound, there’s so much room for interpretation and so many different sounds you could play. At the start of it, dubstep didn’t sound like anything else, so that was all new and refreshing, and now there’s a new and refreshing take on a genre that’s so different from any other: it just keeps pushing its limits and pushing its limits, just shape-shifting in so many ways. I think that’s really amazing, it encourages so much self-expression. The more well-received it is, the more people are just encouraged to be weird and themselves. As different and as crazy as people get with it, no one ever loses sight of the fact that it’s soundsystem music. If you don’t have sub bass, and it’s not 140, you don’t have dubstep. But everything else, do whatever the fuck you want, put in a million high hats: I don’t care, it doesn’t matter! To have that just be the only qualification, and then you can just go and run with it in any direction that speaks to you and you want to hear as an artist and put out there, it just leaves so much opportunity. Sub bass for the soundsystem, 140 just because that’s dubstep, and everything else: be you, do you, be creative. What do you want to hear, what do you think is sick… yeah, it’s cool in that way.

TGT: For your “Misdemeanor” remix, what were your goals for the track and how did that come together creatively? Kālī: I was actually doing a radio show, talking to Ashley Roth – Siren – about this last night. It literally just came out of the fact that I think Missy Elliot is so sick, and I was going down this weird rabbit hole of Youtube videos of like 90s hiphop and R&B at Zach’s house in LA, and then I stumbled upon that song. Then on the train back home, from LA to Santa Barbara, I started it, and it just started coming together. That song, I’m still getting my bearings producing-wise, but there’re definitely moments where a song I’m making just shoots things to the next level for me, ten steps ahead of anything I’ve made previously. “Misdemeanor” was the first song in my whole production journey that that happened to me… TGT: It’s got that magic to it! Kālī: Yeah, whatever it is. And it came together so quickly! You sit down, and hours later you have something and you don’t even remember what you did to get there. For whatever reason, that just came together. I think because I was just so excited to put down vocals – I look up to her so much, she just has this inventive badassness that is so her and has always stuck with me. I think I was just really excited to give her a proper treatment. I didn’t know how I was going to do it, I just wanted to do a remix, and then it just came together. TGT: And how did the FatKidOnFire release come together? Kālī: I had reached out to Olaf, I’ve been doing blog writing stuff for years now, so I’ve already been connected to these platforms, helping write for their releases and helping promote stuff. So I already have a decent amount of relationships built with these platforms, just through my writing. So I reached out to him, and I was like ‘I don’t know if you’d be interested, but I’m trying to put this out…’ and they were automatically down to do it, so I got it mastered – that’s the first tune I’ve ever had professionally mastered – I had Zach do the artwork for it and he killed it, and then it came together and it got way more plays than I ever thought it would! TGT: Within Hindu mythology, Kali is often misunderstood; what drew you to her, and what aspects of hers are you trying to channel with your music? Kālī: So, I came across that name, and that goddess, when I was in college taking just like a Hindu religious studies class. We were just learning gods, goddesses: the religion. And one day we were in lecture, talking about her, and she came up on the screen, all black with her tongue out. Learning about her, everything, holy shit she’s sick – I was by myself in lecture geeking out at how cool everything about her was, and how much I resonated with the dark aspect of her. But what really sold it for me, she’s dark but she’s not evil; but she could be misconstrued as evil or a menace or a demon; but she’s really not at all, she’s guiding people to let go of their egos and to understand themselves and not be afraid of life and certain things. That really resonated with me because dubstep can be seen as this evil thing, and people have told me ‘oh, don’t you have to be mad to make this music?’ and it’s like ‘not at all – no!’ For me it’s like I recognize that there is a darkness to people, they’ve been through things and have had experiences that are negative, but it’s helped shape them. And you don’t deny those experiences, you don’t forget that you had them but you make them a part of you, you grow from them, personal negative bumps in the road, learning experiences that you carry with you… and also what really resonated with me with her, is how she encourages you to let go of your ego and just see the truth in things. I want people to recognize and be comfortable in the darkness that they feel, and just like themselves and be accepting of that part of themselves. Darkness isn’t a bad thing, it’s just a part of life. It makes life whole and people who they are… it’s more an expression of the things that I like, and what I like to see artistically and what I hear out of music.

TGT: Has there been a direct connection between being a DJ, writer, and producer? Kālī: It’s been such a clear progression. I started really getting into this kind of music in the middle of high school, 2009, something like that. It just came from being a fan, like anyone else. You love the music and you want to listen to it constantly and go to shows and share the music and those experiences. That was in Pennsylvania, and then I went out to Santa Barbara for college. The first two years I was into the music in Pennsylvania, and the summer before I left for college I actually started DJing for the first time, because my friends got DJ equipment and so we were just all kind of fucking around and learning it at the same time. It just stuck with me, I just started DJing around with them, and then I moved to Santa Barbara and I had met a few people that were DJs around there, so I got connected with them. It was dubstep, but not nearly as concise and pinpointed as it is now: my taste was still very much bass-focused but still being molded. So I started DJing in Santa Barbara, and I had friends who let me borrow their old DJ equipment, put Traktor on my computer, taught me the basics. So I started in my dorm room on the desk, just making mixes and fostering that interest more and more and more. Then I started working with promotion companies that were throwing dubstep shows at the time, so I was selling tickets for them, working the doors, doing all that stuff, wristbands, trying to do anything to be involved, I just wanted to do it. I got involved in that way, and then I just kept DJing at parties, when I was old enough I was DJing downtown at bars, more hiphopy-dubstep – and my stuff is still kind of hiphop-influenced but in a much different way than it was back then. My sophomore year of college I started writing for EDMTunes, I got an internship with them, and I wrote and made connections; that’s when I did interviews, towards the end of me writing for them I really got super focused on the dubstep/bass music aspect of it. I did that for a few years with them and then got asked by Tony – who’s the talent buyer at Bassrush – who I’d met at Shambhala one year, and we just got along really well and just had a fun experience partying, and then a couple weeks after the festival he hit me up. That was right up my alley so I started writing for them, and that was dubstep-specific writing. I was still DJing and stuff, and then I moved from college to downtown Santa Barbara and became an adult [laughs] and then when I had my own place, was paying my own rent, had a job, all that stuff: this is the beginning of my adult life, what do I want to do? OK, I want to make music because I had promoted for shows, done the whole ticket thing, had been writing about shows, doing interviews with people, doing event promotion stuff for LA people, and I had my own blog at one time, too, just dubstep-focused blog – nothing was satisfying enough. It wasn’t close enough. I realized I wanted to be even closer. I’m still not close enough to this music I love, so that means I have to make it! It was that realization of this is what I want to do, I’m an adult, I have all this time, my life is starting, how do I want it to start, where do I want it to go, what’s going to make me happy, what’s going to get me even closer to the thing I love that I’m already close to, and that was just making music. So that’s that.

[thegroovethief]

#TGTfeature 009: Radikal Guru [Moonshine Recordings; Dubbed Out: Gdansk, Poland] After a crucial and personal interview with the skilled Lea Luna, #TGTfeature 009 is with rootstepper extraordinaire Radikal Guru, who has consistently explored the deep realms between dub/reggae and dubstep! This and forthcoming #TGTfeature articles will highlight dedicated musical talents by featuring their recent work as well as an in-depth interview. A widely respected figure in the bass scene, Radikal Guru melds the roots of the past with the branches of the future like few other artists can. Prior to hitting The Black Box stage as part of a US tour, he weighed in on his most recent production work, sound systems, and his new studio. A bit about Radikal Guru: - Released a series of compelling albums on the famed Moonshine Recordings, from 2011’s The Rootstepa up through 2016’s Dub Mentalist - Has recently tackled Star Wars, resulting in the “Empire Dub” remix contest and 12” - Known for his heavyweight vibes, he’s an adept selector armed with plenty of choice tunes

TGT: You teased a simply devastating track, “Revolution Dub” (with a Tappa Zukie sample?), earlier this month. What’s the plan for that, and what else is on the horizon for 2018? RG: Hi, and thanks for reaching out! I’m really looking forward to play a set for the dub heads in Denver for the second time now. In the last few months I was busy with setting up a studio in a new spot and came up with this remix of “Revolution” by Tappa Zukie. Basically was just looking for some new sounds and messing with different tempos. As you probably might know, I’m mostly working with a 140 BPM tempo but this is about to change. Let’s say it’s just a little teaser for what I’m cooking for the rest of 2018.

TGT: Speaking of huge tunes, what was your approach regarding the Star Wars theme for “Empire Dub?” How do you both pay homage to a legendary melody while pushing the sound forward? RG: At the time when I was working on my last album Dub Mentalist, I had an idea about doing something really dark and heavy to balance with the other tunes from the LP which were more reggae and dub oriented. In the meantime I accidentally played a fracture of the melody from the Dark Star theme on my keyboard and it fitted perfectly to the arrangement I had been working on. Of course I was always a big fan of sci-fi movies etc. so I thought it would be a cool thing to include on the album and also as a way of paying homage to all the people who grew up on Star Wars and Sci-Fi. TGT: Of course need to ask about soundsystems! The Black Box’s rig here in Denver is quickly becoming legendary within the US – which systems have you most appreciated as a performer over the years? RG: Yes, The Black Box rig is definitely sounding tuff. Over the years I played literally on so many sounds that it’s too hard for me to mention any favorite ones in particular. I always appreciate the work and effort that those people take to create the right vibe and give the crowd that unique experience that they can’t really have on a regular club nights. Given the opportunity I would like to mention that I have played on a really nice rig in New York owned by the Dub-Stuy crew two years ago on my first US tour, and definitely it has been the nicest DIY sound system I had the pleasure to play on in the country so far. I’m also going to visit The Grand Ancestor crew in Washington, DC during this tour and I will be playing on their sound, which they had built recently as well as Utopia Soundsystem in St. Louis on which I also haven't played before.

TGT: Your Denver date falls in the middle of a two-week US tour – what are you looking forward to experiencing in the time off between gigs? RG: After the weekend in New York and DC I will be moving between St. Louis where I play on Tuesday and Denver on Thursday night so there won’t be much free time between the shows really. Although I will try to visit as many spots in town as I possibly can during my stay. Also looking forward to meeting some people that I met on my first tour two years ago. TGT: What’s your favorite production technique right now? Any other tips for aspiring bass music producers? RG: As I mentioned earlier I recently updated my studio and moved to a new spot. I’m renting an office space in a warehouse in my hometown in Poland. There’s enough room to have all my gear including my drum kit, my studio desk, monitors, keys, mics, etc. There’s also a little social space to chill out or when someone visits me. My main goal for building this space was actually going out of the box a little bit more and what I mean by that is that I wanted to start using real instruments and outboard gear to add some more live energy to my music and finally have a space reserved only for the creative work. Main brain of the studio is Reason Propellerheads DAW, which I recently updated to the latest version. I’m a long time user of this software but the new update really adds a lot to the table with really cool new synths, effects, etc. Adding a long-awaited VST support is definitely another great game-changer for me and it opens up a lot of new possibilities when it comes to mixing or adding some more original synths that are available. So basically now it’s about searching for new solutions and sounds in the studio to keep me creative. My advice to young producers would be to try finding the workflow that they feel most comfortable with and try not to confuse yourself with too much gear at the beginning. Once you have a basic setup (DAW, controller, studio monitors or headphones) try to spend a lot of time to know your environment well. After a while you can slowly start adding more gear or explore more advanced features of your DAW. Try watching some tutorials that are available on Youtube. There’re hundreds of them out there and it can really help you find answers and tips that can take your productivity on a next level. Don’t be afraid to play and record real instruments and make your own samples. TGT: And finally, what’s your approach for this tour? RG: During this tour I will be performing a DJ set that will tell a story about evolution of sound system music. From dub to dubstep and beyond. I will be dropping tunes from my latest album as well as some RG classics. You can expect a lot of unreleased and exclusive material from the Moonshine Recordings station as well!