#digital mystikz

[dj-ki]

[‘a:kaiv] #8 //// Djane Ki, HertZ'Hyene Podcast #09, 2016, Strasbourg

MIXCLOUD

"Dubstep Photography" : an exclusive Dubstep mix for the female collective HertZ'Hyene. Recorded at Strasbourg, June 2016. >> Playlist : PHOTEK, “Pyramid“ BITTER SWEET, “Phaser Edit by SOMTEK” JOAAN, “Out of Slang” DISTRICT, “Transmission” DISTANCE vs CYRUS, “Surrender” DIGITAL MYSTIKZ, “Eyez” EMIKA / PINCH remix, “Double Edge” HELIXIR, “Helicraft” TRG / RESO remix, “Horny” KODE 9, “Magnetic City” LOAN feat. Juice Aleem, “Alt real” REMO, “Desert”

[robotvitamins]

Digital Mystikz - Education

[nexusrasp]

Dubstep is another one of those genres where black people created something unique and pioneering and powerful, and then the version that got popular and that everyone knows is the americanized, bastardized version made by white people and blown out all to fuck. go listen to some early dubstep singles on the DMZ label by Mala or Digital Mystikz and have yr mind blown.

this is a personal favorite:

[crossandfaded]

whats some god classic dubstep

here are some mixes and albums to get you started. i especially recommend checking out the labels Tempa, Deep Medi, Hyperdub, Tectonic, and Sentry. Digital Mystikz also had their own imprint DMZ for a while.

[joemuggs]

The Lonnnnng View

The brilliant Charlie Fracture just sent me his new blog post, Let's Take It Slow: The Wonders Of Slowing Down Music And The Importance Of The Long Form Listening Experience, saying "thought you might enjoy reading it". And I did, I really did. It REALLY spoke to me. I love slowing things down, I'm always doing it when DJing, as on this short mix when I took early hardcore rave and slowed it back towards the speed of the hip hop it was sampling. And I thought, hmm, I'm sure I've written about this somewhere... after a bit of head scratching and searching through old emails, I found the following article from the 2012 WIRE end of year issue. It's a bit sprawling, but it's on to something, you know... and somehow looking back over decades (as Charlie's piece does too) suits this topic. So.........

👇🏻

Off the grid

Club music's relationship to its own regularity has always been complicated, but 2012 saw these complications multiplying and the music pushing at its patterns and grids in some radical ways. While for many the story was of a retreat to the safety of familiar forms – mid-nineties house and techno in particular dominated, with a jungle revival nascent – in darker corners things were pulsing and warping, starting to ooze and waft around the steady four-square rhythm patterns that have been foundational at least since the invention of the sequencer. This was not a new genre or style in the conventional sense, rather the convergence of some key trends in 21st century music, the coming to a head of certain pressures, creating an uneasy but thrilling sense of potentiality. These are: slowness, rhythmic slippage, and a more physically expressive interaction with the digital means of production.

The tendency to slowing has been brewing for a long time but was everywhere this year. In 2012 the likes of Andy Stott, Demdike Stare, Raime, Holy Other, Old Apparatus, How To Dress Well, Lukid, Om Unit, Hype Williams and Downliners Sekt all dropped releases with rhythms so stretched that they become textural waves rather than percussion, magnified so that every surface of every sound becomes an environment. The tracks, when played on suitably sizeable speakers, are chambers into which one can enter – sometimes desolate and forbidding as with Raime, sometimes voluptuous and dangerously seductive like Holy Other, sometimes Tron-like and glossy like Om Unit, sometimes fantastical and bejewelled, as in the baroque complexity of this year’s EPs by Old Apparatus. This was “post-dubstep” not in the standard sense of simply applying dubstep's tropes to new rhythms, but in building from first principles entirely new takes on what it could have been.

Dubstep itself had an eye on those first principles, too. This was the year that the “dungeon sound” became prominent: the creepy-crawling update of the earliest half-step rhythms with added production finesse and technologically-enabled sense of detail saw the stock of originators like Distance, Tunnidge and Kryptic Minds, and newer talents like Mancunians Compa and Biome rising. It was a reminder that dubstep's original appeal was about bodily immersion and undulating push-pull physical dynamics rather than about the rave rush and the spectacle of the “drop”. Though we were reminded by the increased profile of Digital Mystikz's Coki – incredibly only now after a decade of dubstep production becoming a full-time musician and launching his own label – that even the harder end of dubstep doesn't have to be predicated on percussive impact: at the heart of even Coki's most violent tunes is always the sluggish undercurrent of his preposterously fractal, semi-liquified “scrambled egg” bass tones.

Even drum'n'bass continued a relationship with slowness. While one end of the scene intensified like commercial dubstep into hyper-pop, reaching vast new audiences, the spaced-out half-tempo “Autonomic” tendency of the last couple of years continued to develop. An album from ASC, various releases on the Space Cadets label, and most fascinatingly a terrifyingly psychedelic EP by Archer & Asanyeh on Romania's DubKraft label all turned d'n'b's velocity in on itself, creating suspenseful, gravity-loosened environments in place of demented drive. House rhythms, too, proved capable of suspending time, particular in the hadns of those re-examining the sparser strains of UK Funky and its potential to draw dubstep and Grime’s sonorities and double-time funk into a more considered space. Wen, Visionist, Beneath, Filter Dread, Shy One, DVA and Cooly G all to some degree created eerie, strangely static rhythms in this way. And throughout the underground, like an underlying pulse that influences all around it, increasingly ran samples of or references to the ‘trap’ sound of US hiphop: layered 808 kicks separated by large space through sheer necessity due to their gigantic size, and looping pitched-down vocal samples running throughout, a 21st century counterpart to the dread signals of reggae vocalists that were cut up into 1990s Jungle.

As Bristol DJ/producer Pinch put it in his Wire Invisible Jukebox interview (The Wire 346), “the way we perceive tempo and the rhythms we're most affiliated with does change, based on situations you're in and the way you tune your head to the world.” What it seems the new techniques of music creation allow is getting closer and closer to real-time manipulation of these changes, to “tune” not just the head but the whole nervous system of the listener in more and more precise ways: where the rhythmic codes of other dance rhythms may aim for the head, hips and feet, the enveloping flows and larger spaces between beats of slower music speak to the entire body as a whole. All of this is about the positioning of bodies in relation to music, allowing new ways of coming close to and entering into the music: about sculpting the affect of the sound in four dimensions. And it's technologically-enabled, the ability to zoom into the finest detail and view all the inhuman complexity of those sonic surfaces and spaces a function of just how much information is being pushed through digital signal processing (DSP) now: we are reminded in no uncertain terms that the dancefloor experience is the interface with that vertiginous information flow. As the hyper-acceleration of jungle illustrated the foaming wave of the digital future cresting as it rushed towards us, so this tendency speaks, perhaps, of it having broken and immersed us.

Rhythmic slippage is directly related to the way that slowing music makes it come in waves as much as beats or pulses. Dubstep, as mentioned, continued to prove it was about tones that undulate around and over the beat as much as the beat itself. Chicago's footworking sounds established that their determinedly tricksy rhythms were here to stay as part of the international dance language. The psychedelic hip hop of Flying Lotus and co has been elaborating on the lurch of J Dilla and the astral analogue funk of Sa-Ra for some years now, but in 2012 we saw plenty of proof in tracks like Fly-Lo's “Pretty Boy Strut”, Mark Pritchard's beats for Wiley, and the gloriously juddering melting pots of Geiom's and dÉbruit's albums, that this too is now established globally as dancefloor-rocking music, not just some over-elaborated gentrification or neo-triphop. It's no coincidence that the London club night where Kutmah, Om Unit, Kidkanevil, Blue Daisy & Offshore play these decentred beats is called “Tempo Clash”: this is, again, about grooves slithering out of expected tempo constraints, and more generally out of expected patterns.

Once again, this was about the body in relation to data: about the physicality of musical (re)production, the sampling of complex jazz playing, the hands dancing across MPC pads, the passed-down skills of the scratch DJ being applied to CDJs, touchscreens and other Ableton controllers. Whether in footworking beats or Fly-Lo's Brainfeeder imperative, it was the return of the repressed b-boy drive, a deranged scrawling of digital wildstyle lines across the weird, wired world. And again this was a tendency that had been building for some while, but in 2012 it became apparent that a convergence was taking place between tempo meltdown, rhythmic looseness and this new sense of placing of the body in relationship to the music. We begun to see – in dramatic contrast to the overtly cerebral abstractions of 1990s “IDM” – how the input-output between fleshy bodies and digital transmission systems could be made bigger, sloppier, stranger and more involving.

In this there were close parallels with The New Aesthetic – the (mainly) visual movement that coalesced in the spring of 2012 around a panel organised by British theorist James Bridle and popularised by Bruce Sterling. The New Aesthetic zooms in on the cracks in our day-to-day datasphere, glitches in normality, the sudden Turing Test fails, the moments when the comforting shields of digital culture wobble and you see the bots' myriad eyes peering out at you and assessing you. It's about revelling in ruptures between what we have naively cast as two separate worlds: the physical and the digital. The New Aesthetic – and the lurching, pulsating weirdings of electronic club music that warp and crack the regularity of sequencer patterns – are about the horror and thrill of realising that what is inside the computer and what is outside are all the same system, that we are submerged in floods of data.

It may even be that Burroughs's adage that “when you cut open the present, the future bleeds out” has some traction here: by defamiliarising the rhythms of common genres, by warping and cracking them, we may be discovering ways through the illusory impasse of the everything-available-all-at-once overwhelming by the past and present. Certainly these techniques are a way of breaking the comfort and ease that readily available sound manipulation technology – in particular the omnipresent Ableton Live – engender. Whether it's the excessively sensual surges of sound in Holy Other, the flailing iPad abuse of Gaslamp Killer or the rusted and irregular-edged grime of Filter Dread and Sd Laika, everything here can be seen as a reaction to the predictably mixed and mixable flows of the Ableton DJ generation. When precision and perfection become easier than making errors, magnifying and repeating errors suddenly seems hugely compelling.

Whether it can go further, or whether these remain just pockets of resistance, is questionable. Dance by its very nature is predicated on some degree of regularity and coherence, and the global forces of “EDM” – the all-encompassing term used since house and dubstep bizarrely gatecrashed the US mainstream at the turn of the decade – seem to increase the pressure to conformity and easily-packaged units of DJ culture. Again in The Wire, Pinch talked of wanting to emulate the freedom of tempo and metre in the Qawwali music that he has often taken inspiration from but bemoaned his lack of the “musical intelligence” of the Qawwali musicians – hinting towards an entirely new understanding of the production of rhythm that needs to be collectively built to cope with the possibilities of more flexible and expressive technology.

Dr Matt Yee-King, teacher of Computer Music at Goldsmiths college, and researcher into technological interfaces between sound, mind and information says: “musicians might start to realise that the best way to escape the grid is not to use the grid,” that is to abandon sequencers entirely in favour of all-live coding and manipulation, but it is still extraordinarily rare that club musicians and DJs feel able to break loose completely from the metronomic diktats of sequencing tools like Ableton. The grids are still in place. The slippage and melting of rhythmic and tempo constraints that have come to a head in 2012 are not a revolution in themselves, and whether one is possible is yet to be proved. Could a digital Coltrane or Hendrix, or a collective sound as improvisatory and free as Qawwali, emerge from these new opportunities, and actually become a part of the world's nightlife rituals? For the first time maybe since the peak of jungle's rhythmic fury, these extreme possibilities don't seem entirely ridiculous.

[tilde44]

Mala (Digital Mystikz) - Changes (DEEP MEDi MUSIK)

[assortedpov]

10/10 soundtrack for a stoned late night walk/drive/ride. Definitely channeling some Digital Mystikz / Deep Medi vibes

[gmqazi19739]

Dubstep Music - Top 20 Best English Music Download

Dubstep music, a genre born from the depths of underground electronic scenes, has stormed the world with its distinctive sound and unparalleled energy. Originating in the 1990s in the UK, royalty-free dubstep has evolved into a global phenomenon, influencing artists across genres and captivating audiences worldwide. This article delves into the essence of dubstep music, its history, characteristics, notable artists, and its profound impact on the music landscape. Best Dubstep English Music Free Download A Brief History of Dubstep Early Roots and Influences: Dubstep's roots trace back to the late 1990s in the London club scene, where artists and DJs began experimenting with new sounds. By blending elements of UK garage, drum and bass, and reggae, they created a unique style characterized by heavy basslines, syncopated rhythms, and spacious soundscapes. The Beginning and Origins of Dubstep: - Emergence: Dubstep emerged in the 1990s in South London’s underground music scene, influenced by genres like reggae, jungle, and garage. - Pioneers: Early pioneers such as Skream, Benga, and Digital Mystikz experimented with syncopated rhythms, sparse beats, and heavy basslines, creating a distinctive sonic experience. - Wobble Bass: A defining feature of dubstep is the "wobble bass," a deep, modulated bassline achieved by manipulating bass frequencies to create a pulsating effect, giving dubstep its signature intensity and energy. Development and Evolution: - 2000s Boom: The early 2000s marked the emergence of dubstep as a distinct genre, with influential producers like Skream, Benga, and Digital Mystikz gaining prominence. - Sub-genres: Dubstep evolved, incorporating elements from other genres, leading to the rise of sub-genres like "Brostep," popularized by artists such as Skrillex and Flux Pavilion, and "Future Garage," led by artists like Mount Kimbie. Defining Characteristics of Dubstep - Wobble Basslines: Central to dubstep is the iconic wobble bassline, a pulsating, modulated low-frequency sound creating a unique texture within the music. This signature sound is achieved through intricate synthesis techniques and precise manipulation of sound waves. - Pace and Rhythm: Dubstep typically ranges from 138 to 142 beats per minute, offering a unique rhythmic space for experimentation. The genre is characterized by syncopated rhythms, often juxtaposing half-time and double-time patterns, contributing to its hypnotic quality. - Space and Atmosphere: A distinguishing feature of dubstep is its use of negative space. By incorporating moments of silence and minimalism, producers create an immersive, atmospheric experience. Notable Dubstep Artists - Skream: Often regarded as one of the pioneers of dubstep, Oliver Jones (Skream) played a pivotal role in shaping the genre’s early sound with tracks like "Midnight Request Line." - Benga: Closely associated with Skream, Adegbenga Adejumo (Benga) contributed to dubstep’s development with tracks like "Night" and "26 Basslines," blending electronic textures with reggae influences. - Excision: Known for his heavy and aggressive approach to dubstep, Jeff Abel (Excision) has become a leading figure in the genre’s modern evolution, known for his intricate sound design and intense live performances. Impact on the Music Scene Dubstep’s impact on the English music scene is undeniable. It brought a fresh, cutting-edge sound that captivated both underground music enthusiasts and mainstream listeners. The genre’s popularity led to the establishment of dedicated dubstep nights at clubs and venues across the country, providing a platform for emerging artists and DJs. Dubstep’s influence extended beyond music itself, inspiring the creation of new dance styles like the "dubstep dance," characterized by intricate footwork and fluid movements. Its elements seeped into pop, hip-hop, and electronic music, showcasing its versatility and widespread appeal. Artists like Skrillex, who won multiple Grammy Awards, played a significant role in bringing dubstep into the mainstream. Despite its underground origins, dubstep has achieved global recognition, continuing to evolve and inspire new generations of artists. Conclusion Dubstep’s journey from its humble beginnings in London’s underground scene to its global prominence is a testament to its captivating and innovative nature. With its unique blend of bass-driven rhythms, atmospheric soundscapes, and boundless creativity, dubstep music continues to push the boundaries of electronic music, leaving an indelible mark on the musical landscape. Whether you are a dedicated fan or a curious newcomer, exploring the diverse world of dubstep is a sonic adventure worth embarking upon. Read the full article

[azaleassgc]

2016 _

C’était un samedi après-midi du mois de Septembre. Nous avons eu la chance de pouvoir nous entretenir avec Egoless, de son vrai nom Ognjen Zečević (Oggy pour les intimes). Le croate fut invité par les Toulousains du collectif Folklore à l’occasion d’une après-midi session Dub, le GlobalSoundclash qui réunissait également la tribu I-Station et leur fameux sound system.

Cela fait un petit moment que nous suivons le travail d’Egoless, qui ne cesse d’évoluer depuis notre découverte sur la deuxième compilation des « Echodub », label écossais qui cherche à promouvoir des artistes avec une identité musicale forte (cf: l’immense Cosmic du bristolois Lurka sur la même compilation). S’en suivit rapidement son très connu « Selected Works 09-12 », album en donation libre compilant tous ses morceaux de l’époque. Véritable surprise où la Dubstep aérienne et ambiante d’Egoless affirme (entre autres) ses vraies influences roots culture (Answer Riddim, Awake Dub, Overnight Dub). Après deux excellentes sorties sur Lo Dubs, le monsieur se fit discret en terme de sorties, malgré ses passages répétés au Outlook aux côté des Mungo’s Hi-Fi. 2015 fut une année riche en sorties pour le croate : ZamZam, Lion Charges, System et récemment Scrub A Dub. Ce fut l’occasion pour nous de pouvoir en apprendre un peu plus sur son actualité, son rapport aux machines et surtout à la musique.

La musique, le monsieur n’en vit pas, même de nos jours malgré son récent succès dans le milieu indépendant. Il vit plutôt de son métier d’ingénieur du son à Zagreb. C’est en grandissant dans le punk qu’il fit ses premières armes en tant que bassiste de Faul à la fin des années 90. C’est grâce à ce groupe qu’il commença à voyager pour jouer, une époque marquante pour lui. Plus que la musique en elle-même, c’est le message implicitement véhiculé par ce style qui l’intéressa : le grand doigt d’honneur (« Fuck You Attitude ») envers notre système. De la musique forte, sauvage, énergique et surtout bruyante. Un bruit qui remplit tout l’espace le temps d’un concert, créant une ambiance bien particulière, propice au relâchement. Il y’a une continuité à cette fougue qu’il retrouva dans le mouvement Jungle/Breakbeat un petit peu plus tard. L’urgence et la sauvagerie sont des notions qui peuvent rejoindre ces deux genres avec un certain regard. La vitesse du Amen Break déstructuré combiné à ses imposantes basses fréquences rendent l’espace propice à un certain relâchement pour le spectateur aussi, tout en restant dans un contexte politique précis (punk: alcool, drogue, sex etc, jungle : rave, drogues angleterre, jeunesse). Ces croisements entre styles ne sont pas un hasard pour le monsieur pour qui cette « énergie » reste présente d’un mouvement à l’autre. Il en est de même pour le Dub et le Dubstep, les deux jouent sur des fréquences très graves occupant tout un espace et de manière très lourde rendant l’atmosphère de chacun des deux unique.

Dans les années 2000, c’est avec ST!llness qu’on le retrouve, dans un groupe crossover avec des amis à lui de Zagreb, fruits de nombreux jams et autre freestyles. D’années en années, la guitare du croate laisse place aux lignes de basses du Reggae et du Dub. Toujours dans cet esprit d’unité avec ses anciens amours, la lourdeur. C’est lors du succès de la période Digital Mystikz et son exportation à l’international qu’Egoless découvrit la science du 140 bpm. Pour ce qui est du dubstep en Croatie, le mouvement EDM et Brostep a tout dévasté pendant leurs courtes années, ne laissant place qu’au artistes vraiment indépendants et amoureux du son depuis le début. La scène est pas forcément énorme, mais reste familiale année après années (Digitron Soundsystem / Bass Matters Soundsystem / Botza / Bamwise / Waitapu). Tous les ans se déroule le Seasplash Festival qui est un festival qui se déroule au même endroit que le Outlook. Festival très important pour la scène, organisé depuis plus de 13 ans ! Egoless faisait également parti du crew Subjekt, qui se pose comme une association Croatienne de producteurs avec Dubdiggerz, Sapleo et Agregat organisant souvent des soirées dubstep. Parmis leurs invités nous pouvons citer Vivek, Joe Nice ou même Gantz.

Au moment de notre entretien, il n’avait pas sorti de musique sur des labels depuis un petit moment. Non pas que le monsieur cessa d’en produire, bien au contraire. Il eu beaucoup de propositions mais quasi toutes venant de web-labels. Non-intéressé, il s’enferme et continue à produire dans l’ombre durant ce break de trois ans. Un break plutôt logique de sa part puisque il ne supporte pas l’idée de vendre des morceaux en format digital. C’est le format physique qui l’intéresse. Format sur lequel il développe toute une réflexion sur la musique numérique. Ou va t’on avec nos fichiers 320k après 20 années passées sur un smartphone ou un ordinateur ? Les fichiers seront-ils toujours en état après 10 passages sur 10 disques dur différents et changés 8 fois d’ordinateur ? Et surtout dans quel état ? Une réflexion plus qu’intéressante et soulevant beaucoup de théories … Problème auquel il a la solution : vendre sa musique en vinyle, le seul format qui l’intéresse pour le public dans le sens de la pérennité dans le temps. Très actif, beaucoup de ses compositions sont disponibles en téléchargement libre sur son bandcamp afin de remercier son public. En résulte les « Selected Works« , dont il vient de sortir le troisième volet en 2016. Attitude qu’on ne peut que saluer tant la qualité de ses free downloads est au rendez-vous (à l’heure actuelle le « post-apocalyptic refix » de Horror Show Style tourne en boucle chez nous ) !

Durant ce break de sorties la scène a bien évoluée, le dubstep a muté pour revenir sur une de ses influences les plus cruciales : le dubwise. J:Kenzo fut l’un des premiers a vraiment sceller cette mutation avec le lancement de Lion Charges, le sous-label de son très noir Artikal Records. La connexion entre J:Kenzo et Egoless se fit à travers le premier vinyle de Egoless, « Rainbow Dub » qu’il joue régulièrement dans ses podcasts pour Mistajam sur BBC1 Extra-Show à l’époque. C’est Kenzo lui même qui le contacta pour le remercier du vinyle. Les échanges entre les deux monsieurs ont commencé à ce moment là. Kenzo parla très vite de son projet Lion Charges et de la tournure qu’il voulait prendre avec ce label en lui demandant de lui envoyer des morceaux exclusifs. Il lui accordera ainsi deux excellentes sorties apportant un hommage neuf et sincère à toute l’ère King Tubby, Lee Perry des années 80. Toujours dans cette optique d’hommage au vieux dub et a à la culture des soundsystems, c’est avec le prestigieux label ZamZam qu’Egoless continuera son ascension. Aucune surprise dans la sortie de ce deux titres, tant la philosophie du label fait écho avec sa musique. Basé à Portland, c’est via Craig Morton (aka Monkeytek, le boss de Lo Dubs Records) que la connexion se fera. Sort alors l’excellent riddim « Yërmënde » porté par la magnifique voix de Daba Makourejah sur la face A. À propos de cette collaboration, Egoless nous avoue avoir adoré collaboré avec elle, mettant un point d’honneur à ce qu’elle chante en Wolof, sa langue natale, pour plus d’authenticité. En résulte ainsi un véritable message sur l’importance de l’éducation sur la jeunesse, un thème récurrent dans la culture Reggae depuis des années. L’instru’ est un gros édit du « Revolution Riddim » de Sly & Robbie qui une fois passé dans les machines du monsieur résonne comme un pur morceau de l’époque mais produit de manière très moderne.

Egoless est également à la tête d’Afro Dub System son side project plus dubby.Le projet commença avec l’idée de combiner les sonorités africaines et jamaïcaines qui pour lui sont similaires sur plusieurs points. Le sample d’Adowa par exemple vient d’un rite funéraire utilisé par le peuple Ga des Ghana en Afrique. En effet pour cette tribu, la mort ne signifie pas la fin de la vie, mais le commencement d’une autre vie. Le rite funéraire se transforme ainsi en une cérémonie spirituelle, laissant place aux chants et à la danse. Quand a la suite du projet, ce n’est pas pour de suite si ce n’est qu’il aimerait beaucoup collaborer avec de vrais musiciens, choristes, chanteurs pour développer ce projet à une plus grande échelle.

[yellowmanula]

booking contact: yellowmanula@cahoots.pl ◾

Some smashy dubstep vibes (newschool & oldschool) on DJ BLAZIK Mix Session on Rave Fm Radio

🌟 INSTAGRAM 🌟 https://www.instagram.com/djyellowmanula/ https://www.instagram.com/ravefm/

🌟 SOUND 🌟 https://www.mixcloud.com/yellow-manula/ https://soundcloud.com/yellowmanula

🌟 HOW TO SUPPORT 🌟 https://www.patreon.com/darkflower_yellowmanula

◾ TRACKLIST ◾ 00:00 - 02:54 Shockone - This is good Dubstep (feat. Phetsta) 02:55 - 04:46 Barely Alive - Poison Dart (Busted by heRobust) 04:47- 7:00 Zomboy - Like A Bitch (Extended Mix) 07:01-10:39 SKisM & Habstrakt & Megalodon - Jaguar 10:40 - 13:00 Cluekid - Grim 13:01- 16:53 Pinch - Punisher (Skream's Heavy Duty Remix) 16:54 -19:50 Cotti & Cluekid - The Legacy 19:51- 22:32 Benga - Comb 60s 22:33 - 23:45 Dack Janiels - Bring it 23:46 - 26:40 Virtual Riot - Nightmare (feat. Splitbreed & Autodrive) 26:41 - 29:50 Trampa & Franky Nuts - They Don't Want It 29:51- 32:15 Digital Mystikz - Enter Dimensions 32:16 - 38:02 Awolnation - Sail (Omega Remix)

◾ VIDEOMIX: ◾ Jamal (Rave Fm) https://www.instagram.com/ravefm/

[hostilityqd]

Digital Mystikz - Return II Space

[dj-ki]

(DJane Ki - Synthesis)

[Free download]

Dubstep mixtape w/ Loan, Photek, Kode 9, Digital Mystikz, Emika, Helixir, Reso, Joaan,...

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