Bassfaced Podcast 017

Category: , By brockolio

1. Shabazz Palaces - An Echo From The Hosts That Profess Infinitum - Sub Pop [BUY]
2. J-One - Collide - Urban Scrumping [BUY]
3. Silkie - Outlook - Deep Medi [BUY]
4. TRC - Oo Aa Ee (Royal-T I <3 Garage Remix) - Butterz [BUY]
5. DJG - Automatic - Brownswood [BUY]
6. Silkie - New York City - Deep Medi [BUY]
7. Monky - Drunkerdz - Brownswood [BUY]
8. Sublo - Skylarkin - Dub
9. Ta-Ku - Talk To Me - SR [BUY]
10. Baobinga - Ride It (Untold Remix) - Build [BUY]
11. Buraka Som Sistema - Hangover (BaBaBa) - Enchufada [BUY]
12. HxdB - Savage Pets - Brownswood [BUY]
13. Nguzunguzu - Water Bass Power - Fade To Mind [BUY]
14. Synkro - It's - Mindset [BUY]
15. Silkie - Boogie Boy - Deep Medi [BUY]
16. Anti-G - Oepss Te Hardd! - Planet Mu [BUY]
17. Jay 5ive & Kromestar - Wishful Thinking - Bass 'N' Love [BUY]
18. Wiley - Yonge Street (1,178 MIles Long) - Big Dada [BUY]
19. Ta-Ku - Pagasa - SR [BUY]
20. Shabazz Palaces - Swerve… The Reeping Of All That Is Worthwhile (Noir Not Withstanding) - Sub Pop [BUY]
21. Babe Rainbow - Greed (Ft. Yung Clova of G-Side) - Warp [BUY]



Bookmark and Share

Joe Nice interview

Category: , By brockolio

While dubstep itself has underwent it's fair share of changes over the years, Joe Nice and his unfailing love for the music and respect for dubplate culture has remained a constant.  For many of us here in the States, he's responsible for introducing us to a sound birthed in South London and helping to bring and represent that sound all the way across the Atlantic throughout North America.  He's someone whom has never been afraid to speak his mind, although at times elects to communicate instead through his bag of dubs, two turntables, and a mixer.

In advance of the inaugural RECONSTRVCT party in Brooklyn this Saturday night which also features fellow DubWar resident Dave Q as well as the U.S. debut for Deep Medi producer V.I.V.E.K, we had a chance to catch up with Joe and talk about the new event:

Joe, it’s been almost 8 months since your last gig here in NYC for the DubWar one-off at Deity last December. Since then you’ve navigated a tour through Europe this past Spring as well as dates throughout the states. Why do you think more promoters in the city haven’t reached out and do you feel like your ‘controversial’ Big Up interview may have had any effect on this?

When I did that interview about 17-18 months ago I basically drew a line in the sand where I stood musically and it was a "ride or die" situation. I said what I had to say, I stood by it, and I stand by it now. I don’t think it was something limited to promoters in NYC, I'm sure there were promoters that read the interview and didnt want to book me because of what I said...and that's ok. When I did that interview, someone needed to speak up; I did...and if the interview took place tomorrow, I'd say the same thing.

Tying into that is the new Reconstrvct event happening in Brooklyn at the end of the month. The party is set to write a new chapter of the dubstep story within NYC, hosting Deep Medi producer VIVEK’s US debut, as well as sets from yourself and Dave Q. Can you talk a little about the event and the ‘low frequency with decency’ mission statement?

Well I was approached by a couple guys in NYC: Luke, Seth; they wanted to start up a new dubstep event in NYC and they wanted my involvement. I'm curating the event. I'm looking at the big picture, rather than small details within the picture. After 5 years of being "behind the curtains" at DubWar, there are loads of learned lessons I want to implement for Reconstrvct. There are things that I want to do that are going to be different from DubWar. We want our own identity and we don’t want to just have people come in and say “You guys are just trying to rehash Dubwar.” It's a new party. New place. New space. DubWar was a specific event in a specific time, it had it’s run, it’s done, and I nor anyone else could ever recreate DubWar. Those shoes can never be filled. We intend to create positive vibes and bring proper dubstep back to NYC. We want those that attend Reconstrvct to enjoy themselves, drink a cold Red Stripe, see people they haven’t seen in a while and enjoy themselves in an environment that allows each person to find their own space in the place. There’s certainly a market for that here and I fully intend with the guys I’m involved with to bring that sort of vibe and that sort of positive energy to NYC. “Low Frequency With Decency?” It is what it is. I don’t need to explain it. You know it when you see it, feel it, and hear it, those four words will make even more sense and have more relativity to you. Plus -- it's NEW YORK.

I cut my teeth in Baltimore but the city where I "grew up" most as a DJ is New York. You always have to come correct at every show, but that's not enough for New York. Standards are high and that's the way it should be.

While many choose to focus on the negative aspects associated with the explosion of brostep, it seems to have also brought the community that produces and supports the deeper sounds of the spectrum even closer. Do you think there are some positives that may have come from it all? Has it helped to build a hunger and desire for music that hits in a less superficial way?

I certainly agree with the idea and concept of those that were non-brostep circling the wagons and tightening everything up. That’s not necessarily to say that there was less of a community or any less of a togetherness before the whole brostep explosion. Whenever you have a situation where battle lines have been clearly drawn in the sand and the writing is on the wall, you have a tendency to gravitate towards those that are most like you. Human nature.

I don’t think I’ve ever seen it where you have someone that plays dubstep that’s getting booked in NY with someone who’s considered brostep or whatever you want to call it. You can probably say that about other cities and the same thing about London.

Look at the DMZ lineup. You’re not gonna see Skrillex, 16bit, and Mt Eden on that lineup, it’s just not gonna happen. The opposite is also true, you’re not gonna see dubsteppers booked for an event that caters more to an aggressive brostep crowd.

We’ll do our thing, they’ll do theirs, and I guess now there is clearly enough room for everybody.

Have you been spending any time in the studio recently on production?

I’ve been dibbling and dabbling with a couple ideas here and there. Nothing that’s concrete and nothing that I’m ready to put out there and see if people are going to be receptive to. I’m not mature enough in my own production and my own concept of what I think I would want to play out. I’m not there yet and that’s gonna take time. Obviously more time than I ever imagined, but it’s gonna happen and when the time is right, it’s gonna be right. It has to be right, it has to feel right, and the timing has to be right. There’s no need to put something out just to be able to say that I did it.

DJing will always be a passion of mine. Performing in front of people no matter how large the crowd, is important to me. It’s important to what I do and what I represent in the dubstep community. It’s my identity. It’s what I do and I know the feeling I have when I play a tune from an artist and it goes off in the dance. I can only imagine the feeling that particular producer has when he or she plays their own tunes and sees a positive crowd reaction...or no reaction, which in many cases is just as good as people screaming and jumping up and down because if they’re not reacting, they’re standing there listening and thinking. That’s when you know you really have a crowd because it’s not just an automatic reaction of hearing something and asking for a pull-up. You’re standing there in the middle of the dance floor and you’re hypnotized by what you’re hearing and you’re thinking about it. You’re thinking “damn, I wasn’t really expecting this” and you might not necessarily like what you’re hearing, but you’re listening and it’s sinking in. I love when that happens because that’s when you know you have the crowd in the palm of your hand. Now you can go anywhere you want because you have their attention and not necessarily in a bombastic fashion.

You’ve always been one of the most quotable personalities in the scene. Where does all that stem from and who have been some of the most influential figures in your life?

We are all products of our own environment.  I'm no different.  My parents are the people I’ve learned the most from. Not necessarily in music, but as human beings. The life lessons that I’ve learned from them…it’s interesting now because I have a seven month old daughter and there were things said to me by my parents as a child that i didnt understand at the time, but I always remembered. My Mom would say, “you won’t understand this now, but when you get older and have kids you’ll understand.” Now I’m a parent and I’m saying things that my mother said to me when I was a kid.  I guess these things that I say are from the heart.  They’re not pre-planned statements that have come out just to make an interview or to sound cool in a conversation.

I’ve had people that have been influential to me musically and locally.  Dan Gee, John Ask; those two guys in the early days were always positive influences and were always in my corner when I was playing in ‘02 or ‘03 to 10 people in a bar.  They were always there telling me to keep going. Nearly a decade later, here I am.

I think there’s a lot of people within dubstep that have been influential…Mala, Martin Clark… Kode9’s another guy that when you sit down and talk with that brother and you feel smarter afterwards. The DubWar guys, Distance, Tunnidge, Cyrus…you can always learn something from someone.

I wasn’t even trying to call people out by name. There’s always a learning opportunity, there’s always a teachable moment, there’s always a learnable moment. Life lessons learned. True joy is when you can share those experiences with someone that has not had been as fortunate to have had them. It’s the satisfaction of knowing you were able to help someone along the way. Pay it forward.

Speaking of Martin Clark, I believe he recently threw down the gauntlet and challenged you to a battle of lost dubs on Rinse…

Mr. Clark did call me out. You saw it on Twitter, but that wasn’t the first time. He called me out in an email about 3 or 4 days before he actually challenged me. The only reason I hadn’t responded to him is because what he said in the email (and I’ll leave that between us and the email) what he said was audacious in a way that if you didn’t understand our relationship and our friendship, you would look at it and say, "Damn, what’s he beefin about?”

I never saw it as that. I know he's trying to wind me up and that's all good. Trash-talk is standard operating procedure for a soundclash. It's healthy. Someone has to obviously throw down the challenge and someone has to accept. Whenever you’re being challenged at anything, ego ultimately is going to get involved and then it just escalates from there in terms of the competitiveness.

I’m touring Europe/UK in October and if our schedules fit, it’s 1000% gonna happen. Now I know he has things in his collection that I’ve never heard or don’t believe actually exist. At one point he worked for Ammunition and it would not shock me if he had test presses of every Tempa release. There’s some dubs he’s got floating around. I know that I’m looking at my bookcase and....well....let’s just say there’s a few gems in the collection. Ultimately, it’s not about him winning or me winning, I think it’s the listeners of the show that will be the real winners. When are you gonna hear some of these tunes ever again? Blue ribbons and gold medals for everybody.

Bookmark and Share

Cardopusher mix and interview

Category: , , By brockolio

1. Ford & Lopatin - Emergency Room [Software]
2. The Browns - What´s That [Dancemania]
3. Neon Jung - Just Can´t Leave It Alone [Magic Wire]
4. Cardopusher - Body Slam [forthcoming Iberian Records]
5. Deadboy - Wish U Were Here [Numbers]
6. Cardopusher - Then What [forthcoming Frijsfo Beats]
7. Cardopusher - Coppertoned Punch [Tigerbeat6]
8. Magnum - Rays (Panteros666 remix) [Nightshifters]
9. Zoltan - Pawnoramics (Mock The Zuma mix) [Freshmore]
10. Bok Bok - Charisma Theme [Night Slugs]
11. KingThing - Queen Hive [forthcoming Freshmore]
12. Cardopusher - Guava Blossom [forthcoming DVA Music]
13. Instra:Mental - User [NonPlus]
14. Teeth - Shawty (FaltyDL remix) [502 Recordings]
15. Magnum - Juracan (Randomer remix) [Nightshifters]
16. Cardopusher - Instant Glue [forthcoming Frijsfo Beats]
17. Cardopusher - Yr Fifteen Minutes Are Up [Tigerbeat6]
18. Pacheko - Destruyelo [unreleased]
19. Cardopusher - Sunburst [unreleased]
20. Aux88 - Break It Down (Dj Dijital remix) [Direct Beat]
21. Addison Groove - Work It [Swamp 81]
22. SBTRKT - Look At Stars (Machinedrum remix) [Young Turks]
23. Objekt - The Goose That Got Away [Objekt]
24. Hyetal - Transmission [Black Acre]
25. Sesped - Get Around Girl [Saturate Records]


Cardo, thanks for taking the time out to talk to us. If you wouldn't mind, could you give us a brief introduction and talk a little bit about your musical background and upbringing?

I started making music around 1999 after discovering software like Acid and ReBirth after graduating from audio engineering school. Before that I used to play in rock bands as a kid, but got tired of working with others and realized I was more comfortable just doing it on my own. Around that time most of my background was heavily influenced by stuff like Mr. Bungle, Faith No More, and Ween. During mid 90s we got a decent "independent" record shop that included a small section of electronic music where I used to dig constantly. It took me some time to be interested in electronic music, but once i listened Aphex Twin and found the Warp/Rephlex label I changed my mind completely and discovered a whole new world of music I was missing.

Did the socio-political climate of Venezuela directly impact the breakcore and more aggressive sounds that you used to produce while living there?

Definitely. Venezuela has been pretty hectic for the last 10 years. People have become aggressive because of the situation and this had a direct impact on my music. I needed to release my own anger and frustration and channeled it into breakcore. Once i moved to Barcelona I decided to move on to other sounds, so I guess it was the climate while in Caracas that was pushing me to do it.

You were a student at the Red Bull Music Academy in 2008 which took place in Barcelona. Could you talk a little bit more about that experience and it's impact on your growth as a producer? Did that experience lead to your eventual relocation to the city soon thereafter?

The first time I heard about the RBMA was around 2003-2004. I got invited to a meeting where they were explaining what it was all about it and it sounded very interesting to me, so i decided to apply but didn´t get in. After applying a couple of times, I was finally accepted in 2008 and can say it´s one of the best experiences I've had! All participants and the whole academy crew were great! You go from lectures to workshops, surrounded by studios with an opportunity to sit down and make music almost 24/7 with the people around you. Very inspiring! It was also great to do it in Barcelona as I had relocated just some months before and the city still was new to me.

What's the shape of the music scene in Barcelona like in comparison to Caracas and how have some of the larger festival crowds like Sonar responded to your music?

The music scene in Barcelona is completely different in comparison to Caracas because basically in Venezuela everything arrives late. Also in Barcelona you have international acts playing often and tons of local and foreign producers. Caracas is just starting, but it´s getting bigger and bigger everyday. Better late than never!

Festival crowds like Sonar where you see a large amount of people enjoying your music is huge. I'm not used to playing at big festivals, so those kind of experiences makes you wanna keep pushing forward with what you're doing. I'm very comfortable being here in BCN and basically Europe is great place if you want to make a living doing music. But if you happen to find yourself in Caracas anytime soon, you need to go to one of our Abstractor parties.

When did you, Pacheko, and Pocz first meet and what was it like working together in the studio down in Caracas? Do you guys still keep in touch and bounce ideas off of one another?

I met Pacheko around 2004 when he contacted me to produce some tracks of his now defunct band Todosantos. We became good friends after the whole process of producing/recording the album at a friend´s studio where I used to work. A couple of years later we worked together on what is now his own studio (that he shares with a couple of friends), called Estudio Pararrayos where we do stuff for TV/radio/film working on foley/sound design/pre-post production + more. Pocz was looking for a job and he ended up working along us. We are all still in touch like always and I'm still working with the studio via internet. They just finished a remix for my next single on Tigerbeat6 and I just finished a remix on a project they are working on.

meow170/shock22 Cardopusher – Yr Fifteen Minutes Are Up by Tigerbeat6

Your latest album released on tigerbeat6 'Yr Fifteen Minutes Are Up' deviates from your earlier albums with a much more upfront 2step and garage influence. Was there a conscious effort to mix up the styles on this release and when did the majority of the material come together?

Yes.  This new album is completely different and far away from the stuff I've produced in the past. But everything was a gradual progression. After some years working strictly on breakcore, I got hooked into dubstep but realized I didn´t want to be pigeonholed by just one genre. There are so many kinds of music I love and I wanted to do an album of the stuff I was feeling by that moment. The intention was to create a history with it and not just a bunch of club tracks. Making something to listen to at home was a challenge for me and it took me around 5-6 months to complete it. The goal was to release it by the end of last year, but release was delayed until May 2011.

If you relive one party from the past year, which would it be and why?

Boom Festival in Portugal just because I went with many good friends and all of us were playing there. It was an in an open air area located near a big lake/beach in a zone called Idanha-a-Nova., 3 hours away from Lisbon. We spent 3 days there hanging around, it was epic!

Lastly, would you mind breaking down your TOP 3:

1. Tokyo
2. Athens
3. Krakow

1. Arepas
2. Sushi
3. Mexican food in general

1. Exit Through The Gift Shop
2. Buffalo '66
3. Blue Velvet


Activities outside of music:
1. Traveling
2. Eating
3. Reading


Bookmark and Share

Deco interview and exclusive mix

Category: , , By brockolio

01. Calibre - Me, Myself, and I [Signature]
02. V.I.V.E.K - Eyes Down [Deep Medi Musik]
03. Marcus Intalex - Dusk [Soul:R]
04. Bastille - Through The Haze [dub]
05. ID - Slope [Sub Slayers]
06. Synkro - Just Say [Box Clever]
07. Kromestar - Konfuzed [Deep Heads]
08. Von D - Zhakee Bon (Distinction Remix) [Argon]
09. J:Kenzo - The Roteks [Tempa]
10. Silkie - Float [Deep Medi Musik]
11. Lennie De Ice - We Are I.E. (Caspa & Rusko Remix) [Y4K]
12. Bro Safari - Amazon Rock [Deceast]
13. Marcus Intalex - From The Ashes [Soul:R]
14. Icicle - Redemption (feat. Robert Owens) [Shogun Audio]
15. Atlantic Connection - No Explanations [Deceast]


Our latest cloudcast comes courtesy of L.A. (by way of ATL) resident Deco, founder of the Deceast record label. We had a chance to chat with him about his music and design background as well as the innerworkings of operating the label and maintaining it's distinct vibe:

First off, it seems you have worn all kinds of hats in this industry: would you mind giving us a brief introduction and lending some insight to your musical and design background over the years?

Music has always played a big part in my life, but I didn't get heavily involved in the industry side until college when I started working at my school's radio station. I first got on the air at WRAS Atlanta doing a weekly graveyard shift and eventually spent several years being heavily involved with the station all the way up until I graduated. At the same time, I had started DJing around Atlanta mostly doing locals parties and opening for the occasional headliner. Those years offered up seemingly endless musical experiences and really sealed my fate of being involved in it one way or the other for the rest of my days.

After graduation, I moved to Los Angeles for what I thought would be a short stay to finish a master's degree. Instead, I dove head first into the music scene at a time when the first dubstep parties were being thrown in LA and drum & bass events were bringing out huge crowds multiple times a week. For about three years, I worked for the promoter Insomniac while also picking up other music-related jobs on the side -- during this time is when I really learned a lot more about how the larger music industry operates.

As for design, I gained an interest in it during the 90s through a combination of graffiti and the BBS scene art groups. I had an internship at a small graphic design studio when I was in high school doing really early web stuff and things like that. I did a lot of freelance design work to support myself in college and have spent stints working at design agencies and start-ups for the better part of the past decade.

While I've done both music and design for many years, Deceast is really the first time I've had the ability to blend the two worlds in a meaningful way.

When did the idea of starting your own label first come about and what were some of the first steps you took in terms of getting the ball rolling and signing those first tunes? What was it like seeing your vision come to fruition with that first release?

I've entertained the idea of running a label for a long time, but I didn't start to act on it until just over a year ago. At the time, I was getting sent a lot of great music that, for whatever reason, other labels weren't picking up. I thought this music deserved to be out in the world and given some attention, so I took it upon myself to make that happen. I started by getting the infrastructure set up, signing a distribution agreement to get the music to retailers, creating the branding, and signing the first batch of singles. After that, a lot of the work is focused on making sure people know the music is out there!

As for the first release, it was a great step but I knew it was just the first move down a long road. However, I still get really hype when I hear a DJ play a Deceast track or see one in the tracklist for a mix! It's very satisfying to see your contributions back to music getting picked up and supported by other people.

Any reccomendations or advice for anyone looking to start up their own imprint? It seems that now more than ever, there's a huge waiting game in terms of getting records pressed if you're a new upstart label. How important are vinyl releases to you these days?

I certainly know how tough it is to press vinyl these days, as I'm still trying to get a deal for vinyl distribution worked out. However, it gives me something to strive for as I would love to hold a Deceast release in my hands! For those looking to start a label, just remember to do justice to your vision and only put out the best possible music statements that you can. A lot of people now look at music as something disposable, but I try to put out releases that are carefully curated with a lot of attention to detail.
The releases on Deceast so far have all maintained a similar deep and soulful vibe while not being pinned down or restricted to any one specific tempo. Has this always been part of the vision for Deceast or did this part come about with time? What are the advantages and if any, the disadvantages of not being tied down to any one specific genre?

The vision for the musical direction of the label has always been based on vibe; tempo and genre have been secondary. If it has the right mood to it and it fits within the overall sound of the label, then it's probably something I'll consider signing no matter what the style is. I prefer to embrace the ability to release multiple genres on Deceast rather than focusing on one. I spent a lot of time sequestered away in drum & bass, so the past few years of the genre walls coming down have been liberating. I plan to include many styles of music in the Deceast discography as long as the vibe is right!

Could you talk a little bit about what influences have played a part in achieving this overall vibe that seems to have remained a constant from release to release? For example its seems that early 90's hip hop vibes certainly play a big part in the Deceast records DNA.

90s hip-hop plays a big part, as that was a major entry point for me into the world of underground music. Same with the atmospheric drum & bass sound typified by Good Looking Records, as well as the darker mid-90s sound of labels like Metalheadz and No-U-Turn. I also count jazz, funk, and soul producers from the 1960s and 1970s among my influences as that's where a lot of the conventions of the modern deep/soulful vibe were first pioneered.

Deco & Linker - Greenthumb Funk [Deceast - DEC004 - Released June 27th 2011] by deco

Greenthumb Funk is already in heavy rotation for me as a defining summertime anthem. How long have you been producing music and how did you and Linker first get together in the studio?

I first started dabbling in producing about 8 years ago but didn't get serious about it until recently. It took me a long time to get to a level where I felt good putting my name on the finished product. Linker and I know each other from the LA music scene, although his main musical outlet is a house music outfit known as Breakdown. He had been interested in expanding to some new musical styles, so we got in the studio and Greenthumb Funk was the second track we wrote together. We work really well together, so expect to see more from us soon.

Any crazy stories to share from your days of promoting/ being on the road as Evol Intent's Tour manager?

Those dudes read mad books. Like, more books than any other DJs I know. For real. Crazy book readers.

It seems like parties, as well as record labels run the risk of inevitably getting pigeonholed and having a hard time breaking out of what people's expectations are for a night or release to sound like. What are some of your favorite club nights and why do you think more promoters haven't taken a similar path to the label in terms of creating events with varied tempos and styles while still maintaining an overall vibe that serves as the common thread between the acts?

I don't travel much right now, so all of my favorite club nights are here in LA. For drum & bass, Respect is the weekly event for the heads. They've been going strong for over a decade and you can always expect to hear quality beats there -- they really love the music and know how to book the good artists who may not have a big reputation yet. The vibe there is quintessential LA too. For dubstep, both SMOG and Pure Filth are the two who really laid the foundation here and they still throw events that capture that early dubstep vibe that a lot of the new promoters totally miss. For more eclectic sounds, the surprise guests at the Do Over are always a treat, and the underground house parties produced by theLIFT are a favorite of mine when I want a bit of an adventure.

As for promoters not trying to vary the music of a night, I actually think things are more varied now than they have been in a while. On an average night going out, unless I know I'm going to an event that is catering to a specific genre, I hear many more styles of music than I would have even just a few years ago. Also, dubstep and a lot of the offshoot bass music genres have crept into much larger clubs typically reserved for big room house music, as well as festivals, and that's really opened things up stylistically. It's refreshing to hear different styles commingling.

You had mentioned in one of our earlier emails your experience seeing DJ Marky down in Atlanta in the mid 00s when he was just starting to blow up. Could you talk a little bit more about that experience and about Atlanta seemingly being a hotbed for DnB around that time?

DJ Marky came to Atlanta with XRS and MC Stamina in late 2003 right as The Brazilian Job and LK were blowing up. They played for a good three hours or more and it was great to see that liquid funk could drive the entire night instead of only serving as the opening soundtrack.

I think Atlanta developed a jungle / D&B scene earlier than many other cities in the Southeast, plus we had some great record stores that helped sow the seeds of the community in the 1990s. At the time, drum & bass was closely tied to the rave scene, but after raves all but vanished from Atlanta in the early 2000s it developed it's own identity. Atlanta was more receptive to the forward-thinking sub-genres than other places in the Southeast and it was a good time & place for me to come of age as a DJ. It has really helped me keep a high standard to what I do musically and with the label as a whole.

After being involved in the industry so long, are there any recurring trends you see coming back again full circle? Predictions for the future?

Music moves so fast now and new trends seem to come out of unexpected places more than they did in the past, so I'm not really sure what the future holds. With that said, I do think we're going to reach a breaking point with the relentless highest-energy-possible style a lot of DJs are pursuing these days. I hope that yields a return to hearing more dynamic sets and seeing more varied levels of energy at club nights and across the entire culture.

Lastly, on a lighter/less serious note, would you mind breaking down your TOP 3:

1. ATLA (If only I could put ATL's food in LA's climate...)
2. Chicago (One of the greatest cities I've ever been to)
3. Denver (clean, crisp, and chill)

1. Breakfast
2. Brunch
3. BBQ

Movies: Impossible to choose, so here are the last three I watched.
1. La Haine (
2. Things to Do in Denver When You're Dead (
3. Primer (


Activities outside of music:
1. Reading (currently The Record Players: DJ Revolutionaries by Bill Brewster and Frank Broughton)
2. Technology (currently creating touchscreen interfaces for movie theaters at my day job)
3. Design (currently designing the cover of the next Deceast single!)


Bookmark and Share