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*Joe Nice Q/A Session*

August 2007

Words by Steve Kusek [pmx~radio/88dc]

If someone were to call Joe Nice a busy dude, they would be doing his hustle a disservice. Joe Nice is beyond busy. The dude is constantly touring, always pushing the contagious Dub and Bass of Dubstep to new audiences worldwide. Many DJs who gig professionally tend to burn themselves out within a couple of years. But Joe just keeps grinding, remaining down to earth and continuously preaching the Dubstep gospel to his global congregation of bass heads. 88 first brought Joe Nice through DC for a dubstep gig back in March 2006 @ Science Club. We’ve kept in touch with him ever since, and he was nice enough to fit 88 into his schedule for a little Q/A session…

88: So I see you just played the gigantic Dour Festival in France a couple weeks ago. Possibly THE most impressive roster of artists for any festival I’ve ever seen. Ever. Let me just go over some of the artists at Dour this year… Skatalites. Wu-Tang Clan. Solid Steel crew. Cinematic Orchestra. Grooverider. DJ Hype. Andy C. Goldie. Adult. Dave Clarke. Zion Train. Jah Shaka Sound System (!!!). Tony Rebel. Israel Vibrations. Ed Banger crew. Luke Vibert. Stones Throw Crew. Beenie Man. Sizzla. DJ Shadow. Dr. Octagon. Anthony B…

And there you are – nestled in the middle of a vicious Dubstep/Grime lineup. Grimelock, Skream, Wiley and Joe Nice. Wow. So tell me a little bit about your international DJ game and THIS gig in particular…

JN: This gig was crazy….Honestly – crazy. Unlike anything I’ve ever done before. Keep in mind, this gig was a Friday night show and I left Baltimore on Thursday morning. I got a few winks on the plane and I landed in London @ 7am – chilled in the airport until 930am and made my way to TRANSITION to pick up some fresh dubplates. I linked up w/CHEF, LD and JASON @ TRANSITION and – well – did stuff. Went to a record pressing plant. Ate food. Saw dubplates get cut. Just a damn good time. Keep in mind – the word “SLEEP” hasn’t been mentioned yet. I caught a train from Forest Hill to Gatwick Airport and made the flight to Zavenstam airport in Belgium. The driver, Bernard – picked me up and drove me to the hotel. I was so excited – I couldn’t be tired. I grabbed a shower, grabbed my bag and went to the artist’s village. There, I linked up with Skream, Wiley and MC Chipmunk – a protégé of Wiley. Here I am, eating curry and rice and I’m at the table with Wiley and Skream – absolutely surreal. We took a shuttle to the area where the festival was actually taking place – another 30 minute drive. We took care of business and made our way to the stage. 5000 people under the tent. SERIOUSLY – 5000 people in the tent. Grimelock went on and smashed it. Skream – he blew minds. Wiley and his crew – destroyed the place. During Wiley’s set – a pair of Dutch photographers snapped some pics for a book of djs that I’m gonna be featured in. (BELIEVE ME, I’M HAPPY ABOUT THIS.) It’s now 330am – and I’m on the decks. There’s 5000 europeans just having a blast – it was amazing. People held up “5” signs. Outside of the entire event – the one thing I’ll remember the most was the mosh pit that broke out. I played a Distance tune called “THE V”. After the second drop – a moshpit broke out. 50 people throwing elbows and arms. I had to stop the tune and start it up again. Show was over @ 5am. There’s still 3500 people in the tent – just waiting for more. I could have played for another 2 hours and still had people there. It was crazy. The crowd was looking for more beats – the sound engineers ran on stage and removed equipment – fast ! I jumped off the stage and hung out with people in the crowd. Skream followed suit a minute later. There’s a few hundred people that are hugging on me, shaking my hand and taking pics with me. It’s not 6am and I’m still awake. The shuttle took us to the hotel. I got to sleep @ 7am. READ THAT AGAIN – 7am.

Keep in mind, I’m playing London on Saturday night @ the DMZ.

Now – I’ve gotta check out of the hotel @ 12pm – the next set of groups/bands/etc are on the way to the festival and hotel. I showered, packed up and I was out by 1145am. I walked down the street to a café – ate a bowl of pea soup and a salad and chilled out for a couple of hours. On my walk to the café, a couple of people recognized me from the festival the night before. I chatted them up for a bit – then made my way back to the hotel lobby. I sat in a chair and I was watching some sort of something on tv – I’m not sure what it was – I was still in a daze from lack of sleep. It’s now 4pm and I’ve got a 725 pm flight from Brussels to London. Bernard is there again and he said – “Joe, would you like to go to the airport?” I said, “SURE! LET’S GO!” Bernard and I are just chatting during the drive to the airport – I’m speaking English – he’s speaking English as best as he could. Then again, most Belgians know four languages – and that’s three more than me. I grabbed my bags – sorted out the flight and waited for the plane.

A few things about Europe’s airports:
1. The airports are much smaller than in the states (for the most part)
2. They’re much more organized.
3. The people at the airport want to help you.

I’m on the plane to London – an hour later, I’m there. I grabbed my bag and caught a train to East Croydon station. Georgie picked me up and we chilled and her place with her roommate, Subeena. We left there @ 10ish and made our way to MASS. We walked up the hill and there’s 200 people waiting to get into the place – I’m standing outside just chatting everyone up. Enjoying life. I finally made it inside the place and hung our some more. It’s 3am – and I’m on the decks. I played for an hour – did my thing and shut it down. I stayed till the end – 6am. Yes, 6am. I’m up the entire time. Mala, Loe, Pokes and I left the venue @ 630am. I got dropped off @ the E. Croydon station and caught a train to Gatwick for a 915am flight. I made the flight (so did my bags) and I eventually made my way home. Seriously, it was a weekend for the ages. No joke… the ages.

88: I remember you telling me about your trip to London awhile back. You got to play DMZ at 3rd Base in Brixton. Not just any night, but their 1 year anniversary at the venue. You also dropped science at Rinse FM studios. Huge. Then I hear that first Dubstep Special on Mary Anne Hobbes’ BBC radio show, and not only does she give you a shout – but they run your BBC promo ID as well. Massive. You seemed to return to the states with somehow MORE enthusiasm and love for Dubstep, and a greater appreciation of the FM/Pirate scene in London. All this is very impressive, but as an American – even more so. This was possibly the first time an American was allowed inside the secretive Rinse FM compound.

JN: Well – I can say that I’m the first American to play RINSE FM. It’s something I’m real proud of. Believe me. Something I’ll tell my kids and grandkids about. It’s that sort of thing. I can’t get into specifics w/regards to the location of the RINSE FM studios, but I can tell you that it’s pirate radio – nothing fancy. Just 2 decks, mixer, monitors and a receiver. I also remember the place being hot. There’s no windows – just a room. In the place when played there a nearly 2 years ago: me, Orson from Germany, Mala, Loefah and Kode 9 as the host. A great time – you have no idea.

88: Could you tell us a little about the BBC Radio 1 spot?

JN: The Radio1 thing – that was specifically for the BREEZEBLOCK dubstep special about a year ago. M.A. Hobbes wanted some voiceovers for the show – etc. I sent one in and it got played.

88: And what about the DMZ gig? Give us a rundown of the state of things when you stepped inside 3rd Base. I remember you explaining in detail the atmospherics inside the venue – the physics involved when massive bass meets a hazy venue full of people… You must have been on Cloud 9 flying back to the states after all that!

JN: The DMZ 1 year – sick. Truly sick. I remember arriving to the venue @ 830pm. It’s March and it’s freezing cold in London. ICE COLD. I put my stuff inside and the BBC is there – filming. They asked me if I wanted to be in the vid/documentary. Of course, I said yes. I did the interview and in all honesty, you never know what’s gonna happen until it happens. I stepped outside and there’s 50 people waiting to get in – it’s 9pm. So – I hung outside and chatted with everyone. And yes, I froze just like the rest of them. Once the freezing was over, I went inside and got loose. 10pm comes around – first tune, EDDY GRANT, Electric Avenue. Loe pulls up the tune. 10pm and there’s already 100 people in the place. By 11:00, the room (that holds 400) is nearly packed. It’s 11:15, Mala taps me on the shoulder and says, “Joe, there’s a queue around the building – just keep playing – we’re gonna move upstairs !”.
So – I’m still playing, 2 hours and 10 minutes later, I stopped – and we all moved upstairs. I just remember dropping so many tunes for the first time, Scuba – Twista, Pinch – Punisher (4 pullups on that one); Digital Mystikz – Conference. You name it – it got played. That night – it was a dubstep rave. No joke. A rave in the place…. sick times !

88: You are mentioned everywhere from Wikipedia’s Dubstep entry to the Baltimore City Paper. You got props in URB Magazine’s massive 2007 Top 100 issue. Congratulations, by the way – it was about time. What are your thoughts on popular media and the role they play in our underground music culture?

JN: Without the media – no one would know about any of this. No one would know about dubstep. No one knows about the djs that are making moves – or the artists that are producing lovely music. In the August 2007 edition, I was featured in DJ Times magazine. I’ve had so many people big me up on that one page writeup. It’s a delicate balance though. I believe that dubstep is best-represented (in terms of media-coverage) by the people that actually know something about the sound. I’m really not interested in writers that jump on the dubstep bandwagon, because they’ll ultimately misrepresent what dubstep is all about. It’s all about having the “right people”….Martin Clark, Justin Hampton, Cindy Chen, 88 Music…..etc…etc. You all (and others that I can’t think of right now) know what you’re doing.

88: Thanks! I know in the UK – London in particular – many older folks attribute Grime to Gun Violence, due largely in part to wide blanket claims by the media about the Grime audience and artists based on the actions of a few bad seeds. Do you think the magazines, websites and other press have been fair to Dubstep and Grime?

JN: Generalizations are never fair – same theory applies here. Grime has been linked to violence because of “a few bad seeds” and some of the lyrics involved and as a result, grime has been associated with violence. Same thing happened with Garage. Once again – misrepresentation in reporting of the facts – or someone that doesn’t know the deal. Dubstep is incorrectly linked to Grime when the two scenes really have nothing to do with each other. Dubstep goes out of its way to promote a non-violent atmosphere. We’re not interested in being linked with violence…we’re far more interested in the beats, bass and boom.

88: You’ve said before that growing up in Baltimore really played a big part in how your musical tastes were cultivated. From Pope & Oji’s weekly house sets on Morgan State’s college radio station 88.9fm, to the oldschool Baltimore Club DJs like Boobie and Frank Ski. Do you still get into any of that Bmore Club music? What type of stuff do you listen to when you’re just chillin out in your spare time? Give me a few non-Dubstep items that are in rotation on your current playlist…

JN: Those dj’s you’ve mentioned are all legends and as a dj, those are the guys that I look up to the most. I can’t really get into the new Baltimore club music…I’m not sure why. Maybe it all sounds the same. Maybe it’s the samples from tv shows that are pitched up. Maybe it’s a similar beat structure. I don’t know why I’m not into it, but the new Baltimore Club doesn’t hit me the same way as the old stuff does. Gimme “Brighter Days” and “Doo Doo Brown” any day of the week. That’s the stuff that I love.

When I’m not on the decks – I’m all about 70’s and 80’s r&b. I love Earth Wind and Fire. Recently, my lovely girlfriend and I caught Earth Wind and Fire at Pier 6 Concert Pavilion in Baltimore. Sure – the band had changed, but the founders from the early days (Verdine White, Maurice White and Philip Bailey) were all on stage. Maurice still has a voice. Verdine White was all energy on stage, while he slapped the strings with his right thumb on the bass. Philip Bailey – brought me to tears with his falsetto voice. That guy is amazing. Absolutely amazing. There’s a part of me that wonders why he never had a big solo career (outside of “Easy Lover”) , but maybe he was more comfortable in the group. But – therein lies the brilliance – he’s one of the few lead singers from an r & b group in the 70’s that you know by first and last name. Quick – can you name the lead singer of the Ohio Players? My point exactly…I’m also a Prince fan. What’s not to love about Prince? I could be here all day talking about Prince. Another singer that I’m always listening to is Luther Vandross. I didn’t know Luther personally, but through his music – I felt that he was my friend. Look at what I just did – I didn’t call him Luther Vandross, I called him “LUTHER”. See what I mean? Even though he is no longer with us, his music and his spirit are very much alive.

88: OK. Before everyone was cool with Dubstep in the district, 88 went against the grain and brought you through to play Science Club back in March ’06. Since you’re familiar with and local to this area, tell me how you feel about the DC/Baltimore scene these days; how do you think it has grown (if it has grown) and what direction do you see things going in the future for our area?

JN: I remember that night – great times. Now this is an interesting question on a couple of levels – it’s almost a 2 part question.
Is the question, “how do I feel about the DC/Baltimore scene these days” or “how you feel about the DC/Baltimore dubstep scene these days?”

I’ll start with the first question first. The DC/Baltimore scene is – in my opinion, floundering. Nation was torn down. DragonFly – gone. Shorty’s –see you later. Seems like everything in this area is drying up. Nothing is real fresh – it’s the same-old, same-old over and over again.

Dubstep in this area – I’m skeptical. There’s a few fans here and there, but there’s a bandwagon feeling. There’s more than a few d&b fans that hated dubstep a year ago – that are all about dubstep now. See why I’m skeptical? All of a sudden – it’s the cool thing to listen to. Who knows…..I’m gonna do my thing – regardless. There’s plenty of room on the bandwagon.

88: Now for something I know we both have in common. Love for The Wire. How crazy is it that the hottest series on HBO is filmed on location in Baltimore?! How do you feel they represent your city on The Wire? Is Omar going to be making a comeback this next season? Did you catch that episode where they filmed out in front of The Paradox on Russell Street??? (I think they changed the name to The Paradigm or something, but anyone who’s been to The Paradox will know that neighborhood when they see it.)

JN: I did see that episode where they filmed in front of The Paradox. Classic !

HBO has love for Baltimore – in a strange sort of way. The last thing they did was “The Corner” – which didn’t exactly put the 410 in a positive light, but it is what it is. Baltimore – I think it’s represented fairly and – most importantly, accurately. The writers are from Baltimore – they’re in the city. They know Baltimore. This place is strange…for all the reasons you see in the show, but I love Baltimore. I couldn’t see myself anywhere else. This past season, they focused on the school system – most specifically, how guys like Marlo, Stringer and Omar Barksdale gain power/street cred at such an early age (21, 22…etc.). It doesn’t start when you’re 17. It starts in middle school…..when the minds of these children are most impressionable.

My girlfriend was a principal of a middle school in Baltimore last year – and if anyone would know the BCPSS (Baltimore City Public School System), it’s her. There were certain situations and topics that were discussed in the show that could only happen in Baltimore City schools and – most specifically, middle school. There are homeless kids in middle school. There are kids that come from broken homes. There are drug dealers and gang members. There are kids that want to learn and ultimately excel. There are kids that have some semblance of a future. There are some that succumb to peer pressure. Duquan, Michael, Randy and Namond (the 4 kids they focused on this past season) – without the proper guidance, become drug runners/corner boys like Poot, Cheese or Bodie. In fact, Namond is the most perfect example of “guidance” because his father was Wee-Bay…one of Omar Barksdale’s top soldiers. Wee-Bay is rotting away in jail. Namond’s mother wanted her son to be like his father, but Namond didn’t have the heart to be like his Dad. Plus – his dad didn’t want his son to follow in his footsteps. Namond figured it out – and it looks like he’ll be ok. If you survive the early stages (Duquan, Michael, Randy and Namond), you move up to the likes of “Cutty” or “Chris” or “Snoop”. After that – you become Omar Barksdale, Stringer Bell, Marlo Stansfield or Prop Joe.

Then – what’s next? You eventually die or get tossed in jail from all the bodies that have your name on them or you’re living in your own prison (otherwise known as: constantly having to watch your back). It’s cyclical and – unfortunately, inevitable. There are certain things that happen in the show that could only happen in Baltimore. It’s nothing I can really explain or give a specific example of. You’d have to live here and understand Baltimore as a city and a community to understand the concept of “things happening in Baltimore that could only happen in Baltimore.”

The Wire – could only happen here. You can’t take this show and place it in any other city and expect it to be the same. This wouldn’t work in Miami or DC or Detroit, even though they are suffering from the same issues that plague Baltimore. There’s something about Baltimore that makes the show work. Is it the Old Bay crab seasoning? Is it Bertha’s Mussels? I don’t know………

88: Alright Joe – last one. Could you tell us what your 3 main goals are for this year as a DJ, and 3 main goals for this year as a person/in general?

JN: Three goals as a DJ:
Play more international shows.
Do a mix cd that will be sold in stores. I’m hoping I get the chance to do Dubstep All-Stars #6.
Get a third turntable.

Three goals as a person:
Lose a few pounds.
Save up for a house.
Learn a couple of languages. I’d like to learn French and German. No real reason why – I just do.

88: Hey thanks, Joe! You go deep, and that’s why you’re one of our favorites @ 88…

Joe Nice – Top 10>>> (no particular order)

Digital Mystikz – Shake Out Your Demons
Distance – No Sunshine
D1 – Sorrow RMX
XI vs DZ – Guns At Dawn
Caspa – Noise Disorganizer
Clouds – Cloud Lion
Quest – We’ve Got Jazz
Skream – 2D
Scuba – Out There
Gravious – Subterfuge

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Joe Nice – Podcast

 

 Joe Nice - Lava Lounge [chicago] Aug '07: Play Now | Play in Popup | Download

Dubstep.fm Presents Joe Nice @ Lava Lounge (Chicago)
August 2007

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Links>>>

Joe Nice myspace:
http://www.myspace.com/joenice

Dour Festival:
http://www.dourfestival.be/fr/band2007/Joe-Nice
http://www.dourfestival.be/en/2007/lineup

Gourmet Beats:
http://www.gourmetbeats.com/gbeats.html

Dubstep Forum:
http://www.dubstepforum.com

BBC DMZ Review “Bass in the place”
http://www.bbc.co.uk/dna/collective/A10695684

Joe Nice article in Baltimore City Paper:
http://www.citypaper.com/music/review.asp?rid=10166

Joe Nice in DJ TIMES – August 2007.
http://www.djtimes.com

Metalogic – Atom Eater
Label – Addon
Released – 2007
Style – Electronic, Minimal, Tech House
Info – http://www.discogs.com/release/987902

Tracklisting:

A1 Atom Eater
B1 Hidden Reveal
B2 The Rattle Master

Atom Eater is a well arranged techno predator where Metalogic (Jamie Kidd + Frederik Hatsav) seek out anxious club kids who can’t resist big bassy kicks and downbeat snares. Most of the percussion shuffles about and all the usual suspects are involved – hats, shakers, and rims, OH MY. The track grooves for a bit with some beeps here and there as effected and glitchy samples come from the depths to lure the listener into the upper regions. It breaks quickly at several points with deep EFXs and reversals while more and more static edits occur throughout as a short vocal sample is unveiled. Near the half way point a synth line presents itself, but it is quickly subdued and then the track ends all together leaving you wondering what happened. As a DJ this may be the track to use if you are looking to draw people in right before bigger moments or it could also be the track that continues an uplifted dance floor. You can find this on the A-Side of the ‘Atom Eater’ ep, which was a 3-track 12-inch vinyl release on New York’s ADDON this past spring (which is one of Dietrich Schoenemann’s many labels).

[metalogic]

The King Claw remix By Jamie Kidd has a house influenced presence with a classic between the kicks hat and upbeat snare. As the track itself forms a synthy techno stab, chopped vocal and dark lead over take the whole to create an electro vibe of sorts. As it evolves a lush atmosphere is created in the upper frequencies with an airy melody as the lead opens up. However, in anti-climactic fashion the track breaks back into the opening groove and shortly rebuilds introducing off claps that finally yield to an eerie and synthetic organ like melody. It presents itself as a the kind of track a DJ plays with purpose and it has an obvious west coast style one could compare to San Fran’s Dirty Bird label. Jamie?s remix of King Claw is set to be released on MO7S new label SySex, which is based out of California.

With Roadrage Metalogic gives a feeling just like the name suggests, but on a cosmic highway in the future. It starts with a simple and effective groove that stays locked to a serious boom, boom as a punchy kick skips about. All begins to shuffle quickly as off hats and percussive elements are added. The core of the track lies within well panned and stuttered synth tones that are textured by glitches and EFXs adding depth to the arrangement. As spacey sounds begin to explode in a jazz like manner the track really begins to charge forward. A very heavy clap takes its presences towards the end as the electricity peaks just in time to drop us off back on earth. This is definitely a track that takes things to edge, but it may be up to the DJ or the listener to take thing further. It is currently unreleased, but Quality production such as this doesn’t stay on the market long.

If you need a break from the mix then look no further. Metalogic’s Picnik takes us on a ride through deep melodic rises and minimalist grooves where high dotty hand percussion is delayed over an acidic bass line while somewhat ambient pads rush in and out. A noisy snare is added about a quarter of the way through to give the groove a truly solid foundation. However the progression follows the synth line which carries the track from its wires beginning to a very subtle ending. All in all Picnik carries a strong arrangement fueled off the fullness of the sounds so grab a drink and let it play. This is forthcoming as part of a compilation on Russia’s Horns and Hoofs record label and will be released on CD as well as through digital retailers (Juno digital will have it first, and possibly Beatport.com in the future).

The untitled piece in this review is also the one most likely to hit slipmats of jocks looking to keep the groove going while adding a more cerebral feeling to early morning sets. Metalogic opens with a strong foundation created by 808 style kicks and a robotic vocal that slowly dies out over the course of the composition. The beat filters in some blips and bleeps echoed across static computer sounding snare patterns while one remains constant alongside a clicky hat that screams to keep dancing. It rhythmically unwinds from start to finish as the air of the track is brought in with upper mid tones that slowly progress as the sun seems to rise. This is also unreleased material and I am truly honored to have been one of the first to preview it.

Measax

Visit Metalogic’s Myspace page for more information and song downloads – http://www.myspace.com/metalogic.
And for more info on our guest reviewer, Measax – check his Myspace page – http://www.myspace.com/measax.

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Sat. August 18th – X : 6-10pm : A 21st Century Live-Art Happening : $5
Live(Electronica + Projections + Fashion + Art + Performance) + YOU = X
At BeBar: 1318 9th St, NW 6-10pm

Above is last month’s winning design by Cesar Maxit, inspired by the 3 words selected by curator Billy Colbert: Hype, Cacophony and Spectacle. For his efforts, Cesar won an HP Printer! Congrats and thanks HP!

This month’s X will feature:
Live PA performances from: Eliot Lipp (Brooklyn) www.eliotlipp.com and Aligning Minds www.aligning-minds.com
Graphic artists: Jessica Phillips, Derek Horton, Juan Zapata (www.myspace.com/mtnbkrgrl, www.hortfolio.com, www.everybodylovesmusic.com)
Performance: Asharah: www.asharah.com
Projections/Live Digital Drawing: Shuhei/Megasleepyhead: www.myspace.com/megasleepyhead
Art: Tina Seamonster: www.ilikeseamonsters.com and Sara Dick www.craftmutiny.com
Live Painting: Robin Walker: www.crimsonfuture.com
Curator: Lauren Gentile: www.irvinecontemporary.com

Got a digital camera? Bring it! 3 HP printers will be on hand for you to instantaneously print your pictures on site for free.

This month, we are also excited to be bringing back Exquisite Corpse. This game, played and created by the surrealists in the mid to late 1920s, asks participants to draw a head, torso or bottom half of a body. Come ready to play Saturday

We’ll also have CDs for sale ($X) featuring: Aligning Minds (www.aligning-minds.com) live set from the first X event and original art work by Mal Jones (www.maljones.com)

Seriously folks, if for some odd reason you (ONE of THE best people in the DC area) managed to get on our mailing list and have some how not been to an X event yet, you’re truly missing out on the most creative, inspiring monthly within a 100 mile radius.

For more information regarding X and the artists, visit: www.xindc.tv and join our network on www.myspace.com/xindc

This month’s PULSE will feature Chris Whaley (Whalefish, Monotonik: DC) and Jamie Kidd (Platform, Tempo, ADDON, jamiekidd.com: Toronto). Chris is a true DC treasure, under recognized for consistently bringing eclectic beats and digging DEEP into the crates. On this special night, he’ll be playing a 33RPM Breaks Set…for a taste visit and listen to: http://whalefish.org/christopher_whaley_-_whalefish_breaks.mp3.

 

 christopher whaley - whalefish breaks: Play Now | Play in Popup | Download

Making his DC Debut, Chris will be joined by Toronto legend, prolific producer Jamie Kidd who will bring the heat for a three-hour Live PA/DJ set. For those that like their beats eclectic, dirty and body rockin…Sat. Night is for you! www.mysapce.com/88pulse

PULSE is brought to you in part by Peroni. At PULSE patrons will be treated to free Peroni and $3 beers…all…night…long.

What else is happening in 88′s world?

Radio: August = Dubstep. It’s been nearly 18 months since we featured the genre that continues to inspire, evolve and turn/nod heads across the globe. Time to rewind!. 88 Music Radio (Underground Knowledge) Wed. 8-10pm EST, http://pmx.jble.com/ — If you missed last week’s Garage Pressure show…you’ll want to tune in this Wed.!

Product: 88 is proud to present our first product, a limited edition t-shirt. Not just any T-shirt though. 88′s T-shirt, aptly called 88, was made in the most environmentally sustainable and ethical way. Water based inks, organic cotton and sweat-shop free labor. Did we mention that they also look hot, are incredibly comfortable and a mere $30 Visit: www.eightyeightdc.com and get your own, or come next Saturday and buy it on site.

Blogs: If you haven’t visited www.eightyeightdc.com/88blog recently there’s a lot to see, learn and listen to including our new pod cast feature. And don’t forget to keep up to snuff with the world of fashion through Erin Holloway’s blog: www.eightyeightdc.com/88fashionblog

Aligning Minds: Mike and Dan of Aligning Minds recently finished performances at the Gaian Mind Festival (www.gaian-mind.com) ; Family Affair festival (www.familyaffairfest.com); Orb Festival (www.orbfestival.com) and most recently, the AUM festival (www.aumfestival.net) in the Ozarks. Next up is Reunion in North Carolina. They’re looking forward to releasing several digital tracks on internationally renowned label Native State and then will be busy, back in the studio putting the finishing touches on their 5.1 CD/DVD which has a release date for late fall ‘07.

SPACE!!: No not, the final frontier…but definitely a NEW frontier and incredible opportunity. 88’s currently putting together shared studio/office space for Creative, Social and Environmental entrepreneurs. There are multiple levels at which you can participate. If you know anyone that might be interested in leasing affordable space in what will be an inspirational and nurturing environment for their business, please have them contact us.

As you can see, things have been busy! We wouldn’t be able to accomplish everything that we do each month without a core group of individuals and communities sincerely interested in pushing things forward in the DC Met.

This month, a special shout out goes to Steve Kusek the main man and inspiration behind 88’s music blog and Underground Knowledge. Steve’s a true lover and fan of EDM. It’s tough to think of anything or anyone that he might not know about. Thanks for all you do Steve!

Take some time to visit the links in the e-mail.

See you at ‘X’ and PULSE! Please spread the word!

Cheers,
David and Albert

Eliot Lipp:
Tacoma Mockingbird review

(review by Steve PMX)

Tracklist (click song titles to hear clip):

1. Glasspipe (5:05)
2. Tic Tac (3:06)
3. Rap Tight (4:28)
4. Brand New (3:02)
5. Times Four (3:51)
6. Last Night (3:48)
7. Check Weight (2:37)
8. Rhyme War (4:05)
9. The People (4:35)
10. Sex Tape (3:09)
11. Mashin’ On Em (4:27)
12. Spit Rap (2:08)
13. Vallejo (3:22)

(Eliot Lipp)

From the first 16 bars of the first track, ‘Glasspipe’ – I immediately get the sense that there’s something genuinely special about Eliot Lipp. Right off the bat, some great artists like Kerrier District, Metro Area, P-Funk and Dr. Dre come to mind as influential on Eliot’s production style. Very funky and live-sounding breaks riding on a warm wave of oldschool synth pads & basslines, with plenty of synthesized solos and melodies in the mid-upper register. There are subtle qualities to Eliot Lipp’s music that give it warmth and an element of familiarity. Chunky hip-hop beats and programming that follows the funk (not quantized to a strict grid) lay the groundwork for instrumental songs that take you on a journey to another place. Listen with your eyes closed to a track like ‘Last Night’ and you damn near fall into an OOBE. Amazing stuff! This album is extraordinarily refreshing… D.C. peeps, don’t miss out when we bring him through X @ BeBar on August 18th! For a taste of what’s to come, check out his brand new B-Boy Electro mix below. It’s blazin!!

 

 Eliot Lipp - B-boy Electro Mix: Play Now | Play in Popup | Download

Eliot Lipp info:
http://www.eliotlipp.net/
http://www.myspace.com/eliotlipp

Bio:
http://www.eliotlipp.net/bio.html

Discogs:
http://www.discogs.com/artist/Eliot+Lipp

Affiliations:
Hefty Records

Eastern Developments