Heres the photographs from Hit and Run’s third birthday with Intalex and  Goldie…

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THRASHER!!!

…Oh my good god… If you weren’t there, I am truly sorry, if you were there, then, you feel me…

On a historical October Saturday, manc’union’ and nationwide ravers united under the bricky metropolis that was Warehouse Project. An epic line up drew us to beg borrow and steal in a bid for the golden tickets to see the of the likes of Skream, Benga vs Caspa, Rusko in the main room and an explosive west coast line-up in the 2nd room, whereby the beautiful Hoya Hoya crew and Mary Anne Hobbs spoilt us rotten with the pure showmanship that was Daedelus and Gaslamp Killer!

Arriving at about half 11, Rusko was soon to kick the roof off in the main room, faces delighted and bodies truly thrashed as popular favourites such as ‘cockney thug’, ‘pro nails’ and ‘bread get bun’ superseded through the speakers and into the happy hearts of the dubsteppers army. Followed by the legendary Skream, the overwhelmed crowd jumped about to give the warehouse that familiar hot, ‘this experience is bigger than me’ kind of glow…

By this point the magical Daedelus was about to begin in the next room. After a purely dedicated 20 minute que dancing session, we were in. Rustie got the packed sweaty room in full flow ready for the musical genius that is Daedelus…who, can only be described as some periodic god send who truly sent us all into the future that night! Creating a frenzy with glitched up beats, hip hop ripples and thumping rhythm nobody in that room stopped dancing for a second- at the same time, unable to take their eyes of his pure showmanship and his master of what looked like and extreme version of the game ‘lights out’ but with crazy beats on instead. In that room, Manchester offically ‘went digital’ so much so that a group of three created an imaginary planet/orb thing and threw into the air…maybe they took it a bit too far…

Next up in the 2nd room was the “The Mother F***ing GaslAmP KiLLeR!!” who commended Daedelus for playing the best he’d ever seen him- and that is saying something! Juiced on the revelry of the crowd, Gaslamp Killer thrashed around his iconic curly hair as he dropped the likes of Jay Z ‘big pimpin’ and Underworlds ‘born slippy’ and warped them into a musical heart thumping treat never conceived of before. MC’s stepped aside at the side of the stage and watched in awe, as he reduced the crowd to a hyped up puddle of sweat! Hoya Hoya’s  multi-talented Illum Sphere stepped up next, and although we were all truly spent he managed to get us going all over again to supa mixes of the classic Tweet’s ‘oops oh my’ and Outkast’s ‘millionaire’…Due to the awesome intensity of the second room I’m sorry to say I wasn’t quite sure what was happening in the main room at this point so please insert mind blowing experiences here [.............].

All in all Thrasher was a historical night of pure musical fantasy, you lucky lucky people.

WORDS BY ROBERT

We caught up with Code Breaker and Dub Phizix a couple of weeks ago to get the lowdown on their latest project.  Breaker was the MC on the drum and bass radio station on Grand Theft Auto 3 Liberty City, when the new GTA came out last year with no drum and bass station on it there was a hole which people wanted filling Codebreaker and Dub Phizix have filled that hole with a belting pirate style drum and bass radio show which can now be downloaded straight to your console. Heres what they had to say how it came about and what made them want to do it…

EXAMPLE – What was MSXFM?

CODE BREAKER-  MSXFm was an original themed radio station on theGrand Theft Auto 3 and Liberty City Stories computer games a few years ago.

EXAMPLE-  How did it come about?

CODE BREAKER- Originally I got involved because Rob Playford asked me if i’d like to be the MC on the  drum and bass station on the game.  I had no idea what it was about other than it was a drum and bass radio station in a computer game. Thats pretty much how it came about.  From what i remember Rockstar games wanted to create a radio station which caught the sort of vibe of an original London Pirate radio station inside the grimy crime ridden Liberty City.

EXAMPLE: What Heads were on the original MSXFM?

CODE BREAKER-  The original station was mixed by Rob Playford who at the time was called Dj Timecode.  There was loads of tracks from guys like Calyx, Teebee, Shy FX, Matrix, Fusion etc
the list goes on but i cant remember off the top of my head haha and of course hosted by myself Codebreaker.

EXAMPLE-    So what made you want to bring it back?

CODE BREAKER- The first thing i should say really is that i was influenced to bring it back because i heard rumors originally about whether they were or weren’t gonna ask us to come back for GTA 4 or 5 which i dont know wether they were true or not .   Then I started getting messages on Facebook and Myspace saying “why the fuck aren’t you in the new Grand Theft Auto?”, because GTA 4 is set in the same city as the original and in terms of continuity for a lot of gamers it didn’t make sense that it wasn’t there anymore. They were asking me as if i should know and i just had to say i don’t know.The bottom line was my phone hadn’t rung and i hadn’t been asked but my Facebook etc is going off.  I was amazed if Im honest at the number of people talking about why it wasn’t there.  you know why is there no Drum and bass on it?  And then one kid said that you can do MODS you know bolt on bits of games.  At first i didn’t really think much of it and he ended up showing me a few links etc and after a while it sort of dawned on me fuck it why not lets just do it ourselves.

EXAMPLE: Well that leads neatly into the next question how did you go about producing BLUEPRINT?

CODE BREAKER:  Knowing a lot of Dnb producers who were looking to get out there we thought lets do it pirate style.  give people the option you know if you like it load it in if you don’t like it don’t load it in.  We’re not looking for money if you wanna listen to it listen to it we thought it would be good to bring a pirate style atmosphere to it thats how it started at the end of the day.

EXAMPLE:  Whos tunes are on it?

CODE BREAKER -  The tunes are a mishmash of tunes from people we know in the business people that saw what we were trying to do and also some up and coming unknown producers.  There’s a lot of cliques in music scenes where certain guys get certain spots and i wanted it to get  people involved, people who don’t necessarily get breaks in the scene and again keep it pirate, keep it underground.  If i’m honest i was gutted that Rockstar didn’t come back to us not for the money i didn’t make hardly any money out of it you know what i mean.  This isn’t a money spinner. We’re doing it to try and showcase people’s talent and for the love of the music.  The response was completely overwhelming. Producers from Ray Keith , Data, Dub Phizix right down to bedroom producers for want of a better word.

EXAMPLE – Do you think since you’ve had such a good response you could do some more episodes in the future?

CODE BREAKER -  Id love to do another episode in other genres if it came to it.  I actually think there’s a little niche there. What labels and organisations think what people want and what people actually want is often very different. So I think its good to bring some faces and stuff that we know people will like and will listen to it.  I think Blueprint represents what the game  represents better than what some of the music thats on there now does.

EXAMPLE-  What Tunes can we expect ?

CODE BREAKER- You can expect big tracks and you know a faithful mix to the original one.  Mixed by Dub Phizix who in his own right doesn’t get enough credit in the scene that he deserves. Anyone can do a mix of the top 20 tunes and tear it up.   We went to a lot of effort to get a mixture of heads on there and also get permission for them this isn’t a bootleg mix it is all above board.  In my opinion i think its even better than the original because it is underground.

DUB PHIZIX-  For me as someone who doesnt play games I used to go round peoples gaffs and see them on Grand  Theft Auto  or play on it and people i know who would never listen to Drum and bass in a million years were listening to it on the game and it was fucking cool that people were listening to tunes that they wouldn’t normally listen to.  For me the whole point of it is that it is getting  DnB to people that wouldn’t listen to it and through the mix its got tunes from veterans like Ray Keith to some of the freshest guys in the scene like Data. Its an education and its also  pushing underground talent.   Originally i got onto Blueprint through Dogs On acid and Breaker was looking for unknown people and there are some good producers on there who could bring some tunes, I was happy to mix it.  Its supporting everyone involved. The mix is almost 90% dubs as well.

CODE BREAKER  – At the end of the day there are so many guys sitting around making sick tracks that don’t get any fucking breaks, any airplay. And we’ve got some of  those guys tunes on there.

EXAMPLE:  So its come out how you expected it to?

CODE BREAKER -  Yeah it has by the nature of it people were expecting it to be underground and there’s a misconception that because its underground its a lower standard of product!  and its fucking not at the end of the day haha!.  There would be no new music without the guys on the underground pushing new sounds.   There’s a few tunes on there where i found myself saying WOAH how are these tunes not out there.

CODE BREAKER  – Someone said to me online ” Breaker hes one of the illest why is he not commercial why haven’t i heard him about? “  and i replied to him why the fuck do you think i want to be commercial man.  What you want me to turn up as Tinchy Stryder next week.?  We don’t care about that.    The line between those top guys and the bedroom guys is thin though man.

DUB PHIZIX   for me it has definitely shown what we set out to do and that was to prove to people what new talent can do.  and to add onto what breaker said the reason these guys aren’t out is your tunes might be good enough but its about putting the work into making sure people hear them.  All those producers on this mix deserve to be at the top you just need to get your tunes heard.

EXAMPLE:  Where can People get it then…

DUB PHIZIX – first and foremost Breakers Myspace and Facebook, Dub Phizix’s facebook and Myspace.    www.Blueprintx.net and Examplemag itll be on the forums as well,  available as MP3 and as a mod for PC and Xbox 360 just in time for when the MOD pack drops .

EXAMPLE -  Safe to finish what are your top tunes on the mix

CODE BREAKER  -  Spot light – Dub Phizix
Interlude – Yorkee
Run safe – Kantyze

DUB PHIZIX -   Subtone sol ID  – Depth Perception
Ibunshi  – Neon Rain
interlude – Yorkee

EXAMPLE:  Whats next?

DUB PHIZIX :   think definitely if people are backing it then there will be more and i think you can definitely expect some tunes from me and Codebreaker.  If people want more we’ll definitely do another one if people don’t we’ll definitely do another one.  You know were always gonna be there pushing it at the end of the day.

Code Breaker : Also shouts to Ray @ ModMyWhat.com for all his work on the mod and for hosting the files.

www.blueprintx.net
facebook: Code Breaker Jones
myspace: www.myspace.com/codebreakergb

www.dubphizix.com
www.myspace.com/dubphizix
Facebook: Dub Phizix

Words by Flash
www.examplemag.co.uk

Photographs from Surgery’s launch night at Magnet in Liverpool…

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Our homies at Rawflare have just sent us these exclusive pictures on set at the shooting of Shotty’s new Video being produced by the crew at Blind Aura Pictures check them out below…

Check out the last HIGHRISE VIDEO …

http://www.shottyhorroh.com
http://www.houseofhorroh.com
http://www.myspace.com/shottytracks

www.blindaurapictures.co.uk

www.rawflare.com

If you dont know about this guy then get to know (The apprentice one is sick)…

Photos from last months OMG…

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Photos From Sub Woofah at the Corner on the 24th September…

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Check the latest soul:ution radio show from the man like Marcus Intalex…

http://redbullmusicacademyradio.com/shows/2009

A big name in the Game, MC S.A.S, known to his friends as Kurt has been going on strong, stretching the potential of nights for 13 years.
We all know just how much MCs give to our favourite nights. If it’s the DJ who boosts the sounds then it’s the MC who creates the hype, stirring round the raving massive like sorcerer spinning a spell until – BOOM – you go bonkers.
And like a sorcerer’s, the craft of the MC is a bit of an enigmatic talent; there’s no manual out there that can tell you how to become one, no careers woman you can go see for advice. If charisma is developed then it comes from hands on experience, straight from the stage.  A man who’s definitely had that experience is mic man MC S. A. S.
Liverpudian heads would definitely know the DnB guru as he’s resident at Chibuku, one of the biggest nights down their town.  As were still in the early stages of first semester it’s quite ironic to think Kurt first got into MCing during  fresher’s week. ‘I was trying my hand out at mixing but realised I was more interested in the microphone side of things.’
We’ve also been lucky enough to have him down Manch a few times; word has it, he’s been working on a few concoctions too so I thought I’d give him a call, see how shits been going down…

Rhona:  What do you give the thumbs up, or down to when you see another MC spitting?

SAS: Thumbs up knowing when to shut up.

Rhona:For the drops?

SAS: Yeah, and you know having some lyrical lyrics but still having a good flow at the same time.  Thumbs down is just trying to rinse the mic all the time – not shutting up basically.

Rhona:  How would you describe your own flow ?

SAS: A bit of fast tongue but I try to be as unique as possible.  I do some dancing appeal as well, a bit of crowd hyping. You know, just the right touches at the right moment really.

Rhona:  You’ve also produced your own drum and bass tunes and you’re working on some at the moment right?

SAS:  Yeah subphonic and digital rhytmns that was about five six years ago. And then I gave up for a little while, concentrated more on performance. I just started working on my own and some new bits with DJ DS as well. I’ve got a little hip hop project coming along and also like a funk soul band, Tiger Style who I’m doing a little drum and bass crossover with.

Rhona :  You’re known for being a drum and bass Mc but what do you going for with your productions?

SAS: With the first album I’m working on now it’s going to be a theme so each tune will have a certain name.  The one  I’m working on now is called ‘War on Terror’ and I’ve tried to give a war spotted feel at the back of that. Another one’s called ‘Radio Signals’ so it’ trying to be a bit of a different album from just you know, a jungle album – evidence of something a little bit different. Still being dance floor, still be listenable but you know something a little more versatile. I’m Just trying to  bring a bit more theme into the tunes the same way the tunes used to be back in the day, just trying to bring that back into now really, into these times.

Rhona:  You’re also touring with Viper records this September right who will you be touring with and where will you be heading out to?

SAS: Yes we just did Herbal at London this week. That was fly there, that was really sick. We are doing something in Coventry in the next couple of weeks, another one in Liverpool and we are just waiting for confirmation from some of the one in Europe. So it’s looking really good,

Rhona: Who are you performing along side?

SAS:  Its variable. Last week it was Nero and Futurebound, so it’s gonna be variable from all viper signings decent breaks, brooks brothers. Will just depend on what night.

Rhona:  Heads  around Liverpool would definitely know you. You’re a resident mc at club night Chibuku – one of the biggest nights down there. Apart from that you also run workshops for young people helping them work on their lyric and performing skills, what pushed you into doing that?

SAS: It was an accident really. One of my DJ mates was doing a workshop and he asked to come down just to have a different vibe to the kids that was at a youth club – they were more into scouse house in those days so I felt like I should tell them a little bit about what I do more so I just started basically getting some work off that same agency and just came about from there really. So, it’s just good to give something back.  You know kids from different areas that don’t get a chance get the gist of it.

Rhona:  What sort of young people do you work with?

SAS: Kids that have lived in the ghetto and you know, had a hard life to all the way down to young kids  to six to seven year olds, to high schools with like 15 and 16 year olds and that. So it’s been a mixture of different areas, different kids and you know, different challenges really.

Rhona:  Because they don’t have these things in school and everyone is going to be a wiz at maths or science, or whatever it is, so do you think it’s quite important that for kids that are creative, they have somewhere to express themselves in Liverpool?

SAS:Yeah, you know kids in pool have grown up seeing that there is a rat race out there and you know, I wasn’t the best in school. So I think if people of my age were to have had that opportunity then there would be a lot more musicians and the music business would be a lot more of a healthier place. There is a lot of amazing talent out there with the young people that are coming out now.

Rhona:  You played creamfields last year what was that saying ?

SAS:  I did Creamfields last year that was amazing, Mad Rush was down there this year. It was a really good experience the year I went but I’m just waiting for next year now, hopefully get on next year again.

Rhona:  How does the scene in Manchester compare with Liverpool?

SAS:  Umm, i don’t know it’s pretty much the same but I think that Manchester people are a bit more laid back when it comes to letting lose a little bit but pretty much the same  except for that. I mean the mass can be a bit more insane in Liverpool, people let go a bit more but  otherwise, i’ve played in Manchester a good few  years back and it’s always been good.

Rhona:  Why do you what you do?

Rhona:  Thanks S.A.S, look forward to hearing your tunes!

http://www.myspace.com/mcsasliverpool

By Rhona Ez

Photographs from Ape’s Birthday party  definitely one of the biggest nights of the year with enormous names like congo natty and the man like Rodigan gracing the stage.  A true lecture in Junglism…

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We have a copy of Alleycat’s latest release Sweet Spot including a B side from Vaccine.  Weve still not heard it here at example due to our internet being absolutely rubbish (angry stare at Richard Branson).  Described as progressive and forward thinking (which we like )    you know you should probably enter this competition to get your hands on a copy.

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All you have to do is answer this simple question ?

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What was the first release on Offshore Recordings?
MYSPACE

Email all answers to Examplemag@hotmail.co.uk   Subject :   ALLEYCAT

GOOD LUCK PEOPLE competition closes on the 30th october.

Everyone knows the I feel good good good tune, from the big garagey don ZED BIAS. This year its been refixed and remixed including a remix from our friend mr Chimpo, along with all that theres a new video

the latest addition to Manchester’s drum and bass is new night at Zoo  Sub Division.

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Heres some Piccywics from last weeks Platoon…

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DNB Arena are giving away a free sub focus 320 to promote his new album “Sub Focus”

Check it…

SUB FOCUS

Photos of last weeks Sub Woofah at corner…

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check out the latest Highrise Video SICKNESS  made by our good friends Blind aura Pictures

Photos from Uberwang with cookie monster the other week …

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Our Friends down at Blind Aura pictures have recently unveiled their brand new website check it out theyve got their portfolio there for you to watch and it is worth a watch.  Also check the Showreel to see a few little sneaky clips from the latest Highrise music video.  Which should be out any day now.   Props to everyone at Blind Aura keep it up peeps

www.blindaurapictures.co.uk

Ed Lilly Of Blind Aura Pictures at the Virgin Media Shorts Awards 2009 Blind

Here at examplemag we like to explore our inner creativity in more ways than one be it music, fashion, photography film or art &design.

Our friend – artist, DJ, producer, bass warrior and general creative spirit – INDRA recently dug up an old essay from his art foundation course at MMU and sent it our way for a read.
It offers an interesting comparison between the visual arts of classic painters like picasso and that sonic art that we’ve come to love so much DUBSTEP!!

Written back in 2007 (before Caspa & Rusko’s Fabriclive album for all u recent dub heads!), it includes a look back at Dubstep’s roots and focuses on the work of such legends as Digital Mystikz, Loefah, Kode 9 and Skream.

We liked it so we thought wed put it out here for you all to have a look at, its worth a read and who knows you might learn something.

Good Vibrations   By INDRA  2007

Dubstep is a fairly new genre of electronic music that emerged out of the UK garage scene, particularly in South London. To discover dubstep’s roots we must look back to 1950s Jamaica when Jamaican DJs began remixing and reshaping existing records often by taking out the vocals, emphasizing the drum and bass frequencies and adding reverb and echo effects. This was the birth of dub music. In the early 60s and 70s hip-hop DJs began using several ‘breaks’ (the moment in many funk or jazz records where the music breaks, letting the rhythm section play unaccompanied) as the basis of their tracks. Musicians began using these breaks more and more often in their records and breakbeat was born. It was essentially the influence and culmination of breakbeat and dub music’s bass-centric sound, along with elements of acid house and rave music that led to the introduction of jungle and drum and bass. In 1999/2000 some of the more experimental producers of 2-step garage, a sped up offshoot of house music often with MC vocals, began to incorporate more dub-reggae and jungle/drum and bass elements into their tracks, this was the beginning of what we now call dubstep. The rhythm of dubstep is often syncopated and shuffled and the tempo is always between 138-140bpm. However the beat itself can often imply a half-time, hip-hop-like tempo sometimes with the groove being set by the bass tones.

One thing that is consistent in the music is the sub-bass. Dubstep is certainly the most bass-heavy genre percolating the scene at this time. Along with drum & bass, dubstep’s followers share a fascination with bass and big sound systems. As with drum & bass this arises from dubstep’s dub-reggae and Jamaican sound system influences. This all started in the ghettos of Kingston, Jamaica in the 1950s when DJs would load up trucks with turntables, speakers and a generator in order to set up street parties. Gradually the size and volume of these sound systems grew as they competed with each other, until many were capable of generating over 50,000 watts of sound, with particular emphasis put on the bass frequencies and the size of the bass-bins.

It is this emphasis on low-frequencies that gives dubstep its immense physical presence on the dance floor. As American dubstep DJ Joe Nice explains:

“There’s a physicality to the music…it’s a physical listening experience. When you hear it on a big system, you hear it loud, you feel the bass move through your chest, and you feel your ears get a little warm…”

These high levels of bass can have a profound effect on people. For some people it can be disturbing, like the nightmarish images of Francis Bacon. For many, especially those fans of bass heavy music such as dubstep and drum and bass, the sounds pertain to the calming skies of a Turner watercolour and can be both aurally and physically soothing.  Mala of the Digital Mystikz tries to communicate this:

“Sometimes you can be in an environment where the physicality of the frequencies can be too much so it might create a kind of uncomfortable feeling rather than something that will give you a more enjoyable experience…Me and Coki found out that it’s possible to make people throw up at around 6.3 htz – I don’t know what size cone you’d need to go that low. That’s low, low, low. Music is powerful, sound is powerful…People told me they’ve come to the dance with backache and stood by a speaker all night and the next day it’s better. The frequencies penetrate you…I do generally think there’s unexplained science behind these frequencies on what they do to people on a deep level.”

Digital Mystikz, Mala and Coki

Many dubstep fanatics will tell you that you can’t truly appreciate the music until you’ve been to hear it live from a befitting sound system, and that your bedroom hi-fi or i-pod headphones simply can’t show you the true nature of the music. We can’t help but draw a comparison with works of art in this respect. Whether it be Da Vinci’s infamous renaissance masterpiece Mona Lisa or Pablo Picasso’s breathtaking Guernica, or even the works of modern day Mancunian artist David Hancock, many works of art are only actualized when seen in the flesh, and mere reproductions in books or online can never do them justice.

Indeed, dubstep is truly sound system music and, like artwork correctly placed in a suitable well lit gallery, dubstep artist’s work is best heard from a wall of high powered speakers in a dark club. When we think of an art gallery we think of an open space with pure white walls and not too much extra decoration aside from what is a part of the building itself. This allows each piece of artwork to be fully appreciated with its surroundings complementing it rather than detracting from it. Dubstep producer Loefah explains this;

“There’s too many venues which, nowadays, rely on the décor, and they have a nice plush lookin’ place, then they have a rubbish sound system, and it’s just backwards. But us, we just wanted a room and some big speakers…”

DMZ, a dubstep night run by Digital Mystikz, is one of the biggest and most influential club nights in the dubstep scene. Alongside the night Forward>> held at Plastic People in Shoreditch, DMZ has played a major role in the advancement of the genre. A pivotal moment in dubstep history is considered the night that the numbers of punters outside DMZ far outweighed the capacity of the underground club Third Base, part of the Mass club complex, prompting an instant opening of the upstairs room.

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The Forward>> and DMZ venues have been described by many as being the homes of dubstep, and are certainly prime examples of the correct galleries in which this sonic art should be exhibited. In fact the Digital Mystikz and many of the artists on their record label DMZ, have produced works designed and graphically equalized specifically for the sound system at Mass. Dubstep producer, professor and sonic theorist Kode 9 describes the atmosphere in the DMZ venue:

“Third Base is a dark room, and its kinda like doin’ a rave 20,000 leagues under the sea…The sub-bass on the system in there makes the air heavy, there’s a kind of blue light. It’s like havin’ a rave on the seabed.”

Georgie Cook captures the UK Dubstep Vibe

Kode 9’s work itself is certainly on the darker side of dubstep. Along with the post-apocalyptic yet soothing lyrics of Spaceape, that bless nearly all of Kode 9’s tracks, his music can either position you in a claustrophobic hole or uplift you. Like any successful piece of art, in whatever form, Kode 9’s precise engineering of subtle sounds can evoke many different emotions:

“(Kode 9) has a unique ability to use sound to prod at persistently sore forgotten spots of vague nostalgia, intangible discomfort, foggy déjà vu and erratic shards of uncomfortable emotion.”

In comparison to this, the sonic art of dubstep producer Skream is bursting with impatient angry optimism. His music combines classic organic dub-reggae with the modernistic sound of metallic synths and wobbly bass. Rather than deep meditation it suggests and induces impatient energy and jubilation. As Kode 9 puts it,

“Skream’s synth melodies have brought a kind of colour to dubstep that I think is lacking…”

But don’t come to the illusion that Skream’s tracks are completely soft; he manages, incomprehensibly, to take light flowery flute sounds and pump them full of ardour, menace and power.

Skream graces the decks

When people hear the word dubstep they often think of bass lines like those of Loefah. His bass is “the stuff of dubstep legend”. A Loefah bass line will surge fourth from the speaker making most of its listeners screw up their faces with primal pleasure and passion. Dubstep producer Mala of the Digital Mystikz, who is a close friend of Loefah’s describes the sound of one of Loefah’s works when it blesses the dance floor:

“You’ve got this wall, of like this laser beam of like…B-Line, that is just – you can see it!!, you can f***in smell it, it’s so physical…”

Loefah’s sound could also be described as minimalist and he has described his own work as “an abstraction”. An abstract or minimalist artist might take his subject and only reproduce certain aspects of it. He may focus on a single colour or various shapes or even the emotions associated with the subject, in order to express the subject’s intrinsic qualities and perhaps generate an emotional response from the viewer. In the same way some dubstep artists describe their music as stripping away some elements and leaving only the essentials. However, don’t make the mistake of thinking that dubstep is simple. As the famous abstract artist Wassily Kandinsky once said:

“Of all the arts, abstract painting is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for colours, and that you be a true poet. This last is essential.”

As is often the case with the works of Kandinsky or Mondrian or other admirable abstractionists, the spontaneity, which is apparent at first sight, often disguises sensitive and attentive planning. Many dubstep tracks by producers such as Loefah, Kode 9, Skream, Digital Mystikz etc., are akin to Richard Allen’s White Paintings, which, despite their name, have layers of colour underneath and utilise a wide range of shades of white from Flake to Titanium to Zinc. Allen applied every layer of paint within a “strict linear structure”, creating works that are much more than meets the eye at first glance. Similarly all of the best dubstep producers give great care and attention to every beat and pulse in the music. Many artists, especially those associated with a more impressionist or expressionist style, do not seek to quickly fill in areas with colour in their paintings. Instead they carefully apply individual brush strokes to capture the essence of their subject. For example, in Vincent Van Gogh’s Starry Night the thick swirling brush strokes laid down give off an incredible sense of energy in the sky. Like the brush strokes in a Van Gogh painting, each sound is flawlessly engineered and diligently programmed to perfection. And even then the silent spaces between the actual sounds are almost considered to be audible sounds themselves, and, like the white forms between the thick black lines of a Mondrian masterpiece, are just as important as the beats and bass.

Piet Mondrian, Composition with Yellow, Blue, and Red, 1921

It is apparent that the music of dubstep can stimulate soul-revival and meditation. It is emotionally appealing, physically exhilarating and even relates to the visual arts. It is clear that dubstep is truly an exquisite example of sonic art at its best.

We sent our man in liverpool down to chibuku last week to get some piccies here they are!!!

FACEBOOK ALBUM

We are not messing about this month weve got a mix here for you to kick off october.   our exclusive mix 010 mixed by The Sublow Regiment , featuring the vocal talents of Panache (High Rise Entertainment). Rising their way up through the ranks in the Manchester DnB scene , The Sublow Regiment continue to push their style , sound and uplifting vibes across Manchester and the north of England, taking bookings for events across Manchester, Leeds, Bury, Birmingham and more. Things are looking up for the pair (Wobbla & Trauma). Also pushing their own vibes at an event they help to run called PANDEMIK @ Underground Live, Ashton Under Lyne, each and every 4th friday of the month to help support the spread of diverse music. The Sublow Regiment would like to big up everyone at Example Mag for the promo, Pandemik Crew,Mashed Squad, Bring the noise crew, G13 Records (Propz,Rowney), High Rise, MRB and the Platoon soldiers, Escape and all the Muzik Hertz massive and so many more heads the list is endless, they thank you for the support and hope to smash a set off at a dance near you soon! “

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Download Example Mix 010 below just click on the excited grandma and its yours…

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EXAMPLE MIX 010 – SUBLOW REGIMENT ft PANACHE – October 2009
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Yes people we’ve been gracing the Internet for 10 months now cant believe its gone so fast.  We’ve had record breaking readers for the last 4 months running now and were well gonna make that 5 months in the next 30 days.   September was big we saw the launch of the Example radio show which is on unity fortnightly, saw town inundated with thousands more STEEWWWWDEEENNTSSS  and of course the return of our favourite car park dwelling night club  warehouse.     Big things to come this month so keep locked in and tell your friends

PEACE