Archives for posts with tag: Dubstep


Ok first off, this mix is trippy as hell. Om Unit grabs fast paced rhythms by the balls, creating a smooth and murky existence. I’ve tested it out in various locations; in the bathtub, driving from Seattle to Portland, washing dishes at work..and I’ll say that it’s very enjoyable and a distinct journey through and through. I love when something showcases a wide range of emotions, and this mix does it so well. You’ll hear Om Unit’s rad rollers VIP mix of Machinedrum’s “Gunshotta”, and some absolutely wild tracks from Ital Tek’s Planet Mu album release, Control.

Some of you who caught my recent set opening for DJ Rashad & DJ Spinn may remember this track from Om Unit’s debut album on Civil Music, Threads. The first time I heard this, I froze. It goes to chilling depths. I felt like I jumped outside of my body and watched my life unfold in slow motion. Awe-inspiring production really.


Other thoughts on Threads

– Similar to the way his RA began, “Folding Shadows” opens the album with instant immersion. It walks slow and steady, with eerie emotion and a funky strut.

– The dense rain atmosphere in “Healing Rain” is intriguing and soothing, naturally.

– “Drift Interlude” – Same reaction I got hearing “The Road” .. encapsulates my life right now and observations of some relationships.

– “Reverse Logic” – Reading the name, it’s easy for me to imagine this track as an entity constantly moving backwards. It’s a great visual to a sophisticated beat.

– Seeing photos of underwater pyramids and structures found in places like Bermuda and Japan after hearing “Deep Sea Pyramid”, perfect. It’s got a dark curiosity to it, and a restless sense of adventure.



Hopefully that mix and these tracks have you needing more. Om Unit aka Jim Coles has been producing a diverse discography for over ten years; crafting works under the names 2Tall, Nyquist, Philip D Dick and Dream Continuum with Machinedrum. To take in more from Jim, see RBMA’s July 2013 interview and/or his more recent XLR8R interview alongside DJ Rashad.

Om Unit – Facebook Soundcloud Twitter

– Jimi Jaxon




Graze is extremely effective at creating a journey with its productions, and this recent live set is no exception. The debut of this live show happened at Mutek 2013 in Montreal, and received significant recognition at the festival and in reviews. XI (Christian Andersan) and Adam Marshall (head of New Kanada, a personal label favorite) know how to demand motion and imaginative thought. While still being immersive with a wide spectrum of emotion, their tracks as Graze can have this dirty sassiness with the rhythms, and I absolutely love their execution. I’ve listened to this mix at work; washing dishes and cleaning tabletops, as well as at home cleaning my room. These can feel like mundane tasks, but as their live set sound tracked my actions I was immediately taken to another place, a placed dreamed up and translated by this duo. I hope to see Graze live in the near future, their fluidity with performance is of very high quality. I’m happy that this live session is available for download via XLR8R. Fine job with the eq’ing and/or mastering of the mix, ultra crisp. So many mixes I hear are missing that final touch, and I think it can do a disservice to the collection of tracks. 


I adored their self-titled debut EP. I wrote multiple blog features on the release, and played out several tracks such as “On Board” and “Ques”. After hearing that an album was fast approaching, I had no doubts that it would be major. I believe it will further show that Graze makes consistently strong statements about musical quality and graphic design. This new track “Skip/Crush” is a sonic triumph, pleasing on headphones and blasting out a club sound system. The video’s design demonstrates that Graze is just as strong with visuals and they are with beats. It astounds and inspires me that all the graphic design for Graze, including this new video and all the graphic productions for the New Kanada label are done by Adam Marshall. A one man machine, I see such talent in his able to create cohesion, making art pieces with lasting potential. This visual element of New Kanada deserves it’s own feature, but for now I want to give Adam credit for such mastery of the eye.


Today marks the eve of the ‘Edges’ release, Graze’s debut album. They’ve built it up very well, with all signs pointing towards a very strong presentation. I hope that it brings listeners together from many walks of life; from techno heads to dubsteppers, bass music fanatics to ambient chill people’s and everyone in between. The walls between genres are being broken down and mutated once again. Graze are a perfect example of two people coming from different ends of a landscape, and through mutual respect, creating distinct common ground.


You can now stream the entire album, with commentary from Graze via Self-Titled Mag.

Graze – Facebook Twitter

– Jimi Jaxon


Decibel Festival celebrates its 10 year anniversary next week, and I’m putting the spotlight on a few artists and showcases. When I first found out that a Hyperdub Records Showcase was happening (9/25 @ The Crocodile, All-Ages, 21+ Bar), I lost it. I felt confident it would be one of the best ones to experience at dBx. Seattle is quite blessed to have the hugely influential Hyperdub Records, with label boss, Kode9. Real name Steve Goodman started Hyperdub in 2004, innovating with releases from Burial, Zomby, King Midas Sound, Ikonika and more recently DJ Rashad, Laurel Halo and a personal new favorite of mine, Walton. Styles include Dubstep, 2-Step, Grime, Funky, Juke, Techno, House and Future Bass. Basically, Hyperdub covers a lot of ground with its mutated rhythms, and the music can often times have a darker perspective.


In a detailed conversation with Red Bull Music Academy, Kode9 understands that “the DJ has this kind of shamanistic role, a circuit bender, mediating between an abstract and a physical realm.” Last year, I traveled with Decibel Festival founder and curator Sean Horton to Vancouver, Canada for New Forms Festival. One of the main acts of 2012 was Kode9 and his DJ set was one of the best I’ve ever seen. Knowing that Goodman is a professor, with a Ph.D in philosophy, his New Forms performance felt like an education of dance music. Almost every strain of rhythm currently at work in the dance world seemed to be in his set, effortlessly strung together. It had so much raw energy, demanding movement and engagement with the audience.


I enjoy the imagination in Ikonika‘s music. Her newest album Aerotropolis on Hyperdub is an adventure, invoking feelings of the past and future, fantasy and reality. Those who appreciate house music, video games, sci-fi or the 80’s will find something to love in Ikonika’s sound. If you’re about to see her at Decibel Festival, I like knowing that she connects a club to a church, believing “It’s a place to meditate, it’s a place to find something new, it’s a place to remember something. (Quietus Interview)”

In addition to her work with Hyperdub she runs the Hum + Buzz label with Optimum.


Come to The Crocodile on Wednesday, September 25th, 2013 and experience the Hyperdub Records Showcase. I will be opening the night with a 9-10pm DJ set. Visuals by Zach Walker.

Hyperdub – Facebook Twitter Soundcloud

– Jimi Jaxon


In a very recent interview with Zane Lowe of BBC Radio 1, Frank Ocean named the UK’s King Krule as someone he’d like to collaborate with. This was my first time hearing his name so I jumped over to his Soundcloud, “Rock Bottom” and “Octopus” were waiting for me. I can see why Ocean is into Krule. Their styles compliment each other in interesting ways. They both have a sensitivity and emotional pull with their music and lyrics. They quickly and easily, can draw listeners into a world that’s partially their environment, and at the same time, something imagined. 


After first hearing those couple Soundcloud tracks I was dumbfounded when I checked out King Krule interviews, revealing a very unassuming Archy Marshall. All that depth, emotion and wisdom coming from such a young dude (He turned 18 last August). His ultra low voice had me thinkin’ he was much older. Another great example of not judging a book by its cover. There can be so much more beneath the surface, if you’re willing to look, and in King Krule’s case, listen.

I’m now traveling through his productions. Going back to his first releases in 2010, titled U.F.O.W.A.V.E., back when he was called Zoo Kid. A series of singles can be found on Zoo Kid’s Bandcamp. “Has This Hit” comes in with a lot of low end, a dark tune with interesting electronic bits. “Ocean Bed” is blissed the fuck out, so lovely.


After a name change, his next release was the King Krule EP on True Panther Sounds in 2011. “Bleak Bake” is another track showing some interesting delving into electronic beats. Combined with Marshall’s melancholy swooning, this one is a wonderful, modern melting pot of influences. A live video from Pitchfork Festival 2012, features a perfect performance of “The Noose of Jah City”. Can’t say enough how amazed I am by the clarity and maturity of Marshall and his band. If I could see Tame Impala and King Krule back to back I would be the happiest man.



Rinse, the majorly epic London radio station and label, put out a King Krule 12″ of Rock Bottom / Octopus late last year. It’s refreshing to see this kind of diversity from Rinse. They help drive the underground dance music scene, and now with Krule, show that they can work in many different sonic mediums. Both songs are just a pleasure to listen to, moving around freely and easily enveloping. In addition to the release, Rinse invited King Krule to their studio to host a Rinse FM Podcast. It’s just under 2hr’s long, with Archy Marshall guiding us through some of his influences and other tunes that he’s into. 


King Krule has an album set for release this spring via True Panther Sounds. In a very well done interview with The Fly, Marshall discusses his big plans for the future. This conversation shows another dimension to this incredibly gifted artist. He may appear shy and timid onstage, but he has a sharp perspective and confident understanding of what he is capable of. He aims to create a movement through his work, inspire other young artists and bring a fresh, organic perspective to the music community around him. He says, “..We are all creative people with a really big longing for something raw to come along. We want to make music more physical. Don’t wait for something on the internet, go and see it down the road, meet the people involved and find out how real it is..”. 


King Krule – Facebook Soundcloud

– Jimi Jaxon 


Recently I got an email from a future friend. He said he was DJ/musician who just moved to Seattle from Chicago, and that he was getting into the electronic community here. He saw my recent shows with Warp Records and Mount Kimbie, and I was happy to set up some time for us to meet face to face. In some later email exchanges, I connected with his writing style on music he loves. I asked him to send me a paragraph on something to do with music, and that maybe I would bring him onto Disco Droppings as a guest writer. This will be the first time I’ve opened up my blog to another person, so please give Tremel a warm welcome. Now I will step aside, Tremel, the floor is yours.. 

TREMEL Hotflush Recordings is a London based record label founded and still run by British electronic artist Scuba, real name Paul Rose. There are more than a handful of relevant labels releasing music these days, especially in electronic music, defining and redefining the essence and importance of what it is to be a label, but something particular recently came full circle for me with them.



A few years ago, as dubstep was just starting to make it all the way out here to the west coast of the U.S, Scuba was one of the first producers to initially get my attention. This was as I was really starting to gravitate not just to electronic music, which I’d always been interested in, but what was for me the revelation of club music. I was amazed that someone could string two records together and make it sound completely effortless. And that people still did it with vinyl! It was a while before I could even get into club nights that I realized the gravitas of the UK scene, and just how little of that was going on here in the states. But I have this very specific memory of first finding a record store that specialized in electronic music. I picked up a copy of TRG and Dub U’s Losing Marbles and wondered about this label- Hotflush- and how far away this record had come from. Venturing into all the different genres and categories, I was mystified at the things I found with obscure London addresses and “Made in the UK” printed on their packaging.  A few years and a couple cities later, filled with countless hours spent crate digging and actually learning how to play vinyl, I made it out to Decibel Festival 2012. Of the amazing shows and DJ sets I got to be a part of – the Hotflush showcase featuring Braille, George Fitzgerald and Sepalcure encapsulated everything I had experienced at the festival. The vibes and the music, the people, the visual art and the venue all left the resonating feeling that I’d found the right place to call home – Seattle. –




Tremel – Soundcloud 

Hotflush Recordings – Facebook Soundcloud