Since 1996, tracks have remained in the mid-170 BPM range, producing what we know today as drum and bass. The album generated the minor hit “Scuffin’ Those Knees”. Both sets will feature Will Scruggs, who’s played a part in the birth of both bands.
First off you will need some type of program, whether that is software or hardware to create the beats. In my experience of over 20 years with making beats i have used both pieces – hardware and software. I still use both today.
After taking a hiatus from hip-hop to explore house music and produce Stevie Wonder tribute shows, DJ Spinna returns with his latest album, Sonic Smash. In part one of this lengthy interview, the humble producer speaks on the 90’s NY underground scene and how Funkmaster Flex almost stole his record.
That’s exactly what seasoned drummers Michael Travis and Jason Hann had in mind when they formed EOTO in 2006. Hann talked about the band’s electrifying improvisation before a recent gig in Atlanta.
First, Frantic Clam, Rook, and Condiment Sandwich will be playing at Flamingo Cantina tonight (Do512 link). It should be an interesting show, as each of the three bands brings a wholly different sound. Frantic Clam exudes indie rock with a hint of glam while Rook falls more into Flamingo Cantina’s niche of reggae-rock. Condiment Sandwich brings forward breakbeat jazz with a touch of hip-hop. For 5 dollars, you won’t see a more diverse, talented group of bands tonight.
On Friday, She Craves, Dented, and One Eyed Doll will be rocking Stubb’s (Do512 link). Just down the street at 6th and Red River, Mixx will be hosting one of it’s first nights of live music after being a nightclub for years. The Beat Dolls, who were an opener for Godsmack at Austin Surf Sesh, will take the stage around 9:30, followed by HMS Foolhardy. Originally from Germany, HMS Foolhardy moved to Austin and just released their EP “Grassrock” a few weeks ago at Mohawk. Closing out the night will be rock duo, Silent Alarm Activated.
Most of the “clubs” were just one room warehouses with a couple pool tables-but ALWAYS- had the best damn DJ you ever heard, spinning this “new” music. There were always couches available, for when you fell to your “personal journey.” The dancing style we think of today hadn’t evolved yet- you just closed your eyes and did whatever the music made you do. Noone judged you. It was your “journey.” We all had our own to deal with.
I was approached by East West [Records]. That [Das EFX “Microphone Master”] was the first official remix and I was in Kansas. I had to get the job done so I brought Joc Max in and did it with him. Everything that we did, we labeled it Domecrackers. We eventually wanted to do a project called the Domecracker Project where me and him produce the whole record. But that still has yet to come to fruition. We talk about it all the time. He’s like a best friend, actually, like a brother. I speak to him all the time even outside of the music thing. So that’s what that Domecracker thing is, me and Joc.