Big Up One

Big up ART • MUSIC • PEOPLE • CULTURE

$10 US

OCT’2008

Evgeny Kiselev / DJ DISTANCE / ashes 57 / matty g MEZ ONE / sub.mission / babylon falling / DUB FILES

Big Up (noun) [origin - Jamaican, 1980s]

AD SPOT - $300 Sponsorship Level 1

1. An expression of support or encouragement.

2. An expression of remembrance.

“Up” is an English term used to mean elevation.

Therefore the term “Big Up” literally means to elevate highly or to a superlative degree.

2 | Big Up

Big Up is about art, music, people and culture.

We’re bigging up art that stops, wows and provokes thoughts and actions.

We’re bigging up music that empowers, enlightens and looks forward.

We’re bigging up people, who act, inspire and start revolutions.

And that is our culture.

3 | Big Up

CONTRIBUTING WRITERS: Lud Dub is a SF-based DJ, writer, entrepreneur, and jedi with over 15 years of experience in the music industry. When he’s not out hustling ad space, he’s either turning Jamaican 45’s into art, or honing the art of mixing Jamaican 45’s.

Ric Baker is a SF via Bostonbased musician, producer, and writer. He can be heard as a multiinstumentalist playing with The Spit Brothers and as afrostep artist Bakir. He is also co-owner of Dubs Alive! Records, which releases live electronic music. He’s currently looking for someone to teach him Nigerian pidgin.

Sam Supa is a Co-Founder of Surefire Productions, resident DJ at Grime City SF and Brap Dem!. Sam is always pushing the Sub Low sounds in the Bay Area and beyond.

BIG UP TO THE TEAM, CONTRIBUTING WRITERS AND EDITORS:

Green B, Ric Baker, Andria Bennett, Nicole Cacciavillano, Lud Dub, Katya Guseva, JSuave, Sam Supa, Anna Wachter, Clayton Worfolk.

BIG THANKS TO:

Jim Anfuso, Andria Bennett, Ric Baker, Nicole Cacciavillano, Lud Dub, the Giant crew, Maria Gushina, Gary Jugdeese, Daniel Karz-Wagman, Ruben Perez, Seth Quest, Shaun Roberts, Mike Schumer, Sean Stewart, Lorin Stoll, Anna Wachter, Miroslav Wiesner and everyone else we forgot to mention here for all the love and support.

FOR ADVERTISING OPPORTUNITIES EMAIL THE JEDI AT:

lud@thebigupmagazine.com FOR ART SUBMISSIONS:

art@thebigupmagazine.com FOR WRITING CONTRIBUTONS AND MATERIAL SUGGESTIONS:

katya@thebigupmagazine.com TO JUST SAY HI AND BIG UP:

(we check this one most often) bigup@thebigupmagazine.com FOR MORE CONTENT, SUBSCRIPTION AND EVERYTHING ELSE:

www.thebigupmagazine.com JSuave is an SF Dub Slinger/ Artist/Producer who is very opinionated and not afraid to tell you so. When he’s not busy working up a new riddim, he’s either pushing T-shirts, or making wisecracks.

Clayton Worfolk is a San Francisco-based freelance writer and videographer. He has reported on popular music in Panama, Brazil and the United States.

4 | Big Up

PRINTED WITH LOVE BY:

JB Imaging

The advertising, features, and reviews appearing within this publication reflect the opinions of the respective contributors, and not necessarily those of the publisher or its affiliates. All rights to art, writing, photos, design, and/or likeness and copyrights are property of respective owners, and no assumption of ownership is made by this publication or the publishers. The publisher will be glad to correct any mistakes or omissions in our next issue. The content may not be reproduced in part or in whole without written permission from Big Up Magazine and the respective contributors. ©2008. Big Up Magazine.

5 | Big Up

BIG UP ONE ART Ashes 57 Evgeny Kiselev MEZ ONE Ruben Perez Nick Simon Alef

10 22 32 44 52 64

MUSIC Matty G Nick Argon All Fruits Ripe DJ Distance Giant Music reviews

16 19 28 36 56 60

PEOPLE Sean Stewart of Babylon Falling Nicole Cacciavillano of Sub.mission

40 68

CULTURE Shoplisting Dub Files DVD Surya Dub The Roots

6 | Big Up

8 48 74 76

22 Russian illustrator and artist Evgeny Kiselev creates art that looks like a brain explosion on canvas. One can never glance but stare at his illustrations going deeper and getting lost in the infinite layers of colorful shapes. At the age of 29 he managed to gain a worldwide fame with publications in IDN, Beautiful Decay, Grafik Magazine, Rojo and commissioned work for Computer Arts, Philip Morris, Snickers, Unicef and many others.

In the interview for Big Up Evgeny talks about his inspirations, creative process, and his wildest dreams.

38 DJ Distance produces a very grimey dark industrial sound that has been supported from dj’s around the world, including Mary Anne Hobbs, Andy Weatherall and more. As he is announcing his second full album release, Distance gives Big Up an insight on his view of dubstep, the direction the sound is taking and new and upcoming producers.

28 The spirit of revolution lives in the Lower Nob Hill neighborhood of San Francisco with its headquarter at Babylon Falling. That’s where we had a chat with Sean Stewart - the mind behind this unique culture spot. In just one year Sean brought up his bookstore to be the Best of the Bay Bookstore for Aspiring Activists.

50 Dub Files DVD is the first dubstep documentary, which takes a look inside the world of dubstep’s most prolific DJ’s, MC’s and Producers. Run by Gary Jugdeese of Static Media, A+ Troy Miller of the Media Gang and Gary McCann (DJ Caspa), Dub Files took the very short history of dubstep music to the whole new level.

Documenting in-depth and personal interviews with the scene’s top players, they bring fans, listeners and music lovers closer to the DJ’s, MC’s and dubstep Producers, finding out their likes, dislikes, roots, influences and production tips.

7 | Big Up

SHOPLISTING

Mimobots are little friendly data fiends. You can feed the 2” monsters all your essential data and be sure it’s safe, what with the names like gigglebyte, fairybit and corrupted data. Mimobots artist series feature designs by tokidoki, Gary Baseman and FriendsWithYou. Available at mimoco.com Price: $35-$100

Obama Sneaker Keds shoes. Inspired

by Shepard Fairey’s Obama poster.

WARNING: Wearing these does not substitute voting.

Available at zazzle.com Price: $67 a pair

You’re in Bigfoot Territory now!

High quality silk screen print on white. Signed and numbered by Bigfoot himself. Limited edition (run of 100). 19’’ x 24’’.

Available at bigfootone.com Price: $60

8 | Big Up

Inspired by Jeremy Fish, Blake Suarez threw a couple of his own characters onto the end of a skateboard deck and jigsawed them out. These are one of a kind. And you got five charcaters to chose from.

Available at orangehead.etsy.com Price: $150

MUSICALLY MAD takes you into the hearts and heads of the singers and soundmen, the backbone of the UK roots reggae sound systems. 1-hour documentary includes live sounds and interviews with the people pushing reggae to the masses.

Order at ebreggae.com Price: $17

“Permanent Vacation” tee by BOLT CUTTER - a progressive streetwear label out of Brooklyn and All Over. If you don’t know, now you know. Smash faces, take charge, rip bonghits, pull off caspers, straight lamp.

Available at Boltcutternyc.com Starts at: $30

9 | Big Up

"I

use black poster markers on white paper to draw a fantasy world."

interview by Katya Guseva

ASHES 57 Delphine Ettinger aka Ashes57 started freelancing as a graphic designer in september 2003 as she moved to Montreal where the rents are affordable and she could get away without working too hard. In Montreal, she met very good musicians like Frivolous, Stern, Ghislain Poirier, Donzelle, Amon Tobin. She draws her inspiration from many different sources, amongst the most important are the urban landscape as well as the natural beauty of Canada. She spends the long winter nights doing line drawings and vector graphics for her own art projects.

10 | Big Up

11 | Big Up

What are your early influences and how did you become an illustrator?

I left my job at a London design firm in June 2004 and decided to go travelling around Europe for a little while. I was so tired of working on company leaflets and very boring print work for financial companies. Even though people liked the work I was doing I found it very hard at the time to express my creativity and to be happy in my position.

My plan was to move to Montreal for a few years and to start working on my own projects, freelancing and doing illustrations as much as I could. Then I visited Paris, and when I arrived at the Gare du Nord, where my friend came to pick me up, I saw an Obey poster near the train tracks.

I said to my friend, “I am going to work for Shepard Fairey�. I got very excited about it but obviously nobody took me seriously. Two weeks later Studio Number One, which is his creative studio based In Los Angeles, got in contact with me and offered me an internship for the next year. I moved to Montreal that September and worked really hard on my illustration skills. I drew day and night.

Then the following summer, I went to work with Shepard at his studio. I helped him develop his illustrations and his artwork. After working closely with him for a few months, I really felt that I had the confidence to call myself an illustrator and to get bigger contracts.

12 | Big Up

How would you describe your style to people who first come across your art?

I have a lot of different illustration styles; I think I am trying to resist being placed in a box. I really enjoy trying different mediums and techniques but I have two main styles. One would be vector illustration, where I use clean lines that I have drawn on the computer using my Wacom tablet. I usually add textures from photographs and spraypaint or drips in the background to add some depth.

And my other side would be hand-drawn illustrations, which are more organic and simplified. I use black poster markers on white paper to draw a fantasy world.

What do you have to say about color in your work?

When I fist moved to London, a few years back, I remember taking the train in the morning to go to work and everyone was wearing dark suits and it used to depress me so much.

So as soon as I got to my computer I would start to use very bright colors as a sort of revenge. Ever since then I have been using very bright colors and trying out different combinations. But also part of my work is in black and white only with the occasional drip of color.

What is the main difference in commercial and noncommercial work for you?

It depends on the freedom I am given and the project. But over the years, people have become more confident in my work and given me more freedom to do what I want to do. The down side with commercial projects is that you need to satisfy the client and the public and sometimes companies don’t want to take any risks. So in this sense, it is way hard to break out of the box. The upside is that it pays the bills. With non-commercial work, I usually get way more freedom, and it gives me the opportunity to explore different paths or try out new techniques and to be more creative.

What’s your favorite piece?

I don’t know if I have a favorite piece but I love my little doodles. I don’t think I have ever got tired of looking at them. Of my vector work, I think I like Lady Sovereign or the Jay-Z portrait the best and for my hand drawings it would be my latest illustration for the Invizzibl Men.

"I love dubstep.

I think the bassline has a chemical reaction on my body.

It clears my head and sets free my ideas."

On the subject of music does music inspire your work in anyway?

Absolutely, music is my biggest source of inspiration. First of all, I need to listen to music to be able to work.

But one of the best ways for me to find new ideas is to go out and listen to some live music. I love dubstep.

I think the bassline has a chemical reaction on my body. It clears my head and sets free my ideas.

What are your favorite dubstep musicians/shows/djs?

I love Digital Mistikz (Mala and Coki) and Loefah. They run a night in London called DMZ. It’s completely

dublicious. I think Mala is very spiritual and all the songs he puts out are a real delight. Look out for the Deep Medhi releases. Joe Nice is an amazing Dj. Kode 9 is visionary and his label Hyperdub is quality. Flying Lotus is not really Dubstep but he is deep. Juakali and Sgt Pokes are my favorite MCs. The list could go on for a while.

You’ve worked on a number of flyers for Dub War, how was the experience?

I first talked to Dave Quintiliani, the Dub War promoter because I wanted to do an interview about his night for Cool’eh Magazine. Dub War was

13 | Big Up

14 | Big Up

one of the only Dubstep night in New York City and I wanted to know what was happening behind the scene.

Then later on, Dave Q asked me to design a flyer for the Dubstep History Lesson night. I have been doing it since then. It’s been really fun, because for each flyer I do, I try to create a visual representation of the headline and I take it as my contribution to the movement.

"Focus on what you want to do, the rest will come."

How do you kick back and relax when you are not working?

I work long hours and I have a very different lifestyle from most people because when I start a new project and I am inspired I like to work very late. I spend most of my time in my studio or on my computer. So when the weekend comes I have a lot of energy to use up. But I think I am pretty relaxed most of the time.

Is there a medium/style that you haven’t worked in and would like to try?

I recently helped an artist in London to make these little concrete statues that he puts up in the streets.

I just bought all the materials to make my own little statues and I think that will be my next thing.

What would be the best tip you could give other people seeking to work in creative design?

Focus on what you want to do, the rest will come. BU It's my w

ildest dr

eam to...

...take over all the digital displays in Times Square in New York and to put my illustration work there instead for one day.

BIG UP TO

...

What artists inspire you?

I was very inspired by Toulouse Lautrec, one of the first graphic designer in France. I used to admire his poster compositions and colors. But Andy Warhol and Roy Leichtenstein are both big sources of inspirations, not so much for their techniques but more for the way they made illustration into an art. And Shepard Fairey of course.

...Cool’eh Magazine, Backwoodz Studio, Stern*, Ronzo, Word to Mother, Shepard Fairey, Invizibl Men for loving my line work llustration, Tarka Cordell who gave me my first freelance project, and Frivolous.

15 | Big Up

MATTY G 16 | Big Up

interview by Ric Baker How were you first exposed to dubstep?

Nick Argon’s brother is really into grime and has followed it for awhile. He started playing Nick some grime beats, as well as some dubstep that was coming out... tunes like Horror Show and Roll Dat Shit. He then played them to me, and I was diggin’ the tunes as well. After that, I started checking Barefiles, to listen to radio shows, and got a better idea of what the sound was all about. Dubstep Wars on Mary Anne Hobbs’ show sealed the deal though.

What’s the significance of the title “Take You Back”?

There’s a song on the “Rocky” soundtrack of a street corner group singing “Take You Back, do-do-do-do, Take You Baaaaack.” I thought it’d be a dope intro and title for the album ‘cause I draw from some oldschool influences.

Unfortunately, I didn’t end up using the sample, but I stuck with it as a title.

Is there any concept or message behind the album?

Nothing that was intentional, except that I wanted the CD version to be for fans of dubstep, who aren’t DJs. I guess, that ultimately affects the songs on vinyl, but I wanted to have a track selection, that wasn’t too dance floor, or too deep. Something to bump in the car or your walkman.

I didn’t want the intro’s/outro’s of songs to be too long, and I put little silly skits and stuff in between some of the beatz to make it fun, and keep the listener’s interest.

How did you approach working with different singers/ MCs? I just tried to do the best with each individual situation.

Juakali was on the East coast, and sent me acapellas he recorded over the beats. Luv Fyah was recorded over a beat, that I did, by a friend of mine, without me even knowing it. The beat already had lyrics for it though, so I made a whole new beat for Nuff A Dis, once I heard the lyrics. I sought out Audio Angel ‘cause I’ve been wanting to work with her for awhile, and we just recorded some on the spot stuff at a friends house. After that, I did the mixdowns at home, and tried to do them all justice.

Did you write your tracks with these specific artists in mind?

For the Luv Fyah tune, I crafted a beat to fit the lyrics ‘cause he recorded on a tune, that already had vocals for it. Juakali was given the pic of some beats and he wrote to those. I wanted to get the right vibe for Audio Angel, so I especially kept her in mind when making the beat for Jazzy Ways.

Did you play any of the instruments on the record?

Only some synths on the tracks... strings, pianos, vibraphones, clavichords, those kinda things. I would like to incorporate some live instrumentation into future projects, and maybe try to rent some studio time for musicians and vocalists.

Where would you place “Take You Back” in the scope of your personal career and development as a musician?

At the top right now. It was such a long process, with lots of learning along the way. It’s something that I never thought I

would achieve in my lifetime. As far as development, I’ve lost some of my technical ability as a classically defined musician, because I spend all my time in front of the computer, instead of playing instruments, but I’ve broadened my abilities to compose songs by having full control over all of the elements. I used to play guitar in a hardcore band, and it was tough to compromise with others about which direction to take the music. Being able to do whatever I want now is very self-fulfilling, but can also be tough. When you work by yourself, it’s only your ideas being examined by people. I’m excited and nervous to see, how the album is received. I do miss the spontaneous creativity that comes from working with others though, which is why I’ve done some production and vocal collaborations on the album. These experiences definitely brought some wonderful vibes, and helped me expand as a producer. Mixing vocals has definitely been the largest challenge so far though.

"I

'm currently trying to take it back to the soul, to try and represent america's art form a little better."

What influence has hip hop had on your work?

For me, hip hop is the most accessible form of music, so it definitely plays a big part in what I create as a musician.

I grew up for a long time in a rural environment, and was really turned on by hip hop in the 90s. The groups I listened to like N.W.A., Wu Tang, Tribe Called Quest, etc... were all very funk and soul-based. This style of production has really left a mark on me, and is the fashion in which I create songs. A lot of people build their own songs from scratch, playing all the synths and basslines.

I like to hear something, and try and flip it. I love a loop, a sample. Some of my songs sample reggae, and have some old school scratch record samples in there, but I’m currently trying to take it back to the soul, to try and represent America’s art form a little better.

What other styles or artists inspire and influence your music?

I’m a huge fan of dub and reggae. Funk and soul of course... RIP Isaac Hayes. He’s definitely one of my favorites and epitomizes the sound I would love to make... soul, but orchestral soul. It’s got that southern funk, with beautiful string melodies. Electronic music is a big part too. My whole introduction was through house, and 17 | Big Up

although I didn’t get fanatical about it (I only know a few artists), it’s definitely an influence. Jungle and hardcore are huge influences though. By the time I got into it, it was already drum and bass. I didn’t initially have any friends, who were into it, so it took me awhile to realize I couldn’t buy records that had the sound I was looking for, because they weren’t being made anymore. Jungle is all about basslines, and I love that. I also loved, how it flipped other styles like R&B, funk, hip hop, reggae and dancehall, and made them work within the framework of jungle. As much as I love all that stuff, I have to say though, that No U Turn shit is the best for me. They still sampled a bit, but it was sparse, and rugged as hell. Old Ed Rush, Trace’s Lucky Spin tunes, Ruffige Kru, all that stuff have had a huge influence on me... even though it might not seem like it... haha.

What are your feelings on sampling?

I have a love/hate relationship with sampling. It’s an integral part of my style, and of styles I admire, but I struggle with it. I wonder if people question, whether I’m a real musician, because I use samples. I’ve been trying to do more completely original beats lately, but there’s something about sampling that makes the music process fun. I’m constantly hearing things I’d like to sample, and was doing that before I was ever a producer. In the end, it’s all good. I feel like I’m just participating in a style of production that isn’t as prevalent in music anymore.

What do you listen for in a track? What musical elements are important to you?

"I

wonder if people question, whether I'm a real musician, because I use samples."

Do you feel any of your production techniques directly affect your sound?

Definitely. My studio setup is an old iMac G3, and a bunch of records. I don’t have the processing power to go crazy, so that definitely limits what I can do. Having a sample-based style of production affects my sound as well. Usually, the melody consists of something I’ve taken from a record, and then I might build upon it with a synth, whereas other producers might use synths, or just a crazy bangin’ bassline for the melody.

MY MOST

ECORD

PLAYED R

Big Youth - Everyday Skank eam to...

ildest dr

It's my w

...travel the world making music... wait?!... But seriously, I never thought this would happen.

...

BIG UP TO

...all my friends, and Family. Big shout out to Nick Argon, ‘cause if he didn’t believe in me, we wouldn’t be doing this interview. Thanks to the whole Big Up posse as well. Much love.

Bass, drums, and melody. The bass and drums come first.

I love being able to strip down a tune. When I make a beat, I make the busiest part of the tune, with all the elements going. Then, I’ll strip that down. My favorite part of a tune is when nothing but the bass and drums are left. If they don’t sound good by themselves, then there’s a problem.

I do love a good melody though. It has to be there. That’s when the samples, or a little synth come in.

How do you approach your DJ set?

I used to plan it out when I was just a DJ. I’d be real into it, busting quick mixes and a scratch here and there. Now, it’s more on the fly. Sometimes I’ll drop an oldschool jam as an intro, and work my way up. I feel kinda obligated to bust some bangers, but I’d like to be able to take it a bit deeper than what I usually play out. It’s tough, because an hour isn’t a lot of time to experiment. If you kill the vibe with a tune that’s too mellow, it could take the rest of the set to get ‘em back.

Do you hear a difference between British Dubstep and American Dubstep?, Bay Area Dubstep?

There’s a difference between every producer out there, regardless of their country of origin. Some producers sound more similar than others. They might be using similar equipment, drawing from similar influences, or part of a crew that’s trying to push a certain sound, but for the most part I feel everyone has a pretty unique sound.

That’s why I love this music, there’s so much diversity, and freedom to try new things.

What are your plans for the future?

Possibly starting a new label, another album, some singles, or saying fuck it to the whole damn thing and going back to school and getting married... haha!

18 | Big Up

How did you come to know Matty G? Matt and I went to college together. Back in my college days, I was throwing lots of parties around the San Francisco bay area. Matt introduced himself to me at one, and handed me a mixtape he had done. I was blown away! It was a mix of No-UTurn style drum & bass, with classic hip hop! The rest is history.

NICK ARGON

Do you have any plans to release any other full length records?

Definitely! Matty G’s album is just the start! I can’t name name’s yet, but you can probably guess.

How did you come to be interested in music? When did you start DJ’ing?

I’ve always loved electronic music, and I purchased a pair of turntables during my first year at college. It was something I was just dabbling with at first, but quickly evolved into a very important part of my life!

How did you get interested in dubstep?

My brother introduced me to dubstep. From early on, I was really into drum & bass music. Early releases on Argon were in fact drum & bass Nathan always enjoyed grime, but I could never really get into it. He then showed me some tunes that he called “dubstep” - I realized that these were very similar to the music Matty G was working on, and it all clicked.

What’s the mission statement for Argon Records? How are you approaching the ever changing music business?

I approach the ever changing music business by purposefully not having a mission statement! I try to have fun with it all!

Dubstep music has taken me all over the world, and introduced me to wonderful people from all corners of the globe. I feel that I should give something back to the music that has given me so much, and that’s what I aim to do with Argon.

What do you listen for in a track? What musical elements are most important to you?

I don’t necessarily listen for certain elements in a track, but I focus more on whether I can remember how the track goes the next day after hearing it. To me, this is a sign that track has some staying power, and will stand out in a mix. It’s a quality of timeless music - something that will sound fresh for years to come.

"I

feel that I should give something back to the music that has given me so much." my MOST

PLAYED R

ECORD...

Uncle Sam - Round the World Girls (Tes La Rok Remix) - ARG011 I don’t think I’ll ever get tired of that tune! my wild

est drea

m is...

...seeing all my friends be successful musically!

BIG UP TO

...

...Matty G on the release of his debut album, “Take You Back”

19 | Big Up

20 | Big Up

STYLE SPOTLIGHT

“Shock The World” tee available at orisue.com Price: $24

“Flight” jacket available at orisue.com Price: $120

“Tomas” Classic Fit Denim available at orisue.com Price: $90

21 | Big Up

"E

ach and every element of my illustrations is drawn by hand, and the only generator of visuals i have is my brain." interview by Katya Guseva

If i ever met...

i would...

...If I ever run into aliens, I’d beg them to take me home with them

22 | Big Up

Russian illustrator and artist Evgeny Kiselev creates art that looks like a brain explosion on canvas. One can never glance but stare at his illustrations going deeper and getting lost in the infinite layers of colorful shapes. At the age of 29 he managed to gain a worldwide fame with publications in IDN, Beautiful Decay, Grafik Magazine, Rojo and commissioned work for Computer Arts, Philip Morris, Snickers, Unicef and many others. In the interview for Big Up Evgeny talks about his inspirations, creative process, and his wildest dreams.

How did you get into illustration?

I used to work as a designer and art-director of a small magazine. And most of the time I experienced the lack of visual materials for my layout designs. Then I started making my own collages and small illustrations to use for the magazine design. My coworkers and readers loved them, and it became a great inspiration for my next steps. I started entering online design and illustration competitions and winning them. I realized I had my own style and it inspired me even more.

What is that style?

Well, I still don’t have the exact answer to this. I usually describe it as “Organically-mechanical vector abstraction”.

Many people are asking me lately if I use any programming codes for generating visuals, like Joshua Davis does for example. Maybe it’s my disadvantage, but no. Each and every element of my illustrations is drawn by hand and the only generator of visuals I have is my brain.

Your works are so colorful! How do you chose the colors?

The color is the last step in my process. First I get the graphic part done and then start playing with color. It doesn’t take long, cause while I draw I make notes on what colors I want to see in the final version. Most of the time the colors depend on the weather. Here in St. Petersburg, we only have 60 sunny days a year. So to avoid grey colors in my life and work, and not to get bored and depressed I prefer spending winter in Asia.

What is the main difference in commercial and noncommercial work for you?

The main feature of my personal works is the absence of recognizable images. People often need some logical thread, something to connect with their own world. I brush it off, because I think it’s the easiest way. My personal projects are a way to protest against the labels. I also very rarely include any typography in my compositions for the same reason - to avoid any explanations of the meaning. My idea in graphics is to move from the area of the logical to the area of feeling and guessing. I love eye-traveling in my own illustrations and find motives I didn’t suspect existed in my works.

Do you have a favorite piece of your work?

I usually like my latest 5-10 works. With every completed project I feel a step closer to some illusionary goal, this inspires me and gives an impulse to create a new and different image.

Is there a medium that you haven’t worked in and would like to try?

Most of all I’d like to become a part of the team working on creating the weirdest cartoon in history.

Where do you get your inspiration from?

I just started a second blog, where I post the works of artists that inspire me. Almost every day I post something special, that I liked and remembered. www.ekiselev.tumblr.com BIG UP TO...

...my girlfriend Lucy

23 | Big Up

24 | Big Up

25 | Big Up

26 | Big Up

27 | Big Up

photo by Shaun Roberts

ALL FRUITS RIPE

by Lud Dub

Forty-six years after its independence from England, the island nation of Jamaica continues to struggle with escalating crime and violence throughout most of its fourteen parishes. Despite the notorious title of “the most murderous nation�, there comes hope and aspiration, as Jamaica still churns out more music per capita than any other nation in the world.

The immense talent pool of artists, musicians, and producers have contributed to decades of post-independence indigenous music, with long lasting effects throughout almost every popular dance music genre in the world. As the advancement of audio technology becomes more and more accessible in Jamaica, new talent arises with a new twist on the ever-evolving reggae-dancehall scene.

28 | Big Up

Di GENIUS

One of the hottest sensations of late, eighteen-year-old Stephen McGregor, AKA “Di Genius”, has rapidly made a huge name for himself. In just two years, the son of Reggae legend Freddie “Big Ship” McGregor, has produced some of the most influential dancehall riddims from yard. The “Power Cut”, “Red Bull & Guinness”, and “Ghetto Whiskey” have made so much noise that he was dubbed a musical genius and given his prominent nickname as a young teen.

Di Genius’ latest high energy riddim, titled “Day Break”, and released on his father’s Big Ship label, features Wayne Marshall’s warning “Danger”, Anthony B flexing on “Run Up Pon Dem”, and the dynamic vocal group Voicemail ensuring that the dance “Jump Off”. Another Di Genius produced riddim bubblin of late is the “Work Out”, with Sean Paul pleading “Don’t Tease Me”, Assassin spelling out what the world go ‘round on “Money”, and Dr. Evil’s comical “She Waah”. If that weren’t enough, another extremely talented artist in the Big Ship family, Freddie’s elder son Chino, is stirring up the dance with the R&B influenced single “Set It Off”, produced by none other than Di Genius.

On the topic of families, Jamaican artists are prone to form musical alliances based on gully upbringings and talent level. The most influential alliance in the dancehall scene is undoubtedly Bounty Killer’s “The Alliance”; with standout members Movado, Busy Signal, and Bugle, having released a barrage of chart toppers in the last twelve months.

Arguably, the biggest impact as of late is Tivoli Garden artist Busy Signal. Idolizing Bounty Killer as a youth, Busy Signal would recite Bounty’s lyrics word for word, until he ironically got the call to join The Alliance. Making a huge splash last summer was the single “The Days” voiced on the Daseca label. Trying to differentiate himself from the ever growing list of Jamaican DJs, Busy’s “The Days” painted a picture of the harsh realities of the streets of Kingston, with diverse topics ranging from the influx of guns, drugs, and AIDS, to babies having babies. Riding on the success of “The Days”, Busy voiced “Jail” on the Jam II label, “Pon Di Edge” on the Star Kutt label, and “Unknown Numbers” on the Juke Boxx label – all receiving loads of airplay and multiple weeks on the top ten charts. Busy’s second and long awaited album “Loaded” is due to hit the streets in late September, featuring these singles, as well as the radio crossover hit “Tic Toc”.

29 | Big Up

ETANA 30 | Big Up

"q

ueen, shining among the male dominated reggae scene..."

As Dancehall artists continue to dominate the airwaves, Jamaica still has a passionate side for its singers. Tarrus Riley, son of Jimmy Riley of The Uniques, has been winning over local and international fans with his album “Parables”, produced by the legendary saxophonist Dean Fraser. With an emphasis on keeping things positive and upfull, Tarrus’ string of successful singles (“Something Strong”, “Beware”, and “She’s Royal”) have received worldwide recognition; with the latter biggin’ up the women that move to their own beat and possess qualities of a queen. One queen shining among the male dominated reggae scene is songstress Etana.

Gaining experience as a backup singer for Richie Spice on his North American and European tours, it wasn’t until she released her single “Wrong Address” in 2006 that she began turning heads and receiving recognition as a promising new voice. Originally signed to the Kingstonbased Fifth Element production crew, Etana aka “The Strong One”, churned out more hits like “Roots”, “Warrior Love”, and “I Am Not Afraid” (featured on Kemar “Flava” McGregor’s already classic Rub A Dub riddim). Not to be outdone by the success of Tarrus Riley and Etana, the newest singing sensation, along with his astonishing production and writing talent, is the singer

known as Demarco. Demarco started to blaze his unique trail in the scene at the end of 2007 with the massive hit “Fallen Soldiers”, an ode to all freedom fighters and loved ones who’ve passed on. Demarco’s next big hit, “Duppy Know Who Fi Frighten” was released on John John’s Shootout riddim, popularized by Mykal Rose’s title track “Shootout”. Drawing more attention to Demarco’s distinct singing talent, the most current track that’s causing a buzz on the “Warning” riddim is “Sort Dem Out”. Also featured on the Warning, which Demarco receives production credits on, is the chart topping “Money Changer” by “Gully God” Movado.

Undoubtedly, Jamaica offers a picturesque backdrop of the Caribbean island life, from its Blue Mountain Peaks, to the surrounding sandy beaches. Heavily influenced by the scenery and the infinite amount of music released on a daily basis, Jamaican music videos have “been a phenomenon sweeping over the island. Leading the forefront of video production is Ras Kassa AKA “The Guru”. In just a few short years, he’s been credited with some of the most innovative videos to date. His 2005 release of Damian “Jr. Gong” Marley’s “Welcome to Jamrock” was an international success, and arguably escalated Jr. Gong to his elite status amongst Jamaican vocalists. Even amid the controversy that “Welcome to Jamrock” promoted a negative image of the island, it was one of only a handful of reggae videos featured on MTV’s TRL mainstream request show. Under his own company, “The Guru Films”, Ras Kassa has pioneered video production and brought it to a new level, and he has done so with no formal training in filmmaking. Ras Kassa has directed videos for a wide array of artists, from Beenie Man to Willie Nelson, and Michael Franti to Gentleman. “The Guru” is trailblazing a new medium that is sure to garner worldwide exposure for the tiny island nation known as the land of wood and water.

Top 10 reggae/ dancehall Singles (compiled by Lud Dub & Green B)

10 DANCEHALL BUBBLERS (compiled by Green B)

Movado – Money Changer Elephant Man – Nuh Linga Mr. Vegas ft. Barrington Levy – Mus Come a Road Demarco – Sort Them Out Konshens – Winner Beres Hammond – I Feel Good Jr. Reid & Jah Cure – Hot Long Time Serani – Stinking Rich Busy Signal – Politics Damian Marley & Stephen Marley – Mission

Sean Paul – Highest Grade D’Angel – Nuh Weh Demarco – Standing Soldier Capleton – Get the Hell Out RDX – Champion Bubbler Munga – Regular Basis Serani – Never Gonna Stop Chino – Ruff It Up Ward 21 – Pass Pass Me the Grades Laden – Really Like You 31 | Big Up

"O

ur lives are bombarded with mediocracy, advertising and corporate ownership.

Graffiti rebels against that, and I love it."

MEZ ONE Creepy old men in suits with intense angry expressions, bloody mouth and glowing zombie eyes, yellow teeth and faces distorted with agony – these outstanding images, created by Mez One, are so powerful, they’ll haunt you forever. The meaning behind the images is just as powerful. interview by Katya Guseva

How did you become a graffiti writer?

My earliest influences are Iron Maiden album covers. In fact, that’s the first piece of graffiti, I ever remember seeing. I was probably in 2nd or 3rd grade, and I remember seeing Eddie, painted in a tunnel, next to the apartments I was living in.

I think, that seared graffiti into my subconscious. Of course comics, toys and cartoons played a big part in my artistic development. And the biggest influence into graffiti, growing up, was Hip Hop. I started getting the Source when I was in Jr High, Chino had a graff section in it. I looked forward to that every month. I started drawing it, but didn’t really start tagging till like 95. I was in high school. I did my first full piece with characters in 96.

How do you describe your graffiti style?

I’m a character artist, I used to do letters back in the day, but now I focus on imagery. I still love to do handstyles though.

I’m mostly recognized for my big blue faces. I enjoy painting gnarly old men in suits or distorted bodies. A lot of it focuses on the elites, greed, oppression, and ‘the hidden agenda’. I feel it’s necessary to get out the message of the NWO, and this is my contribution.

What’s your relationship to graffiti?

Well, we’re still together, so that says a lot. Seriously though, I’ve always loved graffiti, the good, the bad, and the ugly.

I even like seeing Toby loves Jenny Lou on an overpass in the Midwest. To me, graffiti is life (not to be confused with ‘graffiti is my life’) it’s a voice, an expression. Our lives are bombarded with mediocracy, advertising and corporate ownership. Graffiti rebels against that, and I love it.

What are the legal issues that a graffiti artist in TX faces?

Don’t get caught. Nowadays it seems like they really try and throw the book at you. And I feel like they are cracking on youngsters to make examples out of them.

32 | Big Up

33 | Big Up

"I

feel it's necessary to get out the message of the NWO, and this is my contribution."

Do you have a favorite piece of your work?

I don’t have any favorite pieces, I have ones that I like and ones I don’t like. I always feel like I’m improving and need improvement.

With the nature of graff, nothing is permanent, I’ve always liked that about it.

How do you kick back and relax?

Typical shit, I love to kick it with my homies, I go out quite a bit to catch shows, but every now and then I like to chill at the casa and watch a movie.

What medium would you like to try besides graffiti?

Oil has always had my interest. There is something rich and elegant about oil paintings. It seems to be pinnacle of artistic integrity.

34 | Big Up

Does music inspire your work?

Absolutely, I usually listen to Dubstep 90% of the time when producing my own work. I use music to help me set a tone or get in a certain mindset for work.

Music has always been a major player in my life, sometimes even surpassing art.

I’ve been Djing off and on for about as long as I’ve been into graffiti.

What are your inspirations?

Oh man, lots. I love the renaissance painters and they’re techniques, Art Nouveau, Alfons Mucha, Diego Rivera.

But contemporary I would say R. Crumb, Todd Schor, Robert Williams, Doze Green, Jeff Soto, Mac Crew, Mode 2, Saber, Sam Flores, Ron English, Zephyr, Andrew Jones, Marko Djurdjevic, Vyal, ATT crew, HSA crew, Totem, Mr. Jago, Retna, El Mac, Chet Zar, Frank Frazetta, Barry McGee, Aaron Horkey... I could keep going. I’m also inspired by all the people I write with, and all the new people I meet.

my wild

est drea

m is...

...see us truly free.

I'D like to

be famou

s for...

...my art.

IF I EVER M

EET...

...David Hasselhoff, I will laugh.

BIG UP TO

...

Grooveholmes, Hiksa, Sloke, Wake, Saint, Mesage, Worm, Reks, Ewzr, Vern, Cause, Degas, Seoul, Grommit, Innerlign, Tyrant, Sloppy Jackson, IO, Coach Smizno, John E Glock, Seiji, Supher, Sear, Benzo, Skyler, Mike, Joel, all the Austin, Houston and San Antonio homies!

35 | Big Up

36 | Big Up

37 | Big Up

photo by Shoebox

38 | Big Up

DJ DISTANCE

interview by Nicole Cacciavillano How were you first exposed to dubstep?

Well, this is where a lot of people make a mistake. Dubstep didn’t exist when I was making it. Just like Mala and Skream weren’t making dubstep, we were all just making things that fit into the tempo, like FWD music. Hatcha’s dubstep mix on Tempa came out, and then people used the word “dubstep”. I was first exposed to the sound through garage.

How did the UK dubstep family come to be?

We were all doing different things but were interested in the same sound. Sarah started FWD, producers I liked were going, I started going. I started meeting people like Skream, who I have heard of from the forum and through friends. People started coming up to me and being like “Oh you’re Distance from the forum”. I met people through producing the same sounds, heard of people through different people. It’s like every week I would hear a different name, people trying to do similar things, so we would all meet up.

to everyone " that thinks

digital sounds better than vinyl, you are 100% wrong!!! So, if you can buy it on vinyl, buy it on vinyl.

How do you approach working on collaborations?

Who ever shows interest really. People I am close with.

Skream was the first person I worked with. We built one up in my studio, then one in his. FWD helped get people together. It was right about the time I made tune Fallen, when me and Skream got together. I have always been close with Pinch, so it was just natural that we got together in the studio.

Any collaboration releases on the horizon?

Well, there is a secret joint venture between me and Pinch called “Deleted Scenes” - a new label.

What do you use to write your tunes?

I use cubase and loads of Vst’s. I play the guitar, no hardware.

Favorite plugins? I love everything by Native Instruments. A lot of the stuff I use, like distortion, are free ones.

digital sounds better than vinyl, you are 100% wrong!!!"

What’s your vision?

To be able to make music that I am happy making, not feeling I have to produce any particular type or sound.

What was the reason for starting Chestplate?

I was releasing my tunes for random labels. I wanted people to know where to find my tunes, have one place to look for them. I won’t be signing any individual artists.

Chestplate is a place for my tunes and collaborations.

Has your original vision for Chestplate changed due to the digital age?

When I started Chestplate, I was certain I wanted to keep it vinyl, but from playing in more and more places and meeting more people, it is obvious it is not feasible for a lot of people. In a way, it is and it isn’t damaging what I am doing. People still ask when certain Chestplates are coming out, but because I don’t release them on mp3, they don’t know those tunes are out. Obviously, I want my music to be heard, so I will do what I have to do.

Dubplates are expensive, and so is vinyl, so it makes sense that stateside DJ’s are playing mostly mp3s. Hopefully, it gets to a point where you see more vinyl here in the States.

It will be good to come back in two years and see shelves full of dubstep, that you can buy, and hopefully that will start the vinyl trend again. And to everyone that thinks

Has your rock/metal background influenced your dubstep?

I think so, yea! But I didn’t realize it. Once I did the Maryann Hobbs show, people came up and said, they could totally hear it in the drums. In my interview, I mentioned liking Korn and other rock bands. It’s cool, people could hear it when I was not deliberately doing it. I used to be into rock and metal. I used to play in bands. I tried to incorporate it with the music I was doing. I still play guitar and listen to heavier music. Mostly, I just plug it in and try and make weird sounds to use.

Do you feel any of your production techniques directly affect your sound?

I don’t know, really. Every time I produce I produce a different way. I never use the same drum sounds. I try and never use the same bass sounds. I create everything fresh. Sometimes, that can slow things down, but sometimes it works.

Do you have any tips for new producers?

Don’t listen to dubstep. When you are trying to produce, listen to everything other than dubstep, because you will just repeat what’s already been done. People can look at what I’m doing and think they can try whatever they want to try. The worst thing is when people hear a sound, that they like, and then try and replicate it. There’s no point in going on, because that is not helping progression.

Is there a concept behind your radio show?

I kept getting sent a lot of tunes by unknown artists and half established artists, that may have a release or liked my music. I was hearing music I liked, but not music I would play when I dj. The show is a way to let people know what I like. What I pick for a set is completely different, than what I like personally. Then, I thought to make it a thing about brand new talent. I have been sent loads of stuff. It doesn’t have to be dubstep, it can be anything.

39 | Big Up

What elements do you look for in the tunes that are sent?

It’s all down to originality. I want to hear something I have not heard before. I turn it off if it sounds like something or someone already out there.

important for places to just keep their own sound.

How do you approach your DJ set?

It’s different everywhere. I can sense what an audience wants, but there are times, when I say “fuck it” and play for me. The whole reason you are booking me, is because you want to hear, what I want to play. I’m not someone who wants to do a banging set, I want to build a journey, try to keep people on the floor. There’s no sense in playing banger after banger, because there is nowhere else it can go from there, people get easily bored, and the bangers lose their effect.

Any up and coming producers we should watch out for?

Kulture, Silkie and Quest have been making their name known.

Ramadanman has got his own direction, which is the most important thing. Peverlist, The Joker, Ekorus. Oyaars produces some crazy stuff, not necessarily dubstep, but really cool beats.

Do you hear a difference in US dubstep versus UK dubstep?

Some people release on American labels, and there is swapping, so you kind of hear what’s going on, but obviously, for me to come out here from year to year, it seems more developed.

Everyone seems to be doing a radio show, starting labels, have a mix CD and be working on collaborations. It is healthy progression. You want a scene happening, so that you can book a DJ from their crew, and they can book a DJ from your crew. Then, you not relying on England for bookings. There is definitely a sound that is happening over here. SF sounds different than other areas, but you hear some people producing stuff that sounds similar to the UK style. It’s

MY MOST

"I

ECORD

Maintain Free Madness by Mala Back in the Day by Benga eam to...

ildest dr

...have an apartment in Manhattan, property in Thailand, a place in SF. I also wish to stay healthy. ...

BIG UP TO

...everyone who made it possible for me to come out here. Big up Miro, out to Hera, out to all the promoters, producers and DJ’s out here, who have been very hospitable. Out to all the artists at home, and my girl for putting up with me for never being home.

40 | Big Up

Where has dubstep taken you? What doors has it opened?

I have been all over the world: New Zealand, Australia, Japan, Germany, not a lot of places in the UK I haven’t been. I am going to Athens next month for the first time. It is nice to be able to do something you love doing.

just hope that people, who are looking to make dubstep and be a part of it, do something different."

PLAYED R

It's my w

Who are your favorite US dubstep producers?

I started a tune with Antiserum. I like that. There’s quite a few, really... Let’s see... I like what DJG, Matty G, and JUJU are doing.

How are the scenes in those places?

It is different everywhere you go. Berlin has big shows! You go to some places and you feel they just want to hear what’s going on, and some places just want to party and hear banging tunes.

Are the parties strictly dubstep?

A lot merge drum and bass and dub, like in Japan I played with Dillinga. That approach seems to work. Techno and dubstep works as well. That’s what they do in Berlin.

What are your hopes for the future of dubstep?

Original dubstep artists, or artists that came in a few years ago, were not influenced by dubstep. They are not listening to dubstep. When it gets to the stage, where new artists only listen to dubstep, when they go to raves and see the rewinds and then they want to make that tune, that’s when it gets formulized and boring. I just hope that people, who are looking to make dubstep and be a part of it, do something different.

What are your personal plans for the future?

Another album will be coming shortly. Plenty more Chestplates.

I eventually may try and do a Chestplate CD. Skream and I are doing a project, and there are loads of people I want to work with to keep things interesting. I also have an album coming out before Christmas on Planet Mu.

OVERLOAD DELUXE HI SLE We collaborated with Supercross Champion James Stewart to develop an exclusive and unique line - Stewart Limited Edition.

Truly a collectors item, SLE utilizes only the ďŹ nest in materials, design and craftsmanship.

The SLE collection is available at select dealers in limited quantities.

To learn more about the James Stewart SLE Collection log on to w w w.foxra c ing.c om /s le

41 | Big Up

BABYLON FALLING photography by Shaun Roberts

"I

f there's no integrity there's no store. Fuck it."

The spirit of revolution lives in the Lower Nob Hill neighborhood of San Francisco with its headquarter at Babylon Falling. That’s where we had a chat with Sean Stewart - the mind behind this unique culture spot. interview by Katya Guseva

What’s your background?

I grew up in Jamaica. I was actually born in the States and I might not have been here today, cause for example my sister’s Green Card was taken away when she was young. So it’s just through the chance of being born here, that I am able to do this shit. I grew up in Jamaica since I was 3 years old, went through high school then came to the States and was in and out of the States for the past 14 years. And I finally decided that this is it, this is where I want to live, this is what I want to do. My family is all in Jamaica.

So you must be very well educated...

Really I was a delinquent, I was a fuck up, a shit head kid, that’s actually part of the reason why I left Jamaica, you know, cause I couldn’t go further on at school. Through my time in Jamaica I was never a reader, my sister was always a reader and both of my parents. My mom is a professor and my dad read more than my mom. So basically I come from the environment where it always existed, it was always in the air. But being a boy and being outside most of the time I wasn’t conscious of it.

I was going through my shit and when the time was right I picked up a book off of my dad’s book42 | Big Up

shelf by CLR James “The Black Jacobins”. I picked up the right book at the right time in my life and it set me off. It’s now crazy to me to see all this shit, cause I was anti-reading, you know... Since I was 19 for about 10 years I was just straight reading all the time all the time, trying to make up for the lost time.

So how did the idea of the bookstore come about?

I was in New York when the idea really started to come together. I graduated school, I hated it, it was the worst shit imaginable to me, the constricts of school. I finally finished school after 8 years and I was doing bullshit jobs and it was never a possibility to have my store. But once I realized that the money would be available, that it’s a possibility, I started thinking of what the store would actually be.

How did you pick the first books?

Originally the idea was just simply “revolution”. The store was going to be called “La Lucha” - the struggle. I got so excited but someone told me that Spanish version of Hitler’s mein kampf is la lucha. So I was like fuck that shit! Plus, it’s not my culture, you know. Then I started thinking of what’s my culture, my heritage, how can I represent who I am, and that’s where the name Babylon Falling came from. The first books originally were gonna

be all revolution. Then when I compiled the list of books I realized it was mad depressing. It was too much.

So I went from “revolution” to “the spirit of revolution”, cause that’s essentially what I thought was important.

Then I started picking books based on actual revolutions, revolutions in art, revolutions in writing. I took suggestions. It’s like organic thing, it changes all the time. There are few that are never gonna come off the shelves. Like “Wealth Of Nations” by Adam Smith. It’s essential in understanding how the current system we’re operating in is built. Or “Understanding Media”... But there were some missteps. I went too literal sometimes, taking whole shelves of bullshit like Scottish historical fiction. Like who cares? I hardly care, you know.

You talk a lot about revolution, but what’s wrong with the world today?

So much! So much. But the main goal of the store is to remind people that the word revolution isn’t about word. It’s the idea of change. Revolution is the idea we all have to embrace. It’s something that’s in our history, it’s in the history of this country, it’s throughout our own lives. Everyone experiences sudden changes in their lives. So for me stagnation is what’s wrong. Stagnation in every arena. Stagnation is death. So we remind people to keep moving.

43 | Big Up

What’s the role of art in your store?

This is a book store 100%, but art is crucial, because it’s the representation of what we can not express, the element that is crucial to culture. I like art but I’m not an art guy. I don’t know shit about art to the level of a gallery snob. But I like art because of the message it conveys. The art that we have here allows us to lower the barriers to entry to reading. Because I feel like it was by chance that I became a reader. The way my life was going, noone could have predicted that I would have a bookstore. And I think that it’s daunting going to a bookstore if you’re not a reader, even if you want to open to the joys of reading. I find that people nowadays are better equipped to communicate through images, than words. So it’s that first level of entry. Someone might be walking by the store and the image draws them in. Someone says “what am I gonna do Thursday night? I could go to an art show and drink some free beers” they don’t say “yo, let’s go to a bookstore”

eam to...

ildest dr

It's my w

...be building schools. I don’t know where, but that’s what I wanna do. And by building I don’t mean cutting ribbons on the schools for a foundation, but I mean really building schools.

That’s one dream and the other one is to have a culture spot on the beach, not a bookstore but a full workshop space, art, creative space. ...

BIG UP TO

...my fiance Kensey, my homie artist, writer, the most outsider of outsider artists Red Jordan Arobateau, my homie Shaun Roberts, all the people in the Lower Nob Hill neighborhood that are supporting the store and the Bay area.

Everybody who’s showing love. It’s a beautiful thing. Babylon Falling.

44 | Big Up

What’s the one book everyone has to read?

The one book that I recommend most to people is “Watchmen” graphic novel by Alan Moore. The movie is coming out in 2009. It’s one of those books, that led to a lot more shit in my life. It’s written well, the art is great. There’s a lot of allusion in it, and if you’re curious enough, you can follow all these threads. I don’t want to snitch on the book too much, but there are elements within it that can lead to more reading. And that’s the best type of reading.

"S

tagnation is death. So we remind people to keep moving."

Did you ever plan on making money with the store?

Yea, absolutely planned to make money. It is what it is, oldfashioned business. And it’s been love so far. Now it’s a series of things: “Best of the Bay”, people recognize me, people show love, going beyond what they really need to, to show their love. So now it’s getting its own legs. I see people I don’t know wearing our shirts. That’s love!

But yes, from the beginning the store was moving upward in the right direction slowly and organically. From the beginning I broke every industry rule about book-selling. They told me I can’t have the space less than a 1000 sq feet. This space is almost half of that. They say there’s no way you can survive on this kind of specialty. So from the beginning I knew it was going to be a struggle, so the plan was for the long steady growth. There are ways to make quick money, like selling Harry Potter, by making some justification that Harry Potter is revolutionary and you’d be surprised you see shit like that popping up in so-called radical book stores. I sympathize that, but I didn’t want to ever be in that position.

So the plan was for the long steady growth and integrity. If there’s no integrity there’s no store. Fuck it.

Name three invaluable things you’d like to sell in your store. Like world peace for example.

Fuck world peace! I want equal rights and justice. Equal rights doesn’t mean peace. I definitely wouldn’t be selling world peace here. That’s for sure. I’d be selling equal rights, justice and food.

45 | Big Up

"A

RT has become much more than a pastime to me, it's my life."

Ruben’s drawings are a combination of twisted humor, melting body parts, intense face expressions, all somehow forming into intriguingly surreal environments, both weird and beautiful.

RUBEN PEREZ

interview by Katya Guseva

Where did it all start for you?

When I was a little kid I would watch hours of cartoons. I used to watch all sorts of them like Porky Pig, Daffy Duck, David the Gnome, Thundercats, etc... They were very entertaining. My parents were very supportive of this, and would place me in front of the TV and play VHS tapes or buy me coloring books and crayons. My dad used to teach me how to draw faces and cartoons around the time I was in 5th grade. In high school and college I had some great teachers as well, who were very inspirational. That pretty much sums up, where I got my initial influence to take art up as a pastime, even though it has become much more than a pastime to me, it’s my life.

What’s your style?

I think I have a pretty loose style. Weird, messy, funny. I think it varies all of the time though.

If I learn something new, my art style changes. I would say “Eclectic”.

What do you have to say about color in your work?

I don’t use color very often but I think it looks nice. I just happen to like the way my drawings look without color. Lately however, I have been using more color than usual. It depends on my mood or what the drawing is about.

What’s the difference between commissioned and personal work for you?

Commercial work can be very demanding. As a designer, I am aware that a project will take some reworking from time to time, depending on the client. Fonts and letters that don’t match the artwork, colorways that don’t appeal to the client, etc.. When I draw in my sketchbook at home, I have no one to criticize me, but myself, and I am usually happy with whatever comes out. I guess that is the main difference. Criticism.

Does music inspire your work in anyway?

Definitely! I always need to have music playing when I am drawing. I like to “warm up” by setting my playlist on random and drawing, whatever comes to mind, to each particular song. Wether it’s Jazz, Thrash, Hip Hop, it all depicts a different image in my mind. I love music as much as I love drawing and design. I listen to music all day at work as well.

46 | Big Up

47 | Big Up

Do you have a favorite piece of your work?

Not particularly. I have found that drawings, I give away, or that I leave somewhere, always end up being my best drawings. My friend Bijan has a box full of drawings we used to do in high school during astronomy class. Those are probably some of my best drawings, in my opinion.

Is there a medium/style that you haven’t worked in and would like to try?

I started doing my own comics and zines, I have always wanted to do that. I think I will continue doing those and maybe try painting as well. I have painted before, but I would like to get more in depth with it.

How do you kick back and relax when you are not working?

I love to draw, whenever I can, or read a good comic book.

I also really enjoy skateboarding around my neighborhood or recording some music in my room. If I had a ping pong table, I would probably do that a lot too.

What artists inspire you?

I look up to the comic masters like Robert Crumb, Klaus Jansen, Ralph Bakshi to name a few. My teachers in high school were also really inspirational, especially Mr. Healey.

I think he has been the most inspirational overall.

48 | Big Up

my wild

est drea

m is...

...to go to egypt and exhume the treasures underneath the Sphinx, to meditate in one of the mayan temples, or to be launched into space and go further than no man has traveled before..

BIG UP TO

...

my family, my gal Samantha, all of my pals, artists, musicians, and happy people everywhere.

49 | Big Up

Gary Jugdeese, Troy Miller (A+) and Gary McCann (DJ Caspa)

DUB FILES interview by Katya Guseva

Dub Files DVD is the first dubstep documentary, which takes a look inside the world of dubsteps most prolific DJ’s, MC’s and Producers. Run by Gary Jugdeese of Static Media, A+ Troy Miller of the Media Gang and Gary McCann (DJ Caspa), Dub Files took the very short history of dubstep music to the whole new level. Documenting indepth and personal interviews with the scene’s top players, they bring fans, listeners and music lovers closer to the DJ’s, MC’s and dubstep Producers, finding out their likes, dislikes, roots, influences and production tips.

50 | Big Up

How did the idea of DUB Files come about?

Gary: It was something I wanted to do for along while. I had previously worked on a few underground documentaries (Practice Hours MediaGang) before, so it was a natural progression. Also Gary (Dj Caspa) had the vision to make it happen.

Caspa: There is a lot of talk about dubstep and its producers, so we just wanted to give the people, who buy and listen to the music, a chance to find out more.

What’s your mission and vision?

Gary: The main aim was to try and put the face to the names. We wanted to give the fans and music lovers a chance to see the “not so pretty” faces of the people behind the scene. Ha ha.

Caspa: We just want to push the scene and give people a chance to find out more. At the end of the day it’s all about the producers, MCs, labels and music, we want them to do all the talking.

What were the challenges so far?

Caspa: Trying to put the DVD together – I don’t think people realize how hard we worked on this. It took a lot of time and effort to make this happen! A lot of the DJ’s/Producers are really busy, so it was difficult to get some free time with them.

Gary: With a zero budget it was always going to be hard to complete this project. Arranging the interviews was also a little bit of a nightmare – the guys are very busy.

Now the product is finished. It was all worth it though.

The problems now are dealing with the people that are stealing our hard work by downloading/uploading the product instead of buying it. Why ?

"T

he test will be whether this new interest is for the love of the music or is it just a fashion?"

On the topic of dubstep, how do you see the future of the genre?

Gary: The dubstep scene is still growing. It’s less than 10 years old. So much has been achieved, but there is plenty more to come. I feel the scene will go through a few transitional changes. It is now at the stage where people are finding out about the genre and getting excited. The test will be whether this new interest is for the love of the music or is it just a fashion?

Some people think, the current dubstep is a repeat of everything that’s been done before. What do you think about that?

Gary: There are similarities in dubstep with other music scenes, but I feel the repetition or similarities are only positive factors. If dubstep, as a scene, can learn from all the other mistakes made by the other genres, then the future will be bright.

Caspa: Like I said, it’s always been about the music and that has always done the talking for this scene.

I didn’t know dubstep has been done before? This scene is here to stay. It’s come too far and spread wide to just dissolve now!

Do you see a difference between UK and the US dubstep sound?

Caspa: Nah, if it’s a good tune, it’s a good tune and that’s the bottom line.

Gary: Dubstep started in the UK, so things tend to happen here first – but the listeners and fans are sometimes over critical here in the UK scene. I have not been exposed to the US scene much, but I love the way the people are so open-minded and excited about the music. The music has spread globally in such a short time. it is scary! I feel the sound can only become more uniform. Over time the US sound will complement the UK sound and vice versa. Big up man like Joe Nice, he is joining the gap between the UK and the US.

"if

it's a good tune, it's a good tune. and that's the bottom line."

What is dubstep for you personally?

Caspa: Dubstep is where people can express their personality with no musical boundaries.

Gary: Dubstep is a rainbow of musical influences. It has all the different colours, running along side each other, trying to find the pot of gold. Drum and bass – red, reggae – blue, hiphop – green, dub – yellow etc... Each listener gets a chance to listen to their favourite colour.

When I am listening to Dubstep, it’s like I am making my way to the end of the rainbow (cheesy I know).

How would you describe today’s dubstep producer as compared to 4-5 years ago.

Gary: Today’s Dubstep producer is the international Globetrotter. They are taking the sound all around the world. They are showcasing their beats along side, playing the best from the other top producers. It has become more apparent, that the producers want to play the music, as much as making it. The production is getting more exciting each year, I can’t wait to see what happens in the next 2 years. Let’s hope they don’t get stuck in any routine churning out the same old stuff. That would be a shame…

How would you describe today’s dubstep listener as compared to 4-5 years ago.

Gary: The listeners now are not as specialist – As the music get more popular there is an influx of new people paying attention. The crowd and listen still remain intelligent with that element of urban nerd about them, trendy anoraks lets hope it stays like this.

51 | Big Up

"Caspa

avai labl

e in t he U S

!

interview, the uncut version, was a laugh.

I nearly got put in jail."

soon

What was your favorite interview while you were working on it?

Caspa: Definitely Hatcha, ‘cause he’s a good character, you know what I mean! Ha ha ha.

Gary: All the interviews where good, it was a new adventure every time we switched the camera on, the guys all had something different to bring to the table. N-Type was cool.

He is such a joker – he is the real personality of dubstep.

Rusko’s interview was more like a chat with a new mate, not an interview. SLT Bandits hat that makes me laugh everytime. Caspa interview, the uncut version, was a laugh. I nearly got put in jail... long story.

Caspa: We all got handcuffed out side Chiswick park station, while filming my interview. The police thought we were terrorists... crazy!!!

Gary: Oh yeah! I can just remember the breakfast in Bristol, after we filmed Pinch, not that weird, but that was a good greasy spoon (fry up).

at the interviews with (left to right) Rusko, Caspa, N-Type, Benga, SLT Bandits

k is...

tep trac

ate dubs

The ultim

Gary: Too many tracks to mention, but if I must Jugdement – Benga & Skream, Big Apple label, green Vinyl. Sick tune.

Caspa: Caspa – Marmite m is...

est drea

my wild

Gary: My dreams are not wild enough to mention yet. By the next DVD I should have got more sleep, so I might have a story to tell... lol Caspa: My wildest dream is to drink 20 pints of beer and have the biggest curry from Annapurna Curry House before I die!

...

BIG UP TO

Gary: ...Mum love you forever. Jo, A+Miller and Caspa.

Caspa: ...everyone that made this project happen!

52 | Big Up

Troy is the original documentary maker and the man behind the MediaGang Empire (myspace.com/ mediagang). MediaGang has worked with all the top players in the Grime scene eg. Wiley, Dizzee Rascal, Ghetto and many more. The most famous DVD is their Practice Hours series for all the grimey heads.

53 | Big Up

"I

love when someone says, "Just go fucking crazy"."

Nick Simon’s work is a dark mix of vibrant colors, intense faces, intriguing details, and surreal creatures. It’s like a crazy colorful mosh pit on a canvas.

NICK SIMON

54 | Big Up

interview by Katya Guseva

55 | Big Up

"S

ometimes I even imagine my work moving to a song."

How did you become an illustrator?

I started out drawing ninja turtles at the age of six or seven and then a few years later, I made a transition into copying images off of comic cards. After copying images and other peoples’ artwork, I started to create my own characters and my own style.

How would you describe your style to people who first come across your art?

It’s actually real hard for me to answer that, because I’ve never come across MY artwork. I guess, judging from what others have said, I can say my work is surreal, twisted, intriguing, detailed, & crooked.

56 | Big Up

What’s the role of color in your work?

Color plays a major role in my work. I have this huge passion for black and white artwork and imagery, but at the point I’m at right now, I’m enjoying using different color schemes. I think it’s what sets me apart from the next guy.

Do you like working on commercial projects?

I think the main difference is guidelines.

There’s either a set of rules or there are no rules. Non- commercial is something I have more fun with. I love when someone says, “Just go fucking crazy”.

Does music inspire your work in anyway?

Definitely. I get some ideas from Old school Rock posters, and songs I hear.

Sometimes I even imagine my work moving to a song.

Do you have a favorite piece of your work?

Honestly, no. There are awful things in each piece of work that haunt me forever. My favorite piece hasn’t been created yet.

How do you kick back and relax?

I watch a lot of movies, eat at a lot of sushi restaurants with my girlfriend, Melissa. I wish I had more exciting things to elaborate on, but I’m just really mellow.

Is there a medium that you would like to try?

Yeah, airbrush. I think that airbrush is the best-looking medium, hands down. I’d like to take a class eventually.

What artists inspire you?

George Ricoy, MearOne, Persue, OG Abel, Maxx242, Zack Johnsen, Jedi, Munk One, Mister Cartoon, Franco, Greg Simkins, Alex Pardee, Nate Van Dyke, Joe King, Dave Kinsey, Shepard Fairey, Justin Bua, Aaron Horkey, and James Jean.

I'D like

to be k

nown

for...

...presentation.

It's my

wildes

t drea

m to...

...drastically change something forever.

BIG UP TO

...

...Big Up Mag, my family, friends, Melissa, Osiris Shoes, Sk8Mafia and anyone else that’s been good to me.

57 | Big Up

illustration by Maria Gushina

GIANT

interview by Katya Guseva

Giant is a three-heads dubstep producers collective based in St.Petersburg, Russia. With three Pentium PCs, Fruity Loops and only three-year background in dubstep, these 20 year-olds have releases on some of the biggest dubstep labels - Dubpolice and Subway. Ekta, Nersa and Enei chatted with me over the webcam one very early morning.

58 | Big Up

Let’s start with how you got into dubstep.

Ekta (Max): First time I heard dubstep on the mix.

I was like “what the hell is this?” Then I found out it was called dubstep, the new style, and I started to lurk through the record stores listening to Skream, Loefah anything that was out for sale then. It was about two summers back. Yeah...

Nersa (Roma): Then I discovered it! Max showed me Kode 9 video. What was it?

Ekta: Samurai!

Nersa: Yea, yea! Samurai. That was the first time I heard dubstep.

Enei (Alex): I didn’t like dubstep at all in the beginning, I was into drum and bass, but then I tried to play dubstep and yeah...

How did you guys find each other?

Enei: Max and I went to kindergarten together, played transformers together, went to school...

Roma wasn’t even there, we met him in college.

Ekta: I bought this free software (yea, yea... bought it) called “eJay”, please don’t write that.

Just say I worked with loops. Then I saw my classmate’s big brother messing with Fruity Loops, so I got it and started producing.

Enei: Yea, and then I came over to his place and saw he was doing some weird Fruity Loops stuff, so I tried it out myself, and wrote a track in his kitchen.

Ekta: Noo, I dragged you into it. I told you to do it cause you are a classically trained musician, man.

Nersa: I moved here from Norilsk, the North, for college, came to a DJ club and met these two. I saw they were very serious about music, so we kicked it together.

How did your first track come about?

Enei: We first wrote a track for our school disco.

It was kinda housy, drum’n’bass’y, more on the jungle side. But seriously we started about three years ago.

You guys are coming out on Dubpolice and Subway now after just three years. Big Up! Which one of your tracks do you consider your favorite?

All three: We haven’t yet written it!

Nersa: You can’t have a favorite track.

Ekta: We are all very critical about our work.

There’s always something we need to fix, or redo.

I personally can never have a track finished. I just leave it to Alex. I have about 200 tracks on my computer, that are not finished.

What’s your most played record?

Ekta: I like 70% of Dubpolice releases. Caspa is probably my favorite. “Well ‘Ard” is pretty damn sick.

If you need to pick just one track to represent dubstep genre, what would you chose?

Nersa: Digital Mystikz. Anything from DMZ label.

What else are you guys listening to besides dubstep?

Enei: We all are listening to a huge variety of music, I think any musical composition can inspire in many different ways.

Ekta: Yea, I am very inspired by a lot of British music. That’s where the roots are.

How’s the dubstep scene in Russia?

Nersa: Argh... seems like it only exists in this room in St.Petersburg.

Enei: Everyone knows dubstep, but there are no people to throw events, to produce good material.

Ekta: In Moscow it’s all good, developed and all, but here it’s pretty dead.

"We

are very critical about our work.

There's always something we need to fix, or redo.

What’s the biggest dubstep night in Moscow?

Ekta: Capital Bass. The series of events where they bring dubstep stars.

Nersa: They brought Kode 9, Skream, Plastician, Loefah, Benga, Tes la Rok Enei: We don’t even have any good clubs with a sound system descent enough to play dubstep. Dubstep room at a rave is usually tiny, next to the bathroom, or a bar, and only two-three djs.

What’s your advice to the new producers.

Enei: Just listen. Listen more.

Ekta: Less copying.

Nersa: More self-criticism.

Hey! Who’s that walking around in the background?

Enei: Oh, that’s the guy who writes all the tracks for us.

10 ultimate dubstep tracks (compiled by Giant) Caspa – Where is my money Unitz – The drop Luke Envoy – Mugen Loefah – Rufage Coki – Shattered Jakes & Joker – 3k lane Matty G – Cuttin n scratchin The Others – Africa VIP Peverelist – Infinity is now Martyn – Vancouver

It's ou

r wild

est dr

eam...

...produce like Timbaland or Farrel.

BIG UP TO

...

...all of our parents.

59 | Big Up

60 | Big Up

61 | Big Up

MUSIC REVIEWS

by Ric Baker

Seun Anikulapo Kuti and Fela's Egypt 80

Many Things (Disorient)

Seun Kuti’s debut release finds him fronting his late father’s (Fela Kuti’s) band, but he is far from just a torchbearer, bringing his own interpretation and influences, with much success, to afro-beat. Many Things is the Egypt 80’s first since Fela’s death in 1997 from an AIDS related illness. The album serves as a link back to the wilder, grittier classic style of 70’s afro-beat while introducing new stylistic and production elements, particularly Seun’s lyrical flow, which is reminiscent of modern rappers such as Chuck D and Dr. Dre, two artists Seun has directly cited as influences.

This seven track effort highlights all the best elements of afrobeat: extremely tight grooving rhythm section performances, precise inter-weaving guitar lines and bass lines that are at once rhythmic and melodic. The music is filled out by a strong horn lines and by Seun’s vocals and sax playing, supported by a choir of background singers.

The message of his music is consistent; like his father, he rails against government corruption, ignorance, and oppression in all its forms, with particular attention paid to the issues that face his home country of Nigeria and many African countries. “Mosquito Song” is a cry against malaria, while “Many Things” exposes Nigeria’s current President Obasanjo for the violent, corrupt thug he is. (President Obasanjo is the same man who illegally imprisoned Fela and ordered the killing of Seun’s grandmother; government troops threw her from a window).

Seun’s first album marks a return to the classic sound of afro-beat, while also introducing vital new lyrical and production elements. The Egypt 80 has been silent for a while, but listening to this album, one can hear that it is a force that can’t be held back.

Afrobeat is a truly modern style, combining elements of funk and jazz with African percussion, melodies and vocals. Afrobeat bands are typically made up of a large horn section, a large rhythm section, and several singers and dancers. The music is characterized by an “endless groove”, in which a base groove played by the drums, percussion, bass guitar and interweaving muted guitar lines repeat throughout the song. Singers and horns, often in a call and response style, perform the melodies.

Of particular interest are the bass lines, which are both rhythmic and melodic.

Afrobeat’s primary founder was the Nigerian multiinstrumentalist and bandleader Fela Kuti, who gave the style its name, shaped the musical structure, and infused the music with it’s political message. The styles’ creation took place in southern Nigeria in 1970.

62 | Big Up

Fela had previously been spending time in Los Angeles, where he encountered two things that influenced him: the black power movement and the music of James Brown. Upon his return to Nigeria, Fela created his band, the “Nigeria 70” and began playing afrobeat. Afrobeat went on to become a global style, championed by Fela until his death in 1997 from and AIDS related illness.

Some of the highlights of his catalog are “Zombie” and “Expensive Shit”.

Many afrobeat bands still perform today worldwide. They include: - Seun Kuti (one of Fela’s sons) - Femi Kuti and the Positive Force (Fela’s oldest son and saxophonist) - Antibalas (Brooklyn based Afrofunk band) - Albino (Bay Area afrobeat band)

DZ

A1 - Old Timers A2 - Eardrumz (Black Acre)

"I

magine UK 2-Step on ayahuasca

and what that might entail, and you'll get a sense of this dark, imaginative, and adventurous track."

If you’ve been to a dubstep event in the past few months, you’ve probably heard DZ’s “Old Timers”, as a matter of fact; you’ve probably heard it get the rewind. That’s the type of track this is: An absolute dance floor killer defined by its’ raw and relentless call and response bass lines and heavy drops. The well defined half time drum groove provides the pulse and drives the track, while the vocal sample (which gives the track it’s name) is tastefully used and gives the track a lot of it’s character. DZ’s prolific output of tracks has provided sublow dance floors with a lot of excuses to be excited lately, “Old Timers” has got to be one of the best excuses yet.

The flip side on this one is another DZ joint: “Eardrumz”, a sublow, syncopated, almost tribal track that acts as a great contrast to “Old Timers” straighter rhythms. Imagine UK 2-Step on ayahuasca and what that might entail, and you’ll get a sense of this dark, imaginative, and adventurous track. DZ’s impressive range as a producer, and his ability to write some of the most exciting dance music today is well displayed by this latest release, out on Black Acre Recordings.

MATTY G

Take You Back (Argon)

"Matty G has created something that can't be easily categorized" “Take You Back” is a hard hitting, booming collection of tracks that fuses sublow 140/70 bpm beats, dubwise vibes, and a heavy, vibey dose of hip hop. To call Matty G’s and Argon Records’ debut full length CD dubstep only tells half the story. Much to Matty G’s credit, “Take You Back” is not only an undeniably bass-centric, dance floor friendly effort, it is also designed as a listener’s album, complete with hip hop style skits and a musical, cohesive flow; ranging from hard funky instrumentals like “Saddle Up” to MC and vocalist features with Juakali, Audio Angel, Ugene, and Luv Fyah.

His collaborations on “Rasta Dem Nah Run” and “80’s Crush” with Juakali are highlights, blending beats featuring classic 808 sounds with Juakali’s melodic, spit fire delivery and ragga lyrics. Juakali’s lines smack of wit and edge, delivered with a musicality not often heard in

many MCs. “Cuttin’ N Scratchin” opens with a shout out to the West Coast as an anthemic synth line and stripped down drums carry the listener into quintessential Matty G territory: minimal, emotive, and musical. “Last B Boy” is laced with hip hop sensibility and tight, creative use of samples throughout.

Deep on the dance floor and killer in your car, “Take You Back” is an amazing example of the fragmenting of styles (hip hop, reggae, soul, electronica, etc.) in order to create something new and exciting. With an ear to both the past and the future, Matty G has created something that can’t be easily categorized. Soulful, funky, and dark; sure, dubstep DJs will love it, but anyone with an appreciation for forward thinking music that draws from such rich musical traditions will be delighted. Rinsable indeed.

63 | Big Up

Following the success of B.A.D. 01, Bay Area Dubstep volume 2 delivers 16 tracks of Northern California’s finest Dubstep.

Compiled by DJ Ripple for Full Melt Recordings, it showcases the current sound of the San Francisco Bay Area.

"16 tracks that bubble and step and drop some serious low low sounds."

From the opening strings to the closing notes, the listener is transported into a three dimensional soundscape of dubbedout subwoofer manipulation.

Includes tracks by The Antiserum, Babylon System, DJG, Djunya, Matty G, Roommate and many more.

Full Melt Recordings established itself as a forward-thinking and supportive outlet for Dubstep and Grime artists through a history of epic San Francisco events. The label was created in 2006 at a time when the sound of “Bay Area” Sublow music was establishing itself on the international circuit. Currently, the influence of Full Melt can be felt internationally, with DJ’s like N-Type, Plastician, Rusko and Skream rinsing the tunes worldwide.

BAD Volume 2

by Sam Supa Last year the world got a taste of the foggy Bay Area’s choice cuts from some of the best and brightest Dubstep producers. The comp Bay Area Dubstep Volume 1, presented 14 tracks by such varied artist as JuJu, Matty G, Eskmo and earlier tracks from Roommate to name a few.

I remember when DJ Ripple from Full Melt Recordings was compiling Volume 1, he was so excited to show the world all the diverse producers. It’s a fact, that San Francisco Bay area has more established Dubstep producers, than anywhere else in the United States. I don’t know if it’s the fog or the greenery, but there is something happening here, that no one can deny. BAD Vol. 2 was released in September via digital download and soon will be out on CD. Again Ripple told me he really tried to place each track so the whole comp can be listened to as one cohesive audio story. I had heard many of these tracks in DJ sets and on mp3 sent to me.

To hear them mastered by Precise and experience them again in all their audio glory was like a bright sunny 64 | Big Up

day, which, if you live in the Bay Area, you know is a rare thing. This time we have 16 tracks that bubble and step and drop some serious low low sounds. Full Melt comes through again with a compilation that presents a wide picture of the many styles alive in the Bay. Djunya’s track - Tip Tap Toez opens the comp, with a stepping, grimey, crucial groove. Rambo Style by Antiserum is one of my favorites. The tongue in cheek vocal hook tells the listener the bass is big, it’s going to blast you and take no prisoners, just like John Rambo. Blackheart’s Airbag is a tight compositions of dub tinged electronics assembled for forward thinking dancers. Many notable tracks by DJG, Dubsworth, The Spit Brothers, Matty G, Roommate and many more producers. BAD volume 2 is for lovers of Dubstep and music in general. From beginning to end it has something for everyone. Moaners complain that the Dub is gone from Dubstep, too much wobble not enough soul. I am delighted to report its alive and well and living in the Bay Area and being echoed nation wide.

by Lud Dub

The Bug

London Zoo (Ninja Tune)

"intensive journey from glitched out dancehall vibes to shadow-afterdark dubstep."

Ninja Tune has released some of the most progressive and abstract electronic music since it’s inception in the early 90’s. The most current full length release titled “London Zoo” by Kevin Martin’s brainchild The Bug undeniably fits into that distinctive mold. It’s impractical to categorize this highly anticipated 12-track album, as it ranges from glitched out dancehall vibes to shadow-after-dark dubstep.

Featuring veteran UK-based MC’s Tippa Irie, Warrior Queen, and the deep-voiced Flowdan, this lyrically intensive journey strikes the right balance with dubby outros at the end of each track. “Jah War”, “Poison Dart”, and “Skeng War” should be no mystery to the hipster massive; as each of these cuts have seen the daylight on remixed single releases throughout the year. Previously unheard, stand-out tracks include “Too Much Pain”, highlighting Aya’s Tenor Saw-esque calming vocal style; and “Fuckaz” featuring Kode 9’s stable mate, Spaceape, mashing down all bad-minded skrewfaces inna the way. The word out on the streets is that The Bug and Warrior Queen have been crawling through the streets of North America, teaching their lessons in soundscape zoology, while holding their fans captive for more.

Alborosie

Soul Pirate (Forward Recordings)

"Soul Pirate” has set sail from the Jamaican shores to the seven seas, on its way for international fame and stardom"

It’s not often that an artist outside of Jamaica can significantly influence the reggae scene; especially a Caucasian artist, who hails from Sicily. Alberto D’Ascola, better known as Alborosie, is a writer, musician, producer, and engineer, that left behind a lucrative record deal in 2001, to relocate to Jamaica in search of street cred and a solid foundation. Linking with Jon Baker from Gee-Jam Productions and launching his own label, Forward Recordings, Alborosie has won over fans worldwide with his debut album entitled “Soul Pirate”.

Utilizing live instruments without the use of digital sequencers, Alborosie is able to recreate the popular Rub a Dub sound of the 80’s on almost all of the seventeen solid tracks. Included on this album is the massive 2006 release “Herbalist”, which was banned from Jamaican airwaves for glorifying the cash crop, and 2007 releases “Kingston Town”, and “Rastafari Anthem”, the latter to the “come again” riddim, popularized by Collie Buddz. Collabos with Ranking Joe, Mykal Rose, and Ky-mani Marley exemplify the dynamic vocal and production talents of this rising star; although personal favorites “Informer” and “Slam Bam” are omitted; only available on 7 inch release. Undoubtedly, “Soul Pirate” has set sail from the Jamaican shores to the seven seas, on its way for international fame and stardom; let’s hope he can soon make a stopover to the States.

65 | Big Up

ALEF Millions of alien-like faces, all with different uneasy expressions, forming one whole texture, that draws you deeper into the image and keeps your eyes wandering and your mind wondering.

Alef’s art is a surreal trip.

What was your path to becoming an illustrator?

I’ve always drawn things I liked. As a child, I drew animals... particularly awesome animals like predatory types... sharks and stuff, and of course dinosaurs. Hell yea! Then I got into Ninja Turtles in elementary school, as I envied their lifestyle of pizza, partying and chillin’ underground with rats. I used to draw the turtles fighting ninjas and would sell the pieces for a few dollars during lunch. That led to comic book obsession for a few years and then I met Hyde, when I was in Junior high, who introduced me to graffiti and funk styles... I got into that on and off for a few years... only to return to making art about 7 years ago. And I’m not so sure I’m an illustrator yet, as illustrators have way more technical skill then I can even come close to... but I’m working on it.

How do you describe your art?

Trippy colorful robotic alien worlds, with a lot of tentacles in my home art, and just fun characters and semi-funky 66 | Big Up

interview by Anna Wachter

block letters in my graff stuff. Though I would love to make stuff more akin to my home stuff on public spaces, but I don’t have the resources yet to pull anything like that off.

How do you choose colors in your work?

I’ve actually been too scared to really use color in my work until very recently. Most of my older pieces were either monochromatic, or very limited in palette. Now I’m all about color. I want my shit to explode with color. We have so many beautiful colors, why not use a bunch? In terms of schemes, I tend to just bite from nature. Nature has the best color combos. Even colors you think wouldn’t work together, you just open a nature book, and see some crazy flowers or butterflies and you’ll be all WTF? That shit is way rad!!!

Does music inspire your work?

Music is my favorite thing. If I weren’t so scared to try to learn something completely new, I would totally quit painting to learn, how to play instruments. So yea, I am

very inspired by music. The mood and atmospheres it can put you in. And just thinking about this question has given me ideas on how to incorporate more movement into my work. I’m also getting into production, and I want to somehow incorporate my music into my art in the future.

Do you have a favorite piece of your work?

Not yet. My favorite pieces will come though. I haven’t quite gotten my stuff to the point, where I’m satisfied. The ideas in my head excite me much more than anything I’ve put out yet. But they will come, once I get over the fear of turning these ambitious ideas into reality.

Is there a medium, that you haven’t worked with and would like to try?

Sculpture and installations excite me much more than painting (which I think is obsolete). I have no idea where to begin, as that sort of thing boggles my mind.

Who inspires you?

Anyone who is doing something from their soul, rather than for profit. Someone who puts work into their art People who put into practice the reality of making their dreams come true by DOING. It inspires me most, when friends of mine are doing things, creating rad things and really creating their life out of nothing but love.

What tip you could give to the beginning artists?

Get out of your headspace. Explore.

Experiment. Read some books. Listen to some crazy music. Go outside. Look at,

"ideas in my head excite me much more than anything I’ve put out yet." listen to, experience as much as you can out there, look for the cutting edge in everything. Then bring it all back inside, and let it scramble together. Then shit it back out.

What’s your relationship to graffiti?

My relationship to graffiti has been long and tumultuous. Sometimes she’s a bitch, sometimes I’m a dick. We go through periods, where we don’t see each other, but whenever we reconnect, it’s like the best make up fucking ever! To me, graffiti is the rawest form of visual expression, one of the purest. It is also one of the most potentially revolutionary art forms out there, and by that I mean a very powerful way to communicate ideas to the general population, immediately and in your face, without regards to the typical bureaucratic processes, one would need to wade through, to do something in such a public manner.

How do the legal issues of graffiti affect you?

Well... artists can get caught for defacing property, be arrested, and fined a lot of money. I don’t go out and paint very often, usually because I’m too lazy and I’m old and like to sleep early. But its legal status is what shaped it into whatever beast it is now. The styles that were developed out of the need to paint quickly, and in the dark, are to me what defines traditional graffiti style, and to this day what excites me most about letters. Things that have that flow and funk. There are a lot of technical-looking graffiti pieces out there, that don’t have that energy and movement, that made me fall in love with it in the first place. If drawing on public space was always legal, we’d probably have people doing still life or whatever on walls. Not that it would suck, but graff might not have happened.

67 | Big Up

68 | Big Up

I'd like to

be know

n for ...

...being chill and open to any person, no matter what their background. and for feeding people. my wild

est drea

m is...

...to go to outerspace and live in a giant spaceship colony, complete with views of the galaxy and biosphere type environments.

BIG UP TO

...

people who do things that make others happy.

69 | Big Up

photography by Shoebox

"d

ubstep is such a family vibe, and I want to put that vibe out. "

Nicole Cacciavillano - the ambassador of dubstep in Denver, Colorado is on a mission - Sub.mission - pushing the new sound and growing a healthy scene with a true family vibe. interview by Katya Guseva

Are you originally form Colorado?

No, I’m from Philadelphia. I moved to Colorado 4 years ago. Why? I needed change. When I was in college I was with a guy, who got murdered. This girl injected a needle into his arm, and he died of a drug overdose. She went to jail for murder for a year. I don’t know what really happened. I wasn’t there. That happened, I went to New York, finished up college, got back to Philly to take care of my grandma and then I got my Masters in one year, and I just felt like this is not what I want my life to be, and just decided to move.

Why Colorado?

You know... do you ever have this feeling, like you’re supposed to be somewhere, you just have to be there. That’s how it was for Colorado. I went out to snowboard in December and met some headspartied like I lived there so I could get a real vibe. I went back there in April and interviewed for a job teaching, left and in the parking lot got a call that I got the job. I ended up moving in May. Then my apartment was right down the street from my job. Everything just came together.

70 | Big Up

So how did Sub.mission idea come about?

Well, in March of 2007 I started to think about it. We got together with a few friends and shared our visions and we kinda decided on how we were going to do it. So we joined the forces and our first show was in April of that year. There were no dubstep nights in Denver at all. But the good thing is that we all have evolving tastes in music.

We are always trying to keep things as interesting as possible. We already had a record label Nobot Media with a good reputation in Denver, and we had a show before.

We brought out edIt even before he started going off. So it was a little bit ahead of the Denver population. But Denver is always looking for something cutting edge, and it was easy to start something new.

because Denver is not ready for some sounds yet. They like to rock out on the dance floor.

So is the response positive overall?

There’s been some drama of course, but I’m not about negative energy. I want to create an environment and a place, where people can go and express themselves. I take that very seriously. I will be the first one who goes up to an asshole who’s throwing beer at someone, and will be like “Look, this is my show. Don’t fuck it up! You will leave”. I’ve done that many times. I don’t need that shit!

Absolutely not! It’s not what it’s about. It’s about creating an experience for people. Because dubstep is so new in Denver and because it’s so hit or miss, it’s really is going to be about the vibe there.

You make it sound so easy. Were there any don't care, how much challenges for Sub.mission at all?

Well that’s how our past year has been. We effort you put in, as just never know how many people would long as you want to be a show up for our show, we had some venue issues, sound issues- you know, I’m sure the part of what we're doing, same issues as most crews. Now it’s changed you're part of the crew. " with a different environment, different club, How many people are in your Sub.mission crew? different location and a really good Slowly, more and more people are supporting. We have Funktion 1 sound, which is super important.

Budros Gali, ServOne, Ron Raygunn, RumbleJunkie, For Hatcha we had 250 people, but the first time we had Subliminal, Dayquill, Dismal Futures and Mike Honcho. him and Benga in October - we had only 70. So we’ve Right now everyone who’s playing dubstep in Denver is a grown pretty fast, but it’s nerve-wrecking to me, because part of Sub.mission. We kept that family environment. It’s you never know... But on the flip side, none of my crew pretty cool. For me, I don’t care, how much effort you put agreed to participate in this, because we were trying to in, as long as you want to be a part of what we’re doing, force anything, or make money. We did this to push a new you’re part of the crew. sound that we were all feeling. We didn’t know if it was going to take off, but on the first night we had a huge line out the door! The one thing I noticed in these past years is What’s your day job?

It’s super intense but it’s super cool. I’m running a that people have a three-time tolerance. At the third time they come to Sub.mission, they either love dubstep or they significant support needs program for 13 high-school kids, it’s a lot of work. I get bored very easily, but at work every hate it and never come back. day is different. Mostly what I teach is non-traditional. I basically teach these kids how to live, in every way, shape How the hell did you find that out? and form. From hygiene to how to use ipod to how to get a I’m a dork haha, but no, honestly how I find out: every job. I teach them communication and social skills, how to time, the whole entire show I talk to people that I don’t react to body language they are not familiar with and that know. My friends know that even when I’m there I’m still type of stuff. I also teach them how to keep a household, working. I just meet new people all the time. Because I clean and cook, how to tell time and money. I’m giving think that dubstep is such a family vibe, and I want to put them skills to make them independent members of society. that vibe out.

It’s hard, cause for years these were the kind of kids that everybody does everything for. They think if they have a Has the Denver dubstep scene grown with Sub.mission? disability, they need to do things for them. But what is that Oh yeah, for sure! With us pushing the sound so much, teaching them? It teaches them that they can act as if they dubstep threads, dubstep mixes, our radio show DANK can’t do it. That they can get away with anything. I know DEALZ on dubstep.fm - it really helped people figure that about kids and I push them, I have expectations. It’s out, who some names are and expose the music. But when frustrating and causes behavior problems, cause kids are we first started, nobody knew, who Nick Argon was. They not used to not getting their way. They think they can throw came to the show, because they thought it might be cool, a tantrum and get their way. But I’m trying to give them the and hopefully they continue to come because of the name tools to express themselves. I can teach them to meditate or Sub.mission. But I still have to be very selective about give them a punching bag to express their anger. who to book. Some nights did not go off as well as others,

"I

Why do you like it? What do you get out of it?

These kids are kids too. They’ve never been a part of anything. They’ve always been secluded and pushed away, and I think it sucks. I think it’s important to help them find their path. You see it many times, people fall off the path, they just get sucked into something really bad and they can’t get past it. When that happens, it’s the most important time of your life, it’s how you get through it that makes you who you are. Most people have a tendency getting themselves in trouble, getting themselves hurt, making decisions that ultimately are going to affect the rest of their lives. I get that, I lived it, I was there and was able to figure it out, change that and have a new direction for my life. So I was lucky, but these kids have severe disabilities and they can’t understand that. Because of autism they don’t have the social skills and don’t understand what’s going on. Imagine not understanding body language and thinking that if someone is looking at you they want to kill you. Some kids think that.

So my purpose is to help these kids create their life and not live the life that was created for them. These kids don’t have as many inhibitions as most humans do. Everybody is so tight-ass about life. All this drama happening, oh my god this and oh my god that. So many people don’t ever just step back and have fun. Just let lose, enjoy something, be passionate about something! These kids, they don’t care! We rock dubstep! Who I am here is who I am with them. I don’t try to hide anything, I talk to them about drugs and music.

I’m teaching them to appreciate music early and possibly change the decisions they make later on.

"Sojust step back and

many people don't ever

have fun. Just let loose, enjoy something, be passionate about something! "

my wild

est drea

m is...

...damn. I have so many! Ultimately, Id love to have places all over the world. Realistically, I would and definitely see myself traveling often and experiencing life to the fullest. There is so much to learn out there, so much to appreciate - I just do not ever want to limit myself. I’m all about constant progression.

BIG UP To

...

...my homies here in Denver -Submish crew and affiliates, ...being chill and open to any making things possible here in the mile high. The SF family, person, no matter what thier Antiserum, Roommate, No Thing, Jsuave for the constant background. and for feeding people. good times, love and sick ass beats. Surefire for making me feel welcome in the dubstep community. And a huge BIG UP to everyone doing their thing and staying true to their roots.

www.subdotmission.com www.myspace.com/submsn 72 | Big Up

SUB.MISSION

Bass Music From A Mile High

high quality flac & mp3 coming soon to your favorite retaliers from the minds behind sub.mission, dank dealz and nobot media

SOUNDSCAPES OF DUB

Bass Response Recordings is a San Francisco based music label focused on forward-thinking dub-inuenced music with an emphasis on low frequencies and a conscious message.

5U8.001

Rumblejunkie

Rumblejunkie

Dope Angel B/W

5U8.001

A. DOPE ANGEL W + P by Wes Waldo

flac:::320kps mp3

B. ANTISERUM REMIX W + P by Antiserum

myspace.com/bassresponse

P+C

sub.m

ission

2008

Antiserum Remix

www.subdotmission.com

www.virb.com/subdotmission

LOW LIVE MUSIC

Dubs Alive is an independent music label dedicated to the promotion and proliferation of stylistically diverse sublow music with a strong appreciation for live musicianship.

DEBUT TRACK AVAILABLE FOR FREE DOWNLOAD!!

AT http://www.myspace.com/dubsalive DAV 000 The Spit Brothers - Roll and Tumble

DAV 001 OUT SOON!!! FEATURING ANTISERUM, BAKIR AND DUBSWORTH A1 BAKIR and DUBSWORTH - PUDDING POP A2 ANTISERUM AND DUBSWORTH - UGLY MON B1 BAKIR AND DUBSWORTH - CASUS BELLY

DREAD BASS AMBASSADORS

by JSuave

There’s something sinister lurking on 6th street of San Francisco, and it ain’t just in the alleyways! Rumbling forth from under the murk is a night ram-jammed to the rafters with dubwise vibes, dread bass, and dub sound!

Just off Market, in the heart of The City, once a month, Club Six cracks off with a night, that for many has become a cross cultural phenomenon.

Since its inception, Surya Dub is one of the highest rated club nights in San Francisco. Voted best club night by SF weekly in 2007, it comes as no surprise, as they have been purveyors of all styles of dub sound, that has permeated The City like the fog, or possibly, like a thick cloud of ganja smoke. Bringing diverse talents and styles has been natural for the crew at Surya, since the first party jumped off. Melding roots, dubwise, ragga, dancehall, dubstep, bhangra and more – they strive to bring everyone together under one dub culture.

74 | Big Up

Represented by versatile residents, the locals alone are big time heavyweights. From the Eastern influenced subweight of Kush Arora, having produced and engineered for top names in dancehall and dread bass around the globe, to the genre-defying sets of DJ Ripley and gut-punching bass kick Kid Kameleon, one can expect to hear something to tantalize the soul and wind up the waist at any given event. Headed up by Maneesh the Twister, the bass is known to rattle some teeth in the subHZ den till the wee hours of the morning. If the bassweight at a higher pace is what you crave, all people ‘dem haffi gwan inna’ yard!’ One has to look no further than one room away, to be immersed in the global dread culture, pushed by the nonstop bhangra of Jimmy Love and the Electric Vardo sounds of DJ Amar. Toasted by none other than Daddy Frank, the residents deserve their standing as Bay Area Representatives!

"a

night, that for many has become a cross cultural phenomenon."

Surya Dub has received many well deserved accolades in local publications in recent times, as well as mention by Pitchfork’s Martin Clark this month in Dubstep/Grime section, being recognized as a stateside night, helping to promote dubstep and hybridize the vibes. As previously stated, the SF weekly poll came up with Surya on top of the best club night list for 2007, but it doesn’t end there. The SF Guardian awarded Maneesh the “Best Dance Club DJ” in 2007 and the night earned the 2008 “Best of the Bay” for the newly created category of “Best Ambassadors of Dread Bass.” A more appropriate title, than Ambassadors, would be hard to come by, as they bridge the gap between raggae and dubstep, bringing in top talent for every event from around the globe and around the sound. Among the pantheon are dancefloor luminaries such as Zulu, The Bug and Warrior Queen, Flying Lotus, Breakbeat Bhudda, Daneekah, Mundo, Sub Swara, Dhruva, Tomas, Jah Warrior, CoopDeville, the list just goes on and on. In addition to cross genre promotion, the Surya Dub team has also made it a point to promote the Bay Area Sound, having booked a who’s who of Bay Area Dubstep crews, helping to further unify the already close knit SF scene.

Look for this crew to continue to push forward in 2009 and beyond, with a strong work ethic, dedicated to promoting what has come to be dubbed “Dread Bass”. Pun most definitely intended.

75 | Big Up

THE ROOTS

by Clayton Worfolk It’s 2008, and Panama City is well-dressed and well-connected. Suit-clad men and women dash madly across Via España, the clogged six-laner serving the city’s teeming financial district, and hair-trigger car alarms sound long into the night. There’s a bank on what seems like every corner and, in between, electronics stores hyping the latest in name-brand American and Japanese gear.

And then there’s the canal.

Over a decade after the United States relinquished control of the billion-dollar waterway and the contentious Americancontrolled zone that surrounded it, the canal serves as an enormous source of pride for Panama’s 3.2 million citizens. For decades they saw their greatest national resource, their best claim to exceptionality in Latin America and the world, controlled by someone else. Today, many aspects of commercial, political and cultural life (from tourism to high-tech imports to employment) point in some way to the 48-mile-long channel. Not coincidentally, reggaeton points here too.

Across the isthmus, at the northern mouth of the waterway, lies the side of the Panama Canal you won’t see on postcards: Colón, a crumbling, tightly packed city that guide books urge tourists to avoid. During the mid19th century, Colón was the staging ground for a massive influx of newly emancipated

76 | Big Up

West Indian laborers to Panama. Beginning in the 1880s, they constituted the majority of the labor force behind the trying, twiceabandoned French- then U.S.-managed bid to carve a passage between the Pacific and Atlantic Oceans. Upon the canal’s completion in 1914, many workers took what “Panama money” they’d saved and returned to the Caribbean. Others, including those who could not afford the passage home, stayed.

It was into this context that, 60s years later, reggae en español was born.

prophet, visited the city. Here, the story goes, he witnessed the plight of the black Caribbean canal laborer, an experience instrumental in shaping his views. Consigned to the “silver” pay roll while their white peers were paid in gold, black workers endured under their American bosses a segregated social order inspired by Jim Crow. The racism cultivated within the Panama Canal Zone permeated Panama to the point that, in 1940, the country’s president pushed a constitutional change that would have prohibited the immigration of all "The music started in “peoples of Negro race whose original Jamaica, but the roots, language is not Spanish”. The racial the birth of the legend, provision was later dropped, but started in Panama." throughout most of Panama, the stereotype of the unassimilated black West “Everything started here in Panama,” Colón-based reggae promoter Rasta Nini Indian, friend to neither white American nor mestizo Panamanian, remained. tells me. “The music started in Jamaica, but the roots, the birth of the legend, started in Panama. Precisely here in Colón.” A It is little surprise, then, that by the late1970s, roots reggae was finding an eager familiar bouquet of incense and ganja fills the Rasta’s sun-baked living room, a small audience in Colón, the nerve center of Afrothird-floor space decorated with paintings Panamanian culture. The music’s message of Bob Marley and Haile Selassie I - also, of love, unity and unwavering resistance a not-so-subtle watercolor of a policeman spoke to a generation of young, marginalized clubbing a dreadlocked Rasta in the street. blacks (descendents of canal laborers, most, The 1977 ABC miniseries “Roots” is playing and many of Jamaican ancestry) who were on the TV set. in a position to understand, literally and figuratively, Bob Marley’s call to arms. Many Rastafari’s ties to Colón date back to 1911, were ready to invoke that message and when the Jamaican-born black nationalist the rhythms that sustained it, in Spanish.

Marcus Garvey, whom Rastas regard as a Reggae en español was thus born...

Read the whole article exclusively at www.thebigupmagazine.com

Magnetic Theatre Company Cassandra Carrasco • Tom Kremer • Scott Ragle • Jen Rainin • Kate Willett

The House Of Yes

by Wendy MacLeod directed by Rachael Adler

SF Playhouse, 533 Sutter St. San Francisco November 6 - 22, 2008 Design: Scott Ragle

tickets & info www.magnetictheatre.com 77 | Big Up

78 | Big Up

www.thebigupmagazine.com check back for frequent updates

79 | Big Up

80 | Big Up