Attention Dubstep, Grime, Jungle, Drum and Bass, Eskibeat, UK Garage & all around Sub-bass wobble heads.......
I recently Made some new DUBSTEP shirts for some friends into Dubstep and when they wore them everybody started asking them where they gottem', So without any shame mate, here they are and they are for sale on http://clubelectrogear.com/
For those of you unfamiliar with DUBSTEP music, here is a basic explanation.Dubstep is a genre of electronic music that has its roots in London's early 2000s UK garage scene.Musically, dubstep is distinguished by its dark mood, sparse rhythms, and emphasis on bass. Dubstep started to spread beyond small local scenes in late 2005 and early 2006, with many websites devoted to the genre appearing on the Internet and thus aiding the growth of the scene, such as dubstepforum, the download site Barefiles and blogs such as gutterbreakz. Dubstep rhythms are usually syncopated, and often shuffled or incorporating triplets. The tempo is nearly always in the range of 138-142bpm. Dubstep rhythms typically do not follow the four-to-the-floor patterns common in many other styles of electronic dance music such as techno and house, but instead tend to rely on a kickdrum based around the first and third beat of a bar (a characteristic inherited from 2-step garage) and longer percussion loops than the four-bar phrases present in much techno or house. Often, a track's percussion will follow a pattern which when heard alone will appear to be playing at half the tempo of the track; the double-time feel is instead achieved by other elements, usually the bassline. An excellent example of this tension generated by the conflicting tempo is Skream's Rutten, which features a very sparse rhythm almost entirely composed of kick drum, snare drum, and a sparse hi-hat, with a distinctly half time implied 69bpm tempo. The track is instead propelled by a constant sub-bass following a four to the floor 138bpm pattern, and a sampled flute phrase. Many dubstep tracks incorporate one or more "bass drops," another characteristic inherited from drum 'n' bass. Typically, the percussion will pause, often reducing the track to silence, and then resume with more intensity, accompanied by a dominant subbass (often passing portamento through an entire octave.Early dubstep releases inherited a structure similar to those used in drum and bass and UK garage, typically comprising an intro, a main section (often incorporating a bass drop), a midsection, a second main section similar to the first (often with another drop), and an outro. This rather rigid format has evolved in recent times, unlike in grime, where the focus tends to be on providing a musical framework - commonly eight- or sixteen-bar loops - for MCs to rap over. As a result, some grime DJs, such as Plastician, have begun playing more dubstep and some grime MCs, such as JME, have released tracks with a dubstep sound or MCed directly over dubstep beats.
Gimme some feedback please, I want to know what your opinions are. Peace. Love & BASS
DnB, Drum and Bass, Dub, Dub bass, Dub step, DUBSTEP, Dubstep forum, Dubstep music, dubstep shirt, Dubstep warz, Eskibeat, Grime, sub-bass, UK Dubstep, UK garage scene, UK Underground, wobble bass.
Tuesday, February 17, 2009
Sunday, February 8, 2009
"Hello Katy Tour" Katy Perry @ the Wiltern 1-31-09
Let me start by saying this girl is sexy as hell!
iROCK shirt by dustyvinyldesign
Forget what you think you know about Katy Perry. Let go of any fluffy impressions formed from unavoidable run-ins with her breakout novelty "I Kissed a Girl," or its equally omnipresent (and infectious) follow-up "Hot N Cold" – or the many times the 24-year-old daughter of two pastors from Santa Barbara has turned up on television prancing in ill-fitting outfits, leaving her looking like a trampy, kinda-campy Bette Midler in training.
Saturday night before a capacity crowd at the Wiltern, in her first headlining L.A. appearance since becoming a bona fide pop star, Perry proved she's got legs. And I don't mean just the lengthy gams she flashed and strutted on Betty Boop-ishly while wearing a slip of a sparkly gold mini-dress and black pumps.
In a surprisingly strong performance, only the fourth date of her just-launched, cutely named Hello Katy Tour, Perry set herself apart from the teeming hordes of pop-tart princesses who have taken over mainstream radio this decade with a show that deftly displayed all of her winning traits.
She's an amalgamation, for sure; she makes no bones, for instance, about learning costumed theatricality from Freddie Mercury. Note how she began her show by strolling on to "Killer Queen" and kicked off her encore with a cover of "Don't Stop Me Now," having first changed into a skin-tight, leopard-print kitty-cat outfit, complete with a tail at the base of her plunging backline. Freddie surely would have approved.
But frankly that's the least (if most outwardly obvious) of her influences. At root Perry's approach is comprised of the vulnerable fierceness of early Alanis mixed with the free-spirited sass of Pink, the bark of Pat Benatar, the playfulness of early Madonna and no-nonsense attitude picked up from Shirley Manson and Joan Jett.
Combined with a gently bawdy aura of tarnished wholesomeness that gives her an allure all her own, she's quickly become colorfully refreshing the way Cyndi Lauper was in '84 – coincidentally the year Perry was born.
And Saturday the jiggling, hop-happy sexpot with rocker strength clearly came to impress by illuminating different aspects of that developing artistry.
Lest you think she's some overnight sensation, recall that prior to racing up the charts Perry earned her sensitivity merit badge while strumming heartbroken recovery aids at the tiny L.A. songwriters showcase the Hotel Café, presumably the birthplace of the emotionally adrift tune "Lost" and several softer leftovers like the ones she indulged here, "I'm Still Breathing" and "I Think I'm Ready." (Unlike your average Mileys and Hilarys, Katy pens or at least co-authors all of her material, enlisting pros like Desmond Child and Swedish pop master Max Martin to assist with execution, not formation of thoughts.)
Yet, when her Capitol Records debut (the undeniably catchy and well-crafted "One of the Boys") surfaced in mid-June, rather than abandon any realer identity by leaping headlong into a very vapid pool stuffed full of Pussycat Dolls and the like, Perry instead cut her more aggressive teeth alongside punks and emo kids on last summer's Warped Tour.
Such a sunburned baptism has served her well, for since then she's been determinedly fusing the basic strains of her sound – folksiness, fire and flash – into something mildly arresting. She's rapidly evolving into a glamorous but empowering dynamo, one that already has produced more panache in the past seven months than stuck-in-a-rut Avril Lavigne has displayed all decade.
In so many songs Saturday night, from the defiant yearning of "One of the Boys" to the bleary tale of "Waking Up in Vegas" to the young woman's lament of "Lost," Perry managed to walk a fine line between teenage folly and adult expression, in the process appealing to young girls, their moms and all the party babes that predominantly filled the Wiltern. Perry packs enough wit in her politely edgy, sometimes absurdly controversial turns-of-phrases – simple but effective hooks like "you're so gay and you don't even like boys" and "you change your mind like a girl changes clothes" – that you suspect she might grow into a uniquely interesting songwriter someday: an Alanis with a risqué sense of humor.
For now, she's still just getting her feet wet, and clearly having fun doing so, performing on this tour amid a backdrop of balloons, giant fruit and other props that allowed her to veer just enough into naughtiness without overdoing it – or seeming silly, for that matter.
When she concluded with a kicking rendition of "I Kissed a Girl," getting lightly lascivious with an oversized cherry Chapstick in much the same way Mick Jagger flirted with an even more phallic inflatable back in '75, the effect wasn't pop dross like we get from Britney and the Pussycats. As Perry stomped about the stage and leapt out into the crowd, her shtick became sweaty, all-out rock 'n' roll entertainment at an unexpectedly high skill level.
I didn't care before, but now I think it's a crying shame she didn't get a Grammy nomination for best new artist.
The day began early onstage as we began to inflate a giant Kitty head, massive vinyl cherrys, strawberrys and banannas for Katy Perry's backdrop. As you can imagine the humourous lewd comments flew and set the path for the show that was to follow. Boy does Katy inflate my bananna!
"Combining the lyrical vengeance of early Alanis Morissette with the rocker sass of Pink and Pat Benatar and flash learned from Freddie Mercury, Katy Perry set herself apart from the teeming hordes of pop-tart princesses this decade with a surprisingly strong performance Saturday night at the Wiltern Theatre, her first major headlining appearance in Southern California. "
ARMANDO BROWN, FOR THE OC REGISTER
... I couldn't have put it better myself. Katy Rocks, shes got pipes, stems, chops and what a looker.
iROCK shirt by dustyvinyldesign
Forget what you think you know about Katy Perry. Let go of any fluffy impressions formed from unavoidable run-ins with her breakout novelty "I Kissed a Girl," or its equally omnipresent (and infectious) follow-up "Hot N Cold" – or the many times the 24-year-old daughter of two pastors from Santa Barbara has turned up on television prancing in ill-fitting outfits, leaving her looking like a trampy, kinda-campy Bette Midler in training.
Saturday night before a capacity crowd at the Wiltern, in her first headlining L.A. appearance since becoming a bona fide pop star, Perry proved she's got legs. And I don't mean just the lengthy gams she flashed and strutted on Betty Boop-ishly while wearing a slip of a sparkly gold mini-dress and black pumps.
Katy is a full on GLAM JUNKIE
In a surprisingly strong performance, only the fourth date of her just-launched, cutely named Hello Katy Tour, Perry set herself apart from the teeming hordes of pop-tart princesses who have taken over mainstream radio this decade with a show that deftly displayed all of her winning traits.
She's an amalgamation, for sure; she makes no bones, for instance, about learning costumed theatricality from Freddie Mercury. Note how she began her show by strolling on to "Killer Queen" and kicked off her encore with a cover of "Don't Stop Me Now," having first changed into a skin-tight, leopard-print kitty-cat outfit, complete with a tail at the base of her plunging backline. Freddie surely would have approved.
But frankly that's the least (if most outwardly obvious) of her influences. At root Perry's approach is comprised of the vulnerable fierceness of early Alanis mixed with the free-spirited sass of Pink, the bark of Pat Benatar, the playfulness of early Madonna and no-nonsense attitude picked up from Shirley Manson and Joan Jett.
Combined with a gently bawdy aura of tarnished wholesomeness that gives her an allure all her own, she's quickly become colorfully refreshing the way Cyndi Lauper was in '84 – coincidentally the year Perry was born.
And Saturday the jiggling, hop-happy sexpot with rocker strength clearly came to impress by illuminating different aspects of that developing artistry.
Lest you think she's some overnight sensation, recall that prior to racing up the charts Perry earned her sensitivity merit badge while strumming heartbroken recovery aids at the tiny L.A. songwriters showcase the Hotel Café, presumably the birthplace of the emotionally adrift tune "Lost" and several softer leftovers like the ones she indulged here, "I'm Still Breathing" and "I Think I'm Ready." (Unlike your average Mileys and Hilarys, Katy pens or at least co-authors all of her material, enlisting pros like Desmond Child and Swedish pop master Max Martin to assist with execution, not formation of thoughts.)
Yet, when her Capitol Records debut (the undeniably catchy and well-crafted "One of the Boys") surfaced in mid-June, rather than abandon any realer identity by leaping headlong into a very vapid pool stuffed full of Pussycat Dolls and the like, Perry instead cut her more aggressive teeth alongside punks and emo kids on last summer's Warped Tour.
Such a sunburned baptism has served her well, for since then she's been determinedly fusing the basic strains of her sound – folksiness, fire and flash – into something mildly arresting. She's rapidly evolving into a glamorous but empowering dynamo, one that already has produced more panache in the past seven months than stuck-in-a-rut Avril Lavigne has displayed all decade.
In so many songs Saturday night, from the defiant yearning of "One of the Boys" to the bleary tale of "Waking Up in Vegas" to the young woman's lament of "Lost," Perry managed to walk a fine line between teenage folly and adult expression, in the process appealing to young girls, their moms and all the party babes that predominantly filled the Wiltern. Perry packs enough wit in her politely edgy, sometimes absurdly controversial turns-of-phrases – simple but effective hooks like "you're so gay and you don't even like boys" and "you change your mind like a girl changes clothes" – that you suspect she might grow into a uniquely interesting songwriter someday: an Alanis with a risqué sense of humor.
For now, she's still just getting her feet wet, and clearly having fun doing so, performing on this tour amid a backdrop of balloons, giant fruit and other props that allowed her to veer just enough into naughtiness without overdoing it – or seeming silly, for that matter.
When she concluded with a kicking rendition of "I Kissed a Girl," getting lightly lascivious with an oversized cherry Chapstick in much the same way Mick Jagger flirted with an even more phallic inflatable back in '75, the effect wasn't pop dross like we get from Britney and the Pussycats. As Perry stomped about the stage and leapt out into the crowd, her shtick became sweaty, all-out rock 'n' roll entertainment at an unexpectedly high skill level.
I didn't care before, but now I think it's a crying shame she didn't get a Grammy nomination for best new artist.
WRITER: bwener@ocregister.com
ARTICLE: OC Register
Katy gets my personal "Inflated bananna" award, All my love Katy, all my love.
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