Archive for May, 2010

Ultimate Mega Battle Time!

Saturday, May 29th, 2010

Listen – IF DUBLIN BEATS SOUTHAMPTON TONIGHT WE ARE THROUGH TO THE EURO-LEAGUE QUARTER FINALS. Very important battle. Plus, we is mad rivals as well, so expect there to be much gnashing of teeth, tearing of flesh, skulls being crushed underfoot, the gutting of…oh wait, sorry, that’s something else, but we ARE mad rivals. Check Mick’s preview wordness to whet the appetite for what promises to be a super night.

Oh, and !Kaboogie will be laying down some ILL JAMS to get ye wiggling in this style.

Elijah & Skilliam / Onra – TONIGHT!

Friday, May 28th, 2010

An Dord Is Mó: !Kaboogie Ar An Raidió

Tuesday, May 25th, 2010

Right so, here’s the tracklist for last Wednesday’s show. Repeat this Sunday at 2.30AM (or Saturday night as it may be known). Else get locked next Wednesday at midnight for 90 more minutes of selections ranging from the wonky to the ravey to the absolute best of 1981 post-showband arrangements for spoon and cushion (I might have lied about the last one). Last fortnights show available for download from the FRANKLY AMAZING !KABOOGIE AUDIO PAGE (I would say that, wouldn’t I?).

Club Head Sliim – I Can Be A Freak
Automatic Tasty – Free All Parties Now! (Dub)
Brackles – Lizards
Gremino – Problem (Rag & Bone)
T-Polar – War Stories – Ed Devane Remix (Takeover)
Jay-Z – Big Pimpin – Rico Tubbs Remix
Ed Devane – Playtime (Forthcoming !Kaboogie)
Ancient Methods – Untitled 3
Brackles & Shortstuff – Pipey D
T-Polar – Suburban Roulette (Forthcoming !Kaboogie)
Kansas City Prophets – Tunneltone (Dub)
Badness & Loudmouth – Cut Out
Samuel & The Dragon – Diamonds on a Boat – 8bitch Remix
Swede:art – Wonkycarz
Paul White feat Guilty Simpson – Ancient Treasure
Lukid – Thyme Doin So Miiin
Teebs & Jackhigh – Splash – Auditory Ossicles Redesign
Feur.steps – Lunar Dust
Scurvy Lass – Dwell (Dub)
Dr. Alimantado – Johnny Was A Baker
Unknown – Unknown
Jacuzzi Club – Sensimilla Riddim
Munchi – Ayoba – Munchi’s Bachata Mambo Dub Remix
8bitch – Weezy Trina
Capleton – Who Dem?
215 The Freshest Kidz – Vnecks – Swede:art x A-Rec Remix
Sensational & Spectre – Grand Imperial
Teebs & Jackhigh – Comes To Mind – Josip Klobucar Remix
T-Polar – War Stories – A-Force Remix (Takeover)
Yannis Kyriakides & Andy Moor – A School Burnt Down

An Dord Is Mó: !Kaboogie Ar An Raidió

le Redmonk agus Richie !K

Raidió Na Life 106.4FM – Wednesday 00.00AM-1.30AM, repeated Sunday 2.30AM-4.00AM


Monday, May 24th, 2010

Ok, so I’ve mentioned previously that I would do up a little piece on this whole moombahton thing that’s been raising it’s head the last while.

I first heard about it through the rather excellent Bass Music Blog back at the start of April. Here’s what they said:

No sooner had I bigged up Dave Nada’s Moombahton mix last week than this badboy dropped into my inbox, courtesy of Phoenix’s DJ Epidemic.  Still unconvinced about the name Moombahton for a genre, but I’m totally sold on 110BPM bass music, and this is more of the same – a cheeky slowed-down edit of JFK & St Mandrew’s track Beehive.  I’m not sure if it needs quite as many sirens as it has, but it’s in the bag anyway.

Personally, I don’t have a problem with heaps of rave sirens! But I’m glad they posted on it, very big tune which you can still get from here. I used to live above an Ecuadorian call-shop in Barcelona which pumped out reggaeton ALL DAY. Granted it grated occassionally, but it’s great dancing music which isn’t at dubstep/techno or  jungle/drum’n’bass bpm, thus makes for something pretty refreshing (at least for me!) when it comes to a dance.

Then Wayne and Wax did a post on it, had a few tunes there for download by the likes of Munchi and NASA. Grabbed ’em, and a week or two Eo and me were playing down in Cork. I did about 20 minutes of Moombahton and the place went off! Loads of samba drumming breaks, big ravey riffs and a splash of cut up Portuguese vocal science, all riding what I initially described as a reggaeton beat.

But it seems that this biz has been bubblin away for a long while. Sure, some people might consider it sped up reggaeton or slowed down Dutch house, but isn’t the whole screwing thing a genre in itself? Check the comments on Wayne and Wax’s aforementioned post for some good insights.

Also, I received this comment from ‘duk, a clarification (as was needed with the emergence of UK Funky as well, a lot of people just scratched their head going “It’s just funky house with more bass innit?” I kind of wonder if we just get to accept genre specifications once we’ve been worn down by the fact that half the producers out there have changed up styles, it’s all we hear on the pirates/clubs/mixes and suddenly it’s like UK Funky, Moombahton, whatever, have always been there. But I digress…). Put the kettle on and take a few minutes to go exploring the links, definately a few gems in there!

‘duk said

Thank you for the Moombahon tracks. The BPM standard for Moombahton is 108. I believe the standard for reggaeton is 95
BPM. This Wikipedia entry also explains how Moombahton is more than “Dutch House slowed to 108 BPM.” NibOOtOO blog is documenting the M’tone phenomenon, and has links and files for the latest tracks. Thank you.

MOOMBAHTON (pronounced “Moom-buh-TONE”) is a genre of popular music that was created by American musician DAVE NADA [1] at a graduation “skipping party” for his younger cousin in Washington, D.C., in the fall of 2009. [2] The specific event that stimulated NADA’s development of the Moombahton genre was his slowing the AFROJACK remix of the SILVIO ACOMO & DJ CHUCKIE song “Moombah” to 108 beats per minute. Because that beat per minute configuration nears that of the reggaeton at 95 BPM , NADA created the neologism “Moombahton” by combining the title of the track “Moombah” and the “ton” ending of the word “reggaeton” and applied it to his new genre. The word itself “Moombahton” is pronounced “Moom-buh-TONE.”

In the period between the events of the graduation party in Fall, 2009, and March, 2010, NADA perfected his vision of the new genre in the recording studio utilizing the intuitions and insights garnered from the “skipping party” experience to create a five track EP of newly-minted Moombahton tracks that dropped in March 2010 with the promotional assistance and support of DJ AYRES at T & A Records [3] The 5 tracks on the EP Moombahton are “Moombahton,” “Riverside,” a Moombahton version of the SIDNEY SAMSON hit ,”Ruffcut Moombahton Dub,” featuring a sample of the LA MALUCA hit song, “El Tigeraso,” “Ruff Cut Moombaton Edit, amd “Seductive Sound.” The “5-pack” Moombaton sampler was uploaded to Soundcloud in early March 2010, where it garnered immediate attention and stimulated the creation of other Moombahton tracks by a handful of artists in the United States and Canada.[4]

NADA’s “Moombahton”was more than simply “Dutch House pitched down to 108 BPMs.” The original Moombahton tracks feature chopped vocals, layered acapellas, extended and enhanced build-ups, as well as the introduction of new drums and percussion elements.

The “First Wave” of American Moombahton experimeters included Denver’s DJ SOUPERS, Phoenix-based DJ MELO, Philadelphia’s DJ APT ONE, Orlando’s DJ STEREO 77, Los Angeles-based DJ MORNINGSTAR, and San Antonio’s DJ WYLD STALLYNS. In Canada, Moombahton garnered the attention of a group of Vancouver-based DJ’s that included DJ NEOTERIC, ERNOLD SANE, and KEV FRESH. Further to the east, Calgary’s DJ A-MAC created Moombahton versions of the Crystal Fighters “We Love London” and a Moombahton version of the Yeah, Yeah, Yeahs’ “Heads Will Roll.” [5]

Meanwhile, in Melbourne, Australian DAVE NADA’s Moombahton genre had attracted the attention of a consortium of musicians affliated with Scattermusic and Scatterblog. The musicians, loosely led by MU-GEN of SLAP & DASH, that outfit’s other member SCATTERMISH, LEWIS CANCUT, and MAT CANT created an extensive series of original and remixed Moombahton works whose quality raised Moombahton to a new level.

In mid-April, the Scattermusic musicians released an anthology of Moombahton tracks that included not only the early experimental tracks that had been posted to Soundcloud in March, 2010, but also an entire series of well-produced and powerful, original Moombahton tracks with a distictly Brazilian flavor and a strong emphasis on low-end pyrotchnics that may be said to have initiated the genre’s “Second Wave” of creative development.[6]

Concurrently, overseas in Rotterdam, The Netherlands, DJ and producer MUNCHI, a reggaeton musician searching for a means to renovate that genre, began to experiment with Moombahton and released a series of remarkable original tracks drawing on a variety of sources including both reggaeton and Brazilian capoeira music. [7]

With the appearance of the MU-GEN anthology and the MUNCHI originals, interest in the blogosphere began to accelerate, and finally on April 28th influential cultural music blog GENERATION BASS posted a Moombhaton article that drew ever greater attention to the new Dave Nada-innovated genre. [8]

At the beginning of May, 2010, particular styles and “sounds” of Moombahton are under development in the United States in Los Angeles (DJ MORNINGSTAR), Seattle, Phoenix DJ MELO and DJ EPIDEMIC), San Antonio (DJ WYLD STALLYNS), Denver, New York (DJ SABO), Philadelphia (DJ APT ONE), Baltimore (UNCLE JESSE), Washington (DAVE NADA and NADASTROM), Orlando (DJ STEREO 77), and Miami (THE NEW GUY). Elsewhere, Moombahton styles are under development in The Netherlands (MUNCHI), Mexico (NO ROUX NO) and Switzerland (DVW). [9]

Lo-Fi Dynamics and Hi-Fi Statics

Wednesday, May 19th, 2010

As part of my Masters in Digital Media out in IADT Dún Laoghaire, I’ll be writing a thesis. The title is: “Lo-fi Dynamics and Hi-fi Statics: An Analysis of Digital Media’s effects on existing and emerging music cultures”.

What I’m doing with the thesis is analyzing how bass culture (think soundsystems and digging the crates) and treble culture (think ipods and mashups) are overlapping, and what the ramifications are for the production and distribution of music, as well as how the artist-audience relationship is changing.

If bass and treble cultures are alien phrases, please scroll down to the abstract below for an attempted definition of each.

What I’m planning to do is post some of my main arguments from the thesis, with the aim to foster some discussion on the topics raised. For this, I will need your help! Please feel free to comment, share opinions, post links, etc. I think due to the speed at which modern musical development occurs, and also the extreme importance that online communities play in this, it would be unfair to not include a representation of what said community thinks. I also plan to approach some of the leading writers and theorists in the field, such as Wayne Marshall, Jace Clayton and Martin Clark, among others.

The following is the thesis abstract.

Lo-fi Dynamics and Hi-fi Statics: An Analysis of Digital Media’s effects on existing and emerging music cultures”

This thesis has two main goals, each of which will be dealt with in the following abstract:

  • To examine the overlap of ‘bass culture’ and ‘treble culture’ in a digital media context.
  • To inspect the effects of digital technology as an enabler of change in the artist/audience relationship

To examine the overlap of ‘bass culture’ and ‘treble culture’ in a digital media context.

I will begin by defining ‘bass culture’ and ‘treble culture’.

The key aspects of ‘bass culture’ are:

  1. Analog technologies (including ‘delivery systems’ such as handing out flyers, word-of-mouth, etc)
  2. A strong performance aspect (live gigs, club nights)
  3. Group gatherings

Conversely, ‘treble culture’ can be represented by the following:

  1. Digital technologies
  2. A culture geared towards listening more than performance
  3. Individuals as opposed to groups

I will examine how these two cultures have been accelerating toward each other and currently intertwining, despite attempts at ‘counteracting’ each other over a century of technological developments.

The prevalence of digital media will be addressed as an enabler for survival of analog bass culture. This overlap will look to contextualize bass culture in a digital media environment. Key concepts here will include:

  • Treble culture acting as an aggregator or filter for bass culture, and music as a whole. Although this filtering has normally been done by FM radio stations (including pirate radio), it is, due to the abundance of new music material in circulation (thanks to a proliferation of free software and cheap digital equipment), now filtered by means of podcasts/webstreams, blogs (which are in turn aggregated by the likes of Hype Machine and Google Reader) and online music production communities such as Soundcloud (whose mission statement is to “…move music fast & easy. The platform takes the daily hassle out of receiving, sending & distributing music for artists, record labels & other music professionals.”)

  • ‘Treble culture’ as a means to archive ‘bass culture’, and create a platform for its discussion. Again, this applies to music as a whole too, although it could be argued that the effects are felt more acutely in a community of ardent collectors (typified by the cataloguing of vinyl records that occurs on sites such as, which originally began as a an online catalogue of electronic and dance music)
  • ‘Treble culture’ as a means to promote ‘bass culture’. Previously, ‘bass culture’ was promoted via ‘analog’ means, for example, handing out flyers outside clubs, spreading word of mouth, receiving promotional records in the post, etc. Hefty anti-littering fines (in the case of flyers), coupled with the massive costs of pressing vinyl records, has seen a move towards ‘treble culture’ techniques of promotion. Inviting people to an event via Facebook for example gives one a better gauge of the number of patrons expected, i.e. how much more promotion to do. The use of platforms such as Soundcloud can promote an upcoming release without the costly and bulky method of posting out vinyl records.
  • ‘Treble culture’ can also encourage ethnomusicology (or at least promote a greater understanding of different music cultures) by introducing listeners to music they might not have necessarily listened to before, for example, a popular Missy Elliot hip-hop track ‘mashed-up’ up with a Jamaican dancehall track.

  • A lot of treble culture phenomena that we see today, such as ignoring copyright and bootlegging tracks, etc. are but mere continuations of classic bass culture ideas. The concept of ‘versioning’ music (taking an existing rhythm track, split into its component parts, and re-mixing it live onto tape) was prevalent in Jamaica in the 1970s and is the basis of modern remixing. The 23rd February 2010 is the 25-year anniversary of Wayne Smith’s ‘Sleng Teng’ track, one that was so popular it led to “dozens (and later hundreds) of artists and producers rushing to record their own versions of the rhythm track”, right up to the present day (see previous Missy Elliot example). Now, thanks to democratized music production tools, i.e. digital technology, the audience has the chance to remix, and can play the role of the Jamaican producer themselves.

To inspect the effects of digital technology as an enabler of change in the artist/audience relationship.

In this section I shall critique both positive and negative effects of digital media on the artist/audience relationship. My main points are:

  • Is digital technology a negatively disruptive force on the the fidelity of modern music? I shall look at the adverse effects of digital media in relation to sound quality, looking primarily at loudness. Also, I shall review the pre-iPod drive towards high fidelity sound, and examine the possibilities of a return to high-fidelity sound.

  • I shall review the physiological and pscyhological effects of varying frequencies of sound. For example, the psychoacoustic effect of low frequency bass on human heartrate.

  • The abundance of inexpensive digital music equipment, as well as free-to-download software means more people than ever can make music. What are the implications of this for the listener, as well as existing artists? A brief review of technologies such as free music production software and professional programmes such as Serato and Ableton will be provided, looking at how digital systems plug into bass culture.
  • I shall look at how audiences today primarily engage with music and how the role these audiences play is changing.
  • I shall examine the development of production and mastering techniques being used by artists, for example, Brian Eno mastering music on iPod headphones due to their prevalence in audience usage scenarios. Bear in mind that this is more a continuation of traditional mastering techniques, which always consisted of a lo-fi playback system to make sure the “man on the street” got as full a sound as possible.
  • How important a role does the geographical context of music play? Does it even matter?
  • I will look at interpretation, and how “the listener completes the musical circuit”. Also, I shall look at the audience as ‘prosumer’ as opposed to consumer, and the move from interpretation to reinterpretation thanks to ‘treble culture’.

  • Case studies on artists such as Wilco, Girl Talk, Radiohead and Dj/rupture will show how some forward-thinking artists have embraced digital media through providing elements of their art for free. In parallel to this, I shall examine the potential for new digital business models to develop, including:
  1. New revenue streams, e.g., charging audiences to pay for individual ‘tracks’ of a song (guitar, vocals, etc) so they can re-envision their favorite music
  2. Platforms such as Bandcamp, where users decide which price they want to pay for a piece of music
  3. Digital patronage, a return to pre-recording industry commissions for artists.
  4. Broadband tax and other internet license schemes based on television model, used to generate revenue even if consumers won’t pay for products. Also, comparison with TV/radio and web royalties. Attempts are being made to funnel parts of television license funds and radio play royalties back into the arts, that way ‘paying’ the artists
  5. Embracing piracy as the new entrepreneurship: “The pirates’ mentality transcends media formats, technological changes, and business models”. An example of a change in how pirates are perceived is the potential inclusion of paid advertising on sites such as

Cooking a Mix

Wednesday, May 19th, 2010

OK, so one of the main reasons I set up this blog was to have the odd rant about things. Here is one such rant, one that some of you might be familiar with. It has to do with the comparisons between turntables and oven hobs. I enjoy mixing tunes and cooking food equally, and I reckon they have more than a few things in common. This is going to be a theme I shall be returning to again in the future, so let’s get the ball rolling with an ickle comparison between the Stanton STR8-150 turntable and the industry standard, the Technics 1200.

The Technics 1200/1210, in culinary equipment terms, is the equivalent of an electric hob. Or at least the electric hob I have at home and any other one I have used so I’m willing to assume they’re all PRETTY MUCH the same.

Think about it. Yr cooking something on an electric hob, let’s say some rice. “Oh, it’s coming to the boil,” you say, “I better turn it down so”. So you do. But it keeps boiling. Then boils over so there’s that white rice water all over the hob that you just cleaned yesterday/last week/never (delete as appropriate). To stop it bubbling over any more you take it off the heat, wait for the hob to cool down a bit then put it back on, cept now it’s gone completely off the boil so you have to turn it up again until it starts boiling over (again) and the vicious cycle continues.

Then there’s some people out there who are so in touch with their hob they can look at a pot and can sense it will be boiling furiously in a few minutes so gradually turn it down, easing it into its boiling phase and onto a gentle simmer without having to remove it from the heat. They just know, man. And these people are very happy cooks I’m sure. In fact I’ve had to learn such a ninja technique with my own cooker so I never burn anything, nothing boils over, everything just BUBBLES, but nice.

So it’s a kind of prediction technique innit? Guessing what state something will be in and making adjustments that, in control terms, would be a bit extreme, but the end result is spot on. For example, turning the heat waaaay down for a minute or two to let the hob cool down a bit before bringing it back up to maintain a simmer or whatever.

That’s the point of this post. Mixing on Technics is the exact same thing (except without the rice water). Temperature controls are the replaced by pitch sliders. Taking the pot on or off the hob is the equivalent of giving it a nudge forward or holding it back a little. Overshooting the pitch (or bending it) before pulling it back a bit is the exact same as trying to get the pot to bubble the way you want whilst avoiding undesirable outcomes like burning or boiling over (which have their DJ mixing equivalents too: tracks running out of sync, trainwreck, galloping horses, wrecking the buzz, etc). Knowing that yr equipment won’t give you an absolute, instantaneous response and trying to compensate that bit.

I use Technics 99% of the time when I play out, it’s just what clubs and soundsystems usually have. I think they’re great decks, don’t get me wrong, but what I’ve learned over the last few years is yr waaay better off working the sliders rather than nudging and so on. I remember seeing heads djing in Electric City years ago and they were just ‘riding the pitches’. I thought it was Jedi mindtricks the first few times I saw it, I was all about fingers getting worn down off the platter slowing records down and trying to grab the spindle and twist it to speed it up…

It might be that nudges and all are a bit more noticeable on a 1210, any sort of heavy-handedness with the platter and you’ll nearly stop the thing! I guess it’s different for each style, but beatmatching with a minute overlap (like in a lot of techno/electro/house stuff) calls for such Jedi moves. I suppose if yr all about cutting and dropping tracks in you mightn’t be that bothered.

Anyway. The decks I have at home are Stanton STR8 150s. They’re great, so they are. And they are the turntable equivalent of a gas hob. Instantaneous response, you turn it down, the pot bubbles less, the business. I got them about five years ago thinking they would be the future cos they had twice as much torque as a Technics, but it didn’t turn out that way (they’re also twice as heavy!). I record most of my mixes and radio shows on them, but I find I can be a good bit more heavy handed with them (a finger running off the platter makes an incremental difference, so they’re good for getting stuff real precise, you practically need to sit on them to get them to stop turning altogether). I’m all about the nudges and so on with Stantons. Granted, I do the occassional long-crossover mix here and there, but I guess what I’m trying to say is I’m less trying to Jedi the sliders than I would be using a set of 1210s.

Ok, that’s it. I haven’t a clue what a Gemini or Numark could be compared to though…

Secret Wars in Dublin this Friday!

Tuesday, May 18th, 2010

Last leg of our mini-tour, gwan be finishing with a mighty sesh in Dublin’s Twisted Pepper. !Kaboogie DJs confirmed so far are A-Force, Eomac, Richie !K and myself. Beatboxer extraordinaire Reeps One will be joining us, and BBC’s Fabio will be downstairs. Come down for some proper art and music, should be a good buzz!

!K Club 20 May – Bonz & Executive Steve

Tuesday, May 18th, 2010

Secret Wars in Galway & Limerick

Monday, May 17th, 2010

Jayzuz, I’m wrecked. Hectic weekend but deadly, deadly time had. After Cork last weekend it was time for the Secret Wars mini tour to hit Galway and Limerick. Which we did, and then they hit us back, and after a brief tussle we ended up apologizing to each other and insisting on buying this round, etc.

So Friday evening Richie !Kaboogie and myself landed into Galway. The last time I was there (for an A4 Sounds group show in 126), I wasn’t about in the hours of light, so strolling down Shop Street in the sunshine was the biz. After checking out the venue , Kelly’s Bar, our hosts treated us to some top notch grub (moroccan lamb curry in my face!) before soundchecking (thanks for the shiny new mixer Mac!). A few pints of stout in the sun after and we were all set for the evening.

Le Setup

I thought Cork was great last weekend, mainly because people got down from very early on and got stuck in, but Kelly’s was RAM after being open for a half hour (I found out later that they had to close the doors at 11.30 it was so packed!). Either this is down to tour manager Andy’s excellent promotion skills (oh yeah) or maybe there’s just way more of a buzz about Secret Wars or street art in general. Anyways, deadly crowd, and fair play to all of ye for giving it socks all night! Once Jay had introduced the artists and the battle commenced, there was some SERIOUS grinding going on up at the front of the crowd, Richie and me laid out a tuff selection of dancehall, baltimore and moombahton at the start, getting into more funky bashment and breaks styles after Reeps One’s savage set after the battle.

Reeps One

These battles are a great oppurtunity for practicing the skills, it’s not often we get to play back to back for four hours, so keeping a crowd happy and changing styles up an interesting challenge, kinda like making mussels stuffed with spicy rice. Kind of.

Richie !Kaboogie

But what of the art? Well, Friz and Danleo of team Dublin knocked out a rather tasty piece, with the tagline “Got more souls than a sock with a hole”, and the Galway lads did up “Ridin the Bucfasht monster”, check ’em below:

Dublin - Got more Soul than a Sick with a Hole

Galway - Ridin the Buckfasht Monster

Galway heads get down!

We got to lash it out a bit more after the battle finished, heaps of dubstep, grime, hardcore, and we got to play some jungle at the end too. I dropped Swindle’s ‘Airmiles’ at one point, resulting in a mini-chorus line at the front shaking to the ground with the descending riff, brilliant! Nicely done Galway!

Sore heads a plenty the next day, but the buzz of the previous night took the sharp edges off. We headed down to Limerick next, a city that I haven’t been to in 15 years or something, which is pretty ridiculous really, but I don’t think I’m alone as regards getting out of Dublin and seeing OTHER PLACES. This mini-tour thing we’re doing has definately opened my eyes a bit more regards what’s going on in other cities, and the general reception and crowd enthusiasm everywhere we go makes me feel all squidgey inside. Which is a good thing, so gimme more gigs, yeah? I was chatting with 2bit about this before, ha made the point that the whole UK scene that sprung up around rave, that some refer to as the ‘hardcore continuum‘, developed due to people getting out of London, Sheffield, Bristol etc and playing in the smaller towns on a pretty frequent basis. Or else just doing a lot of gig swaps between crews from opposite ends of the country. After heading to places like Cork, Limerick or Galway, and down to the nature of the sort of events we’re doing, you get a good glimpse at the scene that’s bubbling away there. I’d love to see more co-operation and the likes around the country (not that that’s not happening already mind), it helps build up the whole scene and keeps things fresh. There’s SOOOO much talent in this country, be it music, street art, whatever. It’s a great feeling for people to be playing/painting and appreciated away from home, and hopefully seeing something like a Secret Wars battle might be an extra pinch of inspiration for the audience (or just a good night’s entertainment!).

Anyway, back to Limerick. Baker Place was the night’s venue, and it had a lovely underground vibe off it (because it was underground) with some deadly artwork covering almost every possible square inch of wall space. Plus it had the most solid turntable setup I’ve seen in a long while:

Danleo and myself were up against a pair of local tattoo artists, so we decided to do a piece themed around Big Bird from Sesame Street tattooing a donkey’s bum, with Kermit the Frog looking on in barely-controlled pleasure, called it ‘Tattoo My Ass”. High-concept art, brother.

The limerick lads did a fine job, busting out a pretty impressive piece, chock full of tasty tattoo-style illustration.

This one was pretty full on. The place was a sweatbox and ink mixed with stout on the floor to provide a nice squealch underfoot. Richie !K was hoofing out a badman selection too to add to the tension, and after 90 minutes it was voting time.

Ended up 2-1 to Limerick, which follows the pattern of the last two battles scorewise, but I don’t think anyone expected a bunch of Dublin boyos to win over a Limerick crowd! Or judges who vote for the home team this way:

Twas deadly craic after the battle, Reeps One killed it with an INSANE set, people were coming up to see if the sounds were actually coming from the decks or whatever, pretty surprised that one dude with a mic can smash the place up so much!

Like the night before, we played some heavier stuff for the last hour of the night, including some Squires dubs I got a while back that totally wrecked the gaff, until we were kindly asked to stop due to the presence of local law enforcement officials.

Before heading back to the hotel, got to grab a few shots of some graf at the taxi rank, I’m pretty sure some of the artists here have done stuff in the Cork car park I posted about here, so if anyone wants to confirm or deny this please work away.

UPDATE: Pieces are by SX, RASK and SMASH137, big thanks to Nick for that!

So, the Secret Wars venture into the South and West is over, but we’ll be doing a BIG session next Friday in Dublin’s Twisted Pepper. Details an ting on the way. Big up to Dan, Friz, Richie, Andy, Jay, Paul, Reeps, Rob and the good people of Galway and Limerick!!!

Sibín Festival 2010

Thursday, May 13th, 2010

OK, so it’s takken me this long to get round to writing about the betentacled beast that was Sibín 2010. One of the best days out I have had in a looooong time! Despite the foreboding clouds that hovered over Dublin on MayDay, by the time we got to Balbriggan the sun was out in force. And stayed out.

Safetyboy's 80s Set

!Kaboogie co-hosted our tent with our brothers in bass, Reach, with the Hertz-U Funktion One rig bubbling the dance. There were two other tents, as well as a stage in the Man’O War pub, but save for a few early pints outside in the sunshine, I rarely left our tent. Seriously. Bangin. Tent.


Bonz of Tribe fame was doing his thing going in the evening, proper tight junglist selection (hoping to have him down to the !K Club soon, watch this space!).

T-Woc and Don Rosco stepped up next, played some deep stepping styles, and finished with a barrage of grimey/2-step bangers that got the shakey-shakeys going.

Richie !K

Richie !Kaboogie and myself followed, and cut a path through funky, acid, dubstep, hardcore and ravey up goodness. One thing that I love seeing is the effect a drop can have on a crowd, it kicks in but folk take a few seconds to float in the thick bass sludge oozing from the bins. The look of shock! I think it’s gas the shocked faces some people have, I mean, if yr in a field in front of speakers with a bottle of Buckie in all available hand devices, yid hardly be anticipating Sonny Knowles would ye? People got DOWN though, Murderbot’s ‘Roll Another One’ and L-Vis 1990’s ‘Together’ mashed up the dance.

A-Force and Eomac followed with a great set, the highlight for me being Swindle’s ‘Airmiles‘ being dropped.

Scratcha DVA

The best thing of the day (and I’d go so far as to say the week) was Scrathca DVA. Unreal! Absolute badman selection the whole way through that had the place HEAVING! There are moments every now and again when you realise that soundsystem + people + outside = guarenteed knees-up. I don’t think I;ve ever witnessed anyone in one of these situations complaining they weren’t having enough fun. Or maybe I don’t see these things cos my face is scrunched up so I can’t see outta my eyeballs. Either way, Scratcha DVA blew the feckin lid of the place!

N-Type was next, I’ve seen him play a few times now and he always lays out a whopper selection of tunes. The sort of guy you’d want to share yr cans with like.


Sixfoot Apprentice finished up the night, he’s not played out in a while now so I was dying to hear his set. Did I say ‘highlight’ or ‘best thing of the day’ already? Shit. Hmmm, well is it ok if I say that witnessing Sixfoot lash out the Rubber Bandits‘ ‘Bags of Glue’ to a rammed tent, whilst they sing along with the epic (step aside, King Crimson) chorus, was, to me, the BEST HIGHLIGHT OF THE DAY?

Oh, I can’t?

Don’t matter boy cos I made one of these for myself when i eventually got home:

Chicken pasanda for the face and hands.

But SERIOUSLY, what I’ve  been buzzing off since Sibín was the savage variety of tunes that kept me (and a lot of other people) in that tent all day. Anyone who played in there was lashing out different styles, jungle, hardcore, dubstep, grime, techno, whatever, it was ALL BASS HEAVY. I’ve played at a few festivals before where you could just have dubstep or jungle all day. There’s no ‘and’ there either. One style. Which I probably fell around the place to anyway, but I think people just appreciate more of a change up in style over the course of a dance. Respect yr audience innit. Best fun I’ve had in a long time playing on any rig, gwan all ye heads who were giving it socks all day!!! Big up to all the heads behind Sibín, three years old, and this was the best yet (even if I did miss Safetyboy’s 80s set!)!

Photos by Amy and me.