Young and sweet
Heart on fire
The almighty dollar driving her desire
Outfit tight
Shoes ablaze
Burning a path to live the easiest days
Hair on point
White tips to match
Rabbit speed ideas starting to hatch
Damn shame
Such a damn shame
Preference for popping bottles with a big name
Not realizing
Maybe not caring
The fate of the previous chicks
She’ll be sharing
Get it
Get it
While the getting’s good
They’ll hit it
Lick on it
Spit on it
A little extra time for Grade A earned it
Until the next one
Fresh meat in the kitchen
Now guess who gets the pink slip then
Gotta reup
Refresh for the next market
For sale sign on your back as the fresh target
To do it again
Pop bottles again
Giving up the goods meant for your heart desires twin
Will you learn?
Can you truly see
That where you are is so beneath where you are meant to be
In the mirror
This reflection of you
Missing too many valuable pieces
Things that should define you
So blind
Ignorant to the fact
A queen
A goddess
No need to act
So listen
To your heart, your soul
This life may bring you pleasure
But will never make you whole…

Where what was ends
So then what is can be
We have come full circle
To start this trek again
But not the same path
We have found our center
We stand planted in our new beliefs
Saluting changed perspectives
This is our moment
Forever stamped in history
We will recall these moments of coming glory
Forever treasured history
We are born again
An explosion of stars
Exploring the Heavens
Creating new life
Through light
We have come to change this world
Mission impossible no longer
We swallowed the red pill
Change has spewed us from her womb
We spring forth with valor
Today we come preauthorized
For the fight has been won long ago
We see our world for what it will be
Not what you see
We claim responsibility
Our actions on butterfly’s wings
We gonna run this town
Our actions
And thoughts
Lest we forget
You get what you ask for
For we create our own world
A world waiting
Twenty Ten is for the taking
Your own future
Your own making
So do not forget
Twenty Ten is for the taking…….

By now you’ve probably read all the best of 2009 lists, so we won’t bore you with yet another retread of the year’s greatest hits and misses. Instead, the Glass House is looking ahead into the future to predict what 2010 will bring in the world of music. Here are the artists, albums, and trends we think you’ll be listening to, obsessing over, and talking about in 2010.

Canadian Invasion

It used to be that if you were from Canada and wanted to be a big star, you moved to LA or NY and kept your maple leaf roots under wraps. But now our neighbo(u)rs to the north are getting harder to ignore, thanks to acts like Drake, Anjulie, K’Naan, and Melanie Fiona infiltrating the r&b and rap mainstream like a breath of fresh, multi-cultural, cosmopolitan air. Expect the borders to continue to fling wide open in 2010 with artists like Ayah, Idle Warship’s Graph Nobel, and Kardinall ready to finally blow up and rep the T Dot.

Tahiti 80′s Inevitable Big Break

Now that Phoenix has officially broken through thanks to the sublime Wolfgang Amadeus Phoenix, it’s time for their French indie compatriots Tahiti 80 to finally get some shine. Like Phoenix, they’ve also been around forever, yet somehow managed to always fly just under the radar, with a sound that mixes dreamy guitar-pop with electronic flourishes and a certain je ne sais quoi. But with the recent release of their latest album Activity Center, this might just be the band’s year for breakout success.

New Massive Attack

Over a decade after helping create the Bristol sound and setting the stage for the trip-hop takeover of the 90′s, Daddy G and 3D are back again with the their fifth full-length Heligoland, set to drop in February. If the first single “Paradise Circus” (featuring former Mazzy Star frontwoman Hope Sandoval) is any indication, this may finally be the return to brilliance fans have been waiting for since Mezzanine. Check out the totally NSFW video here. Other electronic and downtempo heavyweights with new albums in 2010: Herbert, Four Tet, Avalanches, and RJD2.

New Corrine Bailey Rae

Corrine Bailey Rae didn’t burst onto the scene so much as politely tiptoe into the limelight, bringing quiet sunshine soul to a world of cookie-cutter R&B divas. She opened the door for a whole new crop of unconventional female singer-songwriters combining soul with hip-hop, electro, pop, rock, and everything in between. After the tragic death of her husband in 2008, Corrine has re-emerged with a darker sound and is set to release The Sea in late January (see the first video here. More alt-urban chanteuses releasing music in 2010: Goapele, VV Brown, Nneka, Janelle Monae, and of course the grand-dame of them all Sade.

UK Gets Funky

You know you’re an aging club kid when you can no longer follow the evolution of increasingly obscure micro-genres of British dance music. I’m still not exactly sure how garage, broken beat, and grime mutated into UK funky, but I do know that it’s the sound du jour of the British urban underground. And now that dubstep has officially crossed over stateside, UK funky is next in line to conquer American dance floors with its plenty of polyrhythmic house beats, R&B-inspired vocals, and a distinctly Afro-Caribbean vibe. Of course, by the time you finish reading this sentence, it will have already spawned about 15 new sub-sub-genres (all the cool kids have moved onto skanking anyway, apparently). But get your funky on while you can and check out Crazy Counsinz, Fingaprint, and Cooly G.

Dance Dance Revolution

I know I can’t be the only one tired of hearing the same ten songs played over and over again at the club. Seriously, if you’re a dance DJ who’s still recycling the same Kitsune or Baltimore club remixes from five years ago, you need to have your Serato control discs revoked. Hopefully, 2010 will bring some much-needed variety with DJ’s bumpin’ everything from kuduro to electro-cumbia to spaced-out-disco-funk . Best new parties for genres blurring and scenes mixing like never before: SheRex at Chief Ike’s, Mixtape at RNR, and the Anthology of Booty’s Backdoor night.

Increasing Presence of Black Indie Rock Fans

I have a friend who coined the term Nickleback Appreciation Syndrome (or NAS for short) to describe well-meaning black folks who brag about having “eclectic” music tastes, but really their knowledge of rock extends about as far as corporate radio bands like Three Doors Down or middle-of-the-road snorefests like John Mayer. But things are changing, and now even Beyonce is popping up at Grizzly Bear shows and Dame Dash is orchestrating the biggest rap/rock collabo this side of the Judgment Night soundtrack. Next year will no doubt make even more converts with highly-anticipated releases by MGMT, Beach House, Vampire Weekend, and Animal Collective.

Death of Hipster-Rap

Remember the so-called hip-hop new class that was supposed to take over 2009? Yeah, that never really panned out. We’re still rooting for guys like Wale and Kid Cudi, but up-and-comers like Charles Hamilton turned out to be all hype (though it was satisfying seeing him get punched in the face). Luckily, 2010 promises a return to classic yet forward-thinking hip-hop – without the gimmicks, skinny jeans, or post-backpacker irony. Look for new albums next year from Common, Big Boi, The Roots, Lupe Fiasco, Kidz in the Hall, and Redman.

Lo-Fi Gets Even Weirder

Bands like Wavves and Neon Indian may be an acquired taste with their druggy, fuzzed-out, “chillwave” noise-pop. But I have a feeling things will get even freakier in the coming months, as more groups embrace cheap synths, woozy melodies, and distorted minimalist beats. The most buzzed-about lo-fi band for 2010? Brooklyn duo Sleigh Bells, who turned heads at this year’s CMJ festival and is currently in the studio recording their first album. Also worth listening to: Washed Out, Nite Jewel, and Memory Tapes.

Lady Gaga Sacrifices Herself to God and the Gays

In her final act of pop-art sensationalism, Lady Gaga is devoured by a mob of Alexander McQueen stiletto-wielding Chelsea boys live from the 51st Grammy awards while the soft strains of “Alejandro” play ominously in the background. Don’t say it can’t happen. Or that I didn’t warn you.

One of many “No Frills” NYE parties in DC – yes. A recession-friendly party that stands up to an “All Frills” party in DC – Hell yes! On December 31, 2009, the corner of 11th and U Sts. NW in the Nation’s Capital will be active for sure. Featuring music and performances by several talents from the DMV, this is one New Year’s Eve event that you SHOULD NOT miss. The best part is the show will go on for much longer than one hour after the ball drops. Purchase tickets HERE today, tomorrow, the day after, or next Thursday because the price WILL remain same.

Cakelove’s Warren Brown with Busboys & Poets’ Andy Shallal

DC’s foodie elite joined forces recently to deliver a special holiday treat to youth at the city’s juvenile detention center. Local faves Cakelove, Busboys & Poets, and Ben’s Next Door were just some of the eateries that came together to prepare a full course meal at the Youth Services Center (formerly Oak Hill), which houses boys and girls ages 11-17.

The event was the brainchild of DC Department of Youth Rehabilitation Services (DYRS) assistant Kathy Ashe, who had been making frequent visits to Busboys for some time. One day she proposed the idea of putting together a holiday dinner for youth at DYRS to owner Andy Shallal. Without hesitation, he agreed and reached out to several area restaurateurs and members of Local First DC including his friend and Cakelove owner, Warren Brown.

Shallal says “Warren Brown is someone who many young African-American boys can aspire to become”. He’s been an inspiration to many in the DMV for a while now, shooting to culinary stardom after quitting his job as a lawyer to begin making homemade cakes. Since opening the first Cakelove in 2002, he’s gone on to be featured everywhere from Oprah to CNN to his short-lived Sugar Rush series on Food Network. He’s also currently featured in an American Express commercial about small businesses.

Nora Pouillon of Restaurant Nora

But the king of buttercream wasn’t the only local food star in attendance. Nora Pouillon, legendary founder of Restaurant Nora, America’s first certified organic restaurant, whipped up a trio of potato dishes. Ben’s Chili Bowl and Ben’s Next Door co-owner, Nizam Ali, worked with his chef Horatio Davis to prepare chicken. Roman Stavropoulos, son of Tryst/The Diner/Open City owner Constantine Stavropoulos, also assisted with chicken.

Chef Rusty Holman of Eatonville, Busboys’ newest sister restaurant, added to the protein line-up with a classic fried chicken. Chef Constantine Stavropoulos and Chef Marco Carranza added their touch to the macaroni and cheese while On the Fly owner, Michel Heitstuman, and Taqueria Distrito Federal’s Luis Marroquin got started on the salad. Representing Local 16, owner Aman Ayoubi and chef Eric McKamey came through with broccoli and carrots with a butter glaze. Meanwhile, Warren Brown and his Cakelove assistants turned 15 pound cakes into 150 slices of strawberry shortcake.

DYRS Chief of Staff, Marc A. Schindler, expressed that he hopes the holiday dinner shows the kids that there are healthy foods that taste good as well. Ben’s Next Door chef, Horatio Davis, added “All these kids see are carry-outs and liquor stores. It’s important that they know there are healthier options out there”. By the end, over 100 youth and staff were served, resulting in a building full of smiles and lots of edible love.

Photos: Danger Dome

So I’m new to El Perro Del Mar, and I don’t know how she slipped by me. She’s been cropping up on several people’s “Best of 2009″ lists for her album Love Is Not Pop, so it seemed about time that I paid attention. This Swedish chanteuse with a Spanish name will slowly steal your heart. According to allmusic, “the name El Perro del Mar came to her during an ill-fated vacation in Spain; she was alone, depressed, and out of sorts when a stray dog came up to her while she sat on the beach, and the dog’s efforts to bond with her inspired her to express her feelings through songwriting”. I wouldn’t say that she’s blowing my mind, as nothing she’s doing is exactly groundbreaking, but her music is beautiful in a quiet seductive way that can’t be denied. I was first drawn in by the simplicity of “Let Me In” and stopped in my tracks by the gorgeousness that is “Heavenly Arms”. Heartbreaking and melancholic, minus the contemporary production, these could easily be songs from another time. These are love songs, first and foremost, and should not be mistaken for trying to be anything else. Some of the tracks on the album were a bit too somber for my tastes, but the majority is perfect for quiet winter nights such as these.

“Lookie Looky” is one of my favorite tracks of 2009 and this Eric Ronan and Garrett Lee directed video really shows that Don Juan likes to have fun with his music – Whether in the studio, on stage, or on camera. Hear from the man himself in our interview with Don Juan over the summer.

Interview with Dre of ABB VIDEO from ABB VIDEO on Vimeo.

The quiet guy with the big camera who has probably shot your interview, music video, or concert, better known as Dre of ABB Video, took advantage of being snowed in this weekend and filmed an autobiographical interview. The northern Virginia native has a portfolio that reads rather well and truly attests to his talent. I’ll let the videos below explain:

ABB VIDEO Muisc Demo Reel from ABB VIDEO on Vimeo.

Nooka X Interview from ABB VIDEO on Vimeo.

Make up for being snowed in this past Saturday and come out the day after Christmas for the holiday edition of Nouveau Riche brought to you every last Saturday by Gavin Holland, Nacey, and Steve Starks. Come early for the free Sparks (yes they still have some left) and free entry from 9-10pm…the price goes up $8 after 10pm.

It’s a recession and most of us should not be shopping for much beyond necessities. I recently put myself on a spending moratorium, but then I met Dana Ayanna Greaves, the creative mind behind Artistic Aya, last Saturday at her trunk show held at Azi’s Cafe in the Shaw neighborhood. All ideas of sensible spending were immediately beaten into temporary submission as I oohed and aaahed at her range of strikingly unique pieces. It is apparent that Aya has a background in art. Here pieces are essentially art installments for the body. There was something for every person, from the bold to the meek, but even the smallest of pieces still made a statement. I was especially enamored with her use of rolled magazine paper in her jewelry. In the era of “going green” it only seems appropriate that fashion follow suit recycling used material into something new.

“Entirely fantastic” aptly describes all that is Artistic Aya. I wanted most of everything laid out for her show and I assure you that you would feel the same. Let’s review some of the standouts:

This cotton neck piece was the first thing that caught my eye.  The contrast of the black and white stripes and ruffled orange collar are superb in a quirky but classic way. I’m not sure if it’s a necklace, or a scarf, but I just want it to be mine.

This necklace was also a favorite. It speaks to society’s obsession with wealth and specifically “bling”; a thought-provoking but humorous piece.

Another signature of Aya’s is reconstructing vintage findings into contemporary jewelry. This collar was made from a vintage crochet collar with vintage dress sequin embellishments, a vintage necklace and a set of vintage clip earrings.

My absolute favorite, and almost my purchase for the afternoon, was this amazingly bold neck piece. Can we say “temptation”?  Made from a vintage paper, vintage jewelry findings and tulle, it’s the perfect example of how Artistic Aya is where visual art meets fashion.

December 15th, 2009 – Sitting inside Alero, located at the corner of 13th and U Streets NW in Washington, DC, are Likeblood members MBea Da 1, Yung E, and Dre Strong surrounded by a slew of friends and family members; many of whom play an integral part in the group’s career.

In a Likeblood interview with WPGC TV, the group explained how nearly everyone on their team is a graduate of Duke Ellington School of the Arts – tonight is no different. Sitting at a separate table along with the media team is fellow Duke Ellington alum, Lindsey Christian who is also the director, screenwriter, and producer of the go-go inspired film Jazz in the Diamond District. Tonight, she sees that all interviews are completed and that the group is on schedule to open for Wu-Tang Clan member and solo artist, Raekwon, at 9:30 Club located on 8th and V Streets NW Washington, DC. Tonight, Lindsey is the general manager of the Likeblood movement.

Dre mentions that he is a Cowboys fan. E and MBea both rep the Redskins and as much as they all love sports, not even that can come in between the unit. Likeblood means “like family” and they have the type of family where everyone expects them to always be together and that’s how they plan to keep it. Likeblood recognizes the path that earlier rappers from the DC area have paved for them. They cite Section 8 Mob, Circle Boys, Oy Boyz, and Chocolate City records as some of the rap groups that influenced them to pursue rap on behalf of the DMV.

The choice to become performers has granted Likeblood many opportunities, most recently traveling across the country as the opening act for the Only Built 4 Cuban Linx Pt. II Tour. During this time, they are getting nationwide exposure while honing their stage performance skills. Exercises prior to a show usually include, battling each other to fine tune their delivery and drinking Grey Goose along with a Halls, to keep their throats clear. Once the mind, body, and spirit are balanced the group hits the stage, to put in work.

Queen Yonasda set the tone with performances from God, Love & Music, her full length CD available on Rhapsody, iTunes and other online music retailers. Around 9:30, Likeblood took the stage, starting their set off with “iPod”. Donned in shades, MBea jumps into rock-star mode and performs from a speaker, while E manages the mic from center stage, and Dre raps his vocals to fans in the stands…the club’s balcony that is.

At the end of their first song, a blend of college-like and street-like fans shape their fingers into L’s, showing support of Likeblood. The stage lights change from red beams to a rotation of blue and yellow beams. Likeblood begins to throw “Money Over Here” shirts and “DaBiness” towels into the crowd. The crowd reached for and kept the goods, once again showing support for the movement. Likeblood completed their set with performances of “Roller Coaster”, “202 Boy”, “Money Over Here”, and “Drop”.

When the group leaves the stage, they are greeted by audience members who are likely unaware of a DMV music movement. MBea explained that there have been times where audience members ask that he stand by and watch as they purchase Likeblood music from iTunes.

Dre said, “There was once a time where local artists were okay with being hood stars”. He is glad that DMV artists are now setting their sights on international success. E explained that Likeblood’s goal is to make timeless music. Hopefully, Likeblood’s commitment to making quality music and delivering this music to hip-hop fans across the nation, will lead to many doors being opened for them and other DMV music artists.

ReadysetDC from Ian Crawford on Vimeo.

ReadysetDC, the “Creative Urban Enterprise”, had its launch party at the Longview Gallery last Thursday, December 10th. First, the gallery itself was amazing for the event. Though it did get crowded at points during the night, it wasn’t a tiny space like so many other independent galleries in DC. Secondly, there was a great turn out for this event which shows that there is a lot of support for the local art/music/fashion scene and people who are trying new creative ventures everyday.

As soon as you got to the door, you were drawn away by the sounds of Indian music and the aromatic smells of curry – The Fojol Brothers were camped right in front! It was magnificent considering there was plenty of booze inside and not a bite to eat. Once you entered the sprawling space you immediately notice the artwork hung on the exposed brick and cement walls of the gallery. There was original artwork in the very back of the gallery with great pieces, all of which were for sale. I wished I had taken my camera to get shots for my own photo collection, but one of our photographers was on site to capture the event. There was an installation by the No Kings Collective which coincided with the For The Love of DC theme. There were also four different installations of photography by Tracy Clayton, Lillian Cho, Paul Frederiksen, and Vincent Gallegos, all of whom are DC-based and contribute to ReadysetDC. Besides having their photographs hung on the walls, some of the featured photographers were out snapping shots of the many attendees.

Local performing artists were of course in the building. I unfortunately missed Bullfight Academy, but caught Laughing Man when I arrived and Tennis System thereafter. Laughing Man is definitely first-class and I’ve seen them numerous times and have always enjoyed their shows. It was a huge space so not as intimate as Velvet Lounge where I saw them last. They played well and the crowd seemed to enjoy them, especially with the band taking a more hands-on approach to “crowd participation” by enlisting an audience member to play keyboards. It was great to have local performing artists included in the For The Love of DC theme because it showed the level of support ReadysetDC has for area talent. DMV native, Tittsworth was the resident DJ for the evening and is one of my favorite from the area. This was actually my first time hearing him live but was excited to see him have the crowd moving in the midst of an art event – A great addition to the line up of local talent for the launch.
I would have to say this was not only an event to view the art on the walls, which was great; but it was also a party to make new connections and throw ideas around. Since their launch party was very successful, I see future events conceptualized around the same sort of “Support DC” theme. The crowd was a diverse mixture of artists, business owners, musicians, and people in their 20s-50s. Because there were so many different types present, there was huge diversity in the guests’ fashion statement. People showed up in business suits, hats abound, along with many well-dressed people who clearly saw this as an opportunity to be creative with their looks for the evening.

Free booze is always a welcomed addition, as well as the raffle in which one of my friends won an HP Envy! Congratulations on a job well done! We look forward here at The Glass House to see what else ReadysetDC has in store for supporting local artists.

Come out on Friday to the DURKL showroom for their collaboration with Lunchbox Theory (Afrobeat Party fame) “to celebrate everything and everyone”. The holiday party will also serve as a fundraiser for the Life Pieces to Masterpieces youth organization. Here are a few words from the Lunchbox Theory crew:

We are providing vibrations by DJ UNDERDOG…

Treats from Sweetgreen

Drinks by Honest Tea

Cocktails

And a FREE mixtape by DJ UNDERDOG with a monetary or art supply donation to Life Pieces to Master pieces. “Life Pieces to Masterpieces provides opportunities to discover and activate the innate and creative abilities of the members to change life challenges into possibilities”.

Because we love you this event is FREE

BUT please don’t forget to support the amazing organization Life Pieces to Masterpieces with a donation at the party.

Christian Rich aka “Pharrell’s favorite group” will be appearing alongside Uptown DC’s own UCB for an in-store event that will be of epic proportions. The Chicago duo will be performing “Famous Girl” and holding down the turntables. The WHOLE UCB will in the building, taking us back to the days of Gonzaga High School and The Palace but also keeping it fresh with some of their new ish like “Pat Your Weave”. Here’s a pre-event preparatory course for y’all as well:

It’s the holiday season

With the whoop-de-do and hickory dock

And don’t forget to hang up your sock

‘Cause just exactly at 12 o’clock

He’ll be coming down the chimney

Coming down the chimney

Coming down the chimney, down!

These are the lyrics that Bing Crosby and Martha Mears belted out almost 70 years ago on the all too famous “Happy Holiday”. Having worked in retail a good portion of my life I’ve had to hear this song, among many others, countless times in an eight-hour work day. Some may feel inclined to judge me and label me a Scrooge or Grinch. By no means am I one in the same as the Charles Dickens or Dr. Seuss characters. However, I do find something rather creepy about hearing these festive melodies day in and day out from Black Friday until New Year’s Day. Have you ever stood in a store devoid of consumers while “Let It Snow” was playing in the background? If not, I wouldn’t recommend doing so. Maybe I’ve watched A Christmas Story too many times and have been jaded by the cult classic film as well. I don’t think performing in/singing in Christmas concerts since 1987 has helped the situation either.

Despite my annoyance with Christmas music, there are a few holiday tunes that I really look forward to hearing every year. Being from the DMV, there are a few go-go remakes of classic carols that always warm me up inside. The all-female outfit Pleasure Band’s “Santa Claus Is Coming To Town”, The Go-Go Family’s “This Christmas” and Chuck Brown’s “Merry Christmas Baby” have always delivered right on time.

I can’t end this without mentiong Kurtis Blow’s “Christmas Rappin’”, which my memory’s earliest recollection of hearing this song being in 1986. I can thank my mother for this, who every year to this day still says the exact same thing whenever this song plays, “This is one of the few rap songs that I like. You know Sugar Hill Gang made the first rap song, “Rapper’s Delight”". All I can do is just smile and nod.

You may not know the name La Roux, but I’m fairly sure you’re aware of the names Snoop Dogg and Rihanna. There is a sound they are all in love with now, that if you’re not prepared for, you’re going to be hearing a LOT of in the future – good, bad, or indifferent. If you purchased Rihanna’s latest release Rated R and were expecting the sassy dance pop sounds of Brian Kennedy’s production “Disturbia,” well, when you got a blast of Dutch producers Chase and Status’s loud, brain frying, heavy and wobbly basslines, you likely had no idea what you signed up for. The sound is “dubstep”. It’s a distant cousin of reggae and dub, the direct descendant of drum & bass and, for mainstream producers, the new prettiest girl in school.

This conversation has to start with a bassline – Expressly, a reggae or Afrobeat bassline. Let’s start with an amazing bassline, say that of Bob Marley’s “Concrete Jungle” or Manu Dibango’s “Soul Makossa”. They are strong, they are deep, and they really make the groove. The bass is what causes the rhythm in dancing. If you can find a bassline, then you can move. You can nod your head, you can shuffle your feet, you can get intensely into a track on the dance floor. As Bootsy Collins says on “P-Funk (Wants to Get Funked Up)” from Parliament’s Mothership Connection album, “funk not only moves, it can remove”. It removes inhibitions, social stigmas, and the shackles off someone’s feet to feel free to get down.

Now, let’s take our discussion of bass to the UK. Let us also enter into the discussion the multi-ethnic nature of the UK EDM (electronic dance music) scene. It’s not just a white thing or a black thing, it is a multi-ethnic dance explosion with the cultures bringing the funk being purely African and Caribbean in nature. Whereas in the US, Afro and Carribean influences were melded with soul, blues, and gospel to create hip-hop, the UK…well, that’s a horse of a different color. The influences remained wholly pure, and when co-mingled with house and techno music, we ended up initially with drum and bass. Remember, the funk doesn’t move, it removes as well. To blend the power of the funk, especially in its reggae, dub, and African uncut potency, with the strength of the substance abuse and intense creativity of the scene, it removed every rule we thought was necessary in EDM. The output was tracks that moved at 160 BPM, involved basslines being dropped in double measures, and a bassline that moves, moves, moves, moves and moves even more.

Now let’s hop back across the water again and read Malcolm Gladwell’s fantastic novel, The Tipping Point. This phenomenon occurs when “the levels at which the momentum for change becomes unstoppable”. Unstoppable for drum & bass would have to be the point when hip hop influences overran the scene and artists like Tricky reached mainstream success. Nobody likes to be a fan of something that has millions upon millions of people as enthusiasts, especially when the movement started underground. Drum & bass still has fans and pockets worldwide, but has not maintained the level of popularity it was at in the late 1990s.

Back to England – Let’s imagine a universe where you are pretty tired of double time basslines. So you add another bassline, and not just the single bassline drop, but basslines dropping everywhere. And let’s make them wobble while we’re at it. It is still heavily “dubplate” influenced, however, much like Salvador Dalí by the end of his tenure, the music now is not so much influenced by rule but influenced by art. Dubstep’s the final frontier of bass. It is odd, strange, and emotive of the most in depth of emotions. Dubstep’s not going to cause you to rage and rave and wild out. No, it’s going to make you scream, writhe, and dance and blast you repeatedly with the hardest and most multi-layered basslines you’ll ever hear.

You will end up with artists like Rusko, seen by many as the dubstep master, whose dubplate explorations sound like hip-hop taken to the absurdest levels. There’s also Skream, whose take on La Roux’s “In For the Kill” makes it sound like the world is coming to an end over someone’s broken heart.

Notably, producer and dj, Joker, has added an R&B/funk element to his dubstep productions, taking the feel out of the club and into the bedroom. It’s a far cry from a bassline reminiscent of 1973, but this merely belabors the point of necessity being the mother of invention, or just leaving well enough alone.

Dubstep’s detractors will state that the overwhelming power and sonic incohesiveness due to the power of the bassline ruins any possible melodious, enjoyable nature of the music. More attuned musicians will state that the perpetual change in time and measure ruins enjoyment as well. However, music is ultimately art and this music doesn’t really stand so much as sound, but as seen from the history above, is an amalgam of a very clear understanding of history with some artistic license. Dubstep, whether appreciated or hated, is truly the realm of art for art’s sake.

Marcus K. Dowling is the deranged mind behind True Genius Requires and Insanity and a writer for The Couch Sessions, Brightest Youngest Things, and CreamTeam.tv