I have zero fucks to give when it comes to what other people think when those people are part of the genre-obsessed school of thought of elitists in this industry. This music shouldn’t be hoarded as high art, although with any popular culture trend, once in the hands of the greedy and ignorant masses, it too will become nothing but another product of our mass culture, at the very least the people in charge. Fortunately, electronic music exists in an infinite amount of space. The music notes could just ride off into a black hole of nothingness and become an item you can’t even find again if you tried. There is sometimes a moment in fiction writing where your characters take on personalities of their own, and then you just know what they would do, or what they need to do, and your story becomes fairly obvious from there.
I have this similar theory with regard to electronic music. We all have this moment where everything makes sense through the music. This only happens with certain artists, on certain labels. The fact that this industry’s labels are headed by the industry’s most talented artists is allowing the love file sharing that built the drum & bass culture of today. Beats and bass exchanged for lyrics, verses, hooks, singers. Lately, dubstep and bass music are tearing at the seams facets of the music world that were previous staples. Remember when the earth was flat? Life was so much simpler then.
Skrillex‘s label OWSLA is touched with not the gold of Midas, but it is something like that in the artists they sign, how they produce, and the very evident raw talent that lies in any and all of them. OWSLA has released an absurd amount of EPs in the last year, and their “After Dark” mix series is one that sits with me in the lonely hours of insomnia. All of it is thoroughly intense in the best way possible. I have never gone wrong listening to anything OWSLA since the first time I heard the nasty tears of dubstep by Skrillex. He is a pioneer no doubt, but a hard worker who recognizes the raw talent he possesses, in so many others. It shows in their releases.
TC is a British producer, most recently known for “Tap Ho,” a dnb track with like trap influences, maintaining the rhythmic melody with dubstep shirlls and stretche. TC has a ton of bootlegs and remixes in his catalog, most released on his label, Don’t Play. TC’s latest EP, Get Down Low, is his first release on OWSLA. Fans of TC get two brand-new tunes, kicking off with the EP’s title track. Channeling the bass music that he’s been dabbling in over the last year or so, TC turns “Get Down Low” into a track kicks off with a sinister booty bounce before switching things up midway into an upfront dnb dancefloor dream. Taking things a bit deeper, “Vegas” finds TC crafting a solid mid-set scorcher, letting the undeniable melody lead the way. “Do You Rock” is one of TC’s later bangers for Don’t Play that Skrillex and company must have thought would be well-suited for a potential U.S. dnb invasion. It rocks hard, from the stadium clap and robot-lead intro into the trap-drenched drumstep that follows suit. The final bit finds Perth’s own ShockOne ditching the dnb cloak he’s been wearing for the last eight years and bringing a delectable house rework of “Get Down Low.” This one knocks HARD, and has us wondering when we’ll get more non-dnb output from ShockOne.
The fact that OWSLA even fucks with this dude, or their give and take to each other in this situation, is beautiful. Their dedication to the heart of the music is admirable, and though I don’t like genre classifications, we cannot have complete chaos. Maybe with a little bit of a greater question about who really is producing anymore, but in this instance it isn’t so serious for anyone involved in the exchange. You can mull that over.