OxyKon

Yo this design would be great on a T-Shirt (Preferably White), the online station that i mix for every saturday afternoon usually has photographers come through, be great publicity, seeing as how i cant do a T-shirt before this weekend ill shove my phone in front of the camera lens wid this on it

ive seen something similar to this for the 2000's, although it looked like it was plastic, more like a dust cover or something overall looks like its a good investment mattus

hey guys thought it be my turn to post here , so i gotta gig tonight at the Newport Hotel in Fremantle south of Perth, the guy i buy all my records from runs Mills Records and hosts this gig fortnightly on a thursday from 8pm-12pm, tonight its gonna be drum n bass his been trying to rope me into this for months now but work has always been in the way, now that im on holidays for xmas and new years i said to him sign me up for a night, his giving me a pretty cool time slot from 9.50-10.30 and this gig is a strictly vinyl only event so ive been breaking out all my good stuff i have to admit im a little nervous, i havent played in a club in over 2 years, and that set didnt start out the best lol, ive got a pretty good set planned out for tonight but naturally i have to expect that some1 before me is going to drop 1 of my tracks before i do so i have a lotta backups in case of this. im sure it'll go fine, i get nervous before i do my radio show but naturally im not playing to a croud standing in front of me lol

i literally knew knothing before i started, tried playin guitar about 5 years ago which was an epic fail, then had some other friends that were dj's and i jus hung out wid them a lot more, they showed me the basics but i picked up the rest by myself, oh and if it wasnt for spitfire i wouldnt know what i know now about production in logic, although im still a way off from finishing a track

niccee try let us know by at least midday saturday, that way i got time to figure out where to pick u up from

sounds like a plan spector, should be fun

yeah fair enough, its aaight over here, not much to do unless u over 18, maybe if u can break away from the fam for an hr or so on new years u come check our set out

so wats bringing u to perth mitch?

should bring it any way, that way u can listen in, we should have a mic present, we'll do a shout out to adjf

hhmm will u have access to a comp to listen in??

spitfire n i will be on online radio new years eve 4-5pm, but thats bout it www.thebackyardproject.com.au shame u wont be their man, would be great to meet up, when do u get in new years?

wow took me a while to see this thread, i might jus give it a go for the hell of it but not compete cause im very late (unless y'all dont mind me joining) been mixing mainly drum n bass lately, havent done dubstep in a while oh n by the way ive tried uploading a mix using that nero skrillex track and soundcloud wont let you, fuckin copywrite

Newport Hotel Thurs 29th Dec Armageddon Edition. 8-12PM TERRENCE & PHILLIP - HAVE BECOME AVAILABLE TO HEADLINE THIS SHOW!!!- and we would be insane not to have their bowel-busting phatulant beats! The biggest and bestest bangiest night returns to its former glory Thurs 29th 8-1200pm @ Newport - Just what you need to bring on the Armageddon of 2012! Come revel in all its phat glory in the church of phully phat beats! 8.00-9.10 - T-Mac Vs. Doc Spin 9.10- 9.50 - Signalfire 9.50-10.30 - DefKon 10.30-11.10 - UK Beast Vs. Sandz 11.10 -11.50 - TERRENCE & PHILLIP 11.50-12.00 - Battle Royale... those of you in perth come down and support me

HAHAHAHAHAHAHA oh thats classic

welcome man, u n me got a similar back ground wid music, i used to be heavy into my metal, now its all bout da beats

welcome man, nice mixing, does have a nice flow to it keep it up

done bro, hit me back http://www.facebook.com/DJDefKon

yeah it sweetish, love dropping that track he did pump this party, but when i saw that photo when i bought it off beatport i lost it laughing

this is probably the best you tube can offer on this doco

and then u get people like this

really good point there jaz, it def is a win lose situation, u gotta wonder wat goes through some producers heads when they go ahead and do a breakdown like the 1 your talking bout.......kinda makes u wanna go

hey ur right dominant it is, thats pretty strange

WOW congards man, you must be soo stoked bout that

this article was taken from MTV Hive.com, found it on facebook http://read.mtvhive.com/2011/12/27/2011 ... tep-broke/ What happened in dubstep this year requires no punchline. 2011 opened with a Britney Spears dubstep song—”Hold It Against Me,” a predictably catchy, vampy come-on with a bass-throb breakdown, along with major Mandee in-store potential. And 2011 closed with a Korn dubstep album, The Path of Totality, a development of imaginable absurdity that actually ended up being somewhat legit (if slightly less listenable), including a collaboration with LA’s 12th Planet and The xx remixer Flinch, which also seems to paraphrase Martika’s 1988 hit “Toy Soldiers.” (It’s called “Way Too Far,” and is a good album taste-tester if you’re not testosteroney enough for the full experience.) Lead singer Jonathan Davis praised dubstep, telling Billboard he finds it “completely innovative and new… not like stale-ass metal and rock’n'roll.” He also said that Korn was “dubstep before there was dubstep.” “Whatever your opinion, it was undeniable this year that mainstream America throbbed with wobble, a development heretofore unseen.” Stateside fans who were passing around crude MP3 files of Burial’s first album and tracks like Atki2’s “Guilty Pleasures (Pinch Remix)” around six years ago might beg to differ. But herein lies the crux of dubstep ‘11: the big-room, arena-shattering bass that attracted a new, headbanging dance mass this year had little to do with the painstaking, intellectual music of dubstep’s genesis. Some were mad about this influx of fratboy attracting “brostep”—the dunderheaded, all-funtime arena version of dubstep—sullying the landscape. Others saw it as an opportunity to be open-minded. As Jubilee, the DJ/producer known as “Brooklyn’s bass sweetheart” puts it, “It was a weird year, but now there is this fine line between techno and ‘dubstep’… there are no rules right now, which is good.” Whatever your opinion, it was undeniable this year that mainstream America throbbed with wobble, a development heretofore unseen. Spears’ dalliance with dubstep (and admitted brostep godfather Rusko, who submitted tracks for her album) was predicated by Rihanna’s 2009 album Rated R, courtesy of London duo Chase & Status. Jay-Z and Kanye West’s Watch the Throne cribbed a track by Brit Flux Pavilion for “Who Gon Stop Me.” But even the pop stars couldn’t trump the massive fame and influence of wee Skrillex, the musician whose trajectory followed his teen emo band From First to Last, to being the biggest new producer in the country. (In November, he was nominated for five Grammy Awards, including Best New Artist.) Skrillex’s sound is a melange of rave-ready techno and sound barrier-breaking bass orbs, as heard most delectably on addictive single “Scary Monsters and Nice Sprites,” which seemingly propelled him out of nowhere early in the year. His spry styles and enthusiasm not only earned him the Grammy noms, a Spin Magazine cover, a collaboration with the surviving members of the Doors (!) and a spot producing on the aforementioned Korn album — but Skrillex became one of the funnest internet memes ever. The Tumblr “Girls That Look Like Skrillex” was a fan fave despite the grammatical issues, but even better was Hipster Runoff christening him “alt Corey Feldman,” and their subsequent union. The most popular style this year, promulgated by artist like Skrillex, Bassnectar, and Nero, combined a melange of dance threads with dubstep’s basic components writ large: 140 beats per minute and triumphant crescendo shuffle punctuated by sub-bass cranked up to sound, at times, like a puking Transformer. But the heart of early dubstep was not lost, most notably in more experimental releases like James Blake’s pulsating debut, Zomby’s sublimely minimal Dedication, and SBTRKT’s bass-textured pop album. The U.K. had their own dubstep breakthroughs: interminably lovable dance diva Katy B became a pop star with production by dubstep pioneers Benga, Skream and DJ Zinc, while Nero’s “Symphony 2808” was performed live on Radio 1 by the BBC Philharmonic Orchestra. It even showed up in a Weetabix commercial. Meanwhile, the genre’s influence trickled through to the mainstream in other, stealthier ways. Nicki Minaj’s “Roman’s Revenge,” produced by Swizz Beatz, had a roiling synth that hearkened back to dubstep’s roots in grime. Araabmuzik, the MPC-playing wunderkind rap producer, began cutting short his own hit singles like “Salute” during live shows, preferring to foray into dubstep. “N****s in Paris,” the most popular song off Watch the Throne thus far, had a bomb-drop of a breakdown that helped producer Hit Boy outshine his extravagant rapping employers. And, perhaps weirdly, Tyra Banks used dubstep to soundtrack a film she shot for the latest “America’s Next Top Model: All Stars.” Says The Captain, DJ and manager of revered label Trouble & Bass, “This sound has been around for over 5 years before its current state of mass appeal, and I think it will stick around for even longer after its cult popularity is over. There are many different, amazing facets of this style and BPM of music. No doubt the sound will keep evolving.” In retrospect, it’s not surprising that the more bro-dacious qualities of dubstep caught on in the States with an economy-beleagured audience looking for release—and huge rave festivals, with stacked line-ups and cheap MDMA, offered more bang for everyone’s buck. Stylistically, the arguments about classical vs. nu-school genre sounds are nothing new—recall 2009 handwringing over Borgore’s banging bro-step prototype “Love,” for instance. As with any genre, pick your poison. But what’s most exciting is the fact that dubstep’s popularity is opening up musicians and audiences to new ideas—even Korn!—and will continue to do so. “I think in 2012, dubstep will continue to blend with other kinds of popular (and unpopular) music to create many more internet arguments about what exactly dubstep is, or what it is “supposed” to be,” says Kill the Noise, the longtime producer whose most recent release is on Skrillex’s OWSLA label. “Meanwhile, the rest of us will have a blast listening to some great new music and artists.” As if to underscore a point: late this week, druggy Toronto R&B singer The Weeknd dropped a new mixtape, which featured a dubstep-infused cover of Michael Jackson’s “Dirty Diana.” It doesn’t get much more pop than that.

yeah crazy...........and yeah jaz i dont need it that badly its jus 1 of those tracks that would be cool to have