Sep 2011 27

DLX2

Posted In ARTISTS,PRODUCERS

Drew Peterson is an electronic musician who produces and performs live as DLX (Doctor Lazarus X). Aside from his individual work, he is also the guitarist, bassist, and electronic programmer for the live music group Very Angry Scientist (Los Angeles). In 2008, DLX made an international breakthrough with his heavy and spacious track from the SMOG “Matter of Fact” EP, most notably recognized by “Breakage’s Relatively Speaking Remix” on the flip side. He received a spotlight on the Scion Sampler CD V.30 in 2010, with his track “City of Cars” (featuring Kemst), as well as a remix by Von D (France). DLX boasts a massive  solo track list and has officially remixed works by Kraddy, Plastician & Juakali, Nomad, Trill Bass, Pyroaster and Atlantic Connection.

His latest solo debut album Listening to Science (August 2011) marks the first full-length LP featured on the Los Angeles label SMOG. A precisely scored front-to-back listening experience, the release represents years of solid studio work from DLX and is beautifully mastered by British drum and bass artist Mark Caro (Technical Itch). Given its full spectrum of styles, Listening to Science radiates to a wide variety of artists – winning airplay and support from Mary Anne Hobbs, Noah D, Atlantic Connection, and Matty G – and praised by Knowledge Magazine as a “Top Album” in bass music (August 2011).

Suitably diagnosed as “the mad scientist of drum arrangements”, DLX blends together experimental drum funk with elements of jungle, breakbeat, and early dubstep – all polished by an intrinsic editing style in and of its own. In 2007, he made his debut as opener for Kode 9 at one of Pure Filth’s earliest shows, taking place during the freshest days of the West Coast sub-bass movement. Revealing a swift, brain-rattling style that complimented (but far stood out from) the deep and dark UK dubstep arousing the States at the time, DLX captured an instant West Coast following and landed a spot as a founding SMOG artist. That same year, he was signed to Steps in Time (one of LA’s first dubstep label), and had three tracks featured on Standard Films: Catch the Vapors.
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Sep 2011 27

Kelly Dean is a Orange County based producer and DJ recognized by many styles of underground music.  Kelly Delivers his original style and sound in many facets of the EDM culture solidifying himself as a versatile producer with no boundaries.  Kelly Dean first gained exposure in 2008 with his drum and bass release Wait Up / Close Call (Rubik Records) with Calculon and Andy Sim. Following up with a stream of nine releases thereafter (eight influenced by dubstep), Kelly caught the attention of SMOG’s founder and landed a spot on their roster as resident artist and crew. In 2010, he collaborated with fellow SMOG talents Kemst and Steady on their first track Teflon, drafting booming chart positions along with its remixed version by prominent Canadian dubstep artists Excision & Datsik. Teflon received international support and airplay by 12th Planet, Plastician, BBC 1xtra and BBC Radio1. The release was also picked up by the Scion A/V label, which they featured on their Scion CD Sampler V.30 later that year.  Currently Kelly is in the studio creating dark minimal productions for the SMOG imprint as well as releasing bi-monthly mixes entitled “Premium Selections” which showcase unreleased cutting edge music from the freshest names in the scene.  

Website
Sep 2011 30

John started over from scratch. After seven years touring the world as drum-n-bass maestro Infiltrata, after winning over icons such as Goldie and Photek, John Dadzie gave himself a new name, a new sound, and a new determination. It was 2005 and the gentile beatmaker was inspired by sounds he heard spun by the likes Technical Itch, Skream and Benga. It was dubstep. And it was his calling. Once 12th Planet is born, the story really begins. The British dubstep movement takes hold in LA thanks to 12th Planet and the events he aligns himself with; Smog, Media Contender, HARD, and his own club night Dubtroit. Like the mythological twelfth planet (popularized by controversial author Zecharia Sitchin), our 12th Planet flies perpendicular to the system. His wicked beats are off axis. His subsonic frequencies surround you in their own orbit. America’s first king of dubstep is ready for impact.

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Sep 2011 30

PAWN1

Posted In ARTISTS,PRODUCERS

SMOG@LET116When it comes to Pawn, he’s always done it his way. The SMOG representer has funneled his influences into a unique sound that’s encompassed everything from the breakneck breakbeats of the jungle scene to the sub-loving sounds of dubstep. And if his story is indicative of anything, it’s that he’ll always find new ways to express himself.

Los Angeles-born Pawn’s story starts in the mid-’90s, when he discovered is an artist that got breakbeat hardcore and trip-hop. This lead to discovering the jungle scene via the mixtape circuit; when he found out that the insane sounds of this genre was actually being played in venues near him, he started hitting up parties in the LA underground, even picking up the art of DJing and providing his spin on the sound as well. Like many DJs in the scene, the desire to add his unique touch drove Pawn to pick up the producing trade on his own in 2004, making everything from IDM to jungle and hip-hop tracks.

It was around 2007-2008 that dubstep really hit the American electronic music scene, and at that time the then-Bay Area beatsmith Pawn linked up with 12th Planet’s massive SMOG collective; it was an obvious marriage, as Pawn’s sound had moved toward the dubstep realm on its own. Being a member of SMOG helped expose Pawn to a number of new crowds, helping him bring his distinct sound throughout Los Angeles, as well as opening doors to some impressive collaborations, which included original tracks and remix work for the likes of 12th Planet, GZA and Ras Kass, The Glitch Mob, and CC Sheffield, all helping Pawn spread his wings throughout the scene and in the public. 2011 also saw Pawn release his first studio album, the broad-structured Close The Lights. Even before the release of this project, however, that Pawn’s sound start to walk down the juke/footwork lane(s), and with his background in jungle very handy, Pawn began a self-described redefinition of his sound, which has brought in an entirely new set of ears to his tracks.

With the 160BPM zone being shared by the sounds of juke and jungle, it makes sense that Pawn’s pulsating rhythms and background could attack this lane in exciting new ways. Labels started to to listen, with releases for 119 Sound, Brap Dem, and of course SMOG picking up on the differing tempos that Pawn has been producing. He’s also become affiliated with fellow juke/jungle curators like Calculon, who has release two tracks from Pawn on his new Shoot Recordings imprint. Their partnership makes sense, as both Pawn and Calculon come from a drum & bass background, and have ready knowledge on the intricacies and nuances that bring styles like juke and jungle together better than others might realize.

Pawn moved from LA to the Bay 2010, but he now calls SoCal home once again, and has projects in action, ranging from a forthcoming vinyl release on Modern Ruin to (obviously) more material for the home team, SMOG. What might excite you most, however, is the fact that he has his second album in the works; with the leaps and bounds that his sound has taken since Close The Lights was released, it’ll be interesting to see where Pawn’s future material will take listeners.

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