Check out the Freebass Mashup of “September Vibreaktions” by Marky Mark, Earth Wind & Fire, and Heavy D!
Check out the Freebass Mashup of “September Vibreaktions” by Marky Mark, Earth Wind & Fire, and Heavy D!
Hello friends, super stoked to announce the release of Tabletop Racing World Tour from Playrise Digital. The super fun combat racing game is now available on Sony Playstation PS4. The game is FREE on the Playstation Store during the month of May and will be released on other platforms in the future.
I worked on this with the Playrise team and some other pals over the course of the last 12 months and it’s the most exciting project I’ve been part of in music. It’s a dream come true to have my music featured in a video game and reach so many people. In additon to my music, there are a bunch of collabs on here which I’ll write more about soon. Enjoy the Ride;)
The Official Soundtrack features artwork by Sumo Fish and music by Wes Smith & a gaggle of friends including Deibeat, Dirty Kicks, DubAxFace, Dub Pistols, DJ Fixx, G$Montana, Low End Hustler, Mutantbreakz, Omega Squad, Short Stack, The Bomb Squad, White Boy Awesome. Also FREE on Soundcloud for a limited time. Official game info below along with complete track listing of free and forthcoming jams. More highlights coming soon;)
MASSIVE FUN ON A MICRO SCALE!
COMBAT RACING HAS NEVER LOOKED SO GOOD OR BEEN SO MUCH FUN.
Table Top Racing: World Tour is the brand new, high octane, combat racer.
Get behind the wheel of 12 ultra-cool, fully tuneable miniaturised racing cars and take on 20 race tracks and some devious opponents through a comprehensive ‘Championship Mode’ and a multitude of ‘Special Events’. Get online for an 8 player battle and become the ultimate Table Top racer! Crush your enemies using cunning ‘Power-ups’ and unique ‘Wheel Weapons’ and blast your way to victory! Micro-car, combat racing has never looked so good or been so much fun.
★★★ KEY FEATURES ★★★
8 Player PvP multiplayer combat racing
6 Unique gameplay modes spread throughout the Championships
90+ Unique race events to challenge your skills
20 Table Top race tracks set around 5 themed locations (4 routes per location)
Exclusive YO!Sushi Raceway track
12 Super-cool micro cars – Inspired by some of the world’s most iconic cars
8 Cunning, strategic, “Power-Up Weapons”
6 Super-powerful “Weapon Wheels”
20+ Track exclusive soundtrack by Breakbeat producer Wes Smith of Juice Recordings, San Diego.
|1||Bash Me||Wes Smith||Juice Recordings|
|2||Bring Back That Funk||Wes Smith, White Boy Awesome||Juice Recordings|
|3||Do Ya Wanna Get Funky (Low End Hustler Remix)||Wes Smith||Low End Hustler||Juice Recordings|
|4||Do Ya Wanna Get Funky With Me||Wes Smith||Juice Recordings|
|5||Everybody Git Down||Wes Smith, White Boy Awesome||Juice Recordings|
|6||Feel The Break (Wes Smith’s Booty Juice Remix)||Mutantbreakz||Wes Smith||IBWT Music|
|7||Fresh (Wes Smith’s Superfresh Reglitch)||Omega Squad||Juice Recordings|
|9||Hands Up||Wes Smith||Juice Recordings|
|10||Hip Hop We Don’t Stop||Wes Smith||Juice Recordings|
|11||Hot Beats||Wes Smith||Juice Recordings|
|12||Killa Sound (Wes Smith Remix)||Dub Pistols||Sunday Best Recordings|
|13||Make It Clap||Wes Smith, Short Stack||Juice Recordings|
|14||Make It Clap (Low End Hustler Remix)||Wes Smith, Short Stack||Juice Recordings|
|15||Mister Funky||Wes Smith||Juice Recordings|
|16||Modern Girls (Wes Smith’s Dirty Juice Remix)||The Bomb Squad||Wes Smith||Fantomas|
|17||Ohhhh Yeahhh Feat. Shana Rockit (DJ Fixx Remix)||Wes Smith, The Juice Squad||Juice Recordings|
|18||Pig Bang (Wes Smith’s Calibumpya Remix)||DubAxFace||Juice Recordings|
|19||Put Ya Hips In It (DJ Fixx Remix)||Wes Smith, Low End Hustler||DJ Fixx||Juice Recordings|
|20||Rhythm Is Love (Wes Smith’s Calipunkya Remix)||Deibeat||Wes Smith||The Pooty Club|
|21||Shake That||Dirty Kicks||Juice Recordings|
|22||She Goes Like||Short Stack||Juice Recordings|
|23||She Goes Like (Wes Smith’s Califunkya Remix)||Short Stack||Wes Smith||Juice Recordings|
|24||That Funky Disco||Wes Smith||Juice Recordings|
|25||The Tribe||Wes Smith||Punks Music|
|26||This Party’s Out Of Control||Dirty Kicks||Juice Recordings|
|27||This Party’s Out Of Control (DJ Fixx Remix)||Wes Smith, Dirty Kicks||DJ Fixx||Juice Recordings|
|28||Too Much||Wes Smith, White Boy Awesome||Juice Recordings|
Stoked to have my latest out on Dog Eat Dog Records. Release notes below…
“Every Move I Make” is nothing short of a Califunkya bass banger with excellent transitions, great vox hooks on top of a excellent horn riff. The 2nd half build comes drop with a chunky bassline to change up the lead & an added syncopated percussion riff to make this one a DEDRockin gem!
Aloha friends…A few days ago I made a post about Heart Break feat. Goldillox, my latest remix project to hit the streets. Here’s the much anticipated full interview with Tech D label boss, Trenton Thompson.
Interview by Kelly Ross | Agent 137
I sat down with Trenton Thompson Owner/Operator/Producer/DJ at Tech D Records aka Aeon Flex to discuss their new release Heart Break EP Feat. Goldillox by Aeon Flex & Shade K, what it means to be a label owner and more.
Why did you decide to start a label?
I started with a marketing degree, I knew I wanted to be in business but at the time I didn’t go into it fro music related purposes but it seemed like a degree that would make sense. The hands on experience really helped me start the label. Also being a DJ the better part of 20 years, I realized the market was being flooded by producers. I was submitting tracks but had become sick of the bureaucracy waiting for release dates just to hope that it may get good exposure. At that point I decided to start my own label to speed up the release process myself. I started slow with 3 artists and went on a mass marketing spree, I ordered hundreds of giveaways and just gave them away. We will be 2 years old come January and we now we have 125 people on the label.
Tell us in layman’s terms what it means to be on a label. What do you do for the artists on Tech D?
It depends on the artist level, we do everything from signing aspiring artists to get a portfolio started, to catapulting established artists on world tours. Some like Noel Sanger and Shade K manage themselves but usually we manage the up and coming with artist development to prevent what I call a “failure to launch”. Developing them in ways they do not know how to do or access.
Do you have any advice for aspiring producers and djs?
If we reject someone’s tune we try to do it with finesse and send out tutorials because some people take it as the end of the world. My advice is don’t be discouraged if you don’t hear back, everyone is busy it may take time. You may have spent all this time on one track but ready to come back with 3-4 more tracks if the first one hits and don’t stop promoting yourself. Build up a portfolio and doing that comes with experience and confidence, just don’t expect a lot of royalties when you are building your résumé.
Let’s talk about the release how did you choose Goldillox for the vocals?
I had already been working with Shade K and Royal Blood but when I first got to Florida I saw Goldillox perform at the Old Firestone. Her stage presence was absolutely jaw dropping and I knew I wanted to work with her immediately. Once we started working with her I realized she didn’t need much development at all and the rest is history.
How did you choose Wes for the remix?
I have been playing Wes’s tracks since I started playing breakbeat and I kept seeing more and more Juice shirts around. I thought it would be a great political musical move to bring him in and do a track with him. There is a reason why he is winning awards, he is versatile and has been building a tremendous status along with people of great stature giving him global support. Even so, he has great humility and doesn’t have a cocky bone in his body. We even met his mom – most people need to realize we are all just people. Usually the ego is all on the DJ side but if this music machine went bankrupt tomorrow it would simply just bring everyone together – again we are all just people here.
What’s your motto?
FAMILY VALUES, we are all one, it’s NOT A competition.
I want to mention that we talked about supporters and family during the interview. Trenton and I both would like to give out a special shout to Adam Butterfield (_040_) and Angel Dejournett-O’Dell:
Angel & Adam – they know to put on the game face and Tech D is indebted to them, they have definitely helped me grow and mature. All people have a role in this and they are true conduits and are just as important in that role to make connections.
You can find the Heart Break EP Feat. Goldillox (Wes Smith Remix) by Aeon Flex & Shade K here: [Buy it here: Beatport]
How cool is this? …along with the super awesome release of my remix of Killa Sound for the Dub Pistols, we also snagged this phat premiere with Australia’s Big Bass Party. They have interviewed all kinds of awesome bass music producers but for this one we flip the script and interview them. Kelly Ross | Agent 137 takes on the mission to wrangle them from the outback and find out what they are all about!
Interview with Sang Pham [Sangers] by Kelly Ross | Agent 137
Tell us about Big Bass Party:
Big Bass Party is a radio show on Radio Metro 105.7FM on the Gold Coast in Australia. It reaches Brisbane as well as the two cities are very close. The show airs weekly and is recorded and podcasted on iTunes. We have over 2000 subscribers to the podcast and it’s downloaded in something like 80 countries around the world, but most popular in Australia, USA, Russia and Germany. We play every kind of Bass music and focus on brand new music. We never repeat a song, unless it’s a special episode like a finale, and sometimes feature interviews with Bass artists or premiere their new music.
How did it all start?:
We’ve had had the opportunity to run a radio show on Radio Metro for a while and we had always passed it up as we felt we were too busy with our production and shows. After I guest hosted a radio show in Perth one weekend, I realized how fun and easy it could be; there were lots of benefits, so Ra and I decided to give it a go. When the two of us started the show, there was dance music on mainstream radio (in Australia) but not as much as there is now. These days, dance music dominates the airwaves here. Australia is very isolated so our music scene has its own trends; we take leads from the UK and the states but often a genre can be more popular here. I didn’t feel Bass music was getting enough exposure on the air here and saw that as an opportunity for Big Bass Party to fill that gap.
What music works on the show?:
Genre-wise, all kinds of Bass music, from Trap to Breaks, Hip Hop to Drum and Bass – everything. As DJs, we tend to collect music that’s dance floor focused. We tend to ignore or sleep on tunes that are too chill or in the wrong key. The radio show has given us a completely different perspective on dance music as it’s an opportunity to play music that just sounds cool. Some of the best songs we’ve aired have just been very pleasing to the ears and not dance floor bangers at all. So personally, hosting the show has really expanded my musical palette.
Three seasons in, has the show evolved?:
The approach is quite the same, but the genres we play more of and the presenting cast have been through some changes. I started the show with Ra. Right now, we’re going in different directions musically. We’re still great friends, we talk heaps and we still work on projects together – we just put an original song out recently. But musically we’re on different paths. Ra stopped doing the show towards the end of Season One, so I asked Dave from Datadex, to come on board. Dave is an old friend of mine from ADICTS – an events promotion business that we started about 10 years ago here in Brisbane. Dave and I did the show for a season and a half and had Katie Karma as our interviewer / field reporter. Whenever Dave was away, Kaite would fill in. Dave moved to the US after Season Two, so we decided to swap their roles and have Katie in the studio and Dave do interviews from LA. Katie brings a different dynamic to the show with her love of Bass House and it’s always nice to have a female voice on the air.
How do you choose your tunes for the show?:
We’re always on the hunt for tunes that fit all the different sub-genres of Bass. We try to represent all the different demographics and cover the entire globe. If there are tracks that cross genre barriers, that’s a bonus. Often we’ll be inspired or excited by a new artist we’ve just discovered, we find a few of the tracks they’ve just put out and we’ll play one on each show over the next few weeks. Also promos come through from labels and sometimes an artist will hit us up directly with an opportunity to debut one of their tunes.
Tell me about your connection to Wes Smith:
It seemed that Wes came out of nowhere. As a breaks fan, I’m generally aware of who’s doing well in the scene and who’s doing well in the Beatport charts. But I only started really paying attention to him once he hit #1.
Since I’ve been exposed to him, Wes has been pretty solid in my eyes. When Barry [from the DubPistols] sent us the remix pack for their new tune, Wes’ remix was the one that really stood out. We also featured one of his tunes on the Punks Special and that episode was on track to be the most listened to on the Big Bass Party SoundCloud page, until it was taken down.
Wes has established his position in the Breaks scene in a very short time, which is pretty hard to do these days since the Breaks scene is fairly well established now. For anyone that was at that top tier when Breaks reached its peak – like Stanton Warriors [Punks], Plump DJs, Krafty Kuts etc – they’re always going to hold position on that top rung. I can’t see anyone breaking that top tier of Breaks really. It’s all about getting on that next rung down and somehow Wes came out of the pack and very quickly established himself at that level, which is HUGE. Breaks is starting to see a bit of a revival and if it gets back to where it once was, I can definitely see Wes rising to the top along with the scene.
What advice can you give to someone breaking into the industry?:
One thing, is perhaps taking lead from Wes: he’s genuinely a great guy; he’s very approachable, great to speak to, is passionate about his music and seems genuine. It’s a small scene and everyone knows each other very well, so getting along with one another is vital. You’re not going get far if you are an asshole – being a likeable person really helps. We’re all trying to help each other and push something together and if you’re easy to be around and supportive of others in the scene, people will tend to want to be around you and want to see you succeed.
Do you have any advice for new producers?
You really have to love the music and I urge you to really consider if you really want that life. It’s going to be hard – passion is the only thing that will push you through. You have to act on every opportunities you’re given because they might not come around again. Even if you think you’re not 100% ready for an opportunity like a remix or release, do the best you can and let the label or artist you’re remixing decide if it’s not good enough. These things have a habit of spawning other opportunities. Production wise – find a balance of doing what you love but also make sure there is a market for it. In order to break into a scene, there has to be a scene to break into. You might be lucky if you’re a genius producer and are able to create a whole new genre, but in most cases, if you want to play gigs, you’re going to have to fit into gigs that other DJs are already playing. That said, don’t sell out and lose yourself and your style – it’s all about balance.
Whats next for you?
Touring the USA! I have wanted to do that for a long time. I’ve been touring Europe every year for the past four years and the gigs keep getting better and better there but I’ve realised it’s now or never to try to break into the US scene. The bass scene in the states is growing quickly right now and I really want to be a part of it in its early stages. Musically I’m going at my own pace right now. I don’t set any production deadlines for myself like I use to. I don’t put any pressure on myself to get a release out at any regularity. I just hop in the studio whenever I’m inspired by something or get an idea. I’ve learned over time that I used to overcommit and place too much pressure on myself to meet self-set goals. Learning to say no to remixes or production requests was really hard to do at first but finding that balance has made me happier and in turn made it easier to make better music. So I have a few things in the bag both by myself and with Ra but I won’t promise you’ll see anything soon, I’ll just surprise you!
I’m incredibly excited to announce the release of my remix for the one and only Dub Pistols. This massively popular UK based live & DJ act has an amazing, diverse catalog of music and equally long list of awards including multiple nominations for this years Bass Music Awards.
I found a recent quote online which seems fully fitting for this release…“Legends of the urban scene in Britain and adored by hip hop fans because of the exceptional rap vocals of Seanie Tee, will amaze you with the energy and passion on stage.”
Check some bonkers live footage below…
So I had been chatting w/frontman Barry Ashworth for some time and following his DJ escapades for the 2015 tour. We finally linked up and over time started taking about remixes and bam, I got to be part of this killer new Remix EP for Killa Sound, one of the massive bangers of their recent album, The Return of the Pistoleros.
So, today is the day, there is a killa on the loose and i’m humbled and proud to be part of this release for such an amazing group and alongside many other talented artists including Skapes, Wes Smith, Leeroy Thornhill, D-Funk, Landings, Dub Pistols, Donovan Kingjay and Seanie Tee. Check it all below and on Beatport.
Thanks for your support!
My remix for G$Montana’s “G-Spot” dropped this week on Gigabeat Records. The original was written by Geo Lopez aka G$Montana of Project Mayhem (Miami). Geo and I first met @ WMC 2014 when I played his Gimme A Break Pool Party. Since then we’ve played a few fun parties together and worked for some of the same promoters.
Kelly Ross/Agent 137 recently ported herself down to Miami to talk with Geo about what it means to be a promoter-turned-DJ/producer and how he finally came up with G Spot. Check the interview below.
Hi Geo, I know it was your birthday last week, tell me about the weekend:
It was awesome and the first time I had an really awesome birthday in a very long time because it fell on a weekend. On Friday I played the “Breaks Yo” party in Miami where I played early enough to have a good time and late enough to have a great crowd. It was a night of entertaining people and networking – it was crazy. Martin Flex ripped it the fuck up, TwoSweet of the Geishas was a beast, she just made it happen. Then on Saturday I went to Tampa for Revelation where I got to play and also watch Wes Smith absolutely crush it.
When I met you it was in Miami back in 2013, you hosted a Hotcakes/Essential Bass show that was my Miami debut. How did you get into hosting shows?
I was into throwing parties way back in the day and my birthday was coming up so i met with a club owner. I convinced the him that I could bring 100 people to the club for my birthday, so he gave me the side room. I offered to pay him and I packed it out, so eventually he gave me the other room so I put in drum & bass and breaks. People were buying bottles so I sparked it up again and then the club owner gave me all five rooms (jungle, electro breaks, house, etc). The event went on until the venue was sold. It started with a birthday party and became a real business. Then this other production company came up and saw I had drive, motivation and ambition so they asked me to do an event at a new venue. I grabbed it and said I can make it happen. I/O Lounge in the center of Miami right near Space. I did my first major party called Masters of Mayhem there with a ridiculous lineup of 45 artists, the line was down the sidewalk with 2700 people inside. From there we started Project Mayhem, a spin off of that party with Mike aka Malo to become a Miami entertainment promotions agency.
Suddenly, the phone gets muffled and Geo yells out:
That’s my new track vs Neuroziz. We are putting in my flavor and he is putting in his flavor and we are shaking it up. Working together is fun to meld our sounds together. So far I am liking what I am hearing. Sorry, go ahead…
I had been in the scene since 1997 – during that time i would always walk up to the DJ and ask them how they made it happen. I was interested in promoting and creating events but would always go to studios and ask my friends all kinds of questions on how things work.
At some point I figured I might as well start djing, all my friends I had met as a promoter, like Eddie Light and Phat Kidz, were all sending unreleased tracks, so I starting DJing 2 years ago after WMC [Winter Music Conference]. I bought my first pair CDJS and a flight case on Craigslist, I wanted to play out with the people that had become family to me and I started playing with them.
As an agency i would tell artists to create an identity but also to go beyond djing and make their own beats. Djing alone doesn’t mean you are gonna make it big and it would be critical not to produce after I told all my friends and artists they needed to produce. I realized I needed to get serious and need to make this happen so I spent months and months in the studio learning. I do my main job during the day, run into the studio all night, fall asleep and do it all over again. It took me 4 months to make the track, but I finished that original then shot it off to Wes Smith. He remixed it and here we are… Regardless, I feel like I have big shoes to fill because I have seen all these artists all my life and hung out with them, but I have to be a producer and dj well. I expect no handouts, I want to learn and get opinions to make sure I am following in the footsteps of others, I still have to prove myself.
Talk to me about G Spot:
It’s on the label Gigabeat and will release Oct 20th. Micheal Anthony Lauzardo (aka Malo aka slip 187 knew me from the start). My choice for the remix was my favorite producer Wes Smith. His style is different with a funk flavor that is just wow. I’m really excited about it’s release.
What’s next for Geo Lopez/G$Montana? Will I be meeting up with you again in Miami for WMC?
Yes! After coming off tour in San Diego for Wiggle (thank you Wes Smith and Omega Squad) and St Louis (thank you XeroTribe) and playing in Florida, I’m back in the studio again. My goal is to have 6 finished tracks by March for the WMC events so I can play half of my own set and the other half my fav artists. One of the greatest pleasures is when an artist you look up to plays your tune it’s so humbling and such and honor, you want to run up and say thank you so much. Like Wes Smith did at the Tampa show this weekend. I got to sit back and observe from a different perspective than just djing it and the reaction was great- so very very appreciate of that.
Geo, we are all excited for you! ] It is great to learn your history, present and future in the music industry. I look forward to the track, Miami and getting down with you on a dance floor/DJ booth again soon.
All the <3.
On Oct 17th I’m headed to Milwaukee for Transistor Rhythm brought to you by Dynamic Groove with support from City Air Milwaukee. I put together a call with the promoters to shoot the breeze on the Milwaukee music scene, my Magic Fugu stickers and the 411 on what they do with such love and passion.
Interview by Kelly (Agent 137) Ross:
First I met up with Nic Zimmerman, aka Schwilly-Z, Wes Smith fan and birthday boy (ok maybe not a boy, but that’s the term, right?).
How did you get involved in this particular show?
I have being dj’ing for about 12 years and I was searching through Soundcloud one day for tunes. I heard Lady Waks show that Wes had done and thought it was awesome. I went digging through his Soundcloud for tracks and heard “Bring Back That Funk” and thought it was a massive tune.
I started following him Wes from there and when he posted the “Electric Love” GoPro live recording from that show, I thought it was very interesting and such a great idea. With my birthday coming up, I wanted to be able to bring him from Milwaukee somehow and spread the knowledge of what I already knew about him to others. I reached out to Natalie Bush, as I knew that her company produced quality shows and to see if she would want to do a show with him as the feature artist. Natalie obliged, she has thrown shows here, in Orlando and even Detroit in the past and was completely on board to make it happen.
Tell me about the types of shows City Air Milwaukee throws:
I spoke with Nic and he gave me some background, tell me your thoughts on this show and why you wanted to throw it:
I really want it to be about the show, Wes and good quality dj’s – the main goal is to bring some dj’s that haven’t been in the area in the past. I am really looking forward to the show myself as a breakbeat fan, I enjoy Wes’s style of breaks to the booty side all the way to Adam Freeland and Meat Katie.
What were your beginnings and how did that lead up to starting your company?
My beginnings started in the Chicago house illegal warehouse days. I brought my flyers and notes to my parents to fight for my right to rave and thinking back on it now, we were nuts to be wandering around on the South side of Chicago to go to these shows, but it was magical and we loved it.
I moved to Raleigh for a bit and then to Denver where I started the Rocky Mountain Roller Girls (derby). From there I started doing shows (rock fest, dance and dj events) at the roller derby events. I was spending more time out and meeting people and that’s where I started developing a love and interest in djing. I retired from roller derby and when I started running a dj event, when I met my now husband, Marc Bush aka Markis (who is also playing at Transistor Rhythm).
How did you two meet?
I met him at a traffic light at 2 in the morning and fell in love immediately. We were battling red lights and he asked for my number at one. We kept battling and I lost him around a turn but he called and we both pulled over and started shooting the shit on the side of the road. We went to Cancun for his birthday, he played at an after hours which resulted in us moving to Mexico for 7 months. After that we spent 4 years in Lima, Peru. We met a number of promoters, both established and new with poor English and general lack if a sense of business. That was when saw an opportunity and started helping local Peruvians book talent and throw show. We went back to the states and got to know the scene and started up again…
Then one night it began in Detroit at an after party after Movement. We decided to take a further look at expansion to join forces and Chapter of City Air was born. We began to do monthlies at Studio 200 and some in-betweens such as Halloween parties. It’s the only venue in MIL that caters to an EDM forum – house, techno, drum&bass, etc.
Thank you, Nic and Natalie! The lineup is stacked on this one and I will be there in spirit. I appreciate your time and great conversations.
Check me out in Tampa this weekend @ Revelation featuring a gaggle of international, domestic and local talent.
Get warmed up with some fresh beats from my Soundcloud.
Costumes are encouraged to rock your favorite Sci-Fi, Fantasy, Comic Book, Cartoon, Original Alter Ego Anime or Superheroes costume with cash prizes for the winner!
Congrats to the dynamic duo on their first leap to the #1 slot. We’ve got some special promotions coming up for all the fans that made that happen so Connect with The Juice Squad and stay tuned;) Peep the sound cloud bytes and Beatport screenshot below.