Describing his experience playing at Shambhala , Dash paints a vivid picture of being on stage with fellow bass giants Excision, Datsik, Dirtyphonics, and Foreign Beggars. After our interview, SKisM came out to a crowd at Foundation Nightclub that wanted nothing but the dirtiest, darkest bass they could find.
With the dubstep virtuoso controlling his signature four decks, it was an audience that had come to the right place. Dash was a notable exception, as he rarely looked up from the table, choosing to spend his time more as an orchestral director would. The music spoke for itself, without a single solitary soul in the crowd not regularly leaving their feet for every drop.
For the self-described puppetmaster, it only made sense. Dance Music NW will notify you when there is breaking news in the Pacific Northwest nightlife industry. We were known on the global stage and had a lot of records out but things were on such a smaller scale.
So as an artist I grew with the growth of the internet and was lucky to be there and part of scene as dubstep first took off. As for management it seemed like the most obvious way to go; sales were dwindling so it was a case of joining the dots and making a business that really worked.
It resonates on several levels. I felt dubstep had become a bit of a dirty word for while, especially in the UK with all the deep house stuff coming through which I love by the way! I want Never Say Die to be that type of label. To be trusted on that level. People need to see high profile artists like Skrillex still repping.
He got in touch with this cocky presumptuous stance that I was going to sign him. But then I listened to his music and tucked my tail between my legs and signed him instantly. For sure. We had a two man party for three days in the studio! It is now! Everything is picked, selected and developed intensely. So I gently say… If you like my label and the artists involved then please stop giving me shit! Skip to content. Where do we start? When I finally started getting dubplates myself I understood the feeling of inclusion and the etiquette culture that had had so much mystique to me before.
A lot of people feel they have right to own a song just because it exists. I came from more of a mentality of value — having things, having to wait for things and accepting that you might not get things at all. Plus it creates a hype and a bit of a game for people who are trying to guess. Some are painfully accurate. Some are way out. So for the first two years we were desperately trying to get to 10!
It was a different game back then. Releases were on vinyl, we had print PR and tried to plug to radio shows. Probably really badly because no one ever touched us.
But I want to look into the past for a second. Yeah Cracks changed the game for all of us. They sent me this EP and I was just about to turn Cracks off and towards the end of the song the amazing Belle Humble vocal came in. I jumped out of my skin, rang up Aston and told him to send me the stems.
I sent it to Flux and told him he was going to remix it. I felt so strongly I kinda bullied him into it. Yeah he said you coaxed him into it and willed it into existence…. I did! We had enough of a rapport for me to say that without being a dick. He needed to do it because it was going be huge. Yeah I was at that show! Look at the views online though. Shout out to the Circus guys as well: they knew what a hit it was but let it take its course.
I have so much respect for Circus. You need that type of competition — to show the scene is big enough to necessitate multiple massive collectives. We started at exactly the same time.
0コメント