[Fabric – 2008]
FreQ takes the Fabric.Live hotseat for the 42nd installment in the London club’s much loved mix series.
Includes music from Reso, Lee ‘Scratch’ Perry, Radioclit, KRS-One, Rusko, and many more, with of course plenty of FreQ Nasty including collaborations with Santogold, Bassnectar, and rare remixes including the unreleased ‘Donkey Kong Remix’ of Heavyweight Dub Champion’s ‘Snared’.
CD / Download
01. Saul Williams – Not In Our Name – Pledge Of Resistance
02. Santogold vs. Switch And Freq Nasty – Creator
03. Freq Nasty vs. Propa Tings – Peacemaker
04. Madox – Duckalicious (Baobinga’s Thugalicious Remix)
05. Leon Jean-Marie – Bring It On (Rusko’s Granny Smasher Remix)
06. Reso – If You Can’t Beat Em
07. Cadence Weapon – House Music
08. L-Vis 1990 – Change The Game
09. ZTT – Lower State Of Consciousness (Original Munich Version)
10. Rob Sparx – 2 Faced Rasta (Reso Remix)
11. Lee ‘Scratch’ Perry vs. The Moody Boyz – God Smiled (Remix)
12. Tayo – March Of The Soundbwoyz
13. Freq Nasty – Come Let Me Know feat. Rodney P (Acapella)
14. Baobinga – State Of Ghetto Jackin feat. DJ Nasty
15. Epydemix – Thunder Gutter (Dub)
16. Backdraft – Living Like A Hustler feat. Sporty-O
17. KRS One – Sound Of Da Police (Freq Nasty Breakbeat Bacon Mix)
18. The Beat Monkeys – How You Like Me Now? (Rico Tubbs Gangsters Mix)
19. Buraka Som Sistema – Kaslemba Wegue Wegue (Reso’s Aguadente Mash Mix)
20. Freq Nasty vs. Heavyweight Dub Champion – Snared (Freq’s Donkey Kong Mix)
21. TRG – Oi! Killa!
22. Freq Nasty vs. Bassnectar – Viva Tibet
23. Radioclit vs. No Surrender – Godda Get It
24. Nate Mars – Above & Beyond Dem feat. Jahdan
“I remember one of my roommates’ boyfriends worked in a vinyl shop on Edgware Road and I used to go up there around ’93, ’94 – just at the point where the rave scene had kind of split into happy hardcore and darkcore. Literally, you’d walk into the store and one side would be happy hardcore and the other would be darkcore! I liked the darkcore stuff that was heavier and darker with reggae samples – I guess that was the beginnings of jungle. Through a friend of a friend, I managed to join up with Sour Records, which put out UK Apache and Shy FX’s ‘Original Nuttah’. Then Botchit & Scarper started doing the early beats and breakbeat stuff as a sister label to SOUR/Emotif and amongst others Matt (MJ Cole) started out engineering there before he moved onto his garage stuff. It was interesting because that one studio was an intersection for the burgeoning jungle scene, speed garage scene and breakbeat scene, and so many seminal artists came out of it…. Shy FX, T Power, MJ Cole, BLIM and more. I think that’s why some of the early Botchit & Scarper releases were so varied, because people were making half time jungle records, because it was the same engineers that would be making the jungle records.
London still seems to have this thing of spitting out a genre – a distinct genre – every 18 months. I think it’s as exciting as it ever was; there’s loads of good new music out there and it’s interesting to see where those things come from. If you look at the Garage side of things, there’s that bumpy four-on-the-floor Bassline/Niche stuff coming out and there’s Dubstep, which draws its roots from Garage as well – so there’s two radically different, distinct scenes that have branched off from the same place. And there are some great records that came out in-between 2 Step Garage and dubstep. I remember when Tempa were putting out those Horsepower records of these crazy, chopped-up drums and mental syncopations – not really on the double time, but not really on the half-time, like dubstep, either. I thought they were really interesting phases in themselves; they never took off into a scene but who knows, if some journalist had picked up on it and gone, ‘Hey, you know those mental syncopated rhythms that sound like a jazz drummer on amphetamines, I’m going to call it such-and-such genre’ – perhaps that could’ve been a scene in itself! So at every stage in the evolution of dance music, there’s really interesting points that maybe don’t get the hype to become a scene as such.
This mix is balls-to-the-wall from the very beginning! But that’s the way I’m playing these days – there are so many good, full-on tracks out at the moment, I just come out and go BAM!…and then think about chilling out. I ended up finding that the relationship between the tunes in this mix wasn’t about genres – it wasn’t “it’s a breakbeat tune” or “it’s a dubstep tune” or “it’s a Baltimore tune” or whatever else – it was more about the feeling of the tune, the intensity of it. It’s odd because really, there isn’t a straight up breaks tune on the mix, but that wasn’t intentional. It’s bassline and breaks all the way through, just different permutations of them.”