Dov is the person behind Muti Music, a selector at heart, compulsively picking tunes for record labels and for your dancing / listening pleasure. He produces various bassline centric music, downtempo, midtempo and uptempo Dubstep, Drumstep, Glitch Hop, Breaks and whatever catches his fancy in the future, also receiving accolades for collaborations with ill.Gates, An-ten-nae and Funk Monsta.
His sound when performing represents that of a whole movement of young producers coming out on his Muti Music imprint and adds directions that you know are going to emerge more in the future.
Known for his energetic sets that delve as hard into a tranquil interlude as they do into bassline drops and glitched out frenzies. The sounds to be expected from Dov are always elevated and emotional, whether downtempo or peak time uptempo in super-clubs, his diversity and experience have prepared him for the job.
Past gig highlights include: Burning Man, Village Stage Shambhala (Canada), Coachella, Trigger (UK), Rainbow Serpent (Australia), Earth Frequency Festival (Australia), Shine On (Australia), Rezonance (South Africa), Raindance (USA), Get Freaky (San Francisco) and a plethora of outdoor summer festivals.
Related production and label projects that Dov has founded / worked on include: Muti Music, Earthdance Music, Cyberset Music, Fuel USA, Fusion Festival and monthlies, Eyephunk, “ig-nite”, Radio-v, Digital Be-In, 1015 Folsom, Subalicious, Shattered, Music without Borders and multiple ‘one-off’ nights.
Psymbionic has never one to shy away from pushing musical boundaries, his ‘Post/Wave/Future/Core’ EP in January spanned many of the -step, future-, and -hop genres that the electronic music community has embraced.
This Post/Wave/Future/Core Remix EP delves even further into variety with remixes ranging from dubbed out 2-Step and Future-Garage to Dubstep, Trap, Drum & Bass, Glitch Hop and even blurring the lines between.
Love & Light set a futuristic soundscape with an understated psi-fi excursion into Dubstep realms, the mood picks up quickly after that with Samples crunching bits with a glitchy banger take on the tune ‘Inertia’. On the deeper side Aligning Minds provides lushed out landscapes of dubby atmosphere set to rhythmic urban beats. Knight Riderz then pound out a Trap slammer that has already proven to get dancefloors bouncing. Dov then comes in with a Drum & Bass version of ‘Apex’ with reworked horns utilizing dancehall influences and then dropping into an epic wobbly bassline drop. Hypha rounds things off with a gorgeous tune that goes even further ‘out there’ with a tune or what could also fall into ‘Future-Bass’ , ‘Slowfast’ or ‘Juke’ genre descriptions. All in all a thorough journey through some of Bass Musics sub-genres.
Bevvy Swift’s Monochrome delighted us with a deep, wonky and beautiful interpretation of futuristic bass music so much so that we wanted to see what some other diverse future-bass music producers would do when reinventing the tunes.
The mixes range from Muti head-honcho Dov going deep with a flowing Drum & Bass tune that drops into 808 toms and Junglist beats, Canadian producers HxdB and Philthkids go in completely different directions with HxdB providing a very groovy and slightly broken 4/4 rendition and Philthkids adding heavily experimental Footwork / Juke vibes and fantastically ethereal soundscapes to their remix. Hypha goes deep incorporating flowing 2-step elements with a heavily wonky Dubstep mid section.
Bevvy Swift originally appeared on the north american scene in 2008 as part of a duo known as “Glitchy & Scratchy”, Bevvy soon expanded his solo output to include deeper and more left-field sounds. Whether he’s making “glitch-hop”, “wonky”, “aquacrunk”, “purple”, “future”, or (insert other disposable buzzword here), Bevvy draws from the electronic styles of the past to make the hip hop of the future. Look out for the Bevvy Swift album emerging late 2013.
The original Clipping Paths compilation in 2007 set a tone for many emerging sounds from Muti Music and featured ‘then’ new artists Ooah, Vibesquad, Audiovoid, Nanda, Timonkey, Slidecamp and Muti regulars like An-ten-nae and Dov, needless to say it has been quoted by many as an influence and has proven to help define new sounds that have blown up in the years that followed.
Dov compiles the Clipping Paths compilations and says,”Clipping Paths has no real theme other than slightly experimental broken beats that somehow try to blend ‘pretty’ with ‘hard’, the emphasis being on a listeners experience and maybe a chance of dancing. I always take this compilation a little more personally as they are all tunes that move me deeply in some way and I spend a lot of time with the tunes trying to find a certain flow that makes it a journey.”
‘Clipping Paths 2’ proves to be an epic listeners journey and it does deliver a healthy dose of pretty and just a smidgen of the hard to make the pretty stand out just a little more, the artists featured prove to be high end producers with a healthy amount of wonky attitude and understanding of some deeper musical realms.
Pioneering glitch hop producer, remixer, and composer ill.Gates teams up with artists such as Mimosa, Datsik, Ana Sia, Opiuo, Masia One, and more to release The ill.Methodology, an 18-track EDM excursion through the genres of glitch, bass, dubstep, breaks, and hip hop.
The album is also Muti Music’s catalog # 100.
The ill.Methodology corresponds with the artist live production workshop series and ground-breaking Ableton studio and DJ templates, as well as his upcoming ill.Methodology site for DJs and producers in Dec 2011.
To celebrate the release, ill.Gates’ collaboration with Mimosa, “Never Alone,” is available as a free download for readers and fans. Visit http://illgates.com/ for posting materials including art, download links, streaming players and widgets.
Ill.Gates has also partnered exclusively with Microsoft to create custom ringtones from ill.Methodology for their new Windows Phone OS ‘Mango’, which is now available as a free update to existing Windows phone users.
Stay tuned for launch of The ill.Methodology Tour including club and theater dates throughout North America, Europe, and Australia during the Winter of 2011/12.
“Every now and then, from out of nowhere, comes a total killer track. This is one of those tracks.
I’ll be smashing this one for real!”
- Concord Dawn
“This is expertly produced, brilliant DnB.”
- Madeon http://www.facebook.com/itsmadeon
“This is faaaat! This will destroy any dancefloor. Played at the right time, this track will tear the roof down.
Definitely not for the light hearted.”
- Laurent Garnier
Bassnectar: “OOOOOH YEAH! THAT ONES HOT! LOVE THE D&B DOOD! WELL DONE!!!!!!”
After a brief hiatus scoring music for film and advertising Greg Reve (T.O.B.) is back with Decoy, i.e. the bassline equivalent of a 6-pack abdominal workout. Previous support for his tunes has come from the likes of Bassnectar, N-Type, Laurent Garnier, David Starefire, Digital Rust and the “Hot 1 @ 1” spot on Bobby Frictions show on BBCRadio1. This same cast is lining up in support of this new EP along with Dieselboy and they’re eagerly anticipating more.
Greg Reve (T.O.B.) music has also been featured on the infamous Ninja Tunes “Solid-Steel” show on BBCRadio1 and on hit american TV show “Criminal Minds” as 1/3 of Hip-Hop band ‘The Realist’ that also came out on Muti Music in 2010.
On Decoy Greg Reve (T.O.B.) teams up with Hip-Hop MC Whosane, who has been featured with Mos Def on past tunes with Ski Beats. Whosanes vocal on Decoy is driving, edgy and straight up heat.
The EP then features instrumental remixes by top Muti Music artists ill.Gates & Dov, New Zealand artist and ‘lady behind all things bassline’, Unsub and the man who’s dominated many a Beatport ‘dubstep’ chart namely Mark Instinct .
If you’re feeling in need of some medicinal bassline catharsis then this EP is for you !
We’ve gathered a collection of who’s-who from the Canadian and US Glitch Hop and Dubstep scenes that each deliver a unique remix as well as adding extra melody and flavor to Subverts anthem track ‘Speaker Humpin’. Four versions were heard on the Village Stage at this years Shambala Music Festival by a few thousand bass addicts and mosh pit revelers.
The mixes take you through multiple aspects of contemporary bass culture and if bass is your thing then there is a version for you.
Subvert hails from Calgary, Alberta and his winding path in music started in 1996. Proof of his dedication to ‘bass’ is in his track record of creating the world’s loudest competition vehicles, designing pK’s 90,000 watt sound system and managing the Village Stage at Shambhala Music Festival. He started DJing in 2000 and combined with his extensive work on sound systems and attention to precision sound, he was ultimately & naturally led down the path to creating his own music productions and once again the low frequencies consumed him.
Subvert’s sound is a combination of throbbing, relentless basslines, melodic strings and haunting pianos singing through midtempo glitch / acid crunk and dubstep. His attention to detail and the ability to tune into ‘bass that works on a sound-system ’ can be felt in all of his music productions, he is an expert in the subsonic, the crowd and the show.
Subvert’s ‘Dirt Nap’ EP rocked the Addictech and Beatport ‘Grime / Dubstep’ charts and lead to him being featured in XLR8R magazine and radio play on multiple urban music shows, his Speaker Humpin EP on Muti Music and Party Alarm EP on Rottun Recordings blurred boundaries between edgy Dubstep, Glitch Hop and Big Beat. Also having released on Punch Drunk and Rottun Recordings, this artists talent has been noted.
The success of An-ten-nae’s Acid Crunk series has helped define more than a genre but a culture of freaky funk for the dancefloor.
This time round An-ten-nae picked Cape Town, South Africa based artists ‘Mix n Blend & Narch’ and then put the track through his own remix actions and got remixes by some of the US west coats most sought after artists of the moment, namely; Beats Antique, Dov, Mochipet and Random Rab. From the jazzed out instrumentation of Beats Antique to the hyphe glitch of Mochipet the effect is high impact and made for dancing.
Mix n Blend & Narch have been rocking festivals around South Africa from Oppikoppi to Rezonance and then keeping their local Cape Town scene funky and fresh with diverse beats.
Mix n Blend s debut album in 2009 ‘Look Mom, No Hands’, on African Dope Records was widely supported including Boom Monk Ben from Solid Steel Records UK including numerous Mix n Blend tunes in his now famous Solid Steel Mixes. 2010 also started hot for these young fellas with their dubstep crunk ‘Get Crunk Wit Jesus’ track getting signed to UK based Skanky Panky Records and selling well. The future is bright with Mix n Blend & Narch bringing us a little of that sunny South African heat.
‘The Earth Bleed EP is deep and brooding and at other times playful, humorous and uplifting. ‘
Dov’s original mix of ‘Earth Bleed’ delves into ever expanding basslines and organic textures at times reminiscent of volcanic fissures and atmospheric rips. One of USA’s pioneers of electronica, namely ‘Single Cell Orchestra’ takes things even deeper ‘into the darkness’ with a remix of squelchy basslines and a steady groove.
Rounding out the remixes of the title track is LayerZ (also known as Audiovoid) delivers a version that is ghostly, haunting and yet helps dig us out of the deep pit of bass with rolling almost melodic basslines. Moving onwards the EP also features a collaboration track with Canadian breaks, dubstep, glitch, techno, electro producer / man of the moment, ill.gates, the track is almost theatrical in nature, with clear dubstep influences, lots of field recording and sound design and also picking up the pace a little and showing much variety in beats and percussion.
The EP is rounded of with an uplifting midtempo breakbeat track that is great for something to round off a night.
Acid Crunk EP2 takes us deep into bass driven, Electronica, Hip Hop and Dub fusion territory featuring a remix by Ninja Tune artists Ghislain Poirier & Face T and then also a more dance club oriented mix by Muti’s own Dov.
“Long established San Fran producer An-Ten-Nae ditches his (tired old) breakbeat, trance and techno, in favour of ‘acid crunk’, cranking up the dangerously dirty electro beats over a death metal style grunt to die for. Distinctly French in vibe (as in Institubes/ Level 75 style French) Destroy The System might do exactly that.Evil.”
Mike Hogan Reviewer for: MOFO, Flux mag, TTR mag, Nuskoolbreaks.co.uk, Breakspoll.com: DnA - Elixir - Muti Music
Back in the day San Francisco was thought of as the hippy capital of the world, the inherent drug consumption must have made it’s way beyond the water to the very foundations of the city itself. Muti Music, the West coast’s most experimental (in a “don’t give a fuck - if its good, it’s good!” kind of way) breakbeat label keeps managing to excel itself in terms of non-conforming beatiness.
DnA brings us an incomparable melange of techno, tech funk and glitched breaks in the shape of ‘Elixir’, a track that has certainly dug deep into those acidic foundations for narcotic induced inspiration. With an almost aphexic blend of 4/4 heavy heavy stomp and twisted glitchy breaks the ‘ruined’ remix continually modulates it’s gruff synth-shapes (whilst bending the mindframe) before encouraging involuntarily body re-shaping on the dancefloor. Not for the timid, or impatient, this should be mixed long and hard, fairly late at night when the party extras are at full peak.
For a slightly more straightforward breakbeat version old noodles (Si Begg of course) himself has worked his sonic mastery with his bleep n glitch genome remix. Long drawn out bass edits and showers of blippery pepper the beggy breaks. Lurching between glitch breaks, grime and late night gloom it’s sure to be a trigger favourite, again - for the late night crew, don’t expect smiles and hands in the air though!
Outstanding listening! Clipping Paths provides deep urban vibes, bass-driven tribal mid-tempo, trip hop and ‘glitch-hop’ that will also rock most dancefloors. The last few tracks take you into deeper territories providing a luscious ending for the CD.
Muti Music is known for finding new and unique talent, this compilation features the Muti roster and closely related artists who are also emerging on labels like Interchill, Cyberset and Native State.
Clipping Paths is a compilation showcase of the sounds that are moving the west coast at the moment as well as many other areas around USA, including small pockets in Colorado, Texas, Oregon and New York.
The CD ranges from deep urban vibes from Suff-x, Undecided and Vibesquad, to ethereal bass-driven tribal midtempo and Trip Hop from an-ten-nae, Nanda, KiloWatts, Timonkey and Dov, to a crunky mixed genre mid-tempo track from Ooah, that is sure to rock most dancefloors, but deep enough at the same time to prove the perfect segway heading into the deeper territories of IDM, Leftfield and Nugaze inspired tracks from Audiovoid, Kraddy and Slidecamp ending the CD in a very warm and luscious space.
Many of the styles featured have been growing in popularity and seeing large exposure with the emergence of a similar musical tastes in scenes growing in Berlin, San Francisco, London and even Cape Town. This ‘newer’ sound has partially been an homage by producers to the Hip Hop and Big Beat along with early experimental electronica that they loved in the nineties and bootlegging the hyphe and crunk of the new millennium with the new digital tools and a new production based prowess.
Muti Music is known for finding new and unique talent, this compilation features most of Muti’s regular roster and then a group of closely related artists that we are feeling, who are also emerging on labels like Alpha Pup, Interchill Records, Dirtybird and Native State.
This compilation is as fun for a manic dancefloor stomp, a come-down session, a groove and a mingle, a fire warmed cabin or even a walk on the beach.
The second of two CD’s compiling all the Muti Music catalog from the first three years, this one serving as a statement for the future direction of the Muti Music label and our impact on urban music. That direction being a continued commitment to electro bass influenced music, combining existing tearout and bass driven breakbeat with electro and using slower tempos while still creating dance-floors mayhem. ‘Conscious Ferilla’ by Kraddy served as the perfect track to launch our intentions.
The release also features artwork from an image by one of our favorite visual artists, Mark Holthusen.
Big Shot Magazine Review: Electro is great. Long live electro. But its been a while since we’ve had electro of this quality with three tunes of varying styles that could all be A-sides on their own.
“Euphoria” gets inside your head in the way only electro can, with a minimalist approach that’s always good and a collection of nasty tech synth sounds all given just enough reverb, this tunes gets better with each listen.
LayerZ brings the Evil Stuff, a tune that fuses electro with dubstep faitly successfully and again, while the production is excellent it feels as if some of the glitch is there just for its own sake, diminishing the quality of the tune a little. “Electronom” is arguably the best track on the EP. the Bassline is heavy and the melody has an almost Kraftwerk feel ala “Trans Europe Express”, ideal for the best soundsystems.
‘Conscious Ferilla’ was one of the first tracks spawning the genre classification ‘Glitch-Hop’ and has been played by everyone who does the midtempo breaks business. Kraddy - Brecht has become somewhat of a classic wobbly bass track with it’s epic intro and support form a wide range of DJs and this time Dov also enters the roster on remix duties with a steppy rework combining ethereal voice sounds along with sirens and wobbly bass.’Becht’ was also included on the ‘Sound In A Vacuum vol 2′ on Atomic Mouse Recordings and on Kraddy’s artist album ‘Truth Has No Path’ on Refiner Records. This EP also saw the first outing of the collaboration project between Dov & An-ten-nae composing as D’nA, this time combining electro bass influences with tearout breaks and dubby vibes, it is a smasher on the floor.