Dial For Mo’ Morass
January 11th, 2010
Dank Morass returns to the fray in 2010 with Dial ‘M’ For Morass, a night of eclectic bass mayhem upstairs at the Step Inn on Friday 29th January. The cream of local selectors will join the Morass to dish out hardboiled servings of beats, dubstep and hip hop. Most importantly, Dial ‘M’ will be FREE before midnight!
The guest line-up features Brisbane’s best that have recently kept their crates to themselves:
Frosty is the man behind the Hard Graft brand that introduced Brisbane to the nascent dubstep sound. He has toured countless artists, including Kode 9, and has supported big names like Loefah and Vex’d. His cool and collected mixing coaxes the dance into a bass-driven frenzy.
British expat Duble E has made carefully selected appearances in Brisbane and Sydney (including premier Australian dubstep night VOID) over the last year, and is currently masterminding diverse bass and beats label Amecca Records.
Dr Dom has a decade of DJing under his belt across more genres than you can name, and has crates of vinyl for days. We’re only giving him an hour, so expect the finest cuts from that extensive library.
For the Morass, Walrii will be getting the razor tusk out in a blaze of backspins and bass, covering post-Dilla, big rims electro and soul loops. Whatever your flavour, the Walrus has it covered. Swob, the man with the sinister dubs, has some of the best ears in the town for all things brooding and soulful and will represent the legacy of dark dancefloor music. Danck skirts the territory between dubstep and dusty downtempo beats in an effects-heavy mix.
For the last two years, the Morass crew has scratched its collective head over the name of the genre which forms its basis. The slow motion collision of post-Dilla hip hop beats and dubstep bassweight has opened up a whole new realm of sound, as well a burgeoning lexicon as journalists and bloggers attempt to pin it down. Tags like future beats, wonky, purple and lazerbass have all been applied to different strands of the rapidly evolving milieu. From the Morass’ point of view, it’s all good. It’s been a long time since a musical movement has so adamantly defied labels. We’ll call it ‘beats’, which is just as confusing, but at least avoids flavour-of-the-month misconceptions.
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