Diplo DiploBlow Your Head Volume 1: Diplo Presents Dubstep
Diplo wants us to see dubstep from a different point of view. Well. Why not? At this stage of the game, the genre’s classic concept is more worn out than the grass on centre court at Wimbledon the day after the final. While many are diagnosing this electronic set-up as suffering from an advanced state of necrosis, it’s good that shamans like him are appearing, scalpel in hand, willing to save the patient and prevent the onset of gangrene. The operating theatre is Mad Decent, a label whose only contact with dubstep so far could be summed up by the sparks that Rusko left in the electrical installation. But Diplo, in spite of living on the other side of the pond, knows very well what sort of soup is brewing in the British pot, perhaps better than many of the supposed experts on the subject. This is why he has put himself behind the wheel of this panzer with it’s anti-bullshit armour: a point-blank shootout with the best, most lethal hired killers on the dubstep scene on the other side of the wall; it is a seamless treatise with the best songs of the genre seen through the spyglass of the distinguished American producer.
The session, which passes as the first volume of a series dedicated to checking the vital signs of different scenes, is a very skilful, well-done combination of the different states of dusbtep material. Futuristic landscapes with a canine attitude—check out “Hold On”, Rusko’s wild punch of 8Bits, in Subfocus’ version. There are deep-sea submersions to the deep cracks of the most cosmic bass— “Glazed”, from that little genie called Brackles, is pure bass and urban elegance. There is elephantine minimal at a narcoleptic pace, with Bristol saltpetre –that “Re-Up” by Joker & Ginz to open the session is brutal. There is dance floor euphoria in honour of the firstborn Prodigy, with Balearic pianos, female voices, and impossible accelerations into 90’s breakbeat– “Sweet Shop” by Doctor P is simply devastating. There is digital pop à la Goldfrapp, but with balls, the layers of sound like Bomb Squad—Little Jinder’s “Youth Blood”, remixed by 12th Planet and Finch, is the best cut in the set. Classic, unadulterated dubstep for purists who still believe in traditions– “Down” by DZ is another pick that will leave you breathless. Variety and fine quality in a tracklist without a single moment that lowers the product’s quality. Savoir faire. Class and a bad temper. A miraculous defibrillator for the genre.
And the truth is that it would be enough with a selection of songs that are already known to demand all with the cash in the record store till to avoid the feeing if having been cheated. But Diplo is giving us exclusive shit. The unreleased remix that Skream does of Major Lazer’s “Hold the Line” (with Mr. Lexx and my adored, to-die-for Santigold) is wonderful. Stenchman’s remix of “Burn” by Jessica Mauboy is R&B dubstepped in the best refineries of bassland. But the most intense orgasm is Datsik’s reconstruction of Diplo’s very own “U Don’t Like Me”, with the savage howling of Lil’ John: pure digital heavy metal made in the same satanic forge as the one that Conan the Barbarian’s sword and the armoury of Manowar came from. All in all, a kick in the balls that leaves you lying on the floor, an almost perfect set, a tracklist to tighten sphincters in anticipation. The first volume of “Blow Your Head” is a sound diplodocus that leads to two undeniable conclusions: a) Diplo is one of the fucking best selectors on this existential plane, and b) in his hands, dubstep still breathes fire.
Óscar BrocDiplo - U Dont Like Me (ft. Lil Jon) (Datsik remix)