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Low End Theory: Dubstep Merchants

It's 11 p.m. on a Saturday in March at DMZ, London's bi-monthly dubstep party at the 400-person 3rd Bass, the basement room of Mass, a converted Brixton church once the site of 10-plus years of legendary jungle events. The queue outside is 600 deep. Digital Mystikz and Loefah, the team behind tonight's event, make the decision to move the party upstairs to the main room. The sound goes from womblike bass-throb downstairs to a towering assault on the main floor. Three hundred guests were expected; more than 1000 go home that night with a new sound ringing in their ears.

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Jimmy Tamborello: Wistful Thinking

It's another typical L.A. day: 90 degrees, scorching, dry heat, a cover of smog laying low over the city like a giant blanket of lint that someone has forgotten to clean out of the dryer. Jimmy Tamborello is sitting inside, like he does most days, having just been interrupted from a not-so-great game of Xbox Tetris by my mid-afternoon phonecall.

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Touch and Go Records: Born Free

"When I got involved doing this stuff I never imagined that, 25 years later, we'd still be doing this," says Corey Rusk, owner of influential Chicago imprint Touch and Go. The label, which celebrates its 25th anniversary in September, was started in late 1980; named after a Michigan music fanzine, its first release was a four-song 7" by Rusk's punk band, The Necros. Read more » 

Solvent's Artist Tips

As Solvent, Toronto producer Jason Amm takes electro-pop to invigorating new levels. In his studio, the sounds of grade-school science class films morph into anthems for the digital age, tracks that look forward while always keeping a keen eye on the past–the '70s and '80s, specifically. Amm's records for labels like Ghostly International and his own Suction Records–which he runs with friend and fellow producer Gregory DeRocher (a.k.a. Lowfish)–helped put synth-pop back on the musical map in the late '90s. Read more » 

Tigarah: Preaching the Funk Grail

On the cover of her self-titled, self-released EP, 24-year-old Tigarah (born Yuko Takabatake) looks like a pop confection, blowing a bubble while clutching chopsticks. She raps and sings in both in Japanese and English so more people can understand her. But she also claims multicultural musical cred, utilizing baile funk-inspired beats and citing Baltimore club and grime as influences. Her song "The Game in Rio" (not her only political track) is an anti-globalization screed inspired by the sight of a one-armed beggar in Brazil.

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