Linda Blease (born December 29, 1985) is a Belizean disc jockey, video director, actress and socialite, entrepreneur. She is know around the Caribbean as Miss Blease from Belize.
Linda hosts a popular radio show on Saturdays called FLASHBACK SATUDAYS on Wave Radio 105.9 FM in Belize. She is also the resident deejay for the biggest club in Belize named Club Elite. Miss Blease's style of music varies to all genres, old school, new school, dance, pop, dancehall, reggae, rnb, soul, ddm, hip hop, reggaeton and more...


Caribbean breakthrough

Miss Blease got her first big break in the Caribbean in February 2012, when she was invited to be a guest selector at the popular Quad nightclub in Kingston, Jamaica. Since then, she has been featured at all of Kingston's hotspots, including Fiction Lounge, Club Privilege, Usain Bolt's Tracks and Records, and Macau Lounge, as well as Blue Beat in Montego Bay and other places in the Caribbean, including Port of Spain, Trinidad, and St. John's, Antigua. Her biggest show to date was being featured as the only female disc jocket at the event dubbed "greatest reggae show on Earth", Reggae Sumfest.[1]
Linda is fast earning a reputation as the Caribbean's hottest DJ in heels. Her meteoric rise was featured in Jamaica's Observer newspaper (read here), the Trinidad Metro (read here), and in an interview with Entertainment Report on Television Jamaica (watch here).ada
Early life

Linda Blease was born in Belize City and raised with her grandparents on the island of Caye Caulker off the coast of Belize.[2] Her first sojourn into music was in Church, where she sang in the church choir and learned to play the keyboard in the church band.
Past her mid teens, Linda encountered her most difficult battles as a young adult. At times she had no immediate support system and no place to call home. When she moved to Belize City to attend college, she began performing in local stage plays and was subsequently approached to work an emerging television station, Krem TV at the age of 17. She soon grasped an opportunity to write a youth column in the Amandala news paper - ‘Spotlight’. The column became hit. At the age of 22, she evolved that newspaper article into the Spotlight Music Video Show – the first legitimate, high quality music video show in Belize.
With an innovative approach to producing her radio and TV shows, her media influence grew throughout the Belizean community at home and abroad – both on and off the air. She has made guest appearances on numerous Caribbean community events in Los Angeles, Miami, and New York.[3]


21
currently mix, on laptop not ideal i know, but funds are difficult currently
always wanted a pair of cdjs maybe one day 

love drum n bass with a passion and 4x4 is where the bassline is at! 


when i say reload you say bolt/ reload...BOLT!!!!



positive vibes only! :) 

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DRUM N BASS.

In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to a new electronic music style called rave music, which, much like hip-hop, combined sampled syncopated beats or breakbeats, other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes. But rave music tended to feature stronger bass sounds and a faster tempo (127 to over 140) beats per minute (BPM) than that of early house music. This subgenre was known as "hardcore" rave but from as early as 1992, some musical tracks made up of these high-tempo break beats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle techno" and later just "jungle", which became recognised as a separate musical genre popular at raves and on pirate radio in Britain. It is important to note when discussing the history of Drum n Bass that prior to Jungle, rave music was getting faster and more experimental. Professional DJ & producer C.K. states, "There was a progression as far as the speed of music is concerned. Anyone buying vinyl every week from 1989 to 1992 noticed this."
By 1994 jungle had begun to gain mainstream popularity and fans of the music (often referred to as junglists) became a more recognisable part of British youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, Jungle also inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London. Whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.
As the genre became generally more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance (circa 1995–1997). It also began to split into recognizable subgenres such as jump-up and Hardstep. As a lighter and often jazz-influenced style of drum and bass gained mainstream appeal, additional subgenres emerged including techstep (circa 1996–1997) which drew greater influence from techno music and the soundscapes of science fiction and anime films.
The popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the UK including big beat and hard house. But towards the turn of the millennium its popularity was deemed to have dwindled as the UK garage style known as speed garage yielded several hit singles. Speed garage shared high tempos and heavy basslines with drum and bass but otherwise followed the established conventions of "house music", with this and its freshness giving it an advantage commercially. London DJ/producer C.K. says, "It is often forgotten by my students that a type of music called "Garage House" existed in the late 1980s alongside Hip House, Acid House and other forms of House music." He continues, "This new Garage of the mid 90s was not a form of House or a progression of Garage House. The beats and tempo that define House are entirely different. This did cause further confusion in the presence of new House music of the mid 1990s being played alongside what was now being called Garage." Despite this, the emergence of further subgenres and related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre. To this day drum and bass makes frequent appearances in mainstream media and popular culture including in television, as well as being a major reference point for subsequent genres such as grime and dubstep and successful artists including Chase & Status and Australia's Pendulum.

Musical features.

Opinions vary on what constitutes "real" drum and bass as it incorporates a number of scenes and styles, from the highly electronic, industrial sounds of techstep through to the use of conventional, acoustic instrumentation that characterise the more jazz-influenced end of the spectrum. The sounds of drum and bass are extremely varied due to the range of influences behind the music.
Drum and bass could at one time be defined as a strictly electronic musical genre with the only "live" element being the DJ's selection and mixing of records during a set. "Live" drum and bass using electric, electronic and acoustic instruments played by musicians on stage would emerge in the ensuing years of the genre's development.

Influences.

A very obvious and strong influence on junglefever and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music. This influence has lessened with time but is still evident with many tracks containing ragga vocals.
As a musical style built around funk or syncopated rock & roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. One of the most influential tracks in drum and bass history was Amen Brother by The Winstons, containing a drum solo which went on to be known as the "Amen break", which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.
By the late 1980s and early 1990s the tradition of break-beat use in hip-hop production had influenced the sound of breakbeat hardcore which in turn lead to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats. Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. Grandmaster Flash, Afrika Bambaata, Run DMC, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.
Miles Davis has also been named as a possible influence, and blues artists like Leadbelly, Robert Johnson, Charlie Patton, Muddy Waters & B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention.
Clearly drum and bass has been influenced by other music genres, though influences from sources external to the electronic dance music scene perhaps lessened following the shifts from jungle to drum and bass, and through to so-called "intelligent drum and bass" and techstep. It still remains a fusion music style.
Many tracks belonging to other genres are 'remixed' into drum and bass versions. The quality of these remixes varies from the simple and primitive adding of broken beats to a vocal track or to complete reworkings that may exceed the original in quality and effort put into them. Original artists will often ask for drum and bass remixes of their tracks to be made in order to spark further interest in their tracks (for example, Aphrodite's remix of Jungle Brothers' "Jungle Brother").
Some tracks are illegally remixed and released on white label (technically bootleg), often to acclaim. For example, DJ Zinc's remix of The Fugees' "Ready or Not", also known as "Fugee Or Not", was eventually released with the Fugees' permission after talk of legal action, though coincidentally the Fugees' version infringed Enya's copyright to an earlier song. White labels along with dubplates play an important part in drum and bass musical culture.

Other notable influences

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s which were hugely influential in drum and bass terms. One of his more infamous basslines (Reese - "Just Want Another Chance", Incognito Records, 1988) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991/1992. Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up (increased speed) as far as their Technics record decks would go.
Both the New York breakbeat and the Miami Bass scenes were strongly influenced by the 'freestyle' sound of New York, Chicago and Miami in the 1980s which incorporated electro, disco and Latin flavours, and which was in turn a key influence on the UK's acid house/hardcore/rave scene.

Drum and bass (elements).

The genre places great importance on the "bass line", a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9.
Of equal importance is the "808" kick drum, an artificially pitch-downed or elongated bass drum sound sampled from Roland's classic TR-808 drum machine, and a sound which has been subject to an enormous amount of experimentation over the years.
The complex syncopation of the drum tracks' breakbeat, is another facet of production on which producers can spend a very large amount of time. The Amen break is generally acknowledged to have been the most-used (and often considered the most powerful) break in drum and bass.
The Amen break was synonymous with early drum and bass productions but other samples have had a significant impact, including the Apache, Funky Drummer, "Soul Pride", "Scorpio" and "Think (About It)" breaks.
Many drum and bass tracks have featured more than one sampled breakbeat in them and a technique of switching between two breaks after each bar developed. Examples of this can be heard on mid-90s releases such as J Majik's "Your Sound". A more recent commonly used break is the Tramen, which combines the Amen break, a James Brown funk breakbeat ("Tighten Up" or "Samurai" break) and an Alex Reece drum and bass breakbeat.
The relatively fast drum beat forms a canvas on which a producer can create tracks to appeal to almost any taste and often will form only a background to the other elements of the music. Syncopated breakbeats remain the most distinctive element as without these a high-tempo 4/4 dance track could be classified as techno or gabber.

Tempo.

Drum and bass is usually between 160–180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.
A track combining the same elements (broken beat, bass, production techniques) as a drum and bass track, but with a slower tempo (say 140 BPM), might not be drum and bass but a drum and bass-influenced breakbeat track.

Context.

Drum and bass exhibits a full frequency response which can only be appreciated on sound systems which can handle very low frequencies. As befits its name, the bass element of the music is particularly pronounced, with the comparatively sparse arrangements of drum and bass tracks allowing room for basslines that are deeper than most other forms of dance music. Consequently, drum and bass parties are often advertised as featuring uncommonly loud and bass-heavy sound systems.
There are however many albums specifically designed for personal listening. The mix CD is a particularly popular form of release, with a big name DJ/producer mixing live, or on a computer, a variety of tracks for personal listening. Additionally, there are many albums containing unmixed tracks, suited for home or car listening.

Many mixing points begin or end with the "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dancefloor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.
DJ support (that is playing a track) in a club atmosphere or on radio is critical in track success, even if the track producer is well known.[36] To this end, DJs will receive dubplates a long time before a general release of a track, sometimes many months before, in order to spark interest in it as well as benefit the DJ (exclusive and early access to tracks is a hallmark of DJ success, for example, the case of Andy C).
DJs are often accompanied by one or more MCs, drawing on the genre's roots in hip hop and reggae/ragga.
MCs do not generally receive the same level of recognition as producer/DJs and some events are specifically marketed as being MC free. There are relatively few well-known drum and bass MCs, Stevie Hyper D (deceased R.I.P.), MC GQ, Dynamite MC, MC Fats, MC Conrad, Shabba D, MC Navigator,Fat Man Dee, MC Robbie Dee, Trigga, Skibadee, Bassman, MC Stamina, MC Fun, Evil B, Trigga, Harry Shotta MC Foxy and MC Infinity as examples.

Live drum and bass

Aphrodite at 2009 Moscow action of the Pirate Station: Immortal. World's largest drum and bass festival.
Many music groups and musicians have taken drum and bass to live performances, which features an acoustic drum kit, synthesizers, bass (upright or electric), and other instruments. Samplers have also been taken live by playing samples on drum pads or synthesizers, assigning samples to a specific drum pad or key. MCs are frequently featured in live performances. Acts to take note of on the live drum and bass scene include Dirtyphonics, Modestep, Roni Size, Salmonella Dub, Shapeshifter, Pendulum, La Phaze and Chase & Status, who perform their tracks live. The DnB scene is still thriving in many urban areas, with a particularly strong showing in LA among such dedicated clubs as The Dragonfly. This has given both of these bands a way to access the mainstream, giving drum and bass a more commercial edge. Some bands have even taken the term somewhat literally, such as Lightning Bolt, The White Mice, Comparative Anatomy (band) and Death From Above 1979.

Subgenres.

Smaller scenes within the drum and bass community have developed and the scene as a whole has become much more fractured into specific sub-genres, including:
Hardstep (A harder style of Dubstep and Drum 'n' Bass which uses hard basslines and heavy yet simple electronic melodies for example, The Panacea)
Jump-Up,
Liquid funk (or simply "Liquid" - drawing heavily on harmonic grooves and samples from Funk, Jazz, Soul, R&B, House, Disco, and Synthpop)
Sambass (or "Brazilian Drum and Bass")
Techstep (or "Tech" Drum 'n' bass)
Neurofunk (or "Neuro" is the progression from Techstep)
Drumstep (Half time Drum & Bass, heavily influenced by Dubstep

Sasquatch Presley is the solo project of songwtiter/musician Forrest Tegtmeier. It is difficult to define; punk, folk, noise, krautrock, indie, pop, electronic, and psychedelic are all explored in equal measure here, as well as any other genre that I chose to experiment with. Some influences include Wavves, Animal Collective, Lightning Bolt, Devo, The Stooges, Can, Sonic Youth, Merzbow, and many more.

The Sweet Easy Peelers got together in Bristol during 2008, where their high-energy, super-tight live performances earned them a reputation as one of the most exciting young bands on the local circuit.

Their music is difficult to place in any predefined genre, as the influences are always varied and often contrasting. They see no boundaries to what can be included in their music, and the resulting mixture is something totally new and entirely unpredictable. Their music is a place where unimaginable chaos is harnessed by strictest order, endless darkness coexists with blinding light and all manner of contrasts react together to create a sound so intense, so exciting, and so curiously affecting, that it is sure to bring the walls of Babylon crashing down...

Put more simply, the Sweet Easy Peelers take all sorts of music, and then set them on fire.

Here are what some people have said after seeing the Sweet Easy Peelers live:

'Lasceratingly hot, existential mind-fuck.'

'Brilliant. So much energy. Imagine the sun and then a bolt of energy blasting out of the sun and then hitting planet earth. Sort of like the comet that killed the dinosaurs but more like the comet that made the dinosaurs party.'

'I haven't seen a better gig in my life.'


I have just started up and bought my first controller the Native Instrument MASCHINE. I've been fucking around with Reason 4, Moved to Reason 5 and accomlished nothing but  but simple putzing around as it is very difficult for sounds and melodies to strike you in the fucking forehead like a lightning bolt with a goddamn keyboard and mouse. So yeah. I am working with Dangerous Dave you really has the creativity between the 2 of us but he has waaaaaaaay more time to play than I do. I really dont know if he see me up there with him. I'm more technical need to understand the whyand how rather than the jump and fall techinque. Just made a simple beat using the maschine. Pumped up now. Gonna upload a minute of it, i hope i can fly higher than this. Im VIBRATING RIGHT NOW!

Hailing from the blistering valley of Los Angeles and touted as Rock's New Generation is Cherri Bomb, a badass all girl rock band who has already shared the stage with such bands as Filter, the supergroup Camp Freddy and toured with the Smashing Pumpkins.

Managed by drummer Samantha Maloney (Hole, Motley Crue, Eagles Of Death Metal, Peaches) and signed to Hollywood Records, Cherri Bomb has been taking the LA music scene by storm, already being called one of the hottest up-and-coming bands in LA. Next stop, the UK and Europe where the girls will hit some of the biggest festivals in the world (Oxegen, Sonisphere, T In the Park, Reading and Leeds) sharing the same bill with some of their favorite bands: Foo Fighters, My Chemical Romance and The Strokes. Their limited edition EP will be released this summer.

"When I first played the electric guitar, it felt like a lightning bolt," says Julia Pierce, lead singer and guitarist of the LA based, all girl, rock band Cherri Bomb.  "I was instantly struck by the idea of starting a band.  And so my search began."

Julia wanted to find girls who shared her drive and were inspired by similar rock 'n' roll bands she grew up listening to like Garbage, Foo Fighters and My Chemical Romance. After months of placing ads online and in papers, flyering local music shops, and holding countless try outs, in walked Nia Lovelis – a fearless, hard-hitting drummer who fit the bill.

Nia, daughter of a singer/songwriter mother and musician father, was born with music in her blood, and had been drumming since the age of seven.  "I have been surrounded by artists and musicians my entire life," says Nia, "and I knew there was nothing else I wanted to do more than be in a band."

As the difficult search continued they found a multi-talented girl named Miranda Miller who had been performing since the age of three and learned to read music by four. Not only could she play guitar, she also played keyboards and sang perfect harmonies from her training in musical theatre. Miranda planned to pursue her theatrical career but somehow found herself gravitating towards rock 'n' roll. "Although I came from a different musical background than Julia and Nia, they inspired me to think outside of my musical box and crank the amp to 11."

After many attempts to secure a bass player, the girls turned to Rena Lovelis, Nia's younger sister.  Rena, a guitar player, recalls, "I always wanted to be in Cherri Bomb, but I didn't know how to play the bass.  When they asked me to try out I said, 'Sure, why not?'  I knew playing on stage with my sister would make a killer rhythm section. I quickly learned bass guitar, practiced daily, and landed the gig!"

Although sharing the same name as The Runaways' song, the band name Cherri Bomb was actually inspired by the 2009 book titled "Cherry Bomb" which features many contributors, including drummer Samantha Maloney, (Hole, Motley Crue, Eagles of Death Metal, Peaches) who, in the summer of 2010, decided to put down her own sticks to manage the young, all girl band. Samantha recalls, "Cherri Bomb opened for my band Chelsea Girls in February of 2009, and they blew me away. They played exceptionally well, sang 3 and 4 part harmonies, and left myself and the crowd speechless.  I knew these girls were destined for greatness."

Cherri Bomb has since played the Sunset Strip Music Festival opening for Filter, toured with Smashing Pumpkins at the request of Billy Corgan and recently signed with Hollywood Records.  They're already being called one of the hottest up-and-coming bands to come out of L.A.  This summer, they'll play some of the biggest European festivals (Oxegen, Sonisphere, T in the Park, Reading and Leeds) and will release an EP this summer. 

Larissa Bonnie is following