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Intager – Cross The Line

Intager – Keep Steppin

Eye-Ten Recordings rolls out its 10th release with two distinctive sounds from Intager. A pair of choice cuts representing the underbelly of bass music, Intager’s Keep Stepping puts some Dub back in Dubstep for a knees up, eyes down track that speaks for itself. On the switch-up, Cross the Line fills your personal space with pollinated rhythms of mechanical bass fueled techno and futuristic funk. A pair of select bits that have gained support from the likes of Skream and Distance, these ones hit the streets July 18, 2011.

Artist: Intager
Title: Cross The Line / Keep Steppin
Label: Eye-Ten Recordings
Cat: Eye010
Inquiries: info[at]
Release: July 18, 2011
Mastered: Shane ‘ The Cutter’ @ Finyl Tweek

Available at all quality digital music shops.

38 Minutes…Mixed by Intager

38 Minutes of Dubstep, Bass Music and 140 DNB – mixed and deranged by Intager

Featured tracks:
Yoof (Sonz of Mecha) – Murderer
Emalkay – Power Tool – Dub Police
Mrk 1 – Dirty Dubstep Music – Hench
Benton – Have It Your Way – Futurism
Kromestar – Jabber Jaw – OGS
Flux Pavillion – Meathead – Wheel & Deal
Cluekid – Monkey Style – Subbalicious
Emalkay – Crusader – Dub Police
Intager – Keep Stepping
Jakes – 2 Steps Back – Hench
Yoof (Sonz of Mecha) – Back 2 Hackney
Mala – Bury the Bwoy – DMZ
Kryptic Minds feat. Alys Be- Can’t Sleep – Black Box
Ray Keith – Something Out There – Benton Rmx – Wheel & Deal
Jakes – Claw – OGS
Caspa – Lost in Bed
Tru Tek – Mystery Machine – LoDubs
Intager – Cross The Line

San Antonio, Texas, Article on Dubstep

Article on Dubstep featured in San Antonio, Texas, University – OLLU – student publication – The Lake Front

Two releases to wrap up EyeTen (FREEcordings) Week
Download @

Part A
Artist: Badbwoy BMC & DJ Nine
Title: Tristan Dub
Eye-Ten (FREEcordings) Pt. 6a
Free Download – Mar. 11, 2011

Part AA
Artist: Suma
Title: Granduer
Eye-Ten (FREEcordings) Pt. aa
Free Download – Mar. 11, 2011

EyeTen Recordings releases available at all digital download shops.

Texas Bass Week Keeps On!

Eye-Ten (FREEcordings) Pt. 5

Artist: Lady Tigra (Bukkha RMX)
Title: Lady Tigra – Bass On The Bottom (Bukkha’s Jive Turkey RMX)

Free Download – Mar. 10, 2011 @

Texas Bass Week Keeps On with a Free Tune Everyday This Week.
Eye-Ten (FREEcordings) Pt. 4
Artist: Intager
Title: Act Your Age
Free Download – Mar. 9, 2011 @

Free Texas Bass Week Continues with Dread Foxx – Low Muthafucka
Eye-Ten (FREEcordings) Pt.3
Free Download @ – Mar. 8, 2011

Artist: Dread Foxx
Title: Low Muthafucka
Eye-Ten (FREEcordings) Pt. 3
Free Download – Mar. 8, 2011

Eye-Ten (FREEcordings) Pt. 2
Free Track A Day All This Week.
Download BadbwoyBMC – So TrillReal @
Artist: BadbwoyBMC
Title: So TrillReal
Free Download – Mar. 7, 2011

Eye-Ten (FREEcordings) Pt. 1 – Intager: The Game
More Free Texas Dubstep/Bass Music/Trillstep on the way, all the way up to SXSW week.

Check every day March 7–20, 2011

Keep Texas Boomin!

Unedited interview with Intager from Summer 2010.
Conducted by Tommy Newman for the San Antonio Current.
You can read the published article at

Where are you from?
I’m originally from Southern California, which is where I first began listening and exploring electronic music in the early 90’s.  I moved to Texas in 1998, lived in the Rio Grande Valley for a while, then out in central Texas for a bit and now here in San Antonio.

When/why did you move to San Antonio ?
A career move brought me here in 2004.

What are your musical influences?
There are countless influences, but they range from artists such as The Smiths and Joy Division to The Cure and Depeche Mode to early hip hop like Eric B and Rakim, De La Soul and EPMD. On the electronic music side there’s people like Brian Eno, Moby, Spicelab, Oribital, Aphex Twin, Mixmaster Morris, LTJ Bukem, Goldie, Andy C and the Metalheadz label. In Dubstep it’s artists like Burial, Skream, Digital Mystiks, The Others, Kode 9 and labels like Hyperdub. There’s also all the DJs who have reshaped the way music was/is heard.

Why dubstep?
When I first started hearing electronic based music, circa 1992, bass and low end frequencies were always a major part of it. Over time as music production started shifting from analog to predominately digital, it seemed as though genres were placing more emphasis on the mid-range or synthesizer part of a track. So, when Dubstep started popping up, the first thing I noticed was that it revolved around bass. It was music you could not only hear, but feel. Not to mention that music had been trending towards getting faster and faster for some time and Dubstep did the opposite by slowing some things down.

Early Dubstep was often referred to as ‘warehouse’ or ‘bass music’ meditation. The sparse percussion and kick snare patterns that had been commonly used in dub roots reggae music, really allowed for a lot more room and space in the structure of a track.  For me, it essentially went back to the basic theory of less being more and in some ways through the heavy use of reverb and delay, was almost like a form of post-modern Dub that provided a soundtrack for the inner city that hadn’t really been broadcast since the vibes of early drum and bass and jungle in the 90’s.

Can you give a rough sketch of your musical evolution?
I grew up in a house filled with music. Everything from Classical and Latin to Prince and Judas Priest was being played by either my father or relatives. My neighborhood was your stereotypical barrio, where there weren’t a whole lot of options for teenagers with no money and a lot of time. Music provided an outlet for me to be creative and helped to keep me from the temptations that many of my childhood friends became involved in.

In the early 90’s I first heard house and techno music, which was influenced from every genre of music imaginable. It literally had everything I loved about music and there were no boundaries as to what you could do with it. To me there was a relationship between electronic and classical music, because of the ability to invoke emotion without the use of words telling you how to think or feel.

The events where this music was being played at were almost like a great social experiment, where societal classes didn’t exist. In early 90’s Southern California, racial tensions were always high and these were the only places you could have people from all walks of life in the same room without any violence. It was as though music was stress relief for those seeking something more than what was being force fed to them on the radio. To realize that you’re in a crowd of 20 or 20,000 people and listening to a form of music that the rest of the world didn’t really know about was a great feeling.

So from this experience of listening and participation I started learning how to DJ. Friends of mine taught me the basics and from then on I just developed my own tastes. Then around 1994, I started hearing this new music coming out of London called Drum and Bass/Jungle. The use of drum breaks from old funk records and samples from hip hop, jazz and reggae combined with ridiculous low end frequencies caught my ear and for years, this music became a passion of mine.

Sometime around 2002, I found myself unemployed and said, until something comes up, I’m going to sit down and teach myself everything I can about computer-based music production. So every day I would spend hours laying out beats. Eventually the work led to reviews in URB and Knowledge (UK) magazine and having my music played on BBC Radio in the UK.

Sometime around 2006, I started hearing these slowed type of UK garage and techno beats that were supplemented with nothing but sub bass. I heard some people call it ‘Croydon Techno’ or ‘Dubstep’. Friends of mine in Austin and Houston started playing and producing this music and I just listened to see how it developed. Then Jesse Garcia of 180 Grams started bringing some vinyl records into the shop and that just helped spark my new collection.

Why did you all start SA Dub?
SA Dub is not only myself, but fellow San Antonio DJ Stuart Holmes aka Mr. Smith and Sharon Milford, who is behind the original graphic artwork for each show. The concept started after several conversations between us and DJ Gunslinger aka Luke, about the need for a Dubstep weekly or monthly in SA. We had been traveling up to Austin and Houston to either DJ ourselves or visit Dubstep nights and we finally said, ya know we need something a little closer to home. San Antonio is one of the largest cities in the nation and here we were spending more time out of our own city trying to hear it. So we put our resources together, called a few friends and created a name and logo that represented not only San Antonio, but also the roots of dubplate culture that exist within dancehall and electronic music. We also passed out as many mix CDs as we could at every show to help spread the music.

Dubstep is music made to be felt. It takes time to let that low end bass resonate through your body. Then before you know it, you find yourself dancing. We wanted to try and share that with San Antonio on proper sound. It’s hard to really convey this feeling if you’re only hearing 3-4 dubstep tracks a night mixed in with everything else. So we decided to create a night specifically dedicated to Dubstep and bass music.

What do you think of the dubstep scene in Texas as compared to other places?
I love it, I think Texas naturally has a tendency to embrace anything big and that includes music. Lots of the original Dubstep coming out of the state is reflective of that. Every city has its own vibe and feeling, yet we all work together and help support one another. It’s really because of that type of collaboration that whenever you ask anyone in the world about Dubstep in the USA, they definitely know about Texas.

A lot of people seem to always think negative about new music and San Antonio, but surprisingly the support from people all over the city has been beyond what we expected. San Antonio is spread out and it’s a challenge to reach everyone who is into the sound, but people have been telling others and the SA Dub shows have been diverse and filled with positive vibes from those who come to hear the music (loud) and not necessarily be seen.

Do you see dubstep blowing up in Texas/San Antonio? Why/why not?
Texas Dubstep has blown up and will continue to grow. The guys in Houston, Austin and Dallas all have their respective events and labels along with San Antonio. There’s a great deal of talent in Texas on both the DJ and production side of things. People are dancing, people are getting their music heard and people are loving the sound. A good indicator has to be recently at SXSW (2010) where there was a Dubstep event every night of the week, sometimes two or three.

Dubstep is not really something that translates well on your average club system, due to the low end frequencies. What San Antonio could use are a few more venues that invest in their sound and keep an open mind about music. If that were to happen then I think Dubstep and other new music in general could reach a lot more people here. Although the more I learn about San Antonio, the more I respect the DIY attitude that exists among artists here. I think that mentality really leaves the door open to anything happening.

Do you think dubstep is more palatable for the masses than drum and bass? Why/why not?
That’s a bit of a tough comparison. Drum and Bass has without a doubt made its mark on modern music, while Dubstep beats and basses are now really starting to influence other genres. The two share similar roots and influences but I can’t really say that either of them would appeal to the ‘masses’ since they are, at least in the United States, considered underground music.

Well in Houston there’s TexasDUB and Gritsy doing their thing. Austin has been host to Weight on Friday’s and Mad Classy on Sunday’s for a good while now. Dallas has Dub Assembly and even the Valley is pushing their sound. There’s also dedicated individuals here in SA who continue working hard to keep the music out there.

If you could say anything to the readers, what would it be?
I encourage people to listen to the world around them with open ears. Music is a form of self expression and lots of electronic producers and DJs have been overlooked as artists. There’s a huge difference between just playing music and creatively recreating it. I’d encourage people to be original and not afraid to hear something new. If you don’t hear it then play it, if you can’t see it, then find it, if you want to make it happen, do it.

Eye-Ten Recordings is a Texas-based Bass Music Label.
For more information on Eye-Ten Recordings events and music also visit

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