Archive for the Bubblin Category

Bubblin Presents UK Garage Legend MJ COLE (London, UK)

Posted in Bubblin on February 3, 2015 by lincolnup


Friday March 6th

Bubblin Presents:

The Pacific NW Debut of UK Garage Legend

MJ COLE (London, UK)

Ben Tactic


Holocene Portland
1001 SE Morrison
$8 before 10:30, $10 after

A Royal College of Music graduate who released some of the most important UK dance records of past decades, MJ Cole’s intricate, heart-wrenching garage productions did more to link the abstract, avant-garde tendencies of the sound to the exploding mainstream scene than any other artist’s work.

Releasing Sincere in 1998, an era-defining single that was both one of the biggest influences on 21st century British dance music, and an overground hit, MJ Cole went on to sign to Gilles Peterson’s Talkin’ Loud label where he put out Sincere the album; one of – if not the – defining garage full-length, and one that spawned the massive single ‘Crazy Love’. That album was later nominated for the Mercury Music Prize.

Having never lost his touch with underground British club music, MJ Cole has released on his own label (Prolific) including a trio of EPs (Riddim EP, Satellite EP, Panoramic EP) and his underground hit with Wiley, From The Drop.

His recent remixes include Lana Del Rey, Laura Mvula, Chase & Status and many more. Meanwhile he’s produced for Wiley, Dizzee Rascal, Example and Mary J Blige among others. All of this shows a man deeply committed to thesearch for emotive, smart and brave club music.

Red Bull Music Academy Presents Bubblin w/ Suzanne Kraft, Ben Tactic, Lincolnup

Posted in Bubblin with tags , , , , , on February 1, 2015 by lincolnup


Friday Febuary 20th

Red Bull Music Academy presents Bubblin


Suzanne Kraft (Running Back / ESP Institute | LA)

Ben Tactic


The Liquor Store
3341 SE Belmont

$5 before 11, $8 after
*Limited Capacity*



Posted in Bubblin on January 29, 2015 by lincolnup

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Friday February 13th

Bubblin & Club Chemtrail Present:








Tonic Lounge
3100 NE Sandy

Posted in Bubblin on January 29, 2015 by lincolnup



Bubblin Presents:

Angels & Devils LP Tour



Local support from:




Rotture Pdx
$14 Adv

The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as…

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few.

Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far too many to list here. Name checked by confirmed fans as diverse as Aphex Twin, Four Tet, Grace Jones, Trent Reznor, Fuck Buttons, Death Grips, Thom Yorke, Daddy G (Massive Attack) and more. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic originator and not some come-lately producer.

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on Tapping The Conversation. Released on N.Y’s Word Sound label, it was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later.

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s Pressure. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on Pressure but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more…

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases Aktion Pak (Rephlex) and Money Honey (under the moniker Pressure which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva).

“It’s angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do” (Pitchfork : London Zoo 8.6)

All these connections became the starting point for London Zoo, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capital’s urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails Lights In The Sky tour.

Post London Zoo, The Bug alternated between live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound. 2012 saw a re-emergence 7″ style with his Acid Ragga imprint series. With a Roland TB-303 in hand he found the missing link between classic acid techno and digital dancehall. It was no second coming of acid/summer of love celebration. It was raw digi-grinds with the likes of Daddy Freddy, Warrior Queen, Copeland, and Miss Red up on them.

2013’s Filthy EP marked the first rumblings of a new full length record. And now Angels & Devils is upon us (are amongst us). For this album Kevin Martin has both enlisted the familiar and smashed open the idea of what The Bug is. Grouping the results in two different distinct themes of Angels & Devils under the same conceptual banner. Both a year zero of sorts for The Bug, yet drawing on what has been before. Indeed The Bug is the only producer who can bring in the likes of Grouper, Copeland, Miss Red, Gonjasufi, Flowdan, Justin Broadrick (Godflesh/Jesu), Mala, Death Grips, and Warrior Queen and make it seamless. End times need a soundtrack to prep for what’s above and below, and this is it.

Watch for post release campaign addendums. The Exit EP (featuring “Void” plus further Grouper material, Manga’s wide cut “Function” and Daddy Freddy’s “Blaow” with attendent instrumental dubs), and Bug vs. Earth (Dylan Carlson), a 12″ release of tracks initially penned for Angels & Devils, but which quality of results quickly dictated was in need of its own release. Plus additional Acid Ragga onslaughts being detonated in quick succession before the Acid Ragga compilation.

Bubblin Presents: MikeQ, Cakes Da Killa, SPF666 & DVST

Posted in Bubblin on January 29, 2015 by lincolnup

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Saturday October 18th

Bubblin Presents:

(Fade To Mind/Qween Beat/Mad Decent – NJ)

Cakes Da Killa



Tonic Lounge
3001 NE Sandy


Recording artist Cakes Da Killa, is a 23-year-old rapper and writer with three EPs under his belt. Cakes’ second mixtape The Eulogy was released on January 29, 2013 via clothing brand Mishka indie record label. The album quickly gained popularity when it was reviewed positively by Pitchfork and The Needle Drop.
Cakes Da Killa’s unique sound is a mix of various musical influences, cinema and underground experiences. He is praised on both his lyrical content and flow — a raunchy style usually compared to Nicki Minaj and Foxy Brown. Cakes is in the process of finishing up his sophmore album and has recently released his new single “I Run This Club” via Hot Mom USA.

Cakes has traveled to Europe, Canada and Australia, shattering the preconceived notions of what it takes to be a respected lyricist. Cakes brags that he can, “spit that shit to make a homophobe a hypocrite,” and with each release he seems to be proving his point.

Cakes’ latest project, Hunger Pangs, was released on June 18th, 2014 and can be downloaded via soundcloud.


MikeQ [Fade To Mind|Qween Beat|Mad Decent], Is an American Artist and is one of the leading figures of the US’s long-running (but still largely underground) ballroom/vogue-house culture. Based in New Jersey, the 28 year old producer is not only one of the busy DJs, but he also heads up his own “Qween Beat” Label and turns out a steady stream of vogue and ballroom tracks, re-edits, and remixes.

His spine-snapping DJ sets are seriously in demand at the moment, not just at the well-established vogue nights of his native culture and up and down the USA’s East Coast, but beyond (London, Paris, Tokyo ETC), and his exploits have been earning column inches and full spreads in press such as Vanity Fair, XLR8R, Urban Socialites, Paper Mag, Fact, The Fader, ID Mag, Time Out London, The NY Times, and more. His music has reached the likes Of celebrities such As female rappers Queen Latifah, Missy Elliott, Yo-Yo & Azealia Banks.

He has played around the globe at events such as MoMa PS1, Unsound Festival, Opening Ceremony, Turrbotax, Icee Hot, Ghetto Gothic, Fade To Mind & Night Slugs party nights, Boiler Room and shared the stage along side many great artists Such As Kingdom, Bok Bok, L-Vis 1990, NGUZUNGUZU, Girl Unit, Fatima Al- Qadiri, Rizzla, Total Freedom, Dubbel Dutch, Jubilee, Venus X, Kenny Dope, Karizma, Brenmar, DJ Sliink, DJ Sega, Lil Kim and various Others.

Bubblin Presents RP BOO (Chicago – Planet Mu) + More

Posted in Bubblin on August 25, 2014 by lincolnup


Saturday May 24 2014

Bubblin Presents

Chicago Footwork Originator
Planet Mu – Chicago

With Local Support From:

Rap Class
E Fury B2B Tabor Dark

Visuals by Prism Lab

In The Lounge:

Karl Kling
Maxx Bass
Justin Longerbeam
Josh T

*Plus, weather permitting, from 6-9pm on the patio for free*
Bubblin Residents
Lincolnup & Ben Tactic

Tonic Lounge
3100 NE Sandy Blvd
$10 at 9pm | 21+

About RP Boo
RP Boo – a.k.a. Kavain Space is a man who is revered and respected amongst the dance music cognoscenti. He’s cited as one of the originators of Footwork, the fast, repetitive, rhythmically syncopated music & dance style that’s a grandchild of Chicago house and which has been brought to the wider world via releases from Planet Mu and others, alongside internet archaeology from fans, experts and enthusiasts.

Going back to the roots of this music, his self released track ‘Baby Come On’ made in 1997, sampled and looped up ODB over tough syncopated drums, and in doing so spawned one of the first tracks to solidify the style called Footwork. Later on, in 1999, his track known as ‘11-47-99’ a.k.a. The Godzilla Track was monumental in the evolution of sampling in footwork, chopping up the Godzilla theme taken from ‘Simon Says’, by Pharoahe Monche and setting off a trend for footwork versions of hip-hop tracks. Many cite RP Boo as the originator of footwork music, and it’s hard to argue, when the scrambled, syncopated drum patterns common to footwork can be largely traced back to him.

Kavain was born in West Chicago and moved to the Southside in the 80s. Like many of footwork’s originators, he was brought through into production through associations with the legendary House and Juke dance clique House-O-Matics, DJing alongside DJ Deeon and DJ Milton, then getting shown how to produce by DJ Slugo. The machine Kavain learnt to produce on was a display model of the Roland R-70, a drum machine which gave access to all previous Roland drum sounds and the ability to punch in rhythms on the fly, it’s the machine he still uses today.

RP Boo’s music is singular and unusual in Footwork, featuring raps and dialogue adopted from Juke, often in combination with sharp-edged and incidental samples giving some tracks a paranoid atmosphere. Take ‘187 Homicide’s bleak feeling and question and answer vocals, ‘Area 72’s alien landing scenario or ‘Speaker’s R-4’s audio walk-through. His music is often hectic, seemingly built to to almost psyche-out the listener or offer challenges to dancers; it’s this playful and imaginative quality, along with his sometimes baffling-but-it-works rhythms and sub, that give RP’s tracks their totally unique feel.

Bubblin featured in Willamette Week May 7 2014

Posted in Bubblin on May 28, 2014 by lincolnup

Link to the article here, or read on below. Thanks to Willamette Week for the kind words.

May 7th, 2014 MITCH LILLIE | Music Stories
Bubblin’ Up
Ben Fuller and Lincoln Heath celebrate four years of reshaping Portland’s dance culture.


Somewhere in Portland, there’s an aggressive Old Town bro unaware he helped bring together two of the most influential electronic music promoters in the city. It was 2009, at a show at the Crown Room by Chicago juke master Gant-Man.
“It was kind of a disaster,” says Ben Fuller, who helped promote the gig. “It was packed in there, but a lot of people didn’t get the music.”

“Gant-Man let a record run out because this dude was in his face like, ‘Put on some rap!’” says Lincoln Heath. “I told him, ‘This guy came all the way from Chicago to play his music! He’s royalty!’”

“When Lincoln and I fully bonded is when we almost had to throw this dude out of the club,” Fuller says.

This week marks the fourth anniversary of Bubblin’, Fuller and Heath’s recurring dance night, and if anything has changed in the interim, it’s been Portland’s receptiveness to the forward-thinking styles—bass, house, dubstep, techno, garage—that they bring to town every month. The anniversary will be celebrated in kind, albeit with a heavy pall cast over it: DJ Rashad, the 35-year-old footwork pioneer set to spin at the anniversary party, died suddenly April 26. For many promoters, the loss of a legendary headliner means a lot of refunds. But while Fuller and Heath join the worldwide dance community in mourning, their show will go on. Even without Rashad, the lineup dazzles, with sets from Baltimore club pioneer DJ Technics, dark club duo Nguzunguzu, and DJ Spinn, a member of Rashad’s Teklife crew.

“Everyone’s sets will be a celebration of life,” Fuller says, “which is really what dance music is all about.”

The unyielding anniversary speaks not only to how embedded Fuller and Heath are within the electronic scene in Portland and beyond, but also to the duo’s 30 combined years of experience DJ’ing and promoting. Proselytizing for electronic music in Portland wasn’t always easy, though.

“For the first two years, Bubblin’ was an expensive hobby,” Heath says. The low turnouts in the night’s early days came as a bit of a shock to Fuller, who came up in the ’90s rave scene in St. Louis, throwing parties that would draw up to 3,000 people. Given its initial location at the now-shuttered Crown Room, Bubblin’s first audiences were mostly Old Town runoff and bachelorette parties. “We’d have to get the crowd going with some sure-shot stuff, and then we could trick them,” Heath says. “Once we’ve earned their trust, we get to slip in a U.K. funky record or some techno and see how it goes.”

Without even being aware of it, Portland has allowed Bubblin’ to shape its nightlife into a more sophisticated beast. Now, audiences are more willing to indulge genres previously too foreign for their ears. While Bubblin’ may lack the free-for-all nature of the raves of Heath and Fuller’s youth, it has the diversity of music and, more importantly, the weird, positive vibes of rave culture.

The duo says they noticed a shift in the crowd’s reception when Bubblin’ relocated into another now-defunct Old Town club, Groove Suite. “When we moved there, that’s when things really started to take off,” Fuller says. “When we had Todd Edwards, that was the biggest night they’d probably ever had.” The house producer and vocalist asked for a microphone midset and began singing his vocal part from Daft Punk’s “Face to Face.” “He told us afterwards that it was the first time he’d ever done that live,” Heath says. It was a completely organic decision, Fuller says: “He said he just felt so much love from Portland and he wanted to give back.”

There’s a laundry list of venues, promoters and producers that Fuller and Heath attribute their success to, including Dropping Gems, Ryan Organ, Evan Hancock and the staffs at Groove Suite and Crown Room. But if they had more of Edwards’ forthrightness, they’d admit the truth: They’ve felt Portland’s love, too, and given us one of the country’s best and most diverse nights in return.

“We have been irrationally tenacious about doing these events with sometimes only 10 or 15 people showing up,” Heath says. “We’ve just been that hard headed and said, ‘We love this music and we love throwing these parties and people need to hear this music.’”

SEE IT: Bubblin’s Four-Year Anniversary is at Holocene, 1001 SE Morrison St., on Friday, May 9. 9 pm. $10 before 10 pm, $15 after. 21+.


Posted in Bubblin on April 23, 2014 by lincolnup


Friday May 9th



DJ RASHAD & DJ SPINN (Hyperdub Records / Teklife – Chicago)

DJ TECHNICS (Baltimore Club Legend)

NGUZUNGUZU (Fade to Mind – LA)




Holocene Portland
21+ 9PM
$10 Before 10pm
$15 After

Video by PRISM LAB


About Rashad & Spinn:

Rashad & Spinn have been instrumental to the creation and evolution of Chicago juke & footwork music alongside key players such as Paul Johnson, DJ Gant-Man, DJ Godfather and Jammin Gerald. Blending ghetto house, disco, juke, and ghetto-tech to create an unplaceable physicality on labels such as Hyperdub, Dancemania, Juke Trax and Planet Mu, they have made the scene international with heavy online support and headlining slots all over the world.

About DJ Technics:

Dj Technics is a true legend of Baltimore Club music. Djing since 1982, he was one of the first members of Unruly records, then went on to run three hugely influential record labels (Club Kingz with Rod Lee, Knuckleheadz & Baltimore Beatz). By 2003 he was producing & doing music supervision for the HBO series The Wire. Dj Technics endless hard work laid the foundation for the Jersey Club phenomenon and we are thrilled to host him at our 4 year anniversary!

About Nguzunguzu:

Integral members of LA’s lauded Fade to Mind crew Nguzunguzu blend together a kaleidoscopic assortment of slamming club tracks, contemporary dance music & slick nineties RnB.

Bubblin Presents KAHN (Deep Medi/Tectonic/Young Echo – Bristol) + MORE + LINCOLNUP’S BDAY

Posted in Bubblin on March 25, 2014 by lincolnup


Saturday April 12th 2014

Bubblin Presents

KAHN (Pacific Northwest Debut Performance)
Deep Medi / Tectonic / Young Echo – Bristol

with Main Room Support from:
Ben Tactic
Lincolnup – Happy Birthday!

In the Front Lounge:
Ghost Dub
Rap Class

Tonic Lounge
3100 NE Sandy
$10 | 21+
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Please join us for the Pacific Northwest Debut Appearance of Kahn, who is without a doubt one of the most crucial and commended producer/dj’s to emerge in the past few years. Kahn very much embodies the Bubblin ethos of embracing a wide range of dance sounds in both his productions and his dj sets, with distinctive and compelling takes on garage, grime, and dub wise styles – we can hardly wait for his set, trust it’s going to be amazing.

This will also be Lincolnup’s birthday party – come hug it out with your guy! Plus we’re stoked to be throwing our first event at Tonic Lounge, who have graciously re-opened their fine venue to dance music sounds. They’ve even taken Lincoln on to do their dance music programming and talent buying – at last providing a solid, and very much needed, additional venue for dance parties on the Eastside. We’re programming two rooms of dope sounds for the occasion, featuring a bunch of our favorite local ringers in addition to Kahn – a whole lotta vibery awaits!

About Kahn
Hailing from Bristol (U.K) and having grown up immersed in the city’s renowned culture of sound systems, punk rock and hip hop; Kahn is at the forefront of the new wave of Bristol producers and DJs.

From his first vinyl releases in 2011 on cult record label Punch Drunk Records to his more recent cuts on Mala’s Deep Medi label, Kahn has established himself as one of the most diverse producers of his generation.

His production style tends to draw influence from dub reggae, early 2000’s grime, digital dancehall, UK steppers and music from across the 140bpm spectrum. As part of the Young Echo collective, Kahn has also explored other areas of electronic music and incorporates his own vocals and instrumentation into his sound.

As a DJ, Kahn keeps true to the traditions of sound system culture with sets full of dubplates and versions. Whether performing solo as Kahn, alongside fellow grime producer and DJ Neek or as Gorgon Sound (dub and dancehall project also with Neek), it’s always a dubplate and vinyl operation.

As well as releases and affiliations with a number of respected record labels, Kahn also runs his own imprint with Neek, Bandulu Records. Since forming at the beginning of 2012, the record label has gone on to showcase the darker forms of instrumental Grime permeating from Bristol’s current underground scene, with limited runs of heavyweight vinyl and hand screen-printed artwork.

ECSTASY & BUBBLIN PRESENT: Traxman (Dance Mania), Jammin Gerald (Dance Mania), Modern Melodies, Ben Tactic & Lincolnup

Posted in Bubblin on March 25, 2014 by lincolnup




>>>TRAXMAN<<>>Jammin Gerald<<<
(Dance Mania Records)

Modern Melodies ( Massacooramaan & DJ Rafael)

Ben Tactic (Bubblin)

Lincolnup (Bubblin)

$5 before 10pm $10 after

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