raggabreaks dubcore speedbeats genreblends
wreckstep soundclashes beatresearch
mashups rewinds basshits boomsounds


taken from
Fat Planet
(Australia) September, 2006

dj c 2

mp3: DJ C & JONNY P seaga face and pj body (yousendit)

mp3: DJ C & ZULU ransom the senator (myspace download)
also available for download at murdochspace/death$ucker

mp3: DJ C crazy baldheads (mashit version)

mp3: ZULU VS JUSTIN TIMBERLAKE spread the sexy word

i’ve written about jake trussel aka dj c twice before (here and here), but i make no excuse for keeping the bandwagon bumping and thumping. dj c blends ragga, breakcore, dancehall, dub and throws it in a turbo-changed blender with a few tablespoons of his own secret ingredient (which is oft referred to as ‘boston bounce’) . his label, mashit, has brought us a collection of some of the finest examples of this bastard genre - all of which are available for download at mashit.com. take time to digest the entire catalogue - each release is of premium quality so it’s almost impossible to single anything out. start with ‘crazy baldheads’ (above) and keep going from there.

you have to admire the generous nature of the label - in giving so much away for free, i would hazard a guess that we’re more likely to purchase a release when it next comes on sale, or go and see these artists when they’re next playing in town. it’s an old argument that i’m not going to re-run, but you get the idea. as an aside, you know the story of downloads killing music? in the six months to june 2006, the australian recording industry association reported a growth in physical cd sales of 17%; total growth including downloads was 5.8%. (source)

aside no.2: much like the prospect of going ‘carbon neutral’ (e.g. putting something back into the environment for every particle that you pollute), maybe we should go ‘music neutral’? for every track we grab for free, we restore the balance with a purchase. just a thought…

we can certainly return the favour to dj c and friends right now - there’s four (count ‘em) releases out now which i urge you to track down and open your wallet for.

first up, there’s a collaboration with jamaican mc jonny p (get a time-limited download of one the versions above) on shockout’s latest release ’seaga face and pj body’ - with jonny p having a swipe at women who bleach their face for a purely cosmetic rationale. on the flip is a version featuring kid606. more info at tigerbeat6.com, or buy at boomkat.

there’s two collaborations with chicago ragga-vocalist zulu; the ‘animal attraction’ 7″ on community library, and the excellent ‘ransom the senator’ four tracker on death$ucker (myspace download link above). zulu is a talent to keep our eyes skinned for, check out his own blend of an original track (’spread the word’) with timberlake’s ’sexy back’ above.

finally, there’s a digital-only 6 track ep available on cozy music entitled ‘traced milk’. in a break from what we’ve come to expect, this collection apparently presents a more downtempo dj c, “a series of short beat poems” and “chilled out goodies”. release info at cozymusic.org, download details at mashit.com/djc.


The Fader Magazine, issue 33, Oct/Nov, 2005
Boston Bounce
The Ass-Shaking Academia of Beat Research and Wayne&Wax

By Nick Barat

Wayne&Wax, DJ C, and DJ Flack (photo by jessica dimmock)

Jake Trussell and Antony Flackett met in a grad school class at the Massachusetts College of Art's Studio for Interrelated Media. "I was trying to build a MIDI controlled sampler out of Hallmark cards -- you know, the ones that you could record a message onto, and when the recipient opens it , the message plays back," Trussell recalls. "I was super impressed," adds Flackett, who promptly used the idea in one of his video collages. The men otherwise known as DJ C and DJ Flack have spent the ten years since performing as the beatboxing/laptopping/turntabling/video-projecting combo DuoTone, and have also dropped a number of vinyl and CD releases of "experimental party music" on the self-owned Mashit label. But at Trussell and Flackett's weekly Beat Research party, all those theoretical jamz get put to the ultimate test: making people dance.

Held every Monday at Cambridge's Enormous Room, Beat Research has played host to guests ranging from Montreal dancehall deconstructivist Ghislain Poirier to students from Flackett's class at MassArt, where he is now a professor. "I like to emphasize how art that comes from a club or party can be just as important and valid as what ends up in a gallery, if not more so," Flackett says. One regular guest is fellow beatmaker/academic Wayne Marshall. Along with teaching electronic music courses at Brown and Harvard Extension School, ethnomusicologist Marshall records and DJs as Wayne&Wax; his solo album Boston Jerk juxtaposes original, pull up-worthy dancehall cuts with found-sound spoken word interludes and a version of the Diwali riddim made from samples of dogs barking.

Recently, the three were among the artists featured on the (((Re:Sounnd))) compilation, coinciding with a gallery exhibition that studied the links between outlaw soundsystems and the creation of indigenous electronic music scenes from Jamaica to detroit to the UK. That comp was the debut of "Boston Bounce" -- think Baltimore club with a triplet swing beat thrown in -- created by Trussell as Boston's own local contribution to that pantheon. While the Enormous Room isn't quite an "outlaw soundsystem," it does represent a massive two-step away from the ivory tower, and perfectly illustrates how Trussell, Flackett and Marshall have found individual ways to turn academic philosophies into actual, living art. If the people losing their shit to Boston Bounce tracks at Beat research are any indication, maybe all those posters of Garfield reading a book were right, and learnin really can be fun.


URB Magazine, November 2005
DJ C feat. Shinehead Billy Jungle (Mashit)
By Rob Da Bank

One of the most forward-looking [US] labels (if you like your electronics mashed up) finally releases this version of the Shinehead original, which was a corking reggae version of Michael Jackson's "Billie Jean." If you ever need a record to get a party started and you've forgotten your copy of "blue Monday," whack this on.


Grooves Magazine, September, 2005
By Howard Shih

DJ C live at Toxic Dancehall, Bristol, U.K., 6/11/05

Over a decade since jungle's infectious combination of double-time breakbeats, throbbing half-time dub bass lines, and vocal samples of Jamaican patois first exploded out of London's dance music underground, the music has found new life an ocean away in America on labels like Shockout, Rewind, and Jake Trussell's Boston-based Mashit Records. While Kid 606's Shockout may have a higher profile, Trussell's Mashit has been unleasing its equally devastating blend of raggaphonic junglistic sounds by artists like Aaron Spectre, Murderbot, and Wayne&Wax since 2003. Trussell's own contributions to the label as DJ C have been among the label's finest, whith his blistering remix of Capleton's Conscience a Heng Dem and last year's Billy Jungle, which melds spaghetti-western whistling with a Michael Jackson-impersonating Jamaican vocalist, being particular standouts.

Trussell's musical explorations began at an early age, playing in bands covering classic rock, metal, and Prince songs (later delving into John Zorn and downtown NYC jazz, electreic Miles Davis, and James Brown) but it was his parents who planted the musical seeds in him that continue to bear fruit today. "[They] got me into reggae in the first place, durring the early '80s, listening to all that rub-a-dub, and rockers stuff," he says. After receiving a Technics 1200 turntable as a high-school-graduation gift, Trussell used it to incorporate samples into his four-track recordings, but didn't try his hand at DJing until a few years later. "DJ C was born in "92 or '93," he says. "I actually released a series of cassettes under the name Cee, and then just C. They weren't DJ mixes, though. They were my early experiments with electronic music, using analog synths, drum machines, and my four-track."

In the mid- to late '90s Trussell released two albums of electronic-tinged jungle and post-Orb dub as Electro Organic Sound System while also helping to curate a series of experimental electronic music events with DJ /rupture and others as part of the Toneburst collective. "One of the reasons it started was that a bunch of us like-minded experimentalists couldn't get gigs in the clubs—so we had to create our own venues," says Trussell. "Toneburst was always about doing events in alternative spaces. We did one at the Boston Children's Museum that was great: We had live electronic acts playing in a giant tea cup, analong synth experiments in 'Grandma's Attic,' and people dancing all over the place to hip-hop and jungle beats."

While Toneburst is now defunct, its spirit lives on through Trussell and fellow Mashit artist Antony (DJ Flack) Flackett's weekly Beat Research party—which also happens to be the name of Trussell's newest label. "The first Beat Research record, by DJ Flack, has an instrumental hip-hop remix of an indian-flavored Cul de Sac tune, a klezmer/dubstep tune, some Hawaiian-flavored beats, and a tune with Czech folk-music samples," says Trussell. "[The label] is an attempt to spread out into different areas ... When I DJ, I play all kinds of music, and I want my own work to reflect that."

Indeed, head to Mashit's website (www.mashit.com) and you'll hear Trussell's live and DJ sets, which demonstrate his ability to confound strict genre boundaries by mutating jungle, hip-hop, dancehall, bhangra, techno, rock, and folk into a super-virus of mind-bending and ass-shaking sound. "Recently, the DJ C stuff has been less jungle, and more Boston bounce—a sound influenced by grime/dubstep, Baltimore club, shuffle, etc.," Trussell says. "Another project I'm excited about at the moment is the B series of DJ mixes... So far the Breakment and Boots mixes are available [online] ... Future mixes in the series will include Berlin, Bouncement, Bhang, and Boston.

DJ Flack's Meet Mr. Doobie and Murderbot's Fi You 12-inches are out now on Mashit.


International DJ Magazine, August, 2005
DJ C & Quality Diamond Let It Billie - Scandal Bag

Boston’s DJ C has been busy tearing up jungle tunes for his breakcore brethren with his Mashit label. Yet his reworking of Shinehead & Mr. Jackson’s ‘Billie Jean’ is his most potent transmission to date. A brilliant marriage of pop and noisefest, it’s dancehall carnage for reggaefied headbangers. And the crew behind London’s Heatwave nights have cannily engineered a brilliant meeting for Mr. C with ever improving dancehall MC Diamond. The result is a hyper jungle anthem that will fight it out with the current mash up of ‘Jamrock’ for subterranean dominance in the rave. Diamond’s old skool vocal style offsets the musical rollercoaster brilliantly. Wicked. -Kevin Martin


Grooves Magazine, September, 2005
Wayne&Wax A It Dat [Mashit 005]
DJ Flack Meet Mr. Doobie/Story of Oh (DJ C Mix) [Mashit 006]
Murderbot Fi You/Twilight Zone [Mashit 007)

For its latest releases, Boston's mighty Mashit calls on local riddim scientists DJ Flack and Wayne&Wax along with Kansas City's Murderbot to unleash a triple threat of raggatronic breaks from its laboratory. An academic who has taught an electronic-music history course at the Harvard Extension School and is working on his dissertation on hip-hop and reggae's symbiotic relationship, Wayne&Wax puts his theory into practice, dropping beats and rhymes with Jamaican DJs Dami D and Wasp on the bouncing mutant dancehall of 'A It Dat.' Those wanting to come up with their own alternate theories can work from the acapella and instrumentals of the track but will have a hard time matching the junglist jump-up remix by Mashit founder DJ C.

With 'Meet Mr. Doobie,' DJ Flack proves that the kitschy tiki-lounge jungle breaks pioneered by Luke Vibert on his seminal trilogy of Plug 12-inches still sound as fun and fresh as they did when they were released nearly a decade ago. Murderbot demonstrates just how strong his next-generation ragga-core kung-fu skills are on "Fi You," while also demonstrating a strong sense of musical dynamics with his ballsy use of Jethro Tull's "Cross Eye Mary" to build up the tension before the killer breakbeats on "Twilight Zone."
- Howard Shih


XLR8R Magazine, August, 2005
Murderbot, Fi You
(Mashit 007)

Kansas City's Murderbot is one of the U.S.'s leading ragga jungle producers and "Fi You" blends Waterhouse vocal samples with rattling amens. Headz who'll play anything from Luke Vibert's Plug to Congo Natty plates should check [this] inventive disc...
- DJ Chopper


XLR8R Magazine, January-February, 2005
Leftfield Guest Reviews: DJ Flack & DJ C

DJ Flack and DJ C

DJ Flack (Antony Flackett) and DJ C (Jake Trussell) are out to give conservative Boston a kick in the ass. As DuoTone, the two crate bombastic beat collages with turntables, pedals, laptops, microphones and video projectors. They also run the Beat Research night at the Enormous Room in nearby Cambridge, where they play all manner of experimental dance beats, from Bhangra to brock-out drum & bas; the pair is currently starting a label of the same name. In the meantime, DJ C heads up the Mashit imprint, which transmits hard-hitting ragga jungle throughout the land. C's also got a cone-toasting number with Gregory Isaacs coming out on Tigerbeat 6 subsidiary Shockout. And when they get bored (hard to imagine, isn't it?), the pair performs as acapella beat-box-and-rap outfit Beatboxy and Flack. Here's what they're playing now.
-Star Eyes
www.BeatResearch.com, www.Mashit.com, www.DJFlack.com

Panjabi Hit Squad - Desi Beats - AV8/US/12
You may have noticed Indian music seeping into hip-hop and dancehall recently. On this rockin' bhangra record, familiar riffs by Timbaland ('Ugly"), Neptunes ("Pass The Corvoisier") and Dr. Dre ("No More Drama") are skillfully reworked with traditional indian vocals and instruments for Maximized booty shakin' from Boston to Bombay. -DJ Flack and DJ C

Virtuoso - Fahrenheit 9/11 - Raptivism/US/12
As a proud Massachusetts liberal, it's great to hear local talent tear into Bush and his war with such well-placed anger. The instrumentals can stand on their own too, which is a must for me. "Fahrenheit 9/11," featuring Slain, is melancholy and haunting; "military Intelligence" with Akrobatic is dark and menacing-a perfect fit for this post-election mood. -DJ Flack

Krinjah - Fugees Hand Grenade - Hand Grenade/CAN/12
Krinjah is little known outside the inner circles of the ragga jungle resurgence, but for some he's a hero. The A-side is a rinsing update of "Squeeze," the jungle classic by DJ Ash 7 DJ Vern, while side B rides Lauren Hill's "Killing Me Softly" into an onslaught of jungle madness. -DJ C


Boston Magazine, March 2005
Spin City
If these innovative local DJs can't find a "Boston sound," they'll invent it themselves.
By Rachel Strutt

Most local DJs fall neatly within specific genres—house, or a mix of trance and techno. But DJ and electronic musician Jake Trussell ignores such labels by fusing a madcap panoply of styles and sounds, ranging from reggae to dubcore to computer-generated speed beats. Whether he's DJing at a club or composing sonic collages on his laptop, Trussell is an alchemist of sound, a guy with a knack for sustaining a danceable groove. Sometimes that groove may subside while a frenetic burst of breakbeat takes center stage, but it reemerges, unscathed and steady.

"I get bored pretty easily if I stick with one genre," says Trussell, who is also known as DJ C. "So I think, What can I throw in? I like taking something that people are familiar with from radio and mixing it with some obscure folk song. When DJing, I do a lot of beat matching. By organizing music by tempo, I can somehow mix it together, regardless of genre."

Each Monday night, DJ C along with friend and kindred spirit DJ Flack (Antony Flackett), spins experimental party music at the Enormous Room in Central Square. Dubbed "Beat Research," the weekly soiree never gets stale, thanks to C and Flack's endless vinyl configurations and a revolving cadre of guest DJs, which has recently included local beat splicer Wayne and Wax, a musician who is currently penning his doctoral dissertation on the connections between reggae and hip-hop.

Two years ago, Trussell launched Mashit, an independent record label that features reggae-influenced electronic dance music make by Trussell and others. The niche label has already put out five releases, available on vinyl and as free MP3s which have been snatched up by DJs worldwide. Although the company moniker refers to the ever-popular genre of "mashups," (the conflation of two or more songs into one), the name has other connotations, too. "To 'mash up' the dance is Jamaican patois for when the DJ plays incredibly rocking stuff and people start freaking out on the dance floor," says Trussell, who is deeply inspired by Jamaican musical culture.

Mashit may fall below the radar for many people in its own community, but BBC Radio 1 presenter John Peel named the Somerville-based outfit Label of the Month last October. Peel, who died that same month, has often been credited with helping launch the careers of rock titans like David Bowie and hot acts like the White Stripes, so his championing of Trussell's label is significant.

This month, DJ C and DJ Flack will launch a Mashit sister label called Beat Research, which will be more laid-back and dub-heavy than typical Mashit fare. C and Flack have also started to explore creating a "Boston sound," a project thy hope will culminate with a CD on the new sister label. "There isn't a distinctive Boston sound," Trussell notes with a grin. "That's what we're reacting to. In a lot of cities, a sound naturally evolves. We're taking a different route. We're artificially creating a sound."

(Monday nights. The Enormous Room, 567 Massachusetts Ave., Cambridge, 617-491-5550, www.mashit.com.)


Pitchforkmedia, March 31, 2005
DJ C [ft. Shinehead]: "Billy Jungle"
Four Stars ****

Once a month, I head over to the cyclotron with an eight-year-old to read the latest issue of ATM, the longest running drum'n'bass magazine. I need the electron microscope and the second grader to decipher the fluxed up syntax, non-existent grammar, and shit spelling, all written in two point Sanskrit. (Then I give it to her to line the cage of LTJ Bukem, the class guinea pig.) It's masochism, sure. (I'd learn more about dance music reading ye olde Rooty review on this here site, tee hee.) But I have to keep tabs on "the scene" or DJ Fresh will come to my house and steal my bike.

This month featured some loafers (whenever I think of 21st century mainstream d'n'b, I'm invariably reminded of that dog chasing the little chuck wagon around the kitchen floor) offering their opinion on the "ragga-jungle" revival. While I was initially excited by the thought of DJ Hype being (re)introduced to Soundmurderer et al., it turns out they meant some biddly-biddly-boring samples over the usual contempo clownstep congaline. (Potential Bad Boy, why you gotta do me like that?) Joke's on u, fools: ragga-jungle (the real deal version) is still a crowd pleaser the world over and not conveniently shunted to the old skool tent.

The truth about MJ becomes more sadly undeniable every day (as Megaphone Marc would say, the man is guilty, guilty, guilty), but DJ C takes us back to a time when he convinced the world he was an inveterate seed-spreader while seducing us into feeling sorry for him. (Which, in a much grosser way, he's still doing.) I actually think it's a new vocal or some contemporaneous lovers rock version over a heavy stepping intro (kicks holes through that light-up sidewalk) and a tear out that proves even at his slickest, our biggest public pervert was rugged never smooth. It may not have anything to do with the Tae Bo jazzercise going on at a rave near you, but I'm locking up my bike tonight just in case. -Jess Harvell


BBC Radio 1, John Peel Label of the Month Spotlight, October 2004
Bedroom dance and crazy mash-ups from the US
Listen to a mix by Mashit's DJ C

Mashit records first came to our attention with their very first release a remix of Capleton by DJ C and Aaron Spectre late last year...

In 2003 DJ C started the Mashit label to release hard-hitting raggabreaks and jungcore mashups. The first Mashit 12" (played a good few times on the Peel Show may I add) featured rough and rugged remixes of Capleton by DJ C and Aaron Spectre, and sold out within weeks of it's release. On the recently released 4th Mashit 12" DJ C versioned the version with a raging remix of Shinehead's remake of Michael Jackson's Billy Jean. 
The upcoming Mashit 005 will feature a collaboration between Boston hip hop MC Wayne And Wax, and Kingston JA DJs Wasp and Dami D. All the Mashit records have garnered nuf respect from Japan to Australia, Budapest to Brooklyn. Advanced promos of upcoming Mashit releases are killing dance-floors across Europe and the US months before their release.

DJ C runs Mashit out of his bedroom in Somerville Massachusetts. "I don't just sleep in my bedroom, I DJ, make tracks, and run the label there too" he says, "I mix all kinds of music when I spin records and I'm always looking for records that blend genres in new and fun ways. I want Mashit to be a launch pad for new combinations of great music into compositions that are made to move the crowd."
On a recent Mashit tour of Europe DJ C, Ripley, and Kid Kameleon mashed up so many raging riddims it made heads spin. Jungle, reggae, hardcore, rock, hiphop, folk, bhangra, techno, and just about everything else were represented. They moved crowds with secret beats that got under skin and forced feet to move.
We are told that in the coming months and years that Mashit "will continue researching genre blends, speed beats, and bass hits, releasing the results of those experiments to the public as Mashit 12s, CDs, and MP3s."
Keep your ears peeled.


Musicalbear, September, 2004
John Peel Bigs Up Mashit
“One of Musicalbear’s favourite imprints, Mashit records from the U S of A, has been honoured by the big man John Peel with a slot as one of his labels of the month. Since picking up on their first release in summer 2003 (that Capleton remix…you know the one) we’ve been consistently impressed by their output, which blends some of 90s dancehall’s most potent and memorable vocals by artists like Sizzla, Shinehead and Capleton with tearing amens and general jungle/breakcore madness.

The Mashit DJs also smashed it at our [London] warehouse party back in July, playing alongside the Bug and setting the party off with their raging blend of styles. There’s a mix on the Peel site which features many of the highlights from their rapidly growing catalogue, including the forthcoming single ‘A It Dat’. Watch out also for DJ C’s Gregory Isaacs mashup forthcoming on Shockout which blends a plaintive lament from the cool ruler of reggae with some truly futuristic beats – we’re loving it. Long may the mashups continue.”
- Musicalbear.com

Go to check out the feature on John Peel's site here:
Check out the photos Musicalbear/Mashit/Bug warehouse party in bethnal green London: 
The Mashit Tour Blog has a rant about the party here:


Fat Planet
Wayne And Wax - A It Dat (DJ C It Dat) MP3

“There's plenty of information and free music to download on WayneAndWax's site. This track is taken from the album 'Boston Jerk' - music he wrote, apparently, to accompany a dissertation entitled 'Routes, Rap, Reggae: Hearing the Histories of Reggae and Hip-Hop Together'. Don't be fooled by the academic reference - 'Boston Jerk' is full of humour and is a smart north american take on the contemporary Jamaican sound. This is being released through Mashit - a label I only recently discovered and I felt very sorry that I hadn't got there sooner! A mainstay of the label is Boston's DJ C, purveryor of some damn fine breakcore. On his own site there is a huge collection of MP3s to download.”
- Fat Planet Blog


Grooves Magazine
DJ C - Billy Jungle - Mashit

“Jamaican music purists frown on white guys like the Bug playing around with dancehall riddims, but anything that adds some new flavor to the electronic music circuit is OK with me. Mashit head honcho DJ C has added to the fray with his label's string of 12-inches straight outta Boston. He's behind the controls for the latest EP, which features a version of Shinehead's "Billy Jean" – itself a version of "Billie Jean" – and then offers a version of C's version on the flip side. Of course, fourth-generation versioning is just a start of things in dancehall culture, where a new rhythm can spawn 20 different versions in the time it takes to smoke a spliff.

You can't miss with anything based around "Billie Jean," and Shinehead added a distinctive little whistle based on "The Good, the Bad, and the Ugly" to his version. C frames the verses with those all-so-familiar frantic breaks, but the see-saw effect of the tempo changes gives this a bopping, almost paradoxically laid-back feel in an otherwise-manic genre. C's versioning of the A-side strips our the lyrics, bringing focus to the whistle and the beats – probably a more palatable trak for the breakcore massive, but it isn't quite as much pop fun.”
- Sean Portnoy


DJ C – Billy Jungle (featuring Shinehead) (Mashit 004 12")

“The most recent outing from DJ C has been rinsed out by John Peel, Resonance, Ninja Tune and happy junglists in Europe and the U.S. – no surprise there as he’s really excelled himself this time with a scorching version of Shinehead’s classic, old skool dancehall take on Billy Jean (it’s all about versioning the version). There’s just enough of the morricone sampling original to lull you into a skanking reggae vibe before the amen breaks come crashing in, leaving you clinging on to that elusive melody – ‘they told me her name was billy jean...’. It’s hard to make an impact when you take on one of the most versioned tunes in dance music but this more than succeeds and has kept us at the Bear entertained and amazed since we first dropped the needle on the test pressing. We don’t usually review stuff that’s not available to buy in the U.K., but this is well worth paying u.s. postage costs for – a proper anthem.”
Masta G - www.musicalbear.com


DJ C - Billy Jungle (Mashit 004) gets 10 stars from German magazine future-music
“Schon jetzt absehbar der grösste Hit des bisherigen Mashit-Backkataloges. Über treibenden DarkJungle-Beats interpretiert Shinehead die "Billy Jean"-Vocals des selbsternannten King Of Pop neu, addiert dazu das legendäre Pfeifthema aus dem Westernklassiker "High Noon - 12 Uhr Mittags" und sorgt damit nicht nur für Aufsehen, sondern auch für eine tobende Tanzfläche.

Auf der Flipside findet sich das ganze noch einmal als Version ohne Vocals für alle die nicht auf Gesang können. Feine Sache das und definitiv ein Kandidat für die Endjahrestopten 2004.”
((baze.djunkiii (nitestylez.de, otaku-records.de), 06.2004)


EOSS – Wacko Macko is Backo (Mashit 003 12")
“On the a side of this latest Mashit release, DJ C takes on the Electro Organic Sound System’s haunting, string drenched melody (originally composed for an award winning documentary about alien abductions). The original break twists into a heavy ragga junglistic bass line, nicely offset by a sample from an overlooked Xterminator classic: Sizzla proclaims that ‘babylon a listen from near and far’ and this one surely will shake babylon down to its foundations. The usual tight Mashit production values are in evidence here and on the flip, which sees EOSS take on a hip hop instrumental from producer Moosaka and twist it into a 200 BPM monster, which takes in fierce hardcore and rinsing jungle. The sci fi theme of the record is taken up with some eerie vocal samples which are glitched up in the mix to complete the wacko effect.”
-Masta G - www.musicalbear.com


Eoss - Wacko Macko Is Backo (Mashit 003) gets 8 stars from German magazine future-music
“Schon mit den beiden ersten Schieben hat sich das in Boston beheimatete Mashit-Label einen guten Ruf bei Liebhabern des raggalastigen DarkJungle erarbeitet, den es mit Katalognummer 003 nur bestätigt."Wacko Macko Is Backo" startet ganz unschuldig mit melancholischen Digi-Dancehall-Elementen und herzergreifenden Toastings, die im weiteren Verlauf des Tracks von immer weiter gesteigerten CutUp-Junglebreaks kontrastiert werden, die den Dancefloor in Bewegung bringen, ohne die tragische Grundstimmung zu zerstören.

Auf der Flipside verarbeitet Moosaka die Tatsache, das sie in ihrem Kopf ständig Musik hört, unter Zurhilfenahme zersplitterter Hochgeschwindigkeitsbreaks, die auch Breakcore-Liebhabern ein Lächeln ins Gesicht zaubern werden.”
((baze.djunkiii (nitestylez.de, otaku-records.de), 06.2004)


Mashit 003
“Yeah buddy, Mashit comes correct with a 2 track stomper of post jump up dancefloor madness. Wacko Macko is Backo opens up with some nice string work, and gives way to Sizzla and Capleton's vocals that work quite nicely with the dirty basslines and heavy amens. Moosaka's Masters of Technology carries the b-side by way of an Electro Organic Sound System remix. After a long intro and some deep bass, the track gives way from the splintered hip hop and lets loose into a full on pillaging of 200 BPM drum and bass sure to tear floors apart. Recommended.”
- www.soundclash.net


DJ C – Junglist Bashment mix
“This blinding mix of nu skool ragga jungle from up and coming producer and Mashit records impresario DJ C definitively proves that jungle is no longer a London ting. Tighter than Elton John’s arsehole after major reconstructive surgery, it takes in the tearing amen breaks and jump up bass lines that you love to bug out to, with DJ C paying his respects where they’re due: old skool dancehall vibes include the likes of limb by limb and ring the alarm. Plenty of sounds have got to be dying in New York right now under this kind of junglistic assault. Conscience a heng dem (Mashit 001) was one of the bear’s favourite tunes last year and it looks like his superb remix of Shinehead’s Billy Jean dancehall version – Billy Jungle – is going to be near the top of our list for 2004. Don’t sleep – download this right now.” [MP3: download : stream]
- Musicalbear.com


Mashit - A way-freaked-out diaspora of dub, dancehall, and beat-wrecking, Amazonian-jungle insanity.”
- The Boston Phoenix


DJ C featuring Capelton – Conscience a Heng Dem (Mashit 12)
“The first release from the appropriately named new American label Mashit makes imaginative use of a militant Capelton vocal (an interlude from his ‘More Fire’ LP), aggressively cutting up and looping his rasta-inspired toasting. The a side sees DJ C fusing this with some nasty, American style hardcore techno. the aa side is a hardcore jungle remix from Aaron Spectre, certain to appeal to anyone who’s feeling that Soundmurderer/DJ Scud ragga jungle vibe. One for all dem gangster youts...
Limited availability 12” available from Warpmart and other good outlets.”
- Masta G - www.musicalbear.com


Mashit 001
“DJ C, the man who brought you the Electro Organic Sound System project, returns with a mashed up ragga scorcher. The DJ C track is super dubby and teeters on the breakcore side of things, while Aaron Spectre's remix goes more the route of the ragga/jump up jungle of old. 2 tracks. 100% good. Anyone into ragga, breakcore, or otherwise should check this record out.”
- www.soundclash.net


Mashit 001
“All you BREAKCORE/RUGGED RAGGA fans rejoice! This new US label focuses on Dubcore/ Ragga/Mashups and hard D&B sounds. A-side has ill breakcore drums & mashed up dub sounds topped with the nasty RAGGA stylings of Capelton. Flip is hard edged jungle bizness with full Ragga vox. Fans of Rewind...”
- www.djnexus.com

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