I’ve probably said the word “Trippy” 1,000 times since the new year chimed in. Thanks, Juicy J.

In other news, I just remembered this part ov this song by Kool Keith called “Clifton”, in which Motion Man (the rapper guesting on the track) asserts something I just love…

“My occupation: Downfall, and bringin’ niggaz bad luck.”

Trippy. FWM.


A TALE OV TWO REMIXES part deux (and more!)

Hey there! So I recently completed two remixes for interesting folks that I think you should be aware ov. The first one is for a remix competition sponsored by the awesome Error Broadcast record label ( ), and it’s for their artist 96wrld and his song “Private Language” which features otherworldly vocals from Markas Palubenka. The remix contest rules stipulate that the vocal stems must be used, and I was quite happy to oblige this. I turned it into a mildly-trappy, slightly dubby vibefest, and here it is for your listening pleasure:

If you like it, by all means, please tweet it or facebook it out there with the hashtag #PVTRMX to get it some more notice and improve my chances ov getting the attention I will need to be a victorious remixer. 🙂


Next up, a remix I did for my good buddy, Big J The Frothy Main (aka Frothy Fingerz). He’s an amazing producer, songwriter, singer, rapper, musician that you should pay attention to. He’s also my sideman when I do Mac Churlish shows, singing harmonies with me and doing a fine job with ad-libs and crowd hype, so you KNOW I would do anything for him. In this case, that includes taking his ultra-feel-good party jam “#CloudCity” (which I will include after my remix), and jacking it up into Club / House / EDM / Trap territories for the party people ov the world. We should be negotiating a free download ov this when we hit 100 plays, so by all means, share the good vibes and party love music with your friends!

OG version:


ALSO!!! In TwerkOut Records news, we have just officially dropped the FREE DOWNLOAD teaser EP for our homie GYPSYMAMBA ( / ) that you can cop for free RIGHT NOW!~!! My man brings the heaviness and vibe like no other, and he’s recently been spotted str8 KILLING it at Low End Theory, so you KNOW you gotta get on this vibe BEFORE we drop his amazing “Return Of The Gypspy” 12″ on lovely gooey green vinyl at the jump ov 2014!!! CHECK IT OUT // DOWNLOAD IT FREE !!!

I love y’all. Thanks for ridin’ with me. Enjoy the sounds!!! ❤

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#REAL #TRAP #SHIFT Free Comp featuring YR BOY LZR

The awesome folks over at #REAL #TRAP #SHIFT ( ) have put together a free mixtape/comp. ov unreleased tracks by a gang ov high-powered underground Club / Trap / Bass / Juke / Trill-ass producers and given it to the entire world for FREE!! If you are unfamiliar with their site, it combines many things I love: Beats, Bass, Babes, Boobs, Booties, Bangers, and all kinda other trippy shit that makes me smile. Even if I can’t understand Cyrillic languages, it’s an awesome site, and this compilation is just crazy. Check their brief snippet rundown ov the tracks, and then hit the “BUY” link to go to their mediafire page where you can download all 27 tracks for FREE!!

And you can check my track out directly from my Soundcloud page as well…

This track is a trapped-out, greasy funk, naughty-words edit ov the classic funky soul jam by Joyce Williams, “First Thing I Do In The Morning”, which is a rare funk masterpiece, and a song my old band (Kitchens ov Soul) used to cover to fine effect. I take my junkyard swipe at it, and the bass done got DROPPED, true believers. I hope you find it as jiggalating and humorous as I do. ❤


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Did you perchance check out the 12″ vinyl EP that TwerkOut Records put out for me earlier this year? I just realized I hadn’t really properly posted it on here. What we have is 3 original tracks ov booty-bass worshipping electronic weirdness from myself, and 4 remixes from amazing producer homies like Subp Yao, Luisterwaar, Sleeve↓, and Fulgeance. All lovingly contained in beautiful colored vinyl. Also adorned with a great, hand-drawn likeness ov me surrounded by tiddies and booties. You just can’t beat that. Check it out, and get one while we still have copies available!!!! ❤

ALSO, don’t forget to cop the FREE DOWNLOAD “TRAPVISION” album I put together from weird odds and ends beats that I made for alien rappers from galactic ghettos unknown. Did I mention FREE DOWNLOAD?!?!?!?



HEY GUYS! I hadn’t put anything up on Soundcloud (or on this blog) in awhile, so I thought I’d remedy that right quick and drop a couple quick bangers on you from this stash I was unknowingly amassing over here. FIRST UP: I did a Justin Timberlake Remix. I know there’s a whole lot ov those out there right now, but they’re all ov the same 2 songs. Perhaps people haven’t listened to the whole album? It’s damn good, and there’s quite a few great songs on there that people seem to be missing. Case in point; “Don’t Hold The Wall”, very exciting danceable song with cool, ethnic-sounding percussion and all that jazz.. I take the vocal intro, and some other facets here and there, and basically try to make a remix with minimal sampling, and maximum creativity / vibe. So here you have it, free download for you lovelies.




ALSO, I just uploaded the SUPER DUPER VIP MIX to my track “CHANGES” off ov my JUKEWORX 2.0 release. I did a VIP Mix as well previously, which I’ll include below, but this one takes the track out ov Juke / Footwork territory, and drops it right into Heavy Bass Trap world for a spin around. Something to work out those club soundsystems proper-like. I hope you enjoy, FREE DOWNLOAD BABY, AWWWWWWW YEEEEAH !!!!




I hope you enjoy those, feel free to share ’em, make fun ov em with yr friends, etc. And keep an eye out for SQUID SQUAD !!!!!




IN CASE you haven’t been hipped to the hippest hip shit going right now, The BIGGA MIXX Show is now BACK on the internet air, after a short, unplanned hiatus. That’s right folks, TUESDAY NIGHT is BIGGA MIXX NIGHT now, and forever… But no, we are not back on the station that used to host our broadcast, and neither are we holed up in that tiny utility closet that was transformed into a tinier radio station studio. We broadcast from the comfort ov the Thug Mansion, the Ninebar Ranchin’, out in the swamps ov beautiful Alachua, FL, all while smoking / drankin’ good, and eating good too ( tuesday just happens to be $2 Sammich day at David’s Real Pit BBQ here in G-Ville, so now we consider them an official sponsor, because there’s no BMS without BBQ ). And we can have as many friends as we want, shoot guns out the back, look at the moon with a telescope in the field, build a fire, and generally just cut loose whichever way we feel, which, as you may or may not know, was an impossibility before.

HOW HAVE WE ACHIEVED ALL THIS AWESOME AMERICAN FREEDOM, YOU ASK? Funny you should ask that, I was gonna tell you anyways. There’s an awesome internet radio broadcasting / listening service called MIXLR ( easily found at ), and I have a channel set up there where we broadcast EVERY TUESDAY NIGHT at 7PM Eastern Standard Timezone ( and occasionally other times with fun other stuff ). here is the link for our channel:

You can go to their site and listen directly from that link, OR if you have an iOS device and would prefer to listen on that, you can download their FREE app, which is really awesome, and much more fun than Pandora or whatever Spotify thing. Plus, it’s interactive: there’s a chatroom, which is always fun / hilarious with our group.

All in all, we view this as the best thing to ever happen to us. It gave us our Tuesday nights back, it gave us our radio show back. I’m still playing the newest / freshest / coolest / weirdest music I can find, we’re still bagging on Barry whenever we can, we still make dumb jokes and sing songs and generally buffoon about in a pleasant way. Same old BIGGA MIXX, brand new channel. Hell, we even got ST. IDES Malt Liquor back on as a sponsor. BIG TINGS.

here’s a link to a podcast ov our Relaunch Party Show.. to give you an idea ov how it goes these days…

ALSO, if you’re on facebook, go throw a “LIKE” over at the BIGGA MIXX show page!

THANKS GUYS!! Hope you join us TONIGHT and every Tuesday night!!!




Moving house (yet again) pretty recently got me thinking about vinyl / DJ’ing / collecting, because I had to move what amounts to be only HALF ov my vinyl collection (yet again) and it was a very daunting task indeed. I see a lot ov people who are vinyl purists, and who still hold a flame for DJing using ONLY vinyl and turntables. I certainly felt that way for a long, long time, and certainly put a great amount ov effort into perfecting that craft. I must also add that learning to DJ in what I will hereafter refer to as analog-style has shifted and broadened my musical spectrum and understanding in ways that playing traditional instruments could never have. Turntablism and skratching actually influenced my playing on drum kit more than any professional percussionist ever has. It was my lifestyle; I spent tons ov money on records just to destroy them night after night in bars/clubs. I see the effects now when I move them; tattered covers, dog-eared corners, cracks and scratches. It was a religion, almost, and at the advent ov CDJ technology, those among my like-minded peer group would openly disparage CDJ users as “cheaters” or “human jukeboxes”. I still don’t like CDJs, to be truthful, I have never really enjoyed using them, although the ability to create loops (and to play stuff I could never get on vinyl) was pretty appealing, initially.

But what I’m really examining now is the moment I fell out ov love with being a vinyl DJ. It was such a big thing for me. I even started collecting records with the intent ov DJing them (like finding acapellas and instrumentals to mix together) a good year and a half before ever touching a set ov decks myself. I thought about it day and night, much as I had since I was a kid trying to figure out exactly WTF was going on with the track “Peter Piper” by RUN DMC. The first time I touched tables, I was already pretty good. That’s how much I had thought about it. I learned to match beats within minutes, and quickly dropped the acapella for “Take It Easy” by Mad Lion over “Bucktown” by Smif N Wessun, quite pleased with myself, and dead set on doing this indefinitely.

The internet, and all its attendant innovations, changed everything. First, it changed buying records, making more things more available to more people than ever before. Then mp3 compression technology came about, and music was no longer a thing one had to necessarily save up for, carefully deliberate purchase ov with hard-earned money, or pore over countless underground magazines to find out about. With all that obviously came the innovations that have landed us where we are today. When Serato Scratch Live first came out, I was super jazzed up about it, but only ever had a few interactions with it. It seemed to solve all the problems / limitations I associated with DJing analog-style, or at least the dreams and wishes I had to take my mixing / live remixing capabilities to the next level…. But (confession time), I never actually have owned a set ov turntables myself, nor did I have the economic capability to acquire the necessary components to make Serato a reality. Instead, I kept on buying records and playing them, somehow holding on to an unspoken personal superiority that I was keeping a tradition alive in fine style.

Then, I was gifted a Macbook (with dubious acquisition origins) from a friend who had a nicer/newer Mac, and also wanted the conspicuous article out ov his possession. I immediately began immersing myself in the Traktor software, and within the week did my first DJ gig with laptop, using hotkeys to control the interface. I was hooked; All the songs I could never play before because the vinyl simply didn’t exist (or was unavailable at the time), all the intros I wanted to extend to mix longer, all the live remixes I wanted to do.. They were mine now.

In the months/years to follow, I caught a lot ov shit from people who thought I was somehow squandering my turntable talents (which are still very much intact, thank you), who thought that I was being lazy, and who simply didn’t want to see someone standing there twiddling with a laptop. And on that last point, I can’t help but to agree with them a little bit. I didn’t necessarily want to see a guy mulling over a laptop as a performance either, but I also didn’t want to limit myself to other’s perceptions when I KNEW that musically I was doing what I felt was important to do, and (more importantly) what SOUNDED good.

I would see analog-style DJs playing out, most without what I would call adequate turntablism skills, certainly most without compositional style that makes songs flow together in a way that makes sense, and doesn’t interrupt / intersect things improperly. I would see them struggling with their environments: bass vibrations making records skip / feedback, skips / crackles / scratches, needle problems, fader bleed, unstable surfaces, the inability to pitch a record up or down far enough to make it blend properly with the song they intended to mix with, etc. They were playing “new” records they had just gotten that I had been playing for months on mp3. I thought, “what is more important? the sound or the medium in which it is conveyed?” The answer there is pretty obvious to me.

As the game played on, I began to find more ways to trick out and flavorize my mixes, whether it be with new effects and options added to the software I was using, or the introduction ov wireless iPad control. I never wanted an iPad before, and I saw them as pretty useless and excessive devices… Until I figured out that you could wirelessly control software via midi / wifi with one. That has set me free in numerous ways, from X/Y axis FX controls, to cue point magnificence / beat-juggling, to just the freedom ov not being stuck behind some decks or a laptop, and chained to a pair ov headphones. When I played with Brenmar a little while ago, he seemed flummoxed that I would dare to mix without using headphones, or that I could even correct a mix if it started to go wrong. I think I can attribute a fair amount ov hearing loss to DJing with headphones over the years, so it ain’t nothing to me to do my damn gig with earplugs in, if the motherfucker is too loud. These ears are all I’ve got, when it comes to my chosen profession (I’ve often thought this when contemplating losing limbs), and I’ve already done ’em in a lil’ bit… But this digital DJing thing, to me anyways, is a composite ov everything I’ve ever done concerning playing / producing this music: matching / mixing beats, looking at waveforms and recognizing the way certain sounds appear visually, etc. I could match beat tempos just by looking at the soundwaves, the same way I would by listening. Hell, before Acid came out, I used to beatmatch samples by calculating the time between beats down to the millisecond, and then extrapolating what the final sample loop time should be, even doing a calculation to figure out the BPM (i’m talking like 1997/98, using Cubase and SAW32 and shit). The possibilities became as endless as my imagination (cue My Little Pony Movie theme song).

To sum up, I started to view analog-style DJing as very primitive, limited, and cumbersome, and digital DJing seemed much more conducive to getting all the troublesome bullshit out ov the way, and getting down to actually making cool things happen with the MUSIC itself. There’s new software / hardware coming out every week that expands the boundaries even further. When people have an idea, it happens. Don’t get me wrong, I am still a vinyl lover. I love to listen to it, love to have my music on it, love to be involved with a label that is dedicated to keeping it alive, I love just LOOKING at it. But I will not be enslaved to the idea that it is somehow superior for DJing in club / bar / huge venue. I love my records, I don’t want to abuse them anymore. Plus, as a person who has been involved with putting out vinyl releases for the last 12 years now, I know for a fact how long it takes music to go from final mix to shrinkwrap. It’s a livable timeframe, but I want new music NOW and I want to play it for other people too. I want to be able to make a track one day, and play it out that same night. That was NEVER an option when I was first coming up, unless you had a dubplate cutting machine / house in your vicinity, and even that would’ve cost you $60 at least. Now, it’s a standard ov our reality.

I even played on Serato a little bit at the BOOTyTRAP monthly party I do last night, and while it was pretty fun to mess around, I mostly missed my effects and things that I have integrated into my style that make music sound more the way that I wish to present it. I gotta say that I think what NI is doing with Traktor and the controllers / mixers they offer is absolutely on point, and very much an encouragement to DJ’s to step their game up, use ALL these interesting options to their personal stylistic development’s benefit, all while having good quality sound. The things that classic, jaw-dropping turntable monsters from the heyday ov DMC championships, like DJ Craze, are doing with their products is just astounding, and these are people who take the analog DJing interface, but still EMBRACE the changes, and ways that they could take advantage ov them, to be yet even more amazing. With all ov these options at your fingertips, it almost seems like an act ov defiance to trudge along the traditional turntable trail these days.

I salute y’all soldiers, but just know that I personally will hold you to the standard that you gotta be a bad motherfucker one way or another to hold that down with awesomeness in this day and age. Trust me, I wanna hear it, if you are. I kinda miss skratching sometimes, but then again… that shit actually annoys me to listen to now. It actually SOUNDS old to me, and truly very few people know how to tastefully incorporate it into their sets these days. Like, just skratching to show off that you can do it. If it adds something tangibly awesome to the vibe / music then COOL, do yo thang. A master is a master, but a true master is likely always learning new things, especially if things evolve (which they tend to). I may not be a master in any sense, but I’m always learning new things and incorporating them into what I do across the board, so I guess that’s what I look for in others as well.

I suppose I would have to say the moment I fell out ov love with analog-style DJing is the moment when the limitations seemed like a setback, rather than a cool advantage. The moment I saw my own capacity for capability open up wide with one paradigm shift. For me, using turntables is just like riding a bike… An old, rusty beach cruiser with no kickstand, where the chain might fall off. I might look good doing it, but I’d rather be doing bunny hops and shit on a new, tricked-out joint, or just enjoying a smooth-ass ride. I hear DJs on the radio in my town on the Rap / R&B station, and they use turntables, jah bless ’em, but they do a lot ov terrible shit, in my not-so-humble opinion, including mixing songs together that sound awful juxtapozed, cutting off songs too early / mixing in too soon, and doing a backspin ON EVERY. SINGLE. F-WORD. MIX. Seriously? Every single time you finish playing a song, you absolutely MUST spin it back real loud like? If you are a DJ and you do that, just please STOP. I mean, don’t stop doing the backspin altogether, just save it for the really big, HYPE mixes. There are a number ov techniques you can use to transition out ov songs creatively. That endless backspin shit is just lazy.

Okay, tangent over, i think.

Anyhow, I could never feel bad about transitioning to digital DJing. It allows me every freedom I longed for every day ov my analog DJing life. It’s even part ov me changing my professional moniker from Mr. Bambü to LZRKMMNDR. A change in approach and sound calls for a change in presentation. Mr. Bambü is the guy that spins records, drops doubles, does slaps, juggles, skratches, and trick-mixes. LZRKMMNDR is the guy that treats DJing like an extention ov producing / remixing / lazer warfare. It’s just that simple.

Although I do really wish I had a pristine set ov 1200’s here and a Vestax PMC02 Pro.

I got a LOT ov fuckin’ records here.



I quietly put out a FREE EP ov next-level beats for you to consume in whichever way you see fit. The title comes from a SUN RA quote, and the cover comes from a 9-BAR NINJA painting. The music comes from MY MIND. And I just keep giving, and giving, and giving it to you. ❤



SUBP YAO & DEAD FE†US – A Tale Ov 2 Remixes

SOOOOOOOOOOO recently I was asked to contribute remixes to releases for both my good bredren SUBP YAO, and my STYLSS Records homie DEAD FE†US. I am honored to be a part ov these projects, and super stoked to share this with you here now.

up first.. my MAN. SUBP YAO, holding it down in Herleen with an impeccably original style. He was kind enough to do a remix for my JUKEWORX 2.0 release, so here we are with a favor returned for his track “O.G.” from his 1000 LP on SATURATE! Records, which I have played plenty on the Bigga Mixx Show on … and then I did this remix….

you can download the whole thing, with more AWESOME remixes from homies like LUISTERWAAR, DJ POUND, MUNIS, oneone, JONEY, etc.. right here:


YOU SHOULD ALSO check out my man’s new LP on SATURATE! as well.. it’s called “SMOKE UP, DRINK UP” and it’s a combo slab ov blissed-up lushness and derped-out trap fever unlike any other. HIGHLY RECOMMENDED. Listen / Access below… PAY WHAT YOU WANT DOWNLOAD. don’t sleep.


NEXT UP, I was invited by STYLSS records pimp-daddy QUARRY to remix a track for the new EP, and I was only too happy to choose the title track and run with it. Dead Fe†us crosses lines as well, but his musical demeanor is more suited to EXXXTRA dim dancefloors, with witchy elements abounding, and a dark sensibility prevailing. I personally LOVE it. My take on his track goes as follows….

BOO YAH. and check out the rest ov the album below, PAY WHAT YOU WANT DOWNLOAD STYLEEEEE.

I’m proud to be asked to do these things, and I suggest you all take a little time to listen to these disparate flavors ov awesome electronic music made by myself and like-minded individuals. SHOUT OUT SUBP YAO, CORY HAYNES, DETH RAY FETUS, TOMPPU, SATURATE!, STYLSS, and all who listen up at our movement.





sup y’all. I clean done forgot about this motherfuckin’ blog right here, but I didn’t forget to keep making music. In fact, I clean done went ham on this iMaschine app from NI ( ) after getting the Maschine apparatus itself and loving it. But i’ve been MUCH more productive with the iPad app version, to be truthful. Here’s a set ov stuff I did using iMaschine that I put together on Soundcloud. They are 24-Bit wav files, so I recommend downloading them, importing them to iTunes, and then converting them to whatever mp3 bitrate suits your purposes best (320 bitch). Lotsa different flavor here, mostly trapped-out, somewhat tripped-out, massively flipped-out, and ready to be shipped-out. IMASCHINE TRAPPIN’ ON YO’ HEAUX ARSE. ENJOY ❤

Ov special note is a set ov tracks that center around a bit ov acapella vocals from Alexander O’Neal’s verse on “Saturday Love” with my girl Cherrelle. First mix was Juke / Footwork to the maxx, then Cameo Sweat weighed in with a nice, housey, two-stepper, then DJ Deadfinger dropped that cloud-hop, slow-trap, expansive vibe shit on it. So i’m putting those tracks here as a feature. CZECH IT.