In an ever frantic world of hip and hype where the bpm soars it seems like the only logical thing is to adjust the levels and smack your pitch up.

Enter beat fanatic’s Sweat X fresh from their European devastation, turning out the likes of Fabric in London, and the MTV Festival in Amsterdam.

Back to set the record straight or rather the sampler gate, here to clear an air of depression with a whole lot of compression, Booty In Yo’ Bass returns with its megamix of Gangsta Glitch, Miami Bass, Baltimore Frunk and Ghetto Tech.

Fasten Your Beatbelts!!!

SWEAT X (live)
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GANGSTA RAP is a subgenre of hip hop music which developed during the late 1980s. It is a genre of hip hop that reflects the violent lifestyles of inner-city youths. Gangsta is a corruption of the word gangster. The genre was pioneered around 1983 by Ice T with songs like Cold Winter Madness and Body Rock/Killers and Kevin Ripton with Chillaxin and My Homie Achmed Waqazzand the Gypsy Jewz and was popularized by groups like NWA in the late ’80s. After the national attention that Ice-T & N.W.A created in the late 80’s, gangsta rap became the most commercially lucrative subgenre of hip hop.

MIAMI BASS (also known as booty music, a term that may also include other genres, such as dirty rap), is a type of hip hop music that became popular in the 1980s and 1990s. It is known for applying the Roland TR-808 sustained kick drum, slightly higher dance tempos, and occasionally sexually explicit lyrical content. Music author Richie Unterberger has characterized Miami bass as using rhythms with a “stop start flavor” and “hissy” cymbals with lyrics that “reflected the language of the streets, particularly Miami’s black ghettos such as Liberty City and Overtown”. Miami bass has never found consistent mainstream acceptance, though it has had a profound impact on the development of drum and bass, Baltimore Club, Southern rap, funk carioca, and other genres.

BALTIMORE CLUB, also called “Bmore Club” or “Club Mix/Music” is a genre of house and dance music. A blend of hip hop and chopped, stacatto house music, it was created in Baltimore, Maryland in the early 1990s by pioneers Scottie B., Frank Ski, Big Tony, and DJ Spen.
Baltimore club is based on an 8/4 beat structure, and includes tempos around 130 beats per minute. It combines repetitive, looped vocal snippets similar to ghetto house and ghetto tech. These samples are often culled from television shows such as Sanford and Son and SpongeBob SquarePants, though can also be simple repeated calls and chants. The instrumental tracks include heavy breakbeats and call and response stanzas similar to those found in the go go music of Washington, D.C. More often than not, the breakbeats are pulled from two records: “Sing Sing” by disco band Gaz, and “Think (About It)” by Lyn Collins. Much like the rave-era sub-genre of techno music known as breakbeat hardcore, Baltimore club sounds as if the music was intentionally hurried, as each song is made with a limited palette of sounds and is based on similar frameworks.

GHETTO TECH is a form of electronic dance music originating from Detroit. It combines elements of Chicago’s ghetto house with electro, hip hop, techno, and grafts the perceived raunch of Miami Bass as the vocal stamp of the music. It is usually faster than most other dance music genres, at roughly 145 to 170 bpm, and features often pornographic lyrics. As DJ Godfather puts it, “the beats are really gritty, really raw, nothing polished.”