MING Teams Up With Firepower For A Bass Heavy EP & Gives TSS An Exclusive Interview Plus A Bonus TSS Premiere

MING Teams Up With Firepower For A Bass Heavy EP & Gives TSS An Exclusive Interview Plus A Bonus TSS Premiere
Josh Duham

Oh my what a day it has been. We’ve gotten some crazy releases today but none that have topped MING’s Blackout EP on Firepower Records! The well experienced producer’s latest work of art comes in the form of dark, demonic bass heavy Dubstep! Along with some Drum & Bass and Trapstep, the Blackout EP features 5 perfectly crafted tracks that will test the boundaries of your ear drums and speakers. Not only that, but we got an exclusive interview with the man of the hour. He tells us about how he came onto the scene as well as his thoughts on ghost producing. And in case you’re wondering what a Beerwhore is, keep reading…

MING x TSS Interview
So some of our fans might not know you, would you mind giving us a brief introduction?

In another life, I was one half of the experimental hip-hop group Ming+FS. We released four albums: Hell’s Kitchen, The Human Condition, Subway Series, and Back to One. I cut my teeth as a DJ during the golden years of turntablism, touring with such acts as the Beat Junkies and Invisible Scratch Pickles. Honestly, I’ve been producing electronic music and exploring new sounds longer than most of today’s EDM fans have known about the genre(s)—or been alive. I also play keys, guitar, bass, and kit.

Where does your musical background stem from? In other words, what got you into music?

I started out as a guitarist in metal bands; eventually I got into early industrial dance bands like Front 242, Nitzer Ebb, Ministry, Skinny Puppy and NIN. In high school, I began producing guitar-based industrial music and started listening to more aggressive dance-oriented sounds. From there, the industrial dance scene morphed into early Break beat / Jungle groups like Meat Beat Manifesto, Acen, The Prodigy, and Mickey Finn.
In college, I bought a pair of turntables and started spinning early Jungle and Drum and Bass. I traded mixtapes with other DJs and threw small events. I guess I got in very early on the American break beat scene.

What’s it like being a producer in dance music right now? There’s so many DJ’s out there fighting to be heard.

Now that major labels have gotten involved, the dance music scene is supersaturated. EDM has gone pop, and that brings with it scores of fans that don’t appreciate the nuances of good electronic music. Truthfully, I don’t give a shit about all that. I was making music I could stand behind before the current trends; I’ll continue to push the boundaries of dance music even if/when dance music loses its pop appeal. Quality music comes from the love of the music. It’s not about seeking fame or tweeting pictures of your entourage sloppily eating fast food.

How did the collaborations and Firepower release come about?

The EP itself took shape via a collaboration with Mister Black. He and I were working on a separate project when he began the production for “Drop Out.” When I heard his framework, I was inspired to add something Trap to complement his Dubstep vibe. That “Trapstep” sound became the backbone of the EP.
I was stoked on the freshness of the sound; I tweeted the track to Datsik and he hit me back, asking if I had anything else to submit. Immediately, I went to work on “Like it Rough,” “Get Even With You,” and “Need for Killing.”
Meanwhile, Ricky Vaughn and I had just finished a remix of “It Won’t Stop” for Sevyn Streeter. We’d begun another track called “Mr. Incredible,” but when Datsik asked if I wanted to release an EP through Firepower, we put “Mr. Incredible” on hold. Instead, Ricky and I collaborated on what became the titular track for the Blackout EP. We then worked to assemble a corresponding Blackout Tour.

Got any dream collaborations?

I’m a huge reggae fan. I’d love to work with Damian Marley on something that credibly brings bass oriented music to his fans. I know he and Skrillex did that one song together but I’d like to realize a full album rooted in Dub and Hip-Hop.

What’s your guilty pleasure music genre? What do you like listening to outside of Dance Music?

See above. Reggae. If you’re in the car with me that’s what well be listening to. I also listen to indie rock. I love discovering interesting indie rock vocalists. (I’m currently doing an album with indie rocker Toby Martin from the Australian band Youth Group.)

Where do you see your careers in 5 years?

I’m working towards my first solo album now, so in five years I’ll probably have released 2-3 solo albums, toured like crazy, scored a couple films, and written and produced an album or two with other artists. I produce music incessantly so it’s really hard to predict my output five years from now.

Do you prefer big festival crowds or small club crowds?

I’m a real DJ and I play for the venue. Festivals and clubs both have their unique upsides. I love the intimacy and vibe of a club venue, in part because it’s easier to read the crowd. In truth, that’s likely because club crowds tend to actually dance. On the other hand, festivals are fun for dropping massive tunes suited for jumping up and down.

What’s your thoughts and standpoint on ghost producing?

I’ve ghost produced for people in both the Hip-Hop and EDM worlds. I’m a record producer; I do this for a living, and ghost production is a revenue stream for me. That said, I’ve ghost produced in some genres, like techno, that really don’t lend themselves to outsourcing. Certain genres should simply be exclusive to the producer whose name appears on the track or album. Genres like minimal techno, IDM, glitch hop, & complextro are really an extension of someone’s personality. If you hire me to produce that music for you, you’re probably fronting to a degree.
Some people are great DJs and showmen but can’t produce. And there’s nothing wrong with that, there’s room for all sorts in electronic music. But honestly, I often find that those who need ghost production are lacking as DJs as well. It stems from that love I mentioned, the care for the craft.

One last question, for fun, can you tell us what a beerwhore is?

Beerwhore was coined at the Meltdown Music Festival in Dallas, Texas Beerwhore (n): One who goes to great lengths to ingest excessive quantities of beer for the sole purpose of having a great fucking time!
Note: Beerwhores often raid other DJs’ backstage riders for supplies. On more than one occasion, the term has been used to describe me and I suspect you as well? #Beerwhore

Now you see why he’s one of my favorite producers and one of the coolest guys to get to know and hangout with. Enjoy the EP fam!

MING – Blackout EP | Beatport |

“Follow” MING: | Facebook | Twitter | Soundcloud |

WAIT THERE’S MORE! You didn’t think we would forget the bonus track did you? Nope! Rickey Vaughn did an exclusive remix for the Blackout EP and he gave away the premiere to TSS! This is the perfect addition and bonus track to wrap up this epic post. You got a lot of listening to do:

MING – Blackout EP | Beatport |

“Follow” Ricky Vaughn: | Facebook | Soundcloud |




Josh Duham

Alien from Boston. @Jduham

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