Dj Class + Aaron LaCrate Save Club Music

Now is the time for B-more club sound
Energetic, sample-based sound eludes easy labels with its raw, explicit lyrics, aggressive beat
By Rashod D. Ollison
March 29, 2009
It is the most unrelenting, the most frenetic, the most unapologetically explicit hip-hop sub-genre the country has produced in the past two decades.
The attacking beats of B-more club music have remained a mostly provincial sensation in that time. Over the years, nightspots, including some seedy joints, in Baltimore and throughout the mid-Atlantic region have served as incubators for the turgid mix of concussive kick drums, fire alarmlike synths and profane chants.
Only in the last few years has B-more club music generated some national buzz. But, still, the sound hasn’t achieved a major breakthrough, not in the way the Atlanta-grown crunk sound did.
Just when it seemed B-more club was about to reach prominence in the region and beyond, its “queen,” popular 92Q personality Khia “K-Swift” Edgerton, died in a swimming pool accident.
But in the eight months since her death, two DJs, Highlandtown native Aaron LaCrate and West Baltimore-bred Daniel “DJ Class” Woodis, have been carrying the torch, so to speak.
Both have recently signed major-label deals and will receive worldwide distribution of their new compilations. Earlier this month, LaCrate and his production partner Debonair Samir released B-More Club Crack, their debut for Koch Records, the largest independent label in the United States.
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http://www.baltimoresun.com/entertainment/music/bal-al.club29mar29,0,3219584.story