One of hip-hop’s most acclaimed talents, Count Bass D, celebrates the release of L7, the DJ/MC’s fourth album: a work many agree is an instant classic. L7, which streets on October 7, joins a short list of impressive 2008 releases for 1320 Records – an ascending label owned and operated by electronic madmen STS9. Earlier this year, the label released STS9’s own acclaimed studio album Peaceblaster. Also in 2008: work by the Pnuma Trio (Character), and a fresh new compilation, Eliot Lipp Presents: Way Pavers Volume One, due out this fall.

Count Bass D, aka Dwight Farrell, has long been a musician’s musician, the kind of artist that has pushed the boundaries of his art form consistently since debuting back in 1998. With L7 he gives those boundaries still another substantial shove, proving that his innovations are more the rule than the exception.

With his spectrum of creative skills, CBD has become a favorite with luminaries like Madlib, MF Doom, Pete Rock, and J-Dilla. He’s collaborated with the Beastie Boys, Prefuse 73, and Victor Wooten among many others. Today, in support of L7, Count Bass D embarks on a national tour with STS9, a stint sure to be embraced by thousands of unsuspecting STS9 fans. Indeed, it will only expose what many in hip-hop already know to be fact: CBD is a true original and L7 reflects a truly authentic voice in today’s world of copy and paste trends. Sure, the man is intensely loyal to hip-hop, but in a way that appeals to a much broader musical audience.

Count Bass D will join STS9 on the following dates:

November 5 Lyric Theatre Oxford MS STS9 w/ Count Bass D
November 6 War Memorial Nashville TN STS9 w/ Count Bass D
November 7 Alabama Theatre Birmingham AL STS9 w/ Count Bass D
November 8 Tennessee Theatre Knoxville TN STS9 w/ Count Bass D
November 9 Headliner’s Music Hall Louisville KY STS9 w/ Count Bass D
November 12 Charleston Music Hall Charleston SC STS9 w/ Count Bass D
November 13 Amos’ Southend Charlotte NC STS9 w/ Count Bass D

(About 1320 Records)

STS9’s 1320 Records is something of a throwback in the industry, a company based on principles like cooperation, collaboration, and community. In practice, it’s similar to the way classic imprints like Motown, Bluenote, and CTI were run in decades past. “Our job is clear,” says the label’s mission statement, “Bring music to the people.”

STS9 had their collective hearts set on signing Count Bass D to their label. In his work they heard echoes of timeless artists like Sun Ra and Bob Dylan, not to mention the classic producers, DJs and MCs of hip-hop’s golden age. “CBD takes you places with his sound and paints pictures with his words,” says STS9’s Hunter Brown. “We think he’s one of the best MCs of his generation.” Indeed, his new album L7 brings a sense of authenticity and originality that fits perfectly into the sonic gestalt of 1320 . As Brown explains, “Our sounds are very different, but Count Bass D’s attention to detail and his quality as a producer make him completely unique, which is what we look for in all of 1320’s artists.”

L7 joins other 1320 Records’ 2008 releases, including STS9’s own Peaceblaster, work by the Pnuma Trio (Character), and a fresh new compilation, Eliot Lipp Presents: Way Pavers Volume One, all generating earnest buzz. Reflected in all this music is STS9’s wide-ranging musical tastes, earned in large part from its vast and colorful experiences on the road. The generous sonic palette bodes well for the future of 1320.

(About Count Bass D)

Count Bass D’s oeuvre deserves comparison to the work of top rate talents like Outkast’s Andre 3000, Mos Def and Talib Kweli. His debut album back in 1995, Pre-Life Crisis, an acclaimed work of staggering originality, featured CDB playing all of the live instrumentation. That record, and that achievement, set the tone for his entire career, which included the similarly lauded projects, Dwight Spitz (2002), BegBorrowSteal EP (2005), and Act Your Waist Size in 2006.

CBD has in fact impressed people with his musical aptitude since his toddler years. He learned to play drums at four years old and his father, a West Indian minister, encouraged him to perform on piano and organ in church growing up. He later added the bass to his repertoire. By the time he fell in love with hip-hop, he had the ability to play an entire ensemble’s worth of instruments. In time he hit the Music Department at a Middle Tennessee State University in Nashville where he used the school’s equipment to finish recording his first demo.

CBD’s resolute DIY ethos has made him an indie champion and his material has exploded on the underground hip-hop scene. As his profile grows, thanks to L7 and his fruitful alliance with STS9’s 1320 label, so too will his stature among discerning fans.