Grooves and basslines govern a lot in modern electronic beats - action on the dancefloor, wiggling of the behind and that funny screw up thing you do with your nose. No one could argue that a slab of dirty bass grooves aren’t just delightful, especially if you happen to be arguing with infamous Melbourne breaks pusher Brewster B.

“I think the groove is essential in bass driven music. I've always believed there are two defined powers behind music: energy driven music and groove driven music. Energy driven beats rely on the power and speed of the kick drum in a track, [whereas] groove driven beats rely on the swing in the beats and the bassline just like in funk,” Brewster philosophises.

”In most case's the two never meet, but when they do it’s an ecstatic symphony of groove power. Examples: Drum & Bass, dark rolling breaks, 2-step & nu-skool - they are grooves that make my dancefloor move. If it’s broken and stepp'n with a big bassline I'll play it…that's why it’s all about the groove!”

Brewster has always towed bandwagons as others jumped aboard - rather than jumped onto them – and was instrumental in bringing the breakbeat sound out of Melbourne backrooms and into the mainroom. Circa 1996, when breaks were on a voyage of self-discovery, Brewster was pushing his own style - bass, twisted beats and snapping snares - and rapidly became an innovator on the Australian breaks scene.

The rest is history, but today Brewster is regarded as one of the dirtiest vendors of the bass laden breakbeats (be it DJing or producing; stay tuned for new 12”s and a track on the upcoming comp If it ain’t broken, don’t fix it), scoring regular gigs across the continent with his party-time sound.

”I don't like to pigeon hole my sound, but if I had to put a label on it I would say I play a kinda dark rolling bass breaks with some cheeky bootleg grooves thrown in for good measure.”

“My manifesto has always been about fun. If I'm having fun, well it must be a fun record so it gets dropped! Sure I'm serious about my music, but music should be seriously fun…right?”

Like other Melbourne innovators and contemporaries such as Phil K and Anthony Pappa, Brewster continues to push the realms of DJism further than the standard two turntables and a mixer setup. The future according to these lads is a DJ-live act hybrid, whereby effects units like the Pioneer EFX500 deftly tweak and manipulate tracks giving punters an entirely original sound.

“As a DJ I sometimes incorporate samplers and other things into a DJ set - sometimes for effects or even re-working a track live. I've never really felt it gave me an advantage, but more flexibility so to speak. Some DJs like three decks so they can get the next track cued quicker or add some more tricky beats. I see the EFX500 as something similar to a third deck. I can chop up the beats, loop [insert long list of impressive technical terms] plus about 20 or so other little tricks and you can add a effects to ya records (that's what its really made for).”

The concept is the next level in DJing; however even for Brewster it is the simple things in DJing that are really where the action is.

“The most satisfying thing is seeing people smiling and shakin' there booty on the dancefloor,” Brewster says with a grin like a Cheshire cat with a Prozac problem.

Friction & Fuse present Brewster B @ Aree Bar Canberra with Anjay and Mikah Freeman Sat 31st August. Tix a bargain at only $6 b4 11 and $10 after! Brewster streaming audio @ http://www.rrr.org.au/index2.htm.