Pirate Pixie (Argentina) – El Mash Piola

ZSHARE: VARIOUS ARTISTS El Mash Piola Vol.2

The nevuo-cumbia juggernaut rolls on with this next entry in the bastard pop / cumbia mash genre, titled ‘Mash Piola 2’ – a new mixtape compiled by Pirate Pixie. Taking source material from the likes of Method Man, The Game, Damian Marley, Lil Wayne and more, a host of Argentinean producers (including Villa Diamante, Oro 11 and Daleduro) blend them together with local material from Pibes Chorros, So√±ador Group, Sparkles, the Palms, Chancha Via Circuit and others. Much like the ongoing Lucky Kumbias series, the results are a spot-on hybrid of Dirty South and ‘South Of The Border’ and guaranteed to fill a floor on a hot summer evening. Luckily for us Australians, that’s exactly where we’re heading…

TRACK LISTING:
DJ Stuart – Dante vs Calle 13 – En la Cumbia
Cesar Cumbieiro – The Game vs La Rama – One Osito
Villa Diamante vs Sonido Martines – Skeelo vs Destellos
Zurita – Method Man vs Grupo So¨?ador – El Gigante del Style
Oro11 – Pibes Chorros vs DJ Unh – Que Calor
Vintage – Fantasma vs Damian Marley – Welcome Fantasma
Luisao – Puro Movimiento vs Princess Gold – Bam Bam
Zurita – Jambo vs Das Efx – Real Hip Hop
Oro11 – Chancha Via Circuito vs Mimsyhrreid – This Is Why We’re Hot
DJ Stuart – Lil Wayne vs Los Palmeras
Los Palmeras – Bombon Asesino (Daleduro Version)

Image: rhythmpassport.com

Fat Planet at Uber Lingua Melbourne

This Thursday (22nd Nov) I’ll be in Melbourne, DJ-ing at Uber Lingua @ Jeromes (Caledonia Lane) – playing alongside bP, sakamoiz, Dubwise and Gonzo. bP and sakamoiz are part of the hardcore Uber massive and consistently play an eclectic top-shelf variety of global beats; Dubwise founded two of Adelaide’s sound systems, Babylon Taxi and Dubwise and Gonzo specialises in Reggae, Roots, Latin and Gypsy tunes. Having bagged some new baile funk and cumbia of late, I expect I’ll be dropping some of those flavours as well as the usual excursions into random tangents. Entry, as always at Uber Lingua, is zero dollars.

MORE: uberlingua.com

Jahcoozi (Germany) – Hi-Tech (Rustie’s Silver Shadow Remix)

MP3: JAHCOOZI feat M.SAYYID Hi-Tech (Rustie’s Silver Shadow Remix)

Following last month’s feature on Jahcoozi‘s latest release, ‘Blitz ‘n’ Ass’, here’s an exclusive official remix from the German / Sri Lankan / Israeli trio that will “remain unreleased” via any other format. Remixed by Glaswegian electronic / dubstep producer, Rustie (whose ‘Jagz The Smack‘ EP is one of the finest low-end productions of the year), the remix features former Anti-Pop Consortium MC, M.Sayyid, on vocal duties. All up – a killer package.

Alongside the album release, the ‘BLN’ single is out now with rmxs from Chris de Luca vs. Phon.o and Chris Duckenfield, and the band will join with the wonderful Lexie Lee for an EP release on Tigerbeat before the end of the year.

Uber Lingua at Dust Tones

This Friday, 16th November, myself and Mashy P will be representing the Uber Lingua contingent at the next instalment of Sydney’s monthly Dust Tones parties. Also in attendance: Kobra Kai (official single launch), Wild Marmalade, Percussion Junction, Bentley and James Locksmith. Head to The Factory, 105 Victoria Road in Enmore for an 8pm kick-off. Tix $15 in advance from factorytheatre.com.au.

 

Interview: Plastique De Reve (Germany)

Originally published on Fat Planet.

Spare a thought for poor Gen-Xers like me – the generation Wikipedia describes as “apathetic, cynical, disaffected, streetwise loners and slackers”. A disgraceful slur – I’m sure most X-ers would agree, and one that would fail to find resonance amongst almost all hip hop heads, sample culture freaks, the rave generation, the grand electronica alumni, the soldiers at the forefront of the industrial (music) revolution and many more cultures and subcultures besides. For every stoner and Winona, there’s an equal and opposite reaction – one of DIY, heads-down, hands aloft, creativity.

If there’s one X-er who can claim to have been more than a bystander over the last two or three decades, it’s Chrisophe Dasen, aka Daze, aka Plastique De Reve. Over the last twenty years, Daze has been bringing life to electronic music across a vast range of genres, building a wild and unruly menagerie of sounds along the way. From early experiments in experimental and industrial forms, through EBM, acid house and so-called IDM, Daze arrived in the late 90s with enough live performances under his belt to put most rock bands to shame. In 1997, he finally stood behind a set of decks and thus began the transition that would launch ‘Plastique De Reve’ on an unsuspecting world. Since then, he’s produced original music and remixes for the likes of Tiga’s Turbo Recordings, International Deejay Gigolos, WMF, Inzest and many more. In 1998, he co-founded Switzerland;’s first internet radio station, basic.ch, and presented an international electronic music show for over seven years.

Born in Australia, and subsequently travelling with his family through Canada, Ivory Coast, Algeria and Kenya, Daze currently resides in Berlin, with a fresh pot of tracks for local label Kitty-Yo bubbling right off the boil. “I’ve been really lucky”, he says, via email from Berlin, “Travelling with my parents during all my childhood was fantastic. It has opened my mind in ways that are hard to describe in few words. I remember dancing to disco 7 inches with the kids in my Kenyan village, or to the royal drums in Masaï mudhouses with the lions roaring outside in the night, dancing to ‘soukouss’ in Ivory Coast, going up on stage with Myriam Makeba at age seven, fishing sharks, fighting giant spiders, decrypting hieroglyphs… something like The Swiss Family Robinson meets Indiana Jones and Margaret Mead…”

After playing his first live gig in front of schoolmates in Nairobi at the age of nine, Daze began to ingest the sounds eminating from his parents stereo – “They were listening to electronic ‘hippie’ music (Kraftwerk, Vangelis, Klaus Shulze, Tangerine Dream etc), but also a lot of psychedelic rock, all kinds of ‘jazz’, ethnic music, classical music… This early electronic stuff I loved so much, it infused in me some kind of never-ending quest for electronic, synthetic sounds.”

Whilst any mention of ‘sample-culture’ implies vinyl lifts for hip hop breaks, Daze came to this particular technique via a less obvious route. Having drifted into harder electronic sounds in the early 80s from the likes of DAF and Depeche Mode, there was an inevitable lurch towards industrial music, Front 242, Neubauten and Skinny Puppy. “I bought my first sampler in 1986 after seeing a Young Gods concert, and spent several years experimenting with sound / noise in different projects. There was a raw energy in EBM that was like electronic and punk mixed together.”

Given industrial music’s dramatic merger of metal, noise and symphonic crescendos, Daze’s drift into soundtracks, theatre, installation and performance art was a natural progression. Following a period with a Genevan ‘living theatre’ group, Daze formed an experimental music and performance collective titled MXP, “something like ‘the electronic Merry Pranksters meet Einstürzende Neubauten and Antonin Artaud’. Interventionist, situationist work followed, in tandem with “conventional” sound installations, all the while Daze’s marriage of art and music became ever more complex: “Musically it all relates to what I do now in the sense that every track, dj set or live show has to suggest something new or different, try to be an ‘intervention’ on its own.”

In 1998, Daze was establishing himself as a DJ, and shortly thereafter, as a broadcaster. He earned himself a small but important place in broadcasting history by co-founding the first internet radio station in Switerland, basic.ch. “It came along naturally with the development of technologies and cultural media, and access to that. It was natural for our little electronic music community in Geneva to embrace the internet as a new communication tool and a platform for mixes and productions of local deejays and artists. Of course internet radio is essential to the development of electronic music – like what I-F’s CBS.nu radio is doing, truly fantastic – but also all the online shops, the forums, blogs, profiles etc.”

By 2001, Daze was releasing music on a variety of labels, with some of his earliest material appearing on Hell’s International Deejay Gigolos label. Fuelled by a now-legendary series of Berlin club nights, and a frenetic release schedule, Gigolo found itself as the poster label for the Electroclash movement – and in the spirit of all great fashion movements, it was maligned almost as soon as it was established. Despite being swept along with the Electroclash tide, Daze survived the fallout.

“The term ‘electroclash’ was the media’s renaming of what for me was just ‘electro’. [Subgenres] help to define the music in words, but they can hinder when subject to narrow definitions in the media and the people’s minds. In my view there are no SUB genres, just general musical orientations, and inside that, plenty of new genres everyday – one for every track.

“At the time I didn’t care too much about the hype, we had lots of fun and there was good music. Later that electroclash ‘etiquette’ is a little difficult to shake off, if you think you have more to offer than a pre-established ‘genre’. I think there was a fallout for electro in general, and for Gigolo too, but no more than for other labels. I am grateful to Gigolo to have done a good job for interesting, risk-taking, non-mainstream, electronic music, and I’ll drink a Jaegermeister to that!”

For Daze’s recent Kitty-Yo release, he described his current sound as “multispeed varistyle”, a phrase coined by Oliver Mental Groove: “it just means ‘freestyle’, eclectic, not setting yourself any style boundaries. That’s also why I called this EP ‘Jeux Sans Frontières’. Every track is different, there are some obvious references to various ‘styles’, but I tried crossing boundaries, making my own mashup of ingredients.”

The influences on the EP are certainly broad, but one still can’t help but be surprised when the opening salvo, ‘Favela Norte’, spins Daze’s sound into baile funk territory. Alongside Man Recordings’ ‘Funk Mundial’ imprint, it stands as one of the few examples of Euro-Brasilian baile-fusion. “When I first heard it a few years ago, I thought it was the freshest thing I’d heard in a long time, it was like reviving miami bass and old-school electro hip hop, like some kind of ‘tribal ghetto tech’ with kids rapping on top. I like the way the samples are used in rhythm patterns, the rawness of edits, the anger, the pride, the fun it provides. I thought I’d give it a try with my own take on it. I’m making more tracks in that direction, with chicago house samples, touches of acid, and well… other secret components.”

Given his history to date, the nature of such ‘secret components’ remains impossible to guess. As long as Daze keeps making sounds ‘sans frontieres’, we’ll all still be tuning in.

Fat Planet – Arabesque Mix

‘Fat Planet Arabesque’ is inspired by artists such as Mutamassik, Filastine, 2/5 BZ and dj/Rupture who take a distinctly skewed and sonically distorted approach to working with sounds from the Middle East.  This mix was intended to, once again, prove the case that innovative, unique and challenging music can be found in all parts of the globe; and that attempts to blend territorial sensibilities and thus disable borders can be achieved without resorting – as is so often the case – to commercial lounge ‘remixes’ of indigenous work from Western DJs.

The mix was recorded in November 2006, was first broadcast on a ‘Fat Planet’ Special on the Australian Community Radio Network in June 2007, and re-broadcast on Dialectic, November 2007 (Edge Radio Hobart and nationwide on CRN).

Continue reading “Fat Planet – Arabesque Mix”

Heaps Decent Fundraiser

This Friday (9th November), Heaps Decent are throwing a Sydney fundraiser for their ongoing workshop projects, seeking out and promoting new music from young indigenous and underprivileged artists. Their debut release ‘Smash A Kangaroo’ is soon to be followed by a new production; featuring young, female inmates from a Sydney ‘juvenile justice centre’, working on an exclusive production with M.I.A., Yelle and Tepr, recorded while the trio were in town for the recent Parklife festival.

The Sydney party features DJ sets from Bag Raiders, Soft Tigers, teenagersintokyo, Heaps Decent honchos Sleater Brockman and NinaLasVegas, plus Catcall, Spod and heaps more. Like most of the participants, I’ll be dropping a short, sharp 20 minute set at some point during the evening. It all happens at Oxford Art Factory in Darlinghurst and door tax is only five bucks. Get familiar!

Albertslund Terror Korps (Denmark) – ‘Hustla Hele Dagen’

I’d love to tell you some fine tales about the lifes and loves of Albertslund Terror Korps, but for once I’ve been out-googled, and have come up essentially empty handed on this Danish collective. Based on some of the video documentary coming off their label site, I think it’s best that we don’t dig too deeply. All I can tell you is that they’re from “2620 AlbertsLund” and their above version of Rick Ross’ ‘Hustlin” is one of the most deranged, chopped’n’screwed remakes that you’re ever likely to hear. As for ‘Folk Snakker’, it’s essentially TTC vs Einsturzende Neubauten remixed by Kid606. And it’s all so far off the universal maps as to be existing simultaneously in a whole mess of dark dimensions. They call it “Ghetto Hardcore + chopped’n’screwed Danish Rap Techno + Bhangra Gabber + Somali Grime”, I call it ‘absolutely fucking mental’.

Badawi (Israel) – ‘Knife The Etherics (feat. Filastine)’

Israeli Raz Mesinai has been a major player in the outernational music scene since the early 90s – blending traditional Middle Eastern influences with dub, bass-heavy electronica and distorted beats. From his early experiments under the influential Sub Dub project, to releases as Ladyman and Badawi, and latterly through his film scores, Mesinai has long established himself as a creator of innovative, politically charged beats and soundscapes.

His latest release, Unit Of Resistance, is the first time the combination of aliases Raz Mesinai and Badawi have come together on record; gathering together recordings made in 2004 and subsequently reworked by a team of producers over the intervening years. The original source material was recorded as a “conscious act of political protest”, laid down at a Madison Square Garden studio, directly adjacent to the Republican Party convention being held nearby.

Drawing from audio elements pushed back and forth over the web, the roll call of producers is impressive – DJ Spooky, DJ Olive, Kode 9, DJ/rupture, Filastine and more. Whilst Diplo and friends scour the planet for uptempo global club and party beats, it’s producers such as Mesinai that take the darker route; pulling the international colours of sound into a deep, black pool of sounds that disrupt, agitate and disarm – a perfect brew for an unholy voice of dissent.

Todosantos (Venezuela) – ‘Acid Boys and Acid Girls’

Some time last year I came across Todosantos from Caracas, and their pean to an indie-year gone by, titled ‘Ian Curtis’ – ripped from their debut album, ‘Aeropuerto’. It was a revelation at the time, given that there was little – if any – truly revolutionary indie music leaking out of the region, but it was a long wait until their next EP finally surfaced. When it landed at the beginning of 2007, it was a remarkable about turn – no longer were their hands held in a dim-lit prayer, instead, they were waving them in the air like they really just didn’t care.

Clearly influenced by buckets of Kool-Aid, the trio (Alberto Stangarone, Ernesto Pantin, and Mariana Martin) pitched ‘Acid Boys and Acid Girls’ as ‘tukky bass’ – Todosantos’ home-brewed potion that mixed “dubstep, speed garage, baile funk, kuduro, and ghetto-tech”. It’s been given a second release, thanks to the Flamin’ Hotz label, who bring remixers Cousin Cole, Leif and fellow Venezuelans Cardopusher to the table. All the mixes are uniquely intriguing, although Cardopusher’s blend of deep dubstep and rave is particularly forward thinking. The physical release includes a 3D cover (and accompanying glasses) and a DVD featuring seven new videos specially created for this release. More info at flaminhotz.com.

Interview: E-Stonji (Germany)

Originally published on Fat Planet.

For as long as there has been scientific study and for as long as there has been art, the two disciplines have made for curious bedfellows. Over the centuries, they have been both repelled and attracted to one another – often at the same time – and in each instance, the results are inevitably fascinating. The legacy of crossovers between music and science is just as complex, particularly over the last few decades as electronic music has pushed its way to the cutting edge of sound. Much to the distaste of many die-hard analogue heads, music has evolved well beyond the simple use of one’s own brain and fingers, and has quickly adapted to include the use of the processor, of deep algorithms and of vast landscapes of programming code. Arguably, the appliance of science – whether we’re conscious of it or not – has become the defacto standard for music composition in the 21st century.

Enter Jens Doering – software engineer, audiobook director, sound designer and, yes, a musician of some renown; from his solo work as e.stonji, to collaborations with Hans Platzgumer (as hp.stonji and e.gum); and other work such as convertible, reejk lynur, jerry lusion and new productions with vocalist Berna Celik. On the eve of his latest full album release, ‘Particles’ (released on Kitty-Yo), Jens’ engineering and audio design background grants him a uniquely intense perspective on the synthesis between art and science.

“For me there is a deep beauty in structures that you can make visible through geometry, or that you can calculate in maths” he says, via email from his home in Elchingen, Germany. “I think that technology and the arts are more closely related now than in any other previous decade. There are already some specific programming languages that can help to find the bridge between art and maths, and if you want to go beyond what any application can do, you just need to program your own application. That’s where you need to be an engineer in order to be an artist.”

However, his life as an engineer germinated from an artistic seed, and a pure idea of music that only Jens could envisage. “When I started writing, I was just looking for a possibility to make music without having to look for band members who had exactly the same ideas as I did. In fact, I didn’t know anyone who would have liked to produce this kind of music that I had in mind. So I knew that a traditional way of making music (i.e. guitar, bass, drums, vocals) wouldn’t work for me. It was at that point that I started to experiment with a synthesizer, including a sequencer that could save up to ten songs. The disadvantage of this synth was to not being able to export your song. When I had finished ten songs, I had to delete one of them in order to start another one… Later however, the Atari and other synths came along and so on. and so on.. and so on… and so on….”

Traditionalists are quick to denounce an over-reliance on mathematics in music, often claiming that the net result of jettisoning ‘organic’ instrumentation leads to a lack of soul or warmth within the sound. Of course, as time marches on, this view is becoming increasingly marginalised, but it remains a bone of contention within music communities all around the world. You would be right in thinking that Jens has a great deal to say on this subject.

“I think it’s not difficult to retain soul in any way, as there are always human beings who operate the artificial environment. I think there are different ways to use technology for creating music. You can use technology to express yourself in an emotional way, and the result can be very soulful, but you can also use a more experimental – or let’s say scientific way – to explore things. For example, Mozart was one of the first composers who brought maths into composition (algorithmic composition). He wrote a piece, where you had to throw the dice to know how to play the piece. This was the beginning of computer music, in a way.

“I don’t think that electronic music has no soul. I think there is a lot of electronic music out there which isn’t very soulful, but it’s the same with music on organic instruments. You need to learn using the computer as a musical instrument in the same way as you need to learn playing a guitar…

“For me, soul is the most important thing to happen in music. I hope you can feel that while listening to ‘Particles’. It’s more about a reflection on emotions, and some of the tracks should work on a dancefloor. The name ‘Particles’ has been taken from the scientific context, because it’s so fascinating to zoom in to the smallest possible things and to get to limits – like the Heisenberg Uncertainty Principle – or to zoom out into extremely large scales. So everything, myself included, consists of a large amount of particles. In the digital world, you find particles in form of bits, bytes, dots, milliseconds, 128th in the music measure (beats) and so on. Hence, the album name particles is a very suggestive title, open to all kinds of interpretations, and I just wanted it that way.”

As if to prove the point, Jens has often drafted the most challenging instrument of all – the voice – into a number of projects. Standouts include the tight electro-funk of last year’s e:gum project (on Klein) and new work with vocalist Berna Celik. “The voice is a beautiful instrument. In most of the cases, the voice is a stronger stylistically than the synthesizer. But the voice is not necessarily needed to bring about a sense of soul into electronic music – this can also be done with digital instruments. I work with Berna as she has a very strong and soulful voice. She is a good friend as well, and her lyrics and melodies are always a great inspiration for me.”

With so many parallel projects seeming on the go at the same time, it’s easy to get lost inside the e.stonji universe: the grunge pop of Jerry Lusion (“guitar and grunge music”), his work with Platzgumer across hp.stonji and e:gum (“a very rare and special friendship and collaboration”) and his work as an Audiobook producer. He knows that this schizophrenic genre hopping confuses most people, but he retains the important belief that we need to expose many dimensions of our own personalities at any one time. It’s the latter work, in the Audiobook realm, that undoubtedly leads Jens into a multiplicity of creative alleys.

“It’s a very interesting field. It’s like doing a remix, but you don’t have any song to remix – you just have speech, and there is much space for interpretation. This provides a lot of freedom, and is a good way to experiment. You can also put in real sounds like footsteps in a staircase, bees, water etc. which opens your mind in such a way that makes you see pictures, just by listening. This is a beautiful process. Most audiobooks you get in the shops are just readings – somebody with a deep strong voice reads the whole book. I don’t know what this means, but I don’t like that at all. So for me, an audiobook is much more fascinating when it has music and, even more though, if it is a melting pot of speech, music, field recordings and sound effects.”

After the release of ‘Particles’, we can expect a follow-up to e:gum’s 2006 debut and continuing work with Platzgumer on additional projects. “There are a lot of totally different aspects I would love to explore in music”, he says, “It’s just a matter of time”. And you can almost hear his brain building the blueprint for the e.stonji time machine right about now.

more: estonji.com

Sigur Ros (Iceland) – NPR Bryant Park Project Interview

if there’s one thing that makes me feel better about all the times i’ve screwed up live on-air, it’s this video clip right here. sigur ros on NPR’s ‘bryant park project’ programme, described by the program makers as “possibly the worst interview in the history of electronic media”. after hearing a few similar, although nowhere as awkward, interviews on fbi radio (calvin harris being a recent example), the question remains ‘why bother?’. if you’re not into media, don’t let your publicist force you into it. in saying that, this clip has certainly put sigur ros in front of thousands of people with nearly 100,000 views to date. whether or not those same people rush to see sigur ros’ new movie remains to be seen.

Rideon (Brazil) – ‘Ghetto 808 Vol.3’

Baile Funk DJ and blogger Rideon returns for the next volume is this 100% on-point mix series – this joint features Rideon’s MIA mix, plus Edu K vs Scottie B, Sany Pitbill and Makossa & Megablast‘s entry in the Funk Mundial series, featuring Gaiola Das Popozudas.

Tracklisting:
DJ Rideon & MC Duda do Borel vs Gnarls Barkley: Crazy rmx
Edu K: Gatas Gatas Gatas (Scottie B Baltimore Club Remix)(DJ Rideon Edit)
MIA: Jimmy (DJ Rideon Remix)
Rayvon: We Love To Party (DJ Anonymous Blend)
Ciara: Like a Boy (DJ Phinesse Club Remix)
DJ Pushups & Sir Nenis: U Don Kno Meh
Herman Prime: Take Me Out
DJ Anonymous: Name Brand Party Break
DJ Mentalcut: Gasolina Haterz
Makossa & Megablast feat. Gaiola Das Popozudas: Late Que Eu Tå Passando
Top Billin / Good As Gold: Shake My Ass
Sinden & Count Of Monte Cristal feat MC Thiaguinho: Tamborzuda
James Braun: James Brown is Dead
PipoǃÙs DJs: Hot feeling
DJ Phabyo: Despaired
Herman Prime: Fyah!
Top Billin / Good As Gold: Money For Nothing
DJ Junk: ThatǃÙs Fresh
Top Billin / Good As Gold: Dancefloor
PipoǃÙs DJs: Dance With Me
Os Hawaianos: Vai Que Vai
Sany Pitbull vs Red Hot Chili Peppers: Other Side
Nina Gordon: Straight Outta Compton

Get the previous instalments at ghetto808.podomatic.com

Esau Mwamwaya (Malawi) – ‘Chalo’

mp3: ESAU MWAMWAYA Chalo (Demo)

head now to the mad decent blog for a stunning rework of m.i.a.‘s paper planes from malawi’s esau mwamwaya diplo‘s clash-sampling rythym and those zeitgeist gunshots, all re-wrapped with esau’s tropical african vocal. esau played in various bands in malawi before moving to london at the turn of the century and has been working with radioclit on a full album release. download a lo-res version of ‘chalo’ above, or watch the truly bizarre clip, recorded live for “tim & barry tv” in esau’s second-hand furniture store in east london.

Jahcoozi (Germany / Sri Lanka / Israel) – ‘Style’

mp3: JAHCOOZI style

Although based in Berlin, Jahcoozi’s roots are scattered across the globe – Israel, Sri Lanka, London – and it’s therefore no surprise that their sound resists any casual genre-plugging. They originally surfaced in 2003 with the ‘Fish’ EP and, on first contact, it seemed as if they were going to coast into a side alley of alternative electro pop, a low-bpm glitch cousin of Barbara Morgenstern perhaps. However, the subsequent album release ‘Pure Breed Mongrel’ put paid to that notion – coming on strong with a tasty blend of ragga, hip hop and electro influences. So much so, that the album remains one of my highlights of the last few years, and it was therefore with some anticipation, and trepidation, that I unwrapped their follow-up ‘Blitz N Ass’ (Asound).

On first bite, it’s certainly not as experimental as the debut, however the move to a more streamlined, tighter sound works in their favour. It’s as if Jahcoozi are trying to push the envelope in both directions – the beats and rhythms are often harder and deeper, yet the melodies could sit at home in a pop or R&B landscape. It’s precisely this schism that allows Jahcoozi to remain intriguing – sitting, teetering on the fence, refusing to fall in either direction and thus retaining a teasing sense of possibility in each and every track. Ultimately, ‘Blitz N Ass’ demands your presence on the dancefloor as much as Sasha Perera’s lyrics demand you pay close attention to the message gift-wrapped inside. They call it a “low-end grime-tech-dub-rave-tronic monster” – who are we to disagree?

more: jahcoozi.com
buy: itunes
video: check the album EPK below:.

Schizbreak (China) – ‘Not Fair’

mp3: SCHIZBREAK not fair

continuing our irregular series of arists from china >> one part musician, one part design force, schizbreak hails from hong kong and crafts lo-fi guitar / electro pop tales of heartbreak and desire, landing in territory mapped by the likes of casiotone for the painfully alone. embellishing the project title, schizbreak turns himself into two individual identities – schiz on vocals & guitar and break on rhythms and, apparently, dancing.

schizbreak believes that his work centres around this schizm between the yin and yang, how your fate and fortune can suddenly change on the spin of a coin. “this day you may have a beautiful life, next day you may lost eveything of your life. so what can i do? i don’t know, i only thinking of how beautiful was it yesterday. i miss that day when everthing had not changed.”

download the EP ‘this is what i can do’ via frigidarec.com.

Friday Bridge (Sweden) – ‘The Story Of Agnes’

mp3: FRIDAY BRIDGE the story of agnes

i’m sure something has been lost in the inevitable translation, after all who would have thought that ‘friday’ and ‘bridge’ would sit together as comfortable little soulmates? miss friday bridge certainly likes to tease – dropping light, electro pop peans to a yesteryear that’s impossible to pin down. 60s, 80s, neither? sounding much like el perro del mar on a happy day, the latest friday bridge release is titled ‘intracacy’ and comes to us via swedish label, but is it art? (an exceedingly good question). miss bridge claims that “in its mildness and refusal to trade intellect for friendship, friday bridge is most subversive”. there’s something of the ztt in all of this – for that, and for the fact that the klf and teki latex are in her top 8 murdochspace friends – we salute the bridge.

Mexican Institute Of Sound (Mexico) – ‘Escribeme Pronto’

mp3: MEXICAN INSTITUTE OF SOUND escribeme pronto

mexican producer camilo lara returns with the sophomore release from his mexican institute of sound project, ‘pinata’ – a feature album on the fat planet radio show a couple of weeks ago. drawing from the roots he laid down with his debut ‘mejico maxico’, lara expands his sights for an album that draws strength from a wide selection of latin influences and stirs them into a smart collection of original tunes. for lovers of the blossoming ‘neuvo cumbia’ sounds, there’s much to fall in love with on this release – an album that carefully amasses its central and south american roots, then fires them out of a enormous party cannon marked ‘dirty hip hop and fat electro’ at a thousand miles per hour. ‘pinata’ is an instantly enjoyable album that has gate-crashed the guest list for the fat planet ‘favourite records of 2007’.

Tang Ren Ti (China) – ‘Zi Nue’

mp3: TANG REN TI zi nue (self-abuse)

mp3: TANG REN TI shanliang de xin (good heart)

after a long period of hesitation, i finally took the plunge last weekend and once more attempted to delve deep into china’s alternative music scene. previous attempts have led me down dark alleys of doom metal or coughed up enough bad trance to keep parachute pants in vogue for centuries. fortunately, gokunming.com proved to be something of a salvation, and started a journey that i’ll share with you over the next few posts.

hu xuan has also dabbled in metal in his time – fortunately, his repertoire now extends well beyond that, as evidenced on last year’s album ‘jazz rap is in the city now’ (described by gokunming.com as “arguably one of the more interesting albums released in china in 2006”).

producing under the alias tang ren ti, hu raps in kumning’s regional dialect, kungminghua and also performs as one half of local hip hop duo, rap republic. . whilst it seems that much international hip hop can be born of gangsta lyricism, hu keeps it’s locally real. “one thing I like about hiphop is that it’s a way to discuss your surroundings. but chinese don’t need to talk about selling drugs and killing – these guys [chinese rappers] didn’t grow up in that kind of environment.”

check three more downloads at gokunming.com. ‘jazz rap is in the city now’ is apparently available at stone love clothing store on the east end of wenlin jie near the intersection with cuihu bei lu. when you’re in kunming this weekend, can you pick me up a copy? cheers.

Alexis Weak (Sweden) – ‘Stang Av Techno’

mp3: ALEXIS WEAK stang av techno

i know what went through your head this morning: “what i really need is some swedish guy, hard rapping over the thomas banglater remix of dj mehdi’s ‘signatune'”. here at fat planet, we aim to please, for that is exactly what we give you right here, right now.

alexis weak storms straight out of the ‘la vida locash’ stable, home to swedish purveyors of dark-syrup electro pop, lo fi fnk and kocky. following the release of lo fi fnk’s ‘boylife’ and the recent drop of kocky’s ‘kingdom come’ (feat jens lekman, mapei and more), the label is about to deliver the new mixtape from stockholm’s alexis weak. there’s scant info available thus far on weak, other than he initially cropped up on last year’s ‘radio locash’ podcast as mc alexis aka weak, and returns with what appears to be a set of original flows over familiar electro bangers, not entirely dissimilar to cuizinier‘s two volume mixtape output. safe to say, we’re primed and ready to more.

more : myspace.com/alexisweak