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’.
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.
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.
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.
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.
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.
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 T√• Passando
Top Billin / Good As Gold: Shake My Ass
Sinden & Count Of Monte Cristal feat MC Thiaguinho: Tamborzuda
James Braun: James Brown is Dead
PipoÇƒÙs DJs: Hot feeling
DJ Phabyo: Despaired
Herman Prime: Fyah!
Top Billin / Good As Gold: Money For Nothing
DJ Junk: ThatÇƒÙs Fresh
Top Billin / Good As Gold: Dancefloor
PipoÇƒÙs 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
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.
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?
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.
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 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’.
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.
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
i’ve written a great deal about dj c before on fat planet, so this post serves purely as a short heads-up for the recent release of c’s debut album, ‘sonic weapons’, through tokyo’s wimm recordings. featuring regular collaborator zulu, plus quality diamond, wayne and wax, pamelia kurtsin and more, this is a rare chance to rinse out your record collection with a killer combination of dancehall, ragga, breakcore, drumnbass or as the man himself would have it: “crunkment, mashstep, ragga-bounce, and grime-hall”. stay close to dj c’s label mashit site as we’re expecting a relaunch any moment now…
after eleven years as the unforgettable voice of the concretes and a globe-spanning guest appearance on peter bjorn and john‘s ‘young folks’, victoria bergsman steps out on her own for her new project, taken by trees. in an attempt to preserve the spontaneity of her decision to record the album, she locked down the recordings in only six days, roping in andreas soderstrom (who records under the glorious name of ASS), plus electralane‘s verity susman and pbj collaborator, bjorn yttling.
i make no secret of my love for the concretes – bergman’s voice found a perfect home against the icepick-sharp drama of their scandanavian wall of sound. take a listen to ‘you can’t hurry love’ from 2004’s self-titled release if you need a point of entry. for ‘open field’, bergsman has dispensed with the concretes’ theatrics and opted for a smaller, pared-back sound; the album title is a precise indication of the best place to listen to this – on your back, somewhere in the middle of nowhere, with nothing but the sky for company. for all the calm that such an idyll might induce, there’s still no denying the chilling, ethereal qualities of bergsman’s voice, which provides a eerie counterpoint to this newfound sense of space and solitude.
Originally published on Fat Planet.
with a guest list that includes ttc, maximo park, paul st hillaire and mr thom yorke, expectations were going to be sky-high for modeselektor‘s new album ‘happy birthday’. for the last two weeks, it’s been on high rotation on the fat planet stereo and i’m relieved to say that, much like m.i.a.‘s killer ‘kala’, the hype is more than justified. this sophomore release retains all of the punch, kick and bass we’ve come to love from the berlin duo, but with a remarkable upswing of confidence and energy that headbutts us from the first beat of ‘godspeed’ right through to the album’s conclusion. and thus, in the space of just two albums, modeselektor have rewarded our faith and pole-vaulted a legion of wannabes to join the major leagues of electronic music.
this week, the response to fat planet’s email interview with modeselektor’s sebastian szary landed in our in-box. contrary to any notion that building such a heavy guest roster was all pre-ordained in a blue electro sky, szary points out that the net result was simply another instance when the gods of chance dealt a damn good hand. “we didn’t really have a direction when we started”, he says, “but we had a feeling for what we wanted to do. we just listened to our guts, and then ‘happy birthday’ somehow became the continuation of ‘hello mum!’. only two songs existed as live tracks, the others evolved in the studio. many ideas had been ripe for a long time, whereas some emerged spontaneously.”.
‘happy birthday’ hits stores next month and yet the sleeve ink is barely dry on their previous release, the recent ‘boogy bytes vol.3’ mix cd. featuring an impressive roster of heavyweights such as spank rock, skream, burial, mr.oizo, james holden and ttc, the compilation was the perfect precursor to the ‘selektor heading back into the studio. “we really needed this mix cd”, reckons szary, “at the end of the last year, we were pretty tired from all the touring and needed some weeks off! during that time we decided to make the mix cd. it’s very comforting to listen to music other than ones own, we almost lost the ability to listen to music. if you’re playing 120 gigs a year, you don’t have the opportunity to sit at home and put on a record so often. and we don’t like ipods so much.”
the mix closed with the now seminal radiohead track ‘idioteque’, a sly tip of the hat to thom yorke’s guest appearance on ‘happy birthday’. yorke has repeatedly worn his modeselektor fan hat in public, the recent ‘eraser’ b-side ‘iluvya’ playing out as something of a tribute to the berlin duo. and it’s quite a trip for szary. “looking at our new cover now and reading his name on the track list feels quite unreal.” and as for thom in person? “he’s a congenial musician and the singer of a pretty congenial band…” and that’s as far as he’ll go for now.
the album was recorded in berlin and released through ellen allien‘s b-pitch control label, home to the likes of paul kalkbrenner, sacscha funke, feadz and many exquisite electronic releases from allien herself. “ellen’s very spontaneous, ambitious, headstrong and sometimes inconsiderate! that’s what we love about her! she never gave us any instructions and always gave us free hands… but actually, quite often she didn’t have much of a choice.”
but with so much being written about berlin, and so many absurd claims being made about its status as the home of european electronic music, we’re led to wonder what like must be like for modeselektor, living inside the giant hype bubble? “light and shade lie very close together” according to szary, “but to name a single city as a center for electronic music is quite dubious. berlin is like a collecting pond for artists from all over the world. it has the charm of an classy old lady who’s had one drink too many! we can’t imagine living anywhere else.”
the naming of ‘happy birthday’ is designed to celebrate the fact that both szary and his comrade, gernot bronsert, are about to become fathers for the first time (“i’m looking forward to welcoming the little new modeselektors!”). but if we imagine that modeselektor are going to mellow out and settle down, we can slap that thought down straight away – 2008 will see modeslektor back on tour and (for local readers) returning once again to australian shores: “we’re looking forward to this – we love australia! i think next year we’ll come over there for some rooburgers!”.
z-share: man recordings megamix by dj beware
hong-kong born dj beware has whipped up a piping hot megamix of man recordings’ latest output – 12 tracks in 15 minutes, featuring both classic masters and the new kids on the baile funk scene. man recordings releases are always met with great anticipation here at fat planet, and beware’s mix raises expectation even further – offering a glimpse of forthcoming vinyl & digital drops from makossa + megablast and scottie b. also in the rub, the latest cut from mc dolores with beats from bugz in the attic’s seiji. future work from man rec: baile funk masters #4 with dj amazing clay, plus new releases from edu k & stereoytp and an artist album from deize tigrona.
1. DJ Edgar “Be Goes On”
2. DJ Edgar “Cora√?ao Do Funk”
3. DJ Sandrinho “Pumpere Up”
4. Sany Pitbull “Tribos”
5. DJ Sandrinho “Montagem Peruca”
6. Sinden+Count Of Monte Crystal feat. MC Thiaguinho “Tamborzuda”
7. Makossa+Megablast feat. Gaiola As Popozudas “Late Que Eu To Passando”
8. Seiji feat. MC Dolores “Todo Mundo”
9. Scottie B feat. MC Bill “Mais Ela”
10. DJ Sandrinho “Berimbau”
11. Crookers “Atomic Baile Boy”
12. Stereotyp feat. Edu K + Joyce Muniz “Je√?e Valad√£o”
last year merok gave us klaxons and crystal castles, and in doing so, tipped the earth on its axis for quite a few hundred dancing converse around the world. this year, those same feet are going to find themselves abused and bruised with a new crop of signings, kicking off right here with japan’s akiko matsuura and her double-whammy of noise projects: comanechi and pre. matsuura (aka ‘keeks’) last troubled the shelves earlier this year with a seven inch on white heat records titled ‘my pussy’ , but the audio journey that influences her work stretches back to an era dominated by bikini kill and babes in toyland, and even further back through to patti smith and yoko ono. the next release is a split merok 7″, evenly divided between comanechi and pre – and there’s a flurry of remixes on the slate including rubs from scotch egg, passions and gentleman drivers. akiko matsuura’s sound is certainly music without apology, served straight up: both rock hard and impossibly soft, revolutionary and retrograde, the sound of black metal refracted through a j-pop lens. submit, for all our sakes.
there’s a heap of great tunes, release info, links, ideas, trivia, new religions etc that arrive in the fat planet mailbox each week. most of this generally gets consigned to a folder marked ‘pending, sometime, soon’, but i’m hoping to rectify that on an occasional basis, starting right now:
– dj chief boima, who recently befriended the uber lingua crew on his australian travels, put together this mix following the recent fat planet post on stade’s blues / hip hop blend.
zshare: DJ CHIEF BOIMA hip hop blues mix
– new funk mundial release from man recordings is out now, volume four in the series. features a great, fat bass-driven production from bugz in the attic’s seiji and vocals from brasilian mc dolores. soon from man rec: viennese production crew makossa & megablast feat. gaiola on the next mundial, baile funk masters #4 with dj amazing clay, plus new releases from edu k & stereoytp and an artist album from deize tigrona.
– the agriculture label have released a new mix for download, titled global steps (deep mix). mixed by dj natural sphere, it features burial, cyrus & random trio, badawi, dead can dance, dj olive and more.
– spanish solo producer maleventura releases a new ep of electro-space-jazz titled ‘the secret of the moon’. malaventura.net
– villa diamante has a new blog, many posts exposing new sounds from his native argentina. muybastard.blogspot.com
– two new clips from the nublu records camp – forro in the dark’s ‘asa branca’ (feat. david byrne) and wax poetic’s ‘hoppala’. i’m working on a fatplanet channel on youtube, so more clips coming soon.
tetine aren’t so much following in the wake of bonde do role‘s juggernaut, they are quite probably the people who put the gasolina in the monstertruck in the first place. lazy comparisons to one’s fellow countrymen are never useful, but it’s hard to envisage bonde do role rocketing off to the stars without having at least copped an eyeful and earful of tetine and borrowing some of their magic powder.
2007 finds bruno verner and eliete mejorado celebrating their twelfth year together, originally co-joining their brains in sao paulo with a manifesto that stradled music, spoken word, film & “ritualistic performances”. their debut album ‘alexanders grave’ saw the light of the day via their own imprint, high school records, and in the intervening years they’ve clocked up eight full album releases, culminating in the recent ‘bonde do tet√£o’. along the way they also found themselves signed to robin (scanner) rimbaud’s suplhur records, collaborating with sophie calle on the succinctly titled ‘tetine vs sophie calle’ album and taking their sound art and multimedia installation to galleries and spaces right around the world.
if you haven’t heard the name tetine, you might well have come across some of their curational work as compilation editors – ‘slam dunk presents funk carioca’ precedes any other baile funk compilation as the first collection of its kind to be released in the international market; and ‘the sexual life of the savages’ (available on soul jazz) was an invaluable primer to early 80s post-punk from sao paulo. both compilations are essential items for any fan of alternative brasilian music.
their most recent release, the party-packed ‘l.i.c.k. my favela’ e.p., kicks off with the title track – a riotous call to action, mixing one part electro with one part funk carioca, underpinned by an old-school kraftwerk break and a hard riff that recalls tone loc‘s ‘wild thing’. the e.p. is a ride from start to finish, claiming the scalps of both the clash and deise tigrona along the way. get the vinyl release through kute bash records.
check tetine.net for a vast library of video and photography, as well as the opportunity to purchase some of the above mentioned releases.
Born in Scotland and resident in Sydney, I've spent the last two decades hunting for music that defies convention and definition, turning out a slew of record labels, radio programs, zines, gigs, podcasts, blogs and more.