while answering a comment on the last post, i came across this excellent video featuring baile funk producers sany pitbull and mavi. they discuss the origin of one of the classic funk carioca breaks (tamborzao), sourced from a track titled ‘808 volt – beatapella mix’ by dj battery brain. to think that one beatapella could spawn such a monster…
mp3: ORESKABAND 20 tips
it’s hard to look past a six-piece, teenage ska band, especially when they hail from osaka and are fresh out of high school. honestly, when i read about oreskaband a couple of months ago, my typing fingers developed a twitch that didn’t rest until the album was secured and making its way across the pacific. stand up ikasu, tae-san, leader, saki, moriko and tomi. sure, oreskaband aren’t going to take home a bunch of awards for originality, but there’s no doubting their curiosity value and the guilty pleasure of enjoying their infectious, breezy two-tone revivalism. the improbably titled ‘yeah! ska dance’ catapulted them to instant recognition when both the song and the band appeared on a commercial for japan’s ‘pocky’ candy – since then, they’ve found time outside of study hall to play at the fuji rock festival and this year’s SXSW. they’re on this month’s warped tour throughout the states, promoting the u.s.-only album ‘oreskaband’ which blends their ‘ore’ e.p. with the original japanese debut ‘wao!’ (‘we are oreskaband’). head to oreskaband.com to find out their respective blood types, their favourite carb-heavy foods and which band member loves slipknot.
mp3: PRINCESA si te vas
while listening to villa diamante’s blends, one voice keeps getting lodged in the tiny canals at the back of my brain – and it’s the voice of valeria goberna, aka princesa. valeria made her name working with reggae / hip hop crew neuva alianza, fronted by “the mighty empress” alika. princesa’s album, ‘algo para decir’ (“something to say”) adopts a similar philosophical path to alika, promoting ‘conscious reggae”, but takes the sounds further by rubbing reggae and hip hop with dancehall and reggaeton. the video below, for the track ‘medio de la calle’ positions valeria at various locations across town, and also drops some ‘galang’-like fluro moments, just for damn good measure. more clips and tunes at murdochspace/princesavale.
mp3s via whatsupbuenosaires.com – head there for more argentinean music and downloads.
while there’s been a considerable amount of heat about diplo‘s recent launch of the ‘heaps decent’ project, morganics‘ work with tanzania’s wayahudi family is a timely reminder that this sydney mc has been blending indigenous artists and hip hop long before wes made it to the outback. way back when, morgan was a founding member of aus hip hop team metabass’n’breath and, over the intervening years, he’s made it his mission to travel the world in search of new sounds and styles. outback australia is familair territory to morgan, indeed he was responsible for orginally producing wilcannia mob‘s ‘downriver’ as featured on diplo’s ‘mad decent radio’ cd and then rerubbed for the new m.i.a. album.
working in rio, bali, the serengetti and japan – as well as nyc & berlin – morganics is about to drop his new album, “hip hop is my passport” which should finally see him getting some due payback. up first is his new collaboration with ex-street kids the wayahudi family from tanzania, “pata lada” – a blend of hip hop, dancehall and bongo flava, sung in their native swahili. check the clip for “more g, more fire” above and head to vitamin records to score a copy of the cd. morgan’s latest live show, survival tactics, hits the studio at the sydney opera house on 7th august, also featuring maya jupiter, nick power, wire mc and sista native.
a return visit from argentinean producer and dj, villa diamante. back in april we featured one of his many blends and mashes that spliced a white label dubstep track with a beautiful, ethereal vocal from mariana baraj. you can find that track and sixteen more on his new free-to-download album, ‘bailando se entiende la gente’. the formula is simple – the sources are part-american, part-argentinean, so whilst some of them appear familiar to a broader global audience, many will be falling on fresh ears. this combination works like a charm, especially on a track such as this one, blending producer daleduro (who also provides additional production across the release) with fellow argentinean mc, princesa; adding a healthy dash of missy’s ‘work it’ for extra spice:
take the plunge, and download the whole album here:
01. Villa Diamante – Mariana Baraj vs Unknown whitelabel track
02.Villa Diamante – Daleduro vs Princesa vs Missy Elliott
03.Daleduro vs Villa Diamante – Lil Mama vs Beastie Boys
04.Villa Diamante – Gustavo Cerati vs De La Soul
05. La Mala Rodriguez feat Arianna Puello & Princesa (Diamante edit)
06.Villa Diamante – El Remol√≥n vs Beyonce & Jay Z
07.Villa Diamante – Fauna vs Black Eyed Peas
08.Piedras – Quiero Pare (diamante edit)
09.Sonido Martines vs Villa Diamante – Destellos vs Skee Lo
10.Daleduro vs Villa Diamante – Shaggy vs Rizmo
11.Villa Diamante vs Gaby Bex (Coolie Dance riddim)
12.Villa Diamante – Fergie vs Fauna
13.Villa Diamante – Alfonso el Pintor vs Ratatat
14.Villa Diamante – Tremor vs Bus
15.Villa Diamante – Mariana Baraj vs Q tip
16.Villa Diamante – Cerati/Melero vs Fabolous
17. Aldo Benitez – Giro de Volante (demo) (Diamante edit)
here’s a little cut of screwed hiphop blues courtesy of stade, aka improv-headz pierre aud√©tat and christophe calpini. ripped from their new long player, ‘tactile sessions’, ‘reverse charge blues’ features a suitably off-kilter blues vocal refrain from big dada’s infinite livez, the bethnal green mc behind 2004’s ‘bush meat’. elsewhere on the album, wayne paul (lotek hi-fi) furthers the dada connection, whilst horn-genius eric truffaz lends his lips to the melee. digging through stade’s official home at stademusic.com, the genesis of ‘tactile sessions’ is revealed as a 2005 precursor ‘tactile’ – the ‘sessions’ collection is a remastered and “updated” version, primed for wider distro across the universe thanks to german label kitty-yo.
in recent times, jazz and hip-hop have often overlapped (mo wax’s mid-90s excursions spring to mind, although the beastie boys current jazz odyssey/oddity also warrants a mention), but i can recall fewer recent blues hiphop crossovers (set me straight via the comments link pls). i’m not referring to the blues inferences and influences in artists such as the roots or common, but more direct communions as evidenced here.
in his article, ‘hip hop and blues‘, elijah wald makes a well-cited direct connection between the two genres, going so far as to describe hip hop as “the living blues” – citing an “obvious line that runs from robert johnson or tampa red through louis jordan, muddy waters, bo diddley, on to james brown, kurtis blow and ice cube”. how this then extends through to two white boys from deepest switzerland demands a large flip chart, a dozen marker pens and about a week and a half of your time and mine. start the project by checking the kitty-yo music player and stream the album.
infinite livez features on seven of the ‘tactile session’s twelve tracks which near-as-dammit makes it a full collaboration. but if that still isn’t enough for you, stade and livez have also collaborated, in the 100% sense, on a new big dada release, ‘art brut fe do yoot‘, an as-live improvised studio recording recorded in stade’s swiss studios.
once upon a time there was a little soko girl and a little soko boy and together they were the sokos. the story goes that the little soko boy left the little soko girl, and the sokos became just soko. if he was indeed the one that broke her heart, then he’d better be watching his new girl’s back, as sokogirl is lurking with a sharpened dagger.
young parisian singer soko has been making a cold-hearted name for herself with the release of her debut e.p. ‘not sokute’, and in particular the lead track. a soft, folk lullaby, sung in english with a smoky french accent, the melody of ‘i’ll kill her’ belies the lyrical intent – that when soko finds the ‘bitch from hell’ that stole her boy’s heart and, by default, her own future, there’ll be murder. literally. it’s never made clear whether soko is the spurned lover, or – more interestingly – simply the faceless stalker creating fantasies in her own mind. personally, i’m gunning for the latter.
as amy winehouse dragged motown soul into the 21st century by adding a dash of street-savvy and a slew of obscenities, so too does soko bring the often too-cute world of folk music down to the gutter. the e.p. is available from itunes, and she’s currently making three tracks from a recent radio recording available to download from her murdochspace. of those, ‘my enemy’ (above) follows a similar path to ‘i’ll kill her’, and at a stretch might even be seen a something of a sequel. check the video of ‘i’ll kill her’ at youtube, and take the alternative social network route by hitting her up on virb.
da ghis returns with a new ep, the first release on parisian label musique large. long before ghislain was making a name for himself with dancehall, grime and crunk remixes in the ‘bounce le remix’ series, he released a series of albums that plundered a path through abstract beats and experimental electronica. ‘la ronde’ is the marriage of these two personalities – less dancefloor than most of his output over the last 18 months, more booty than the back catalogue. the synergy works, and drops ghislain into a unique terrain, unmapped by others.
the lead track (above) is a deep, bass-driven, downtempo bleep excursion and instantly gives us the co-ordinates of where this release might take us. ‘overwinning’ plunders an unusual sample library with distorted horns and vox rubbing up against fat slo-mo beats and old school drum machine hi-hats. there’s a double dose of ‘slow fat’, with a remix from maxime robin, and the package is completed with a fan boy favourite, ghis takes on dj/rupture for a remix of ‘taqasim version’ – for my money, the stand-out track, mixing the original’s middle-eastern instrumentation with poirier’s low-end rumble and scattered percussion.
‘la ronde’ needs to find a home in your collection today – get it at boomkat. next up from ghis, a new album in october (in canada), january 2008 everywhere else. a new single (for ninja tune) ‘blazin’ feat face-t drops october.
if i remember correctly, the story goes something like this – last year, fbi presenter levins shoots chris lemon red and diplo an mp3 from 2002, wilcannia mob‘s ‘downriver’. the track was unique back in the day as being the first example of indigenous, aboriginal hip hop crossing over into the mainstream australian music industry. sadly, it still stands as one of the only examples.
the mob themselves were all in their early teens, and when you mix their unpretentious and honest flow with a deep, looping digeridoo, you’re hitting audio gold. it was no wonder that diplo added it to his ‘mad decent radio’ tour cd and, more recently, recut the track as the bed for ‘mango pickle down river’, a track from the forthcoming m.i.a. album ‘kala’.
fair play to diplo, he’s weathered jealous gripes from folks citing alleged ‘cultural theft’ and he recently headed off into the australian outback under his own steam, trailing levins and nina with him, with the aim of recording new work with young mcs from indigenous communities. the result is heaps decent – “an australian mad decent” – and one new track thus far, ‘smash a kangaroo’, streaming on their murdochspace and available to buy on itunes. the plan is to develop this initiative into a fully fledged label, working with underprivileged musicians initially in sydney and presumably worldwide thereafter. as they say, get familiar and support the cause.
i realise this is becoming borderline obsessive, but i couldn’t leave argentina alone without a mention of frikstailers. if you’ve been lapping up the fidget groove of italy’s crookers or the sample hatchets of pittsburgh’s girl talk, you’ll find something to love in corboda’s duo of ralf and sandro lee.
the power of inter-cultural translation shores up some interesting conjunctions on their bio: “pieces of artists that shake the group unconscious of all the world like britney spears, madonna or justin timberlake, are dismembered in microsounds that mutates until they get to another dimension”. if only all puff blurbs could read that well.
sampled above, ‘looperamida’ keeps the bpm at midtempo, injecting swathes of vocal micro-edits and deep bass, however it’s ‘foonkie boogie’ ups the electro ante, bleeping its way to the heart of the dancefloor. to keep pace with audio drops from the duo, the frikstailers blog keeps the tunes coming at regular intervals – check frikstailers.blogspot.com. head there to find their twitchy, bleeping refix of the current bloggers delight – justice‘s d.a.n.c.e.
frikstailers’ ralf, aka rafael caivano, also releases solo material under his own name – a selection of tunes are available to stream on his murdochspace. a world apart from frikstailers, he uses his solo space to inhabit a world of crunchy downtempo electronica and miniature melodies. the ever-prolific ralf is also currently recording another project in collaboration with andres oddone from argentinean trio, zort titled – straight forwardly – andres y ralf. download a track as part of a compilation from hungarian netlabel surreal madrid, titled ‘hande hoch! vol. zwei’.
more argentinean flavours from buenos aries resident, oro11 – aka gavin burnett (above right, with compadre yao!, left). formerly from san fracisco, oro11 apparently filled most of his pre-argentinean sets with hip hop, reggae and dancehall, but after this move to the country in 2004 and a crash course in cumbia, that sound began to dominate. areas such as san telmo and palermo are cited as hot spots of this emerging fusion of cumbia with electro production, dancehall and reggaeton.
the above remixes by oro11 typify this genre-clash: the marcelo fabian & rayvon rmx is a straight up party-starter dancehall / cumbia mash, however the crime mob mix ups the ante by adding a dash of panjabi mc‘s ‘mundian to bach ke’ and dhol drums into the pot. you’ll need more than stilettos to dance to that one. more info at murdochspace/oro11 as well as the bilingual portal, whatsupbuenosaires.com.
mp3: DALEDURO la manga
coming on the heels of recent argentinean posts, i’ve lined up another couple this week, kicking off with buenos aires resident milo schnitman, aka daleduro. proving that the tentacles of london grime and dubstep are spreading every further, daleduro has been a prolific producer of work in those genres, as well as dancehall, drum’n’bass and breakbeat.
formerly one half of breakdbeat duo, grooverdealers, milo emailed us recently with an exclusive new dubstep track, titled ‘la manga’. as this month’s wire magazine so succinctly shows us, dubstep has been largely defined by its geography, as very much a ‘south london thing’. however, as we’ve shown here on fat planet, belgium has already started to bring some sweet and deadly bass-laden dubstep treats to the table, along with producers from japan and now, argentina. i’m sure there are plenty of other areas where the dubstep vibe is building – if you know of any producers outside the anglo-americ-aus axis, pls email us some info.
you can find more of daleduro’s tunes, alongside fellow argentinean contemporaries at the excellent blackside inc label at blacksideinc.com.ar. also, check another recent example of daleduro’s work, more on the electro cumbia tip, over at disco shawn.
milo also set us a link to a newspaper article which talks about the agentinean dubstep scene – originally printed in clarin, apparently the most important newspaper in the country. read the original spanish article here.
and electroclash begat cosmic disco. or did beardo disco begat its cosmic cousin? there’s so many obvious reference points in this developing micro-genre of cosmic disco, that you could be forgiven for thinking that it’s not even a genre at all. certainly there is a suspicious electroclash smell in the air, but as someone who actually enjoyed fischerspooner‘s debut album, i’m prepared to let that slide.
if electroclash took moroder‘s ‘i feel love’ template and drilled it into the industrial arena of cabaret voltaire, suicide or fad gadget, cosmic disco shines its light a little brighter, opting instead to find refuge in the leftfield edges of its seventies cousin.
i’m also prepared to give this genre some consideration as one its main blog champions is the excellent 20 jazz funk greats. hailing from my own former seaside residence of brighton, u.k., 20JFG is a blog unlike any other, relentlessly discovering new species of artists that are rarely found elsewhere. cosmic (or even kosmische?) is a word that can also describe the tunes regularly found therein, although they’re most certainly not all of the disco variety – you’re just as likely to find some experimental, abstract, cosmic noisecore as you are anything with dirty sequins. that said, over the last six months, they’ve been posting an increasing number of releases from the new jersey label, italians do it better – an easy target when seeking out some cosmic disco flavours.
one the label’s best known signings is glass candy from texas (pic above), whose cool, minimal slo-mo kraftwerk variant ‘the chameleon’ contrasts markedly with the congo-funk of the slits-esque ‘nite nurses’ or their cover of ‘iko iko’. their latest recording ‘rolling down the hills’ tips their hat pointedly in the old-school disco direction with a nodding low-tempo sample loop and a pining glitterball vocal. [murdochspace.com/glasscandy]
the chromatics on the other hand are perhaps more emblematic of what the genre label strives to live up to. disco at a stoned 33rpm, when the lights have gone down on the dancefloor and we’re left in the corner, fucked up on something or other, wondering where it all went wrong. [murdochspace.com/chromaticsmusics]
as for mirage, i’m not convinced that they’re are actually italian, given that every other band from the label is from the u.s., but i’ll give their myspace the benefit of the doubt and soldier on, oblivious to the truth. ‘lady operator’ is most certainly midtempo disco kraftwerk, whereas ‘lake of dreams’ considerably ramps up the moroder or vangelis quota. [murdochspace.com/vocodermirage]
if you want go deeper, labelmates professor genius, invisible conga people and farah make it all sound a little more intense, a little less reassuring; mindless boogie (aka solo producer lexx) literally cuts up the past with a series of slow-motion re-edits; norway’s skatebard‘s recent b-side ‘disco nonstop’ provides a smart, scene-by-numbers template; whereas steve yenko’s ‘the boy’ takes ‘the girl from ipanema’ firmly into new galactic territory; and you could also check studio, white light circus, tj gorton and future force.
you’d be forgiven for thinking that lindstrom might have got here first – certainly the genre that lindstrom and prins thomas inadvertently initiated, absurdly known as ‘beardo disco’, is a genuine precursor. however, you need only catch lindstrom’s new 12″ with solale to hear exactly how he can construct a reversion of his former sound and sail it into cosmic territories. moroder’s lawyers should be also be listening, and listening very intently. [buy it at phonicarecords.co.uk]
it remains to be seen whether this is all just a passing ripple or the early signs of a sparkling tsuanmi, but there’s undoubtedly enough deep, dark disco in this catch alone to keep us all quivering through the night.
the struggle between author and editor on any remix is what makes the artform such a fascinating exercise. whilst few mixers take a reverential approach, many still find it impossible to negotiate the tipping point – where the work ceases to belong to the original artist and becomes a new work entirely. finding comfort in neither side of the fence, those mixes tend to be forgettable, disposable and ultimately redundant. others take a more hardcore stance – richard aphex james being a perfect example – often stripping out everything from the original bar the odd loop or two. it takes a steady hand and a dash of bravado to turn in a remix that pays sufficient homage, whilst still taking the music on an entirely unexpected journey.
there’s been an upturn of remixer collections of late – whereas the artist-branded remix album has been around for over twenty years, we’re now starting to see the remixers themselves grab the title spot. four tet‘s recent curation was uniformly excellent, and succeeded in framing his previous album, ‘everything is ecstatic’, in a glorious new light. dfa‘s two volume remix collection abundantly proved that respect for context can often lead us into uncharted dimensions.
and so to anticon’s alias, whose ‘collected remixes’ straddles a fascinating cross-section of contemporary artists working in the hinterland of electronica and alt.hip-hop. i first came to alias in 2003, with the ‘eyes closed’ e.p. – it remains one of those releases that succeeds in throwing your preconceptions off tracks; prior to this, i never knew that instrumental hip hop could be so visionary and so self-contained. it seemed that both alias and his anticon stablemates had succeeded where countless others had failed, and had wrestled hip hop into an entirely new region, a territory they have continued to map ever since.
unlike four tet’s disc, which barely scratched the surface of his remix career and was just as significant for those it chose to leave behind, ‘collected remixes’ would appear to be exactly that – the definitive collection of brendon whitney’s remixes to date. however, with representation some of the finest european labels such as gooom, ninja tune, morr, 2nd rec and gronland, we can be assured that there’s sufficient breadth and quality therein. his work for the notwist / themselves collaboration, 13 & god, stands as a highlight, as does his treatment of lunz‘s “clue”. perhaps the most well known name here is lali puna, and he gives “alienation” a suitably morose and sorrowful reworking. as a taster for his forthcoming album (a fully instrumental collection, the long-awaited solo follow up to 2003’s “muted”), “collected remixes” can hold its head as a fully rounded release in its own right.
more info at anticon.com
this sunday at 34b (darlo, sydney), something a little special – japanese mc makkenz drops into town as part of his first australian tour. this is no ordinary hip hop show: thanks to exquisite production from his counterpart kageyamatenki, makkenz is deep inside an alt.hip hop arena more akin to stables such as mush, anticon and lex than anything else. thus far, the word on makkenz has been almost entirely limited to his home country, but we’ll be busting that cherry come sunday – with dj support from the uber lingua crew sheerien, mashy p and myself.
hear some makkenz tunes at murdochspace/trumanrecords.
a little promo mix for kitsune maison volume four – the french label drops the compilation on june 11th featuring crystal castles, guns n bombs, passions, riot in belgium, hadouken! and plenty more. given the seemingly insatiable desire for kitsune releases, it’s heartening to see them moving towards less obvious choices and representing a raft of bands that have been heating up the blogosphere over the last six months.
here’s the rundown on the mix:
Thieves Like Us – Drugs In My Body
Dragonette – I Get Around (Midnight Juggernauts remix)
Phones – Worryin’
Crystal Castles ÇƒÏ Knights (Demo Version)
The Whip – Divebomb (short edit)
Riot In Belgium – La Musique (Adam Sky mix)
Hadouken ! – Tuning In (H! re- rub)
Feist – My Moon My Man (Boys Noize Classic mix)
Guns N’ Bombs – Crossover Appeal (radio edit)
Passions – Emergency (radio edit)
Num√©ro# – Hit Pop
Hummer – Foals
Punks Jump Up – Dance To Our Disco
Darkel – Be My Friend
stream individual streams at kitsune’s murdochspace.
i’ve been reading rio-based maga bo‘s adventures in the sonic wilderness for some time, over at the kolleidosonic blog. much like his fellow soot labelmate and sonar calibradio sound system collaborator, filastine, maga bo‘s creative process involves lengthy excursions outside of his homeland, most recently through central and south america, africa and the middle east. local collaborations and artistic explorations throughout these regions are pivotal to the development of maga bo’s work; the roots of which are often posted on kolleidosonic and the results of which can now be found on the new ‘confusion of tongues’ mixtape and accompanying twelves.
as you can expect, we’re entering an arena where no definitions are sacred, where international sounds and rhythms are passed down the generations to intersect with hip hop, ragga, drum’n’bass, dancehall and so much more. the mixtape features new productions with mcs such as pee froiss (senegal) and bigg & k-libre (morocco) amongst many others. the two twelves feature mixes from dr das (asian dub foundation), dj/rupture‘s nettle project and ghislain poirier. get it now via boomkat or midheaven.
in addition to the two excellent mixes above, bo has also contributed a new mix as the first cab off the ranks in the ‘world up mixtape’ series – an incredible, high-speed run through forty-five tracks, skipping from brazil and jamaica, to senegal and angola, and many more points on the compass, meeting k’naan, dj/rupture, buraka som sistema, vybz kartel, diplo and even kelis along the way. stream the mixtape at worldup.podomatic.com.
and if you need further mixes to satiate your internationalist craving, check another new mix over at spannered as well as sambacana – a monthly online radio show curated by bo and decidated to exposing a incredible diversity of brazilian music. hit the archives at brazilnetwork.org.
mp3: STEED LORD dirty mutha (crookers remix) (zshare)
mp3: STEED LORD dirty mutha (triple zut remix) (zshare)
mp3: STEED LORD you (klever the killer remix) (zshare)
while we’re talking crookers (see yesterday), here’s their remix of iceland’s electro-rave quartet, steed lord – along with some other top shelf remixes from frenchman triple zut and atlanta’s dj klever. rounding off the package, a mix of brooklyn’s purple crush that the band describe as “scandanavian gabba booty rave”.
you can find the original version of ‘dirthy mutha’ on this fat planet post, with more info on “the lord”.
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.