Telafonica are a Sydney band that operate more like an evolving, fluid collective rather that a rigid formation of players. Their original line-up has filtered into the diaspora, with core Australian members morphing into a four-piece that explore a long terrain, bordered by melodic pop on one side and experimental electronica on the other. Although the palate is broad, the influences are not always evident – hence, when Adrian from Telafonica suggested dropping a mixtape of tracks that acted as touch-points for the creation of their most recent album “Love On the Second Stair”, it was impossible to resist.
When presenting Fat Planet many moons ago, I was always keenly attuned to sounds that fused my two (then) primary concerns – broad internationalism and rugged experimental beats. Proponents of such a fusion were (and to a large extent still are) few and far between, but Mutamassik, dj/Rupture and Filastine stood out, stood proud and stood very loud. Often abrasive, and never compromising, they nonetheless married the promotion of global sounds throughout Western lands with an unfailing respect, collaborative diligence and due payback for the local artists involved. To herald the release of his ‘Extra Dirty Bomb’ EP (reworks and live tracks that “shits on geography & genre”, with mixes from Jahcoozi, Cardopusher, Phowa, Deep Throat X, Maga Bo and Electromeca), I’m delighted to post Grey Filastine’s new mixtape of insurrectionary bass music, and as an accompaniment, asked him for a few words on its genesis.
Do you remember those teenage dreams? For some it may be a recent memory, for others, it’s somewhat more distant. To the latter, teen dreams exist simply as faint, fading memories – idylls, fantasises, hopes and nightmares, never to be lived or experienced, destined only to be ravaged and degraded by time. The nostalgia for lost teenage dreams is balanced by the fact that the actual shape and substance of those dreams can no longer be recalled – it’s simply a sense-memory, an instinctual belief that something has been lost, but with no recollection of what the ‘something’ actually is. This mixtape somewhat boldy tries to capture that sense memory – a hankering for a past, refracted through the eyes of the future.
Around three years ago (April 2007), Fat Planet featured its first look at the early shoots of a new crop of what became known, to some, as ‘digital cumbia’, or ‘nuevo cumbia’ with a post on Andres Schteingart, aka El Remolon. Unbeknown to anyone reading it, least of all me, Schteingart would come to form part of the core nucleus of producers that took hold of a revitalised Central and South American sound, and took it all over the world. You can now discover vast quantities of similar material via collectives such as Argentina’s prolific ZZK crew, or releases on labels such as Bersa Discos or Dutty Artz. An incidental result of this sprawling genre development has been the way in which cumbia has been celebrated and adopted outside of the Americas – and here in Australia, one of the pivtoal players in the ongoing internationalisation of the sound is Moses Iten (a.k.a. saca la mois DJ!!).
One of my most long-serving curatorial projects was ‘Fat Planet’ – a radio show and blog that ran from 2003 to 2008. The mission was simple – uncover new, alternative music from around the globe. Ignore the ‘western paradigm’ and
Raphael Dixon is a broadcaster on Sydney’s FBi Radio. His show follows mine, which means that I always get the chance to listen to his selections when I’m hanging around the studio or I’m on the drive home. When I
Discontent is regenerating – and the key shift is a significant one. Discontent will no longer be a home solely for my own curations, I’m opening it up to other minds, other voices, other sounds. I’m opening the door ajar
Looking back at the collection of mixtapes that adorn the elongated top shelf of my CD stack, it’s fascinating to watch genres, trends and styles come and ago. As much as the mixtapes pin down flashpoints in time and space,
For a brief moment at the back half of last year, it felt as if dubstep was everywhere – that more common forms of what we might simply term ‘electronic music’ had been effectively backed into a corner by a
This mixtape is inspired by David Keenan’s ‘Hypnogogic Pop’ article in August 2009 issue of The Wire. Keenan asserts that the phrase refers to “pop music refracted through the memory of a memory“, drawing its power from “1980s pop culture
The Discontent Mixtape series is an irregular series of compilations, designed to give blog readers an extreme intro into the Discontent world – a collection of tracks that have appeared on the blog in recent times. For this, the second
This mixtape features a selection of tracks posted on my Discontent music blog since its launch in November last year. All the tracks have been published freely online by artists or labels, so feel free to post the link or