Discontent – I Don’t Buy Records In Your Shop Now I Tape Them All (A Mixtape By Telafonica)

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. Whilst many bands shroud themselves in unnecessary mystique, Telafonica take the opposite approach – here, by revealing their influences in such direct terms, and also at their web site, where work-in-progress conversations between members are carried out in the public domain. Stuart Buchanan

“In December of 2008, the Australian based members of Telafonica decided to specifically focus on the creation of a new album. They already had a handful of tracks in various stages of development that they had been playing in their live shows but were looking to see how to draw all these together, as well as create some new songs. One of the tactics used to give focus was the creation of half hour inspiration ‘mixtapes’ on CD to be shared around. In the end, only Blake and Adrian ended up compiling whole mixtapes, though Rebecca and Eliza contributed other tracks themselves as inspiration for specific Telafonica songs.

“The album was created and released in November of 2009 as ‘Love On The Second Stair’. This mixtape, developed especially for the Discontent blog, combines some of the tracks that were on the initial inspiration discs, along with other inspirations that came to the fore in the process of making the album, as well as some tracks from which samples were directly taken and used within the music that formed the finished album.

“There is obviously a wide range of things to be heard, from the most mainstream of mainstream to obscure side channels in the history of music. These reflect Telafonica’s bower bird approach to music construction, begging, borrowing and stealing from any and everywhere in order to compile their own postmodern, post-retro pop.

“In this mix, where a track appears in full, it has been either already made available by the original artists on the internet for free, or specific permission has been gained from the original artists to include their work. Obviously, a number of the tracks have not been made available for free and permission would be difficult (and costly) to secure. In those cases, the tracks have been used in a traditional sampling sense, with only very brief snippets occurring, and are generally processed in some manner.” Telafonica

DOWNLOAD: I Don’t Buy Records In Your Shop Now I Tape Them All | A Mixtape By Telafonica (69.7MB)

(nomo – all the stars)
(adam and the ants – kick)
(parts & labor – satellites)
(the martini bros – dance like it is o.k. (dj koze & the tease remix))
(the flying lizards – money (that’s what i want))
1. beem – RER
(the beatles – sgt pepper’s lonely hearts club band reprise)
2. balun – a surprise
3. whitewash – feather
(sigur ros – festival)
4. slareffenklang – you win
(bow wow wow – c30, c60, c90, go!)
(the jam – that’s entertainment)
5. ghoul – swimming pool
6. sufjan stevens – sister winter
7. hamilton yarns – newhaven to dieppe
8. go! team – junior kickstart
(the smashing pumpkins – tonight, tonight)
9. parades – exodus (telafonica treble remix)
10. underlapper – choking ibis

IMAGE: Cover Design by Telafonica

Discontent – We Are Experiencing Turbulence (A Mixtape by Filastine)

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.

“Last year’s tour started in Oceania January 1st and ended at the Copenhagen Climate Summit in late December. I went there to do a sound intervention, broadcasting 5-channel noise collages from moving bicycles as part of the larger direct-action bike bloc. The state repression was massive, we were detained, searched, and had our workspace raided. Meanwhile the COP15 Summit itself was a fucking disaster, as the leaders of the world proved yet again that we can’t rely on solutions from above. While there I also did a Filastine gig, in a circus tent inside the free-town of Cristiania, which ended in teargas & police helicopters pounding overhead. On return to Barcelona I began working on this mix, it was to be a “promo” for a new EP of remixes, but the urgency of this moment shaped it into something else. I hope it triggers some reflexion, some inspiration, or perhaps even some action.” Grey Filastine

We Are Experiencing Turbulence – Insurrectionary Bass Music Sin Fronteras (A Mixtape by Filastine)

DOWNLOAD

Tracklisting:
– Infernal Noise Brigade- live in Mexico at street protest
– Jazzsteppa- AmeriCa B
– Filastine/Cardopusher – Discontinuities (Singularities remixed- from the EP Extra Dirty Bomb)
– Fnaire- Lalla Mennana
– Filastine/Jahcoozi- Opium Den (Desordenador remixed- from the EP Extra Dirty Bomb)
– Beats Antique- Oriental Uno (feat. Fanafara Kalashikov)
– Oro 11- El Cangrejo
– Arena & Etian acapella- excerpted from Voces Rebeldes project
– Filastine/Ill Gates- Pharma Sutra (Fitnah remixed- from the EP Extra Dirty Bomb)
– Filastine/Maga Bo- Batalha Cotidiana (B’talla remixed- from the EP Extra Dirty Bomb)
– Chancha Via Circuito- Calzada
– Foxdye- Foxdyechek Collision
– Frikstailers- Sudaka Invasor
– Tego Calderon- Diento de Oro acapella cameo
– Sonik Omi- Ye Jawani Hai Mera Jaan
– Simbad- Airport Beat 1008
– Jahdan Blakkamoore- Dem A Idiot (instrumental – prod. by Matt Shadetek & Modeselektor)
– Amir Sulaiman- Danger
– Sunship feat. Warrior Queen/ Sinden(remix)- Quits
– Filastine/Deep Throat X- Con Las Manos En La Masa (remixfrom the EP Extra Dirty Bomb)
– Madera Limpia- La Lenta (Schlachthofbronx remix)
– Bassnectar- Cozza Frenzy
– Venetian Snares- Sabbath Dubs
– Kray Twinz feat. Twista- What We Do
– Suckafish P. Jones- Caribbean Nightmare Agent
– Dubchild- Can’t Keep Me Down
– Caving- Slimthug
– Dog Murras (feat. Propria Lixa)- Vai Levar Galheta
– Brasil 96- Batucada
– Lightning Bolt- On Fire
– Rhythm Collision featuring- Indian Street Music #3 / Sein Sah Thin / Tabuh Winangun Marga / Venetian Snares /
– Filastine / Drumcorps
– Filastine- Como Fugitivos (instrumental version)

with words lifted from:
– UK newscasters
– Carl Sagan dubbed into castilian spanish
– ANC Radio Freedom BroadcastSouth Africa1969
– a US Military Commander
– Waking Life
– The Century of Self
– Slavoj Zizek
– and more sources of lost origin

BUY: Extra Dirty Bomb at iTunes | Additech | vinyl

Discontent – In Teen Dreams (Mixtape)

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.  Everything contained herein is stretched and strained over time, not so much hypnogogic as hypnotic, post-nostalgia – lulling us into the security of a place and time that is simultaneously familiar and unknown. We drift from Roj‘s Ghost Box intro, to Salem‘s screwed goth-hop remix of Playboy Tre and Tan Dollar‘s funeral wedding march, projecting via White Rainbow‘s astral tones, Kharkov‘s elusive and ultimately unobtainable folk melody and Ancient Crux‘s dark pean to romantic longing, dripping with echoes of music from half a century ago. It’s full of promise and mystery, yet it ultimately unsettles and perhaps never truly satisfies – the true mark of a real teenage dream.

DOWNLOAD: Discontent | In Teen Dreams (103MB)

  • 1. Roj – You Are Here / England [1:29]
  • 2. Black Vatican – Night Is Come / U.S. [4:18]
  • 3. Railcars – Cathedral With No Eyes (white rainbow remix) / U.S. [6:24]
  • 4. Playboy Tre – Sideways (Salem Drag Chop remix) / U.S. [4:48]
  • 5. Shlohmo – Couch / U.S. [3:34]
  • 6. Tan Dollar – Untitled / U.S. [2:36]
  • 7. Ancient Crux – In Teen Dreams / U.S. [2:33]
  • 8. Pina Chulada – Someone Like You / U.S. [3:39]
  • 9. Blastcorp – Last (Harp mix) / Australia [2:25]
  • 10. Syntaks – Sudden Dream / Denmark [3:00]
  • 11. White Rainbow – Mind Haze Is Clear Delights / U.S. [10:29]
  • 12. LJ Kruzer – Tam8+ei4 / England [1:02]
  • 13. Kharkov – Folkal / Australia [5:34]
  • 14. Mokira – Seven Ply / Sweden [7:16]
  • 15. Brothers of the Occult Sisterhood – Precognition / Australia [2:14]

img: Nyalee (via Flickr, Creative Commons)

Discontent – Americas Volume One (A Mixtape by Moses Iten)

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!!).  I had the good fortune to DJ regularly with Moses back when we were both part of the Uber Lingua crew – he continues to DJ, to make music, to produce, remix and educate on music from the Americas, with performances next week as part of Tasmania’s MONA FOMA festival and the 2010 Big Day Out Festival. When we were discussing Moses’ mixtape for Discontent, we were both keen to push towards more innovative and experimental material – music that that we both loved, but perhaps didn’t get to expose often enough. Here, Moses presents a wonderful selection of sounds from ‘the Americas’, and – as he’s named in ‘Volume One’ – I’m hoping that we’ll see a sequel before too long.
Stuart Buchanan

“Americas Vol. 1 is sourced from the Spanish-speaking Americas, but there are many other languages spoken from Alaska to Patagonia. Exploring andean minimal, huarachegaze, nueva cumbia and other experimental genres hopefully never to be deciphered, Americas Vol. 1 is not about being a definitive compilation of “Futuristic Sound from Latin America”, but attempts to be a mixtape as platform for a dialogue of the past with the future. Also, while as a DJ, performer and producer it’s mostly my aim to make you dance above all else, I took this mixtape as an opportunity to expose other sounds I’ve been hearing, and digging, from the Americas. Although I travel as much as possible, much of my exploration of music is via internet from my home base in Australia, so it was only appropriate to also make this an opportunity to present some of the best music that is little represented even in countries of origin and can only be sourced via cyberAmericas.”
Moses Iten (a.k.a. saca la mois DJ!!)

DOWNLOAD: Americas Volume One, A Mixtape by Moses Iten (108MB)

1. EL REMOLON feat. SUMERGIDO Remoloneando – from ‘Cumbia Bichera EP + Remixes’ on Pueblos Nuevos, 2007 (Argentina)
2. MIKA MARTINI Iniciacion – from ‘Mestizo’ on Pueblos Nuevos, 2007 (Chile)
3. MARCELO FABIAN Negros y Serenos – from ‘NF0005’ on newfolder.com.ar, 2008 (Argentina)
4. TREMOR Viajante (THE CUMBIA COSMONAUTS Remix), 2009 – upcoming release on ZZK Records (Argentina/Australia)
5. KING COYA feat. TREMOR & AXEL KRYGIER Don Axelina – from ‘Cumbia De Villa Donde’ onZZK Recordss, 2009 (Argentina)
6. TREMOLO AUDIO El Ya Sabia – from ‘Random V 1’ on Mil Records, 2004 (Mexico)
7. KAMPION Primaveral – from ‘Invisible EP’ on Filtro, 2005 (Mexico)
8. THE PERONISTS La Cumbia Del Laberinto – previously unreleased, 2009 (Argentina)
9. ALDO BENITEZ Día Libre (CHANCHA VIA CIRCUITO Remix) – from ‘El Portafolio Sin Un Peso on Peaton, 2009 (Argentina)
10. EL REMOLON Cumbia Bichera (TREMOR Mix) – from ‘Cumbia Bichera EP + Remixes’ on Pueblos Nuevo, 2007 (Argentina)
11. CERO 39 feat. BETO Morenita – previously unreleased, courtesy of Cero39, 2009 (Colombia)
12. LOS AMPARITO Las Miradas De Magaly – from ‘Fonogramaticos Vol.3’ on clubfonograma.com, 2009 (Mexico)
13. CARLA MORRISON Buena Malicia (LOS AMPARITO Remix) – unreleased, courtesy of Carla Morrison, 2009 (Mexico)
14. DIEGO BERNAL Dusty Sanchez – from ‘4corners’ on Exponential Records, 2009 (USA)
15. MIKA MARTINI Why No – from ‘Mestizo’ on Pueblos Nuevos, 2007 (Chile)
16. LOS MACUANOS Alma – from ‘Fonogramaticos Vol.4’ on Club Fonograma, 2009 (Mexico)
17. KIXLY Surfline Coaster – previously unreleased, courtesy of Kixly/Moises Horta, 2009 (Mexico)
18. TREMOLO AUDIO Rosita (LUCRECIA Remake) – from ‘Visitas: a collection of remixed tremolo audio’ on Mil Records, 2008 (Mexico/Colombia)
19. SOKIO El Pueblo… (“Pueblo” GERARDO FIGUEROA Version) – from ‘Columbia Remixes’ on Pueblos Nuevo, 2009 (Chile)

img: Magdalena Pereza (Mexico)

Disorientation Session (Disorient’s Mixtape For FBi)

In June 2009, I gave away a free mixtape to new subscribers of FBi Radio during my ‘Disorient’ show. The mixtape, titled ‘Disorientation Session’, features a few tracks that you can find on the first two Discontent mixtapes (Mixtape One and Two), with additions from various artists that appeared regularly on the show’s playlists, or as earlier single posts on the Discontent blog. As an aggregator of the sounds found on the (somewhat short-lived) Disorient radio show, this will more than likely remain the only existing audio document.

I’m particularly fond of this mixtape as its sensibility stretches back to the earlier days of the Fat Planet radio show – a focus on more innovative and often experimental music from around the world, before the beats and bass kicked in.  I particularly like the way that Salem’s screwed, slow-core can nestle near Villa Diamante’s warped take on South American cumbia and AGF’s truly distressing cover version of Rhianna’s ‘Disturbia’.  An eclectic and surprising session, I hope you agree.

DOWNLOAD: Disorientation Session: Disorient’s Mixtape For FBi (105MB)

  • 1. Dalt Wisney – Sci-Fi Dot Fiends [Pakistan] 2:03
  • 2. The Craters – Samba Party [U.S.] 2:40
  • 3. Ghoul – Fuck Math [Australia] 1:54
  • 4. Salem – Brustreet [U.S.] 5:02
  • 5. 7VWWVW – Mammal Theme [Scotland] 5:55
  • 6. Villa Diamante – Tonolec vs Kromestar [Argentina] 2:56
  • 7. Berrettaz – Pense A [Côte d’Ivoire] 2:44
  • 8. AGF aka Antye Greie – Disturbia [Germany] 4:07
  • 9. Filastine – B’talla (feat. Rabah) [U.S.] 3:10
  • 10. I Buried Paul – Favola [Brazil] 3:17
  • 11. Fletcher – Dreadlox Dub [South Africa] 6:17
  • 12. The Peronists – Cumbia Maligna [Argentina] 3:39
  • 13. Atomhead – Unsuspecting Broken Receiver [Belgium] 2:09
  • 14. Growing – Green Flag [U.S.] 6:16
  • 15. Sleepmakeswaves – Exits To Nowhere [Australia] 3:41
  • 16. Rothis Bournias – Last Days Part Two [Greece] 7:07
  • 17. Inverness – Bats [Brazil] 3:13
  • 18. Flica – Mid [Malaysia] 4:53

Note: All music on the mixtape is licenced via Creative Commons or has otherwise been made freely available by relevant artists & labels. If you like what you hear, please support the artists -visit their site, buy their music.

Cover image by Irving Liaw (under CC Licence).

Discontent – China (A Mixtape by Shaun from Tenzenmen)

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 dig around for non-traditional, contemporary, innovative music. Uncover the hitherto uncovered. At first I thought Africa would pose the greatest challenge, but in truth the hardest location to crack was China. Most of my research was carried out online, and – at the time – there was precious little posted online about Chinese music, at least nothing that could be uncovered without a roadmap or directions to follow. Thankfully, Shaun at Sydney label Tenzenmen proved to be something of a guiding light – exposing alternative Chinese music outside of its origins, providing us with a rare glimpse of the sounds that are actually stirring in the clubs, bars and bedrooms of one of the world’s oldest civilisations. When looking for curators for Discontent, for people that might provide a lifeline to something less ordinary, Shaun was top of the list. Stuart Buchanan

China – it’s the buzzword of the first decade of the 21st century.  Back in the last century I started learning about Chinese history and culture and in 2001 embarked on my first trip there (no doubt many if you have done the same since).  Quickly adapting the Chinese push and shove I was curious when I came across an article in an English language weekly newspaper that was documenting the very beginnings of the punk scene in Beijing.  What the hell did punk mean in a place like this?  I had no idea but armed with the scant information I went in search of these punks and couldn’t find anything.  It’s easy to be lost in the many millions of inhabitants of Beijing and all I knew was the train station near where these kids hung out.

Back in Australia I continued learning and discovered many other music scenes around the whole Asia region and then finally made contact with a new group of musicians building a scene in Beijing and expanding throughout the country.  Several more trips garnered visits to cool venues and hearing some great new sounds.  So impressed I began licensing releases for Australia through my label tenzenmen (www.tenzenmen.com).  But that is not what this mix tape is really about.  For this mix tape I challenged myself to find the new fresh bands, the second wave as such.

China has it’s own equivalent of myspace called Douban (www.douban.com) as well as a Chinese only myspace (www.myspace.cn).  Even without understanding the language it’s fairly simple to click around these sites and discover the motherlode of music you never heard before.  I had a few pointers of things to look for and gathered the results here for this mix tape.  It’s a wide and varied mix, expressing my own interest in different genres and highlighting the diversity of sounds coming from the underground there (we could probably consider even popular artists in China as still underground).

You can find all the tracks here at the various sites mentioned above and also keep up to date with news and info from China via various links at the tenzenmen website or ‘the MAYBE MARS series’ facebook fan page.

Shaun, Tenzenmen

Discontent – China (A Mixtape by Shaun from Tenzenmen)

DOWNLOAD MIXTAPE (119MB)

01 – Low Wormwood (Di Ku Ai) – Who – 5.11
02 – The Curry Soap – Little Northern Europe – 4.18
03 – Godot – No 4 – 6.26
04 – Demmy – Will You Remember Me Tomorrow – 6.42
05 – 21 Grams – 21 Grams – 7.58
06 – 8 Eye Spy – Live – 2.10
07 – Cover People – Trip To… – 3.07
08 – Snapline – Nice Dream – 3.11
09 – White – 47 Rockets (For Wan Hu) – 5.10
10 – Little Nature – Different World – 3.00
11 – Sonnet – A Nice Song – 3.10
12 – I.D.H. – Final Trial – 3.53
13 – Boys Climbing Ropes – Dirty Bots – 4.35
14 – Lava Ox Sea – Regnarts! Yeh – 6.15
15 – 24 Hours – Mr Stevenson (with Train) – 3.24
16 – You Mei You – All Talk No Action – 1.36
17 – Mortal Fools – Drink! Drink! Drink! – 2.04
18 – Muscle Snog – Think and Shit – 3.48
19 – Fanzui Xiangfa – Kill Your Television – 1.04
20 – The Curry Soap – You Keep Everything But His Heart – 1.06
21 – D!O!D!O!D! – A02 – .53

img: Steve Webel

Discontent – Paper Money (A Mixtape by Raphael Dixon)

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 first heard that Raph was ostensibly presenting a hip hop show, my heart sank a little. There’s already an upfront hip hop show on the station (the perennial Stolen Records), and I remember thinking to myself, “do we really more of the same?”. And that’s when Raph pretty much blew my mind. His curation of sounds from the outer fringes of hip hop, includes innovative beat work and often radical production methodologies, but his real skill also comes to the fore in his ability to map that with other sounds, to cross-pollinate and thus recontextualise our often misplaced notions of what hip hop means in 2009. I hope this mixtape helps to add some critical mileage to Raph’s ongoing mission. Stuart Buchanan

“The genre of Hip-hop has a certain stigma attached to it, often rightly so. Personally, I have always been fascinated by the hip-hop sound and indeed it is the hip-hop sound that this mixtape explores. I say ‘hip-hop’, but I’m sure that there would be a lot of hip-hop  fans who would not enjoy this mixtape, moreover, I’m sure many a ‘purest’ would go so far as to call it “not hip-hop” (an insult of sorts in the hip-hop world). This mixtape is predominately instrumental, ranging from sample based downtempo works, to bassy, electronic, club-influenced glitch-hop.  The drums loops are often slightly wonky or glitchy, the samples brutally chopped or the basslines fuzzy. The idea is to strip down hip-hop to its basic form and rebuild it in a re-contextualised manner that critiques its mother genre. As the experimental hip-hop netlabel Error-Broadcast awkwardly, yet acurately describes it, the wonks, quirks and distortion is  “…the glitch that interferes with crept over mainstream Hip Hop, the increment of postmodernism”.

“Many thanks to the artists, I hope you enjoy their work as much as I do” Raph

DOWNLOAD: Paper Money | A Mixtape by Raphael Dixon (110 MB)

Raph’s Blog: thegetby.blogspot.com

img: Jade Cantwell

Three Heads Meet Messmer And Koo Koo

Mitch Jones & Michael Tee stand as two of the key figures in the history of alternative music in Sydney. Together they founded M-SQUARED Records – home to a cluster of now seminal local post-punk artists such as SYSTEMATICS, THE MAKERS OF THE DEAD TRAVEL FAST, YA YA CHORAL, PROD and their own band, SCATTERED ORDER. Nearly 30 years after the fact, SCATTERED ORDER reformed their original line-up earlier this year, and started both playing live and recording once again. I was asked to DJ at their second ‘reformation’ gig with THE MAKERS OF THE DEAD TRAVEL FAST and A SLOW RIP last month – a gig which also represented one of the last live events at the Abercrombie Hotel in Chippendale before it closed its doors.

This mix is essentially my DJ set trimmed to a neat 43 minutes, and features Australia music from the M-SQUARED heyday (1979-1983), both from label artists and beyond. Witnessing this music now, some 30 years later, I’m not particularly aware of the impact that each artist or track may have had at the time, instead I chose to respond to the sounds that still have resonance today. Indeed, listening end-to-end to this mix, this feels like the start of a much longer continuum, and it becomes clear (almost immediately) that there are many current local bands and artists that – wittingly or otherwise – are fostering a unique Australian tradition that began over three decades ago.

Tracklisting:

  • Severed Heads – Introduction / 1982 [from Adenoids 1977 – 1985 Disc 4]
  • Systematics – … And The People Are Blowing Their Minds / 1981 [from Boxed Brownies]
  • Ronnie and the Rhythm Boys – Hey Joe / 1979 [from Little Bands EP]
  • Ya Ya Choral – God’s Buzzsaw / 1983 [from Such A Dutch Man]
  • Yclept Dinmakers – I Think A Shell / 1982 [from Klinger The Blowies]
  • Hiroshima Chair – Reset / 1980 [from Reset]
  • SPK – Mekano / 1979 [from Auto Da Fe]
  • Severed Heads – Food City / 1981 [from Clean]
  • The Limp – Rony Club / 1981 [from A Selection]
  • Essendon Airport – Runway Rock / 1979 [from Sonic Investigations (Of the Trivial)]
  • Microfilm – Summer House / 1981 [from From Belgrade With Love]
  • Prod – Fish Hook / 1980 [from More Songs That Will Never Be Released]
  • Negative Reaction – Untitled A01 / 1980 [from Negative Reaction]
  • Zyé yé yé – I Want To Live / 1981 [from Primitive Calculators]
  • Laughing Hands – Two / 1981 [from Dog Photos]
  • Severed Heads – Much About Bones, Hello Donald Merry Xmas / 1980 [from Adenoids 1977 – 1985 Disc 1]

Discontent – We Sleep In This Cave (A Mixtape by Pink Priest)

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 to friends and colleagues thus far, but may well open further as the experiment progresses. First up, an artist who appeared on the recent ‘All That Glitters Is Gold‘ mixtape, Pink Priest. He emailed to thank me for including his track on the mixtape, I suggested he might want to put his own together.  ‘We Sleep In This Cave‘ is the result – a singular treat awash with hypnotic tones and drones, punctuated by rough bursts of primal punk and lo-fidelty abstract pop.  It’s a genuinely beautiful curation, and one which I hope sets a benchmark for further guest-tapes to come.  Stuart Buchanan

“Recent days, months, weeks, year(s) have been a good time for music… at least, they have been to me. Over the past year to year and a half, I’ve discovered so much incredibly epic, gorgeous, utterly mind-blowing music, that it’s been hard to keep up with. I don’t want to go too far into detail concerning each and every track on this mix, but these are some musicians, peers, projects, and tracks that have really stuck out to me this year. There’s an aesthetic that flows through this music; it’s grainy, it’s reactionary, it’s radiant, it’s intelligent, it’s haunting, and it packs this intense vibe that you can’t help but take notice to. I won’t keep throwing cliché adjectives around, I’ll simply let this wonderful music speak for itself… Here’s some of my favorite music of recent days, months, weeks, year(s)…” Pink Priest, November 2009.

DOWNLOAD: We Sleep In This Cave | A Mixtape by Pink Priest (94.4MB)

Pink Preist: godofblues.blogspot.com |

img: Plamen Stoev

Discontent – All That Glitters Is Gold (Mixtape)

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, they also reflect a linear narrative of sorts. Buried in between the idiosyncratic choices that I’ve made, are signals that indicate a broader passage. Some genres bleed in slowly over months or over a sequence of multiple tapes, others crash in without much warning, overtaking everything in their path. However, it’s often hard to distinguish whether I’m being pulled, or I’m doing the pulling. Am I responding to signposts in the ether, or am I fashioning my own?

Certainly on ‘All That Glitters Is Gold’ artists such as Gary War, Cold Cave, Oneohtrix Point Never and Best Coast (a post-Pocahaunted project for Bethany Cosentino) are garnering an increasing recognition factor from blogs worldwide, however Australian artists such as Cabaret Callado, Pompey, Hi God People or the newly reissued Pelican Daughters (Itch-E & Scratch-E‘s Andy Rantzen in experimental / post-punk mode) remain almost entirely obscured from view, even in their home country. So, is this my story, or someone else’s? Truly, like all good mixtapes, it’s an eccentric combination of both.

What surprised me when pulling together this selection was the complete absence of remixes or covers. Instead, this is (with one slight exception) the original instance of all the tracks represented, not a reversion in sight. Perhaps the seemingly unstoppable glut of remixes and bootleg versions over the years has finally taken their toll on me – I need to return to the source. This theory is bourne out by events in my life – twelve months ago I was running down a clu-de-sac flogging ‘global ghettotech’ on Fat Planet, today I’ve reconnected with what drove my love of music in the first place: free experimentation, unbridled by a sense of scene, or notions of taste. Whether this is symptomatic of a wider condition is unclear, but I defy anyone to send me a bootleg electro remix via email and expect to see it cropping up on a mixtape anytime in the next era.

The title reflects this – these tracks shimmer and glow in their own right, with no need for spit or polish from any third party. It’s also a phrase culled from the closing track (the caveat mentioned above) – Buttress O’Kneel and Lucas Darklord‘s destruction of the Led Zeppelin classic. In Lucas’ own words, this is not so much as a remix, as a “ruin”. And it befits a mixtape whose underlying purpose (initially unbeknown to me) was to draw a line, to ruin the past, and to plant a signpost for a different kind of future.

Discontent – All That Glitters Is Gold | Download

  • 1. Pink Priest – Field Of Orgasms [U.S.] 2:02
  • 2. Teeth Mountain – Black Jerusalem [U.S.] 5:42
  • 3. Lucky Dragons – Power Melody [U.S.] 3:46
  • 4. Gyratory System – Cargo Cult [England] 4:34
  • 5. Blank Dogs – Set Living [U.S.] 3:18
  • 6. Peace In – Candy Rug Lizards [U.S.] 2:52
  • 7. Oneohtrix Point Never – Zones Without People [U.S.] 4:00
  • 8. Cabaret Callado – Ware [Brazil / Australia] 2:56
  • 9. Gary War – Good Clues [U.S.] 2:51
  • 10. Cold Cave – Life Magazine [U.S.] 2:56
  • 11. Flight – Flowers [U.S.] 2:51
  • 12. Hi God People – Thunder On The Way To Funan [Australia] 8:24
  • 13. Pelican Daughters – The Haywain [Australia] 3:38
  • 14. Zaza – Sooner or Later [U.S.] 5:06
  • 15. Pompey – Hands Miniature [Australia] 2:56
  • 16. Best Coast – Something In The Way [U.S.] 2:11
  • 17. Polyfox & The Union Of The Most Ghosts – Cross Boa Tangles Gently Around Polyfox [Australia] 3:02
  • 18. Fol Chen – Cocktails at Shadeland [U.S.] 0:59
  • 19. BOK Darklord – Stairway to Heaven [Australia] 2:12

img | anniewong

Discontent | Burnt By The Sun (Mixtape)

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 swelling legion of producers (new and old) finding inspiration through the low end. There were two net results: one, the overall quality of the music being produced naturally become diluted and duplicated and it was all the worse for it; two, producers at the top of their game took their work off to one side, far outside the genre schema, and it was all the better for it. This collection isn’t particularly post-dubstep in any real sense, but – if there’s any commonality to be found – each of the producers here are creating new electronic music that sits outside the path of any genre juggernaut.

Kicking off the mixtape, Jay Bharadia and Gaslamp Killer plough a seam that points back to sample-delica and cut’n’spice science, but they too find something new to say inside an over-represented marketplace. Jay Bharadia‘s work was only recently introduced to me, although this cut is taken from his 2008 album, ‘The Yeti Cave’. More recently, he’s released a beautiful collection of warped remixes from Lone, Ochre, Implosion Quiet and two particularly sunburnt offerings from Airliner ’67. The Gaslamp Killer’s cut is ripped from his new debut EP, ‘My Troubled Mind’ released via Flying Lotus’ label, Brainfeeder. For once, the hype is right – and The Gaslamp Killer delivers a short but instantly compelling delve into his inverted beat alchemy.

Lest you feel any predictably in where this mixtape might head, there’s a few curveballs tucked inside. One is Ikonika, a female producer that has hitched herself to the right star in signing to the Hyperdub label, a dubstep collective that (much like its founder, Kode9) has found a new lease of life outside the main genre arena. ‘Phonelines VIP’ included here sounds as if it could have been ripped from an early Artificial Intelligence collection from Warp Records, updated with a two step sensibility. The second is Mochipet, whose endless productivity is matched by a consistently high and consistently skewed quality. Mochipet certainly doesn’t take himself too seriously, but in doing so, he finds seemingly endless freedom and flexibility. Having the space to move anywhere, particularly inside a single track, is not something that every producer can lay claim to and – on the new album, ‘Master P On Atari’ – that ability once again serves Mochipet well.

The mixtape closes with Paul White, a producer that has been prolific for many years – primarily as a ‘library music producer’ for British television. Inevitably, this overtly informs his work – this track from the album ‘The Strange Dreams Of Paul White’, with its wonky analogue sounds, hip hop beats and haunted snatches of Asian vocal, manages to tap into a leyline that straddles the last four decades of music. As with the rest of these selections, White understands that while embracing currency and futurism has its place, there still remains much to be gained from distilling that sensibility with choice fragments of the past. A notion that our bland, copyist dubstep fiends might be well advised to consider.

Discontent – Burnt By The Sun | Download

  • 1. Jay Bharadia – Mother Culture / England [8:21]
  • 2. The Gaslamp Killer – Anything Worse / U.S. [4:15]
  • 3. Various Production – Trycycle / England [6:58]
  • 4. Ikonika – Phonelines VIP / England [4:22]
  • 5. Jogger – Nice Tights (Nosaj Thing Remix) / U.S. [3:00]
  • 6. Bodycode – Subspace Radio / South Africa [6:10]
  • 7. Dalt Wisney – Smokey Daze Forever / Pakistan [3:02]
  • 8. Mochipet – Marshall Bass Stacks / Taiwan / U.S. [3:45]
  • 9. Fulgeance – Ann Arbor / France [4:44]
  • 10. Fletcher – Dreadlox Dub / South Africa [6:17]
  • 11. King Cannibal – So…Embrace The Minimum / England [4:02]
  • 12. Paul White – Burnt By The Sun / England [2:16]

img | tchola

Discontent – Hypnogogic Pop (Mixtape)

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 into which many of the genre players were born, and which is now being factored into underground music as a spectral influence“.

I was drawn to this partly due to my admiration of Pocahaunted (featured briefly in the article), but also more particularly to the aesthetic – music drawn through layers of continual disintegration, indifferent to (and indeed almost entirely opposed) to clarity or crisp production, with instrumentation seemingly drawn from cheap, disposable sources. The packaging too is born of the same sensibility – many of these releases find themselves distributed via cassette, in limited runs, with photocopied covers and no hope for a simultaneous digital release.

In times when the printed zine is making a stand against the endless digital ephemera of blog culture, it’s perhaps unsurprising that a new generation of experimental artists would reject free and easy digital distribution in favour of lo-fi, corruptable, DIY recordings. But in this hypnogogic realm, looking back across the planes of over two decades, the time-scarred inspiration from that era is also corrupt, endlessly photocopied and degraded to such a point when it becomes almost entirely detached from the source. The natural result, as Keenan notes, is a sense of being “haunted by pop” – which also references “hauntology“, coined by Simon Reynolds in 2006 describing a crop of British artists who deploy “delectable morsels of decaying culture-matter”.

As with all material on Discontent, music found on this tape has been made available for free by the artists, hence it represents only a slice of the scene. Some of the artists on this collection are cited in the original article, others I’ve take liberties to include – such as Australia’s Cock Safari (whose new EP feels like the perfect bridge between continental scenes) and Salem‘s take on Bruce Springsteen’s ‘Streets Of Philadelphia’, which feels like a more direct coda to the abstract references peppered throughout these 72 minutes.

Discontent – Hypnogogic Pop | Download

img | Neil Krug (Licenced Via Creative Commons, Some Rights Reserved).

Discontent – Music For Merce

Earlier this week, I read that Merce Cunningham had passed away. Whilst regularly lauded as one of the finest choreographers and dancers not only in America, but also worldwide, Merce’s contribution to music is no less profound. His avant garde approach to movement was matched directly with his work within sound. His life partner, John Cage, was the inaugural musical advisor for the Merce Cunningham Dance Company and, between them, the duo forged an unparalleled relationship between music and dance, so much so that the repertory now reads as something of a ‘who’s who’ in 20th century avant garde music. Familiar names such as Sonic Youth, Radiohead, Brian Eno, Sigur Ros, Gavin Bryars, Pierre Henry, Erik Satie rub shoulders with composers and musicians who bent form, twisted genres and stretched definitions – and all of them sound-tracked work from a visionary artist, the like of which we may never see again.

It seemed fitting to construct a tiny tribute to Merce, utilising music and sound both lifted from artists within the repertoire (Pauline Oliveros, Sigur Ros, Earle Brown, Brian Eno, Sonic Youth, Yasunao Tone and, of course, John Cage), and those who were inspired by it. The latter is represented directly and indirectly. La Monte Young, who scored Merce’s 1964 piece ‘Winterbranch’, cited Ustad Abdul Karim Khan‘s ‘Jamuna Ke Tira Kanha’ as “one of the great masterpieces of music”. In addition to Charlotte Moorman’s realisation of a Cage piece, artist Mikrosopht also blends one of Cage’s many spoken words recordings into his own composition, where the composer’s influence on Nobukazu Takemura is more oblique – citing his “impressionist and objective conception” as key bearings on the creative process. I’ve also included My Brightest Diamond‘s variation of Radiohead‘s ‘Lucky’ from Stereogum’s OKX project – a puzzling hit and miss affair, particularly given the subject matter.

I was extraordinarily fortunate to have met Merce Cunningham a few years back – a close friend was working with him and invited me to lunch at his apartment when I was visiting NYC. I remember him being extremely warm, good humoured and incredibly genuine – it was one of those rare and beautifully uncommon episodes that will remain with me for life.

Discontent – Music For Merce | download

img | yan.da (Licenced via Creative Commons)

Discontent Phase Two | ‘Free Music’ Mixtapes

For over 20 years, I’ve been making mixtapes. Originally on cassette, briefly flirting with MiniDisc before landing now on the ubiquitous CD-R, there are just under 200 of my own mixtapes clogging up shelf space in the house. The first, titled ‘Aural Subculture’ (a vague reference to New Order) is dated February 1988 and includes tracks from The Sugarcubes, Cocteau Twins, Joy Division, The Fall and the Jesus & Mary Chain, amongst many other less notables.

For me, mixtapes serve two purposes – first, they are archival documentation that not only preserves a moment in sound, but that also ensure that I don’t lose pieces; that artefacts are catalogued and available to recall at any given moment. As a broadcaster, charged with identifying and promoting new music on a weekly basis, music can pass me by in a heartbeat – the average audition time for a track is less than ten seconds. It has to catch me in that time frame, otherwise, I’ve clicked on to the next. Without that dictum, I’d never get through the volume required in any given week. Thus mixtapes help me preserve the stand-outs, to ensure that they get played (often repeatedly so) on radio and remain on the shelf for a lifetime to come.

If that sounds a little clinical, then be assured – the second purpose is pure pleasure. The curation, collation and sequencing of mixtapes is one of my favourites pursuits. Even if no one else ever hears them, it gives me great joy.

Thus, when considering phase two of Discontent, it felt very much as if the time had finally arrived to put two and two together. Blogging and mixtapes, as one. Blogging about a single track in a single post certainly gives space and context, but the time allocated to writing is disproportionate to the length of the music itself. With mixtapes, I can get across a wider selection of music, but also create a context in a different way – by placing each piece in a sequence with a considered selection of other sounds.

Importantly, as always, all of the music on Discontent remains ‘legal’ or, more simply, ‘free music’ – that is, that the music in these mixtapes has been made available for free by artists, labels or other organisations. Perhaps they never considered that their music would be used in this way, but hopefully, the introduction of a new filter, a new context or a new curation will help distribute and ‘sell’ their work more widely.

To launch Discontent 2.0, I’ve posted two new mixtapes – the first is inspired by an article in this month’s Wire magazine on ‘Hypnogogic Pop‘ and features new music from Sun Araw, Pocahaunted, James Ferraro, Salem, Witchbeam, Yeti Scalp, Cock Safari, Jason E Anderson (also in his Brother Raven guise), Steve Hauschildt and Emeralds.

Although most of the mixtapes will feature new music, the second selection this week takes a more retrospective approach – in memory of artist Merce Cunningham, who sadly passed away on Monday. The mixtape includes musicians that have at one point or another featured in the repertory for the Merce Cunningham Dance Company (Pauline Oliveros, Sigur Ros, Earle Brown, Brian Eno, Sonic Youth, Yasunao Tone and, of course, John Cage) as well as music inspired by Cunningham’s artistic and personal partner, John Cage. ‘Music For Merce‘ is a small tribute to a great man and a timeless body of avant-garde work.

In addition to these tapes, I’ve also reposted recent mixtape selections: Discontent Mixtape Volumes One & Two, the first volume in the New Weird Australia project, and ‘Databass Eclectic Audio‘ – a 1997 collection of (then) new experimental Scottish music.

I hope you enjoy this new approach for Discontent and get just as much pleasure from listening to these selections as I had putting them together.

So it goes,
Stu.

img | eatmorechips

Introducing New Weird Australia

For a while, I’ve been looking for an outlet to best explore, promote and galvanise the weird / experimental music scene in my current home of Australia. This country has a long and vital history of experimental music, however until the birth of the internet age, this rich seam of avant-garde audio remained largely confined to its geographic borders. Over the last ten years, emerging Australian artists have found new avenues and new audiences thanks to international digital distribution, and in considering how to best move a new Australian project forward, it makes sense to capitalise on that paradigm.

The idea is this: New Weird Australia is a free compilation series of new, electic and experimental Australian music, made available to download via newweirdaustralia.com on a bimonthly basis. The first volume in the series is slated for release in late June 2009.

With this in mind, I’m seeking expressions of interest from Australian musicians and audio artists actively pursuing an agenda of experimentation and innovation in any form or genre. New Weird Australia is also seeking expressions of interest from graphic designers, visual artists, photographers and others working within the visual medium to develop cover art for each volume in the series. Please visit newweirdaustralia.co for full details of agreements, licencing & promotion.

Web: newweirdaustralia.com

Discontent – Mixtape Two

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 volume, I’ve included a few tracks that didn’t quite make their way from hard drive to blog, and so are included here for the first time (Mutamassik remix, Ras G, Psychic Ills, Xiao He and Entertainment For The Brain Dead).

All the tracks have been published freely online by artists or labels, so feel free to post the link or distribute the mixtape. If you do, please also link back to www.discontentblog.com.

Download: Discontent – Mixtape Two

1. White – Build A Link [China]
2. Three Trapped Tigers – 1 [England]
3. These Are Powers – Life of Birds [U.S.]
4. Mutamassik – Commo The Rag (Claws Costeau’s All Dirty Remix) [Egypt]
5. Kid606 – Mr. Wobble’s Nightmare [Venezuela]
6. Ras G – Shinelight [U.S.]
7. Psychic Ills – Fingernail Tea [U.S.]
8. Underlapper – Meanderthal (Cleptoclectics Remix) [Australia]
9. Lloop – Lei-tzu [U.S.]
10. Vorad Fils – Android Creche [Australia]
11. Growing – Green Flag [U.S.]
12. Cauto – Despertar [Spain]
13. Xiao He – After Time [China]
14. Entertainment For The Brain Dead – What You Get (Part Timer Remix) [Germany]

Discontent Mixtape One remains available here, featuring Fever Ray, Harmonic 313, Mi Ami, Hudson Mohawke, Salem, Filastine and more.

Databass Eclectic Audio (Mixtape)

Music played a large hand in the genesis of Thee Data Base, a zine that I co-edited with Alan Benzie back in the 1990s. And whilst music was well represented in the content of the zine itself, it was actually the electronic / experimental music scene around us in Glasgow and Edinburgh that galvanised us into some form of action in the first place. It was clear that this particular type of music at this particular time had brought disparate people together in search of something ‘else’ – a refuge from the musically barren 80s and the rebirth of ‘Britpop’ in the mid 90s.

It struck me that a compilation of local music would be a logical extension to the zine and to our irregular club / performance nights. We put a call out in one of our issues and received a healthy reply from the community. Of course, these were the days pre-broadband and even pre-CDR, so the best solution for distribution was the mighty cassette tape. I compiled fourteen tracks from the submissions (and added in a couple of our own for good measure) and designed the sleeve artwork (above). Alas, our zine venture came to a natural end before the cassette could be released, and faced with issues of cost, time and a little thing called ‘life’, the ‘master’ cassette was put into a box and forgotten about.

As I launch into another compilation venuture, New Weird Australia, I’m posting this of something of an interesting counterpoint – Old Weird Scotland perhaps? If I recall correctly, the bands featured here are mostly all Scottish acts, all operating around the late 1990s. The main exception is Involution – a very early project from American producer Kush Arora who befriended us by long distance at the time. Kush has since gone on to work with or play alongside Negativeland, The Bug, Flying Lotus, Warrior Queen, Blevin Blectum and Thievery Corporation. (Note, the Involution here is not to be confused with a Cevin ‘Skinny Puppy’ Key project of the same name).

I don’t recall what became of anyone else here, however that doesn’t detract from the quality of the work – ranging from the proto Anticon vibes of Cassius Clay Inc to the drone work of Heehawhairhead, or the 808 squelch of Alan’s Re:Search project to the primal screams in the live recording of Roddy Hunter‘s performance piece ‘Infant Inside’ – and there’s also Stephen Beer‘s beautiful Brian Eno-esque electro lullaby and the white-boy, lo-fi bedroom take on Dionne Warwick’s ‘Walk On By’ from Natural Born Chillaz. The closing track is a screwed version of a poetry reading, designed to signify the launch of a slo-mo project I intended to work on – needless to say, this still remains my only ‘No-Fi‘ recording to date.

DOWNLOAD: DATABASS ECLECTIC AUDIO (1997)

Tracklisting:

1. RUBY JUNE Doodle
2. CASSIUS CLAY INC. The Rosy Cross
3. ESOFERRIC Deletia
4. HEEHAWHAIRHEAD The Great & The Grey
5. RODDY HUNTER Infant Inside
6. RE:SEARCH Non:Ecludian Rhythm Pattern
7. CRUX Gravel
8. INVOLUTION Sculpted Presence
9. STEPHEN BEER Underwater Camera Work
10. HAND OF POB Oil & Water
11. TAGNUT Purge
12. FOENE Tape Extract
13. NATURAL BORN CHILLAZ Walk On By
14. NO-Fi When I’m Dead

Discontent – Mixtape One

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 distribute the mixtape.

Downoad: Discontent – Mixtape One

  • 1 Fever Ray – If I Had A Heart (Instrumental Edit) [Sweden]
  • 2 Harmonic 313 – Dirtbox [Australia]
  • 3 Lone – Beach Bump [England]
  • 4 The Long Lost – Woebegone (Flying Lotus’ Luckiest Charm) [U.S.]
  • 5 Fantastikoi Hxoi – Kyriarxoi Tou Sympantos [Greece]
  • 6 Ghoul – Fuck Math [Australia]
  • 7 Mi Ami – African Rhythms [U.S.]
  • 8 Hudson Mohawke – Polkadot Blues [Scotland]
  • 9 Pacheko – Green Bull (B Bull Mix) [Venezuela]
  • 10 Filastine – B’talla (feat. Rabah) [U.S.]
  • 11 AGF aka Antye Greie – Disturbia [Germany]
  • 12 The Sight Below – With Her Kiss (I’d Pass The Sky) [U.S.]
  • 13 Sleeps In Oysters – Moths’ Wings For John [England]
  • 14 Salem – Brustreet [U.S.]

Fat Planet – Year Two Mixtape

To celebrate the second anniversary of the Fat Planet radio show on FBi 94.5FM, this mixtape – published in December 2005 – ripped together a number of downloads that featured on fatplanet.com.au during the preceding twelve months. From baile funk to euro-crunk (ahh, remember that?), from Japanese post-punk to Bollywood breakcore, this CD-length compilation celebrates “all that was great about international music in 2005”.

FAT PLANET YEAR TWO

DOWNLOAD MIXTAPE

Tracklisting & Liner Notes:

Notes taken from posts during in 2005 on fatplanet.com.au

1. MC VANESSINHA [BRAZIL] danca de peteca

“an interview with dj marlboro on hyperdub:”In a famous quote, Chuck D refers to rap as the black CNN. In many respects Rio or baile funk could be referred to as favela CNN. That is, it’s used as a medium to convey how the people who live in the Brazilian favelas really feel using their own language, idioms and slang. baile funk is basically a strain of Miami Bass breakbeat, but much cruder and ruffer in it’s production. There is a healthy anything-goes and fuck-fashion attitude to using samples… It’s prole-like unpretentiousness and complete lack of “cool” makes it a scene apart from the rave and club scene dominated by São Paulo and the fashion conscious Paulistas. But ironically, baile Funk is the original Brazilian electronic dance music stemming from the incredibly popular Rio sound-systems of the 70’s.”

2. STACS OF STAMINA [SWEDEN] donne moi un poisson (ft. ttc)

“let me just clear one thing up right now – stacs of stamina’s album ‘tivoli’ is one of the best albums of 2005. easy. and with it comes a hilarious new genre classification – ‘euro-crunk’… it proves just how dramatic crunk can be when we take some of the less agile MCs out of the equation – at once both deliciously deft and deleriously blunt, ‘tivoli’ sets an impossible standard against which future challengers will be judged.”

3. ENDUSER [US:OHIO] not so distant drums

“never before has bollywood sounded so mind-altering than in this breakcore / broken beat widescreen presentation courtesy of ohio’s enduser, aka solo producer lynn standafer. both bhangra and breakcore can be found filed away in my cd library, i just never assumed i would ever find them together in the same temple. and now that i have, their marriage seems absolutely right and absolutely essential.”

4. NETTLE [SPAIN] myanmar (timeblind remix)

“a one time classical saxophonist, timeblind has made his way through a multiplicity of genres to get to where he is today – from free jazz, industrial, acid house, techno to broken beat, breakcore and dub… this was originally released on nettle’s ‘firecamp stories remixed’ series – nettle being another psuedonym for the talented dj and producer dj rupture.”

5. DJ BC vs M.I.A. [U.S. / SRI LANKA] quem vai encontrar a festa da maconha?

“a sweet bootleg from dj bc, mixing m.i.a.’s ‘galang’, a 1962 bossa track called ‘quem quiser encontar o amor’, plus gloria gaynor, dj paris and some dialogue from an anti-drug movie.”

6. SLAM REVOLUTION [SENEGAL] wax degg

“more african hip-hop thanks to our friends at nomadic wax. both tracks are taken from their new release “african underground vol. 1 hip-hop senegal” which aims to provide a contemporary snap-shot from what is arguably africa’s home of hip hop. unlike many compilations claiming to be the ‘real deal’, this is actually the genuine article – recorded on location in dakar, calling on artists that you’re unlikely to hear anywhere else any time soon.”

7. VISIONARY UNDERGROUND [ENGLAND] 100 vibes

“a four piece from london, their remarkable fusion of contemporary breaks with a clear asian influence takes asian dub foundation’s template and moves it further towards the dancefloor.”

8. SHUKAR COLLECTIVE [ROMANIA] blooz gypsy

” the core trio play what is known as ‘ursari’, a style of music traditionally created by men in order to encourage their (tamed) pet bears to dance for their amusement… it’s traditionally played using spoons, barrels and other wooden percussion and, in this album, there’s also a tom waits-esque gutteral vocal that gives the music a rich, rough hue. add to this tradition a succession of breaks, a few rounds of turntablism and some avant-garde electronica and you’re served with a genuinely unique and original sound.”

9. KONONO NO.1 [CONGO] ditshe tshiekutala

“konono no.1 are one of the most original groups operating in africa today, mainly due to their use of the electrified / amplified traditional instruments – a style known in congo as ‘tradi-modern’. boiled down, it’s old school analogue electronic music – thumb pianos, megaphones, pots & pans, old car parts etc, all amplified to the point of almost absurd distortion. if any modern euro-electro pioneer was making this, we’d be hailing them a genius – yet, konono no.1 have being doing their own DIY thing for nearly 25 years.”

10. MUGISON [ICELAND] sad as a truck

“iceland’s mugison is a wonderful contradiction of styles – from his abstract soundtrack album’ niceland’, to the downtempo folktronica of his excellent debut ‘lonely mountain’ and finally to the beat-heavy, fuzzrock mp3 ‘sad as a truck’ from his second album ‘mugimama is this onkey music?’ (sounds like something beck should be making if you drew a more leftfield graph from ‘loser’).”

11. WE ACEDIASTS [JAPAN] ibasho

“the four piece (three from japan, one from new jersey) recorded two tracks with dfa, both of which can be found on their release ‘pre acediasts’, along with six other tracks recorded in tokyo. this mp3 is a rare opportunity to hear the producers stripped right back, a minimal marriage of trademark post-punk 4-4, krautrock, psych and post-rock. ”

12. BALUN [PUERTO RICO] the glass bicycle

“balun are a three-piece from puerto rico… i’m getting the feeling that central and south american electronica is growing in favour and it’s certainly finding some public attention beyond appaearing on the now-standard ‘neuvo latino’ compilations.”

13. THE TINY [SWEDEN] closer

“a three piece from stockholm, the tiny digest all that is bold and beautiful about smoky, torch-song jazz and refract it through a lens that’s been sitting in the pockets of bjork or kate bush. vocalist / pianist and writer, ellekari, onces more takes a seemingly familiar skewed vocal technique into new territories, and essentially proves what we always suspected – incredible though such vocals are, they are best displayed to their advantage in the jazz field.”

14. HUUN HUR TU [TUVA] kongurei

“this band from tuva, the country that holds the distinction of being the most ‘land-locked’ in the world, i.e. furthest away from any ocean. their combination of throat-singing and traditional local instruments makes for a rare and unique slice of music.”

Fat Planet – Year One Mixtape

To celebrate the first anniversary of the Fat Planet radio show on FBi 94.5FM, I’ve pulled together some of my favourite free downloads from the last year and compiled them into this mixtape.

Underneath the track listing, there’s a quote taken from the blog. I still regularly return to the closer – the Sixtoo track featuring Damo Suzuki – a sensational piece of both respectful and revisionist kosmiche rock from hip hop boy Vaughn Squires.

Burn a little silver disc and file it under ‘f’ for fat.

DOWNLOAD: FAT PLANET – YEAR ONE MIXTAPE

Tracklisting:

1. NO NAME NO FAME buena vista fight club [CROATIA]
“some great downbeat latin breaks straight out of croatia … no.1 for ten weeks in croatian radio 101’s independent chart”

2. WAYNE & WAX a it dat (dj c it dat) [US: MASSACHUSETS]
“full of humour … a smart north american take on the contemporary jamaican sound”

3. CUT COPY going nowhere zipped [AUSTRALIA]
“straight-up new wave, direct from the 80s, with a side-swerve to take in some daft punk funk”

4. THINK TWICE under the bombs [FRANCE]
“awesome semi-spoken word vs punk funk track”

5. NEUTRINO syupaman [JAPAN]
“great downtempo hip-hop … released on mush – fast becoming the leader in such sounds”

6. THE ASTROGLIDES the man with the golden reverb [ISRAEL]
“damn fine surf tunes that hark back to a golden era”

7. MC VANESINHA dance de peteca [BRAZIL]
“brazilian hip-hop … sourced from independent sellers – it’s music from garages, apparently”

8. 2/5 BZ bugün eve içine kus geldi zipped [TURKEY]

9. LARS HORNTVETH ticks [NORWAY]
“defies regular description, although if my life depended on it i’d go for someone between free jazz, downbeat breaks and electronica”

10. ERIK LEVANDER bermond (bauri remix) [SWEDEN]
“echoing acoustic loops and a hint of far-off vocals are underlaid with a soft, crunchy rhythm track that is barely there”

11. JUANA MOLINA quien? [ARGENTINA]
“a more balanced approach between vocal, acoustic guitar and electro atmospherics … reconcile the music with the fact that juana is also a comedian with one of the most popular TV comedy’s show in the spanish speaking world”

12. OUMOU SANGARE nebife [MALI]
“without doubt my favourite african artist, simply because you’re unlikely to find a voice quite like this”

13. ROBERT LIPPOCK i can tell [GERMANY]
“always a freakin’ relief to find something that stands heads and shoulders above everything else … a stunning piece of folktronica”

14. COCOROSIE by your side [US: NEW YORK]
“traces of southern blues, jazz, downbeat hip-hop – and all the more remarkable considering this was recorded in paris”

15. JAB MICA OCH EL caca biohjelm [DENMARK]
“cut-up alt.folk string together with some distorted breaks – for lovers of four tet, look no further”

16. SIXTOO feat DAMO SUZUKI storm clouds & silver linings [CANADA]
“features damo suzuki on vocals, a founding member of krautrock legends, can … could have easily been taken from an early can recording session”