MUTANT 4 – Meta House

METAHOUSE

Evil twin of the last MUTANT mix of brightly hued, sun-kissed club music for endless summer nights, Meta House is heavy, narcotic. Including lots of deep techy tracks, some jacking, bassline, healthy dose of ghetto, a touch of shuffling, and material which may be in the category of “House Not House” — but as abstract or bassy as any part of it may be, i made sure that all selections are primarily, unmistakably House – all steady kicks and offbeat hi-hats.

01 Kowton – EFX01 X R.I.P AJ
02 Altered Natives – Die 4 U
03 Boddika – Steam
04 Rommek – Puffin Original
05 Thomas Meinecke & Move D – Work Me (That’s Fierce)
06 Altered Natives – Shake That feat. E.S.P.
07 Gage – Burnin
08 Boddika & Joy Orbison – Tricky’s Team
09 Rushmore – Jumpshot
10 Matrixxman – Stop It (Original Mix)
11 Randee Jean – You Got It (Dexter & Awanto 3 Mix 2)
12 Altered Natives – Friends & Lovers
13 Tom Flynn – Mr. Hedgehog
14 Kill Frenzy – Booty Clap
15 Joy Orbison, Boddika & Pearson Sound – Nil (Reece)
16 Kris Wadsworth – Mainline
17 PulseCode – Get Large
18 INdigo – Aradia
19 Dark Sky – Ruk
20 Effy – The Look
21 Boddika – Warehouse
22 Braiden – The Alps
23 Omar S – Kosmos 1402 X Nina Kraviz – I’m Gonna Get You
24 Omar S – Income Tax Refund Dance

MUTANT 04.July @Urban Spree

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MUTANT RHYTHMS, ALTERED BASS

From 4 corners of the world come 4 mutants that have evolved in different ways but on the same path of poly-rhythmic bass, meeting on this night in Berlin to examine various MUTANT sonics, and create oceans deep, tornados strong vibes without borders that will rearrange the DNA of human kind for ever.

Why do various modern beats sound the way they do? How are they still unmistakably connected to ancient rhythmic roots? How did we get from slave songs to “untz untz” club music? In what ways have identities and cultures been forever changed with various waves of globalization? These are a few of the many questions surrounding MUTANT musical culture the first part of the evening will address.

From Tribal Guarachero to Techno, from Juke/Footwork to Kuduro, from Dancehall to Jungle — during the second part of the night 4 MUTANT Djs will sonically demonstrate deep genetic axis of rhythm which connects various bodies of music, while rocking the dance floor with some of the most advanced and innovative dance music in 2014.

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21h – 00h talks by Dj Ripley and Dj Zhao

Dj Ripley – “From Jamaica to di World! Musical Identity in a Globally Networked Context” 

Dj Zhao – “Rhythmic Mutation and the Evolution of Contemporary Dance and Pop Music”

Panel Discussion / conversations.

00h – MUSIC

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Dj Ripley (Dutty Arts / NYC)

mixes music to highlight difference rather than seamlessness. Pulling out familiar songs and sounds from people’s childhood or community, layering them with foreign, distant sounds to make the familiar strange and the strange familiar. Music exists because it crosses borders, literally and figuratively. Physical borders: eardrums, walls, and legal borders: nations, zones. Her main goal is challenge the assumption that difference breeds division and distrust – instead, difference, rupture, foreign-ness is a site of conscious, open-eyed and physical pleasure.

http://soundcloud.com/ripley
http://djripley.blogspot.com/

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Rafael Aragon (Latino Resiste/Paris)

Rafael Aragón is a latin/arabic rooted musician / dj / composer / producer making mainly club oriented, heavy bass music, yet delicate, maximalist and highly psychedelic. Sweaty dancefloor killers and soulful, enlightened anthems to cheer up and enjoy the beauty of life. With a very special, magic touch inspired by the ancient traditions of shamanism from all around the world. Mystic chimes, ritual drums and witchcraft incantations meet club kicks, filthy basslines and electronic batucada to provide a rich, dancy and psychedelic music for hips and ears!

!! NEW ALBUM dropping on Latino Resiste on july 2nd!! feat. Zee Reach, Ckrono & Slesh, El Malito, Kosta Kostov & many more…

https://soundcloud.com/rafiralfiro
https://www.facebook.com/rafael.aragon.paris

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dj zhao (Ngoma Sound / Beijing / Berlin)

brings the best contemporary and classic dance music together from wildly different times and places. Informed of up-to-the-minute global styles from Angolan House to Chicago Juke, and with a deep sense of musical history, Dj Zhao infuses his sets with a deep sense of polyrhythms, whether playing techno at Berghain or Afro-Bass at a tropical event. Fusing ancestral rhythms and urban electronics, Dj Zhao is a poly-cultural ambassador of boom connecting “East” and “West”, acoustic and electronic, traditional and modern.

http://soundcloud.com/djzhao
http://ngomasound.wordpress.com/

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Futurismo (Futurisms / Jerusalem / Berlin)

is a dreamer. Born and raised in the city of god (Jerusalem) he moved to the city of godlessness (Berlin) while floating on weird sound frequencies. He fuses together electronic sounds – Acid / Bass / Techno / DnB / UK Garage being just a few of the genres he drops into meshes of rhythms and basslines. He’s been running the Futurisms and Cheap Acid nights in the heart of Berlin’s Neukölln district. Futurismo has no soul, but he can dance. Ask him nicely and he will show you how.

http://www.mixcloud.com/hamster/
https://soundcloud.com/hamster

 

JUJUJUKE 3 + Traslacion

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From Chicago to Berlin, from Luanda to London, JUJUJUKE 3 brings you up to the minute meta rhythms and mega bass.

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NANGDO (Weboogie/Tomcrew)

DJ and producer Nangdo is channeling the soul of South Side Chicago and making some of the most true-school juke and footwork in Berlin. A true music addict: he has been dj’ing and collecting hundreds and hundreds of records for over ten years now. Also, he created tons of beats in the past eight years. For Nangdo, his productions are all about chopping up sounds of seventies soul, break beats, hip hop ‘or whatever stuff.’

https://www.facebook.com/pages/Nangdo

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Luc Masera (Antibling/Kick Snare)

With versatile sets Luc has played in nearly every Club of Berlin. His first London Trip inspired him so much, that he changed from Minimal-Techno to all kinds of UK Bass. In 2011 he and four other guys from Berlin Massive started the monthly Antibling : Promassive Party which is today Berlins Filthiest Dubstep Party. Antibling brought Luc Masera to Paris, Switzerland, Bombay, Sao Paulo and to a lot of German Citys and everwhere he plays, he is looking for new inspirations for his DJ Sets.

http://kicksnarebooking.eu/cs_album/luc-masera/

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This time, for the first hour of the night, from 12 – 1am, there will be a very special program of improvised and live sound and video art collaboration between artists in Buenos Aires and Berlin. Dj Zhao will be in a duo with Hidhawk, weaving a strange and transporting tapestry of tape loops, voices from the ether, and ghosts in machines, in real time:

https://www.facebook.com/events/268174550035842/

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CZ and NL

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this coming weekend the lovely hills of the White Carpathians will get a heavy dose of psychedelic NGOMA rhythm and bass!

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Last weekend in Amsterdam and Utrecht was wicked. Great vibes at the Underground warehouse party i played right after the NL football win, er, i mean SLAUGHTER, agains Spain (sweet revenge for these drunk Dutch people), and lecture and set at Festival Debestuiving.

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MUTANT 3 – In the House

Endless Summer

MUTANT 3 is about euphoric and summery, purely pleasurable, feel good electronic music from North America and Europe.

Encompassing classic Chicago, Deep, Acid and Tribal House as well as new-school French and UK styles, going beyond House into Bass and Garage territory with even a touch of pop. Alternately euphoric, somber, psychedelic, whimsical and sexy, This mix is the soundtrack for summer in the city.

Ngoma massive world wide need not worry, there are plenty of drums in these “Western” grooves, and plenty of Africa in the machine. To be honest it was difficult keeping all the ghetto, bassline, even more percussion driven, and crazy ill tribal jacking shit out of this — coming up next.

01 Omar S – j-a-i-p-u-r / Tony Allen – Ole (Moritz Von Oswald Remix)
02 The Zohar – Dog Day
03 Dj Qu – Party People Clap (Dj Jus Ed Remix)
04 Omar S – Here’s Your Trance Now Dance (Shadow Ray Remix)
05 Jus Ed – Down & Dirty
06 Spoonz – High In Chicago
07 Robert Hood – Motor City
08 Tin Man – S_MPL HOUSE
09 The Early Sound Collective – MS3
10 Medicis & Vanshift – Minneapolis
11 Generation Next – Full of Life
12 Simple & Thigpen – Licking
13 Percussions – KHLHI
14 Mia Dora – Jezebel
15 Dense & Pika – Crispy Duck
16 Mosca – Bax
17 Tom Zanetti – Darlin X Flight Facilities (ft. Giselle Rosselli) – Crave You (WtchDctr Remix)
18 Ossie – Tarantula
19 Octo Octa – Through The Haze
20 Ryan Wells – Dimes
21 Myrryrs – Blood of a Slave (CEDAA Remix)
22 Wiley – Skanking (The 2-Bears Remix)
23 Simon Off – Want U
24 Yosa – Desmond
25 New Devices – Everything Good (Juan Kidd and Corey Remix)
26 Martyn – Newspeak
27 Bombe – Eclipse
28 Braille – Rise
29 Walton – Every Night
30 Spoonz – 97

JUJUJUKE 2

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This how we voodoo, this how we juju:
From Chicago to East London, from Jersey to Berlin, Juju-Juke brings true school rhythm and bass.

Joining us for the first time: Cool Hand Luke straight from Brooklyn will bring true underground club sounds from New Jersey, in addition to the Chicago Tek Life vibes; Congolese/French MC Carmel Zoum will deliver fiery verses on the mic; and Berlin’s own NGHT DRPS wil drp crucial new school bass and footwork.

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NGOMA Sound feat. MC Carmel Zoum
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NGHT DRPS (Through My Speakers – Berlin)
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Cool Hand Luke (Hot Crew 57 – NYC/Chicago)
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Dj Zhao (Ngoma Sound – Beijing/Berlin)
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at the quality Panke club: http://www.pankeculture.com/

JUJUJUKE2 – JUJULIFE

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From Soweto to Chicago, from Jakarta to Paris,
from Lagos to London, from Conakry to Berlin.

01 Tshetsha Boys – Tsekeleke Instrumental X Traxman – Geto Djz
02 Tshetsha Boys – Hi Lavaya X Dj Rashad – Get Down On the Floor
03 Thug Entrancer – Death After Life X Ground Mass Lyer – Syncopate
04 LiL JaBBa – CoLLiSioN
05 Sonido Berzerk – Blitz
06 M’bemba Bangoura – Kirin X 101 Juke
07 Le Motel – 45º34º50º – Pygmy Juke
08 Digi – Trwick
09 Digi – Black Therapy
10 Batåk – Alu-Alu Tu Mula Jadi Na Bolon X Dj Roc – Drop My Back
11 Baglady – Rockoff (Bigote Remix) X Vtgnike – Hi Fashion
12 Jumping Back Slash – Number One Big Big
13 Le Motel – 45º34º50º – Right Business
14 Ital Tek – Ultra
15 Cedaa – Zoom
16 Kode 9 – Xingfu Lu
17 Subp Yao – Dat Thing
18 Romare – I wanna Go (Turn Back)
19 Blind prophet – Ease Up (Original Mix)
20 Radar Bird – 3 O’Clock
21 Romare – Your Love (You Give Me Fever)
22 Naked Werewolf – #TheFangs
23 Dj Rashad – Deep Inside
24 Flo Rida – Get Low (Juked by Dj Nehpets)
25 EQ Why – Ghetto Booty 773 (Original Mix)
26 Dj Spinn – Fall Back
27 Tiyiselani Vomaseve – Se Naxaniseka X Dj Rashad – Hands In the Air
28 Mister Ries – The Near Future
29 Dj Rashad, MoonDoctoR & FreshtillDef – Ethno
30 Doctor Jeep – Golden Eye (Original Mix)
31 Sorie Kondi – Yalimamy
32 George Maluleke – Rioheli

SHANGAAN FOOTWORK!!! NOZINJA!!!

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NOZINJA (Warp Records / South Africa) — live
DJ Zhao (Ngoma Sound)
and the LEISURE SYSTEM Crew 
N>E>D
PUZZLE
GONSHER

8pm till late / friday night party style
Urban Spree - Revaler Str. 99 (corner Warschauer Str. x Revaler Str.), 10245 Berlin

Nozinja is the South African artist, producer and DJ who has masterminded a 21st century reboot of indigenous folk tradition, Tsonga disco, kwaito and house to create the Afro-futurist dance music dubbed ‘Shangaan Electro’. It’s a sound that has spread way beyond the famous street parties he organises to inspire dancefloors worldwide with its rapid fire rhythms, soulful vocal edits and infectious swing. Fresh off the back of recent touring with Shangaan Electro, now is the moment for the man behind it all to enter the spotlight with his debut album on a Western label plus a brand new Nozinja live show forthcoming.

Nozinja has toured extensively with Shangaan Electro, performing scene-stealing turns at Sonar, Roskilde and Sydney festivals alongside club sessions at the Berghain. Most recently he has curated a festival line up at Paris’s La Gaite Lyrique, devised special dance workshops for all ages and launched his own Nozinja Lodge club night in Dalston.

It was not a BAD party…  :)

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This weekend: JUJU-JUKE / SCHIESSBUDE

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Out in the streets Out in the streets Out in the streets Out in the streets…
From South Chicago to East London, from Detroit to Berlin, Dj Zhao and friends bring Polyrhythmic Bass Pressure connecting Footwork, Jungle, GhettoTech, and Drum’n’Bass.
Fuck the future, this shit is NOW.

Friday, April 25, 11:00pm
FRIDAY: Panke Gerichtstraße 23, 13347 Berlin, Germany // RSVP HERE
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Kepler (Sick Girls, Berlin)
https://soundcloud.com/kepler_bln/suedblock
https://www.facebook.com/pages/Sick-Girls/238592175141

A much revered staple as part of Berlin’s rebel bass crew Sick Girls, Kepler has been defying convention, shaking clubbers out of comfort zones, and kicking major booty since you was in kindergarten. Footwork, Grime, Bass, combined with Gangsta Rap, D’n’B and Digi-Dancehall, Kepler drops all varieties of bass heavy musics with a signature sound: sick style!
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Kid Kameleon (Surya Dub, Thump, San Francisco/Berlin)
https://soundcloud.com/kidkameleon
https://www.facebook.com/kidkameleon

a Berlin-based performer pushing an eclectic mix of genre-defying bass music, his signature sound is filled with wild and complex drum patterns, head-nodding beats that range from smooth to stuttering, heavy bass and full spectrum synths that tug at your heartstrings.
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Dj Zhao (NgomaSound, Beijing/Berlin)
https://soundcloud.com/djzhao/ngoma-13-juju-juke
https://www.facebook.com/zhao.ngoma

Ancient Futurist Rhythm Ambassador Dj Zhao approaches 21st century urban sonics with a timeless sense of Afro-centric polyrhythms. Connecting diasporic bass and motherland juju, Dj Zhao’s selections and edits fuse wildly different times/places as they murder the dance floor.
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Ghettozoid (One4Ho, Houndstooth, UK/Berlin)
https://soundcloud.com/zoid/ghettozoid-ft-king-cannibal
https://www.facebook.com/Ghettozoid1

Wild style shape shifting feral child of the streets, Ghettozoid switches between London and Berlin, freaks the sub woofers like it ain’t no thang, and drops ill beats as she makes yo mama’s butt work overtime.

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SATURDAY:  I will rock this real Berlin underground party in a secret location :)

Der Frühling ist da , der Aufstand kommt und wir bewaffnen uns wieder und laden euch ein, mit uns Spatzen nach den Kanonen zu werfen und einen Tanz um den Aprilbaum zu machen. Die ehrlichste Sonne scheint nachts und den freundlichsten Hormonrausch kriegt man mit scharfen Waffen. Also betreten Sie mit uns den Garten der Unsinne, wo die Neurosen zertreten und der Rasen ruiniert wird. Denn Tanzen ist, wenn beide Füße vom Boden kommen ! Garantiert verantwortungslos und genehmigungsfrei. Freshes Frühlingsgeklopfe aus der Schiessbudegärtnerei. Dieses fachkundige Gartenbaupersonal bringt Sie in den Mutterboden:

DJ Zhao ::::::::: Orchideenorchester & Rosenmusik
2kn ::::::::::::::::: Tiefdrucktulpen & Tiefdruckdreck
Mari Mar ::::::: Hartlaubwalzer & Palmenbeat
Mätjes ::::::::::: Stachelbeerentechno
Jony Pony ::::: Frühlingszwiebelsingsang & Krokus-Hop

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Damit der Spass auch Ernst macht, gibt es wieder den “Shoot Your Own”-Schiesstand, betreut vom Drunken-Minors-Antikonfliktteam. Drücken Sie ihre Gefühle aus und drücken Sie mal ab. Wer nicht wackelt, gewinnt und die Underdogs dürfen auch zweimal.

location will be released to our mailing system shortly before the event. Register here. 

  Psssscht! Nicht weitersagen.

Cut Hands: Between Silence and Violence

A follow up to Josh Hall’s piece “Fascism and colonialism in the work of Cut Hands and Blackest Ever Black”  - published here because i seriously doubt any music publication is willing to address these very serious issues.

i’m sure William Bennett was aware of King Leopold’s favorite punishment* for Congolese rubber plantation workers when he chose the name Cut Hands.  (* a wide spread colonial practice not restricted to the Congo, but also popular in the Americas, especially Cuba and Brazil, as well as in the Caribbean, in places such as Haiti)

There are fundamental differences between Bennett’s exploration of “human transgression” and “artistic immersion in taboo areas of human expression” (his own words) and other artists who make use of violent imagery, like Hermann Nitsch, whose obsession with ritualistic sacrifice is not specifically related to current power imbalances in the real world, the wide spread actual violence born of these imbalances, or entangled in the dynamics and history of racism and colonialism.

William Bennett is a European working from a position of privilege afforded by the colonial spoils of his country, who makes exclusive use of the culture of the victims of colonialism. Cut Hands almost entirely consists of direct transcriptions of rhythm patterns from cultures and people formerly enslaved by Europeans, yet the context of a European using these beats is not addressed. The meaning of a white man directly appropriating the creative labor of people previously enslaved, and currently still economically exploited by white men, is not even touched on, at all, in or around the work.

Further, with the name of the project he references the widespread colonial practice in places where a lot of the rhythms he uses comes from, of punishing slaves by cutting their hands off. Elsewhere William’s work makes use of explicit images of violence suffered by Africans, while actual violence from the legacy of colonialism and enabled/sustained by current western economic imperialism has been, and still is taking place, on a massive scale, in Africa. The safe non-transparency, the alleged neutrality of “leaving the work open to interpretation”, where the artist refuses to answer any questions, reveal political motives or position, or take any kind of moral stance, in a case like this, is not only not enough, but is problematic.

Is silence not consent?

When does art collude, by virtue of its silence, with the structures which sustain systematic injustice? Does the combination of depicting violence and refusal to take a position in relation to it, not reenforce structural relationships which perpetuate violence? Relationships which, for example, is indirectly but surely responsible for the violent killing of 8 million people in the Congo during past decade alone.

If one doesn’t speak out against violence and injustice perpetrated by one’s own culture, by a violent and unjust global economic system from which one benefits, while reveling in images of that violence and injustice, does it not mean pardoning or even giving tacit approval?

When does poetic license become, at best unethical shirking of responsibility, and at worst complicit in crimes against humanity?

Whether he is an actual Neo-Nazi or not is besides the point (allegedly parodic printed racist statements from the past and recent statements notwithstanding).  The point is reproducing colonial attitudes as well as cynically exploiting images of wide spread suffering caused by colonialism and exploitation, in a pornographic sense. And it’s not about if his interest or love of the music is genuine or not, it is the way he is largely presenting African music as his own, and the meanings which accrue around the context of him doing so.

If he is, as the statement on his blog says, an “anti-racist” and “anti-colonialist” and “anti-fascist”, maybe he should directly address and confront these issues in his work, and with text or images position the work in unmistakeable solidarity with the global south. The work may have the potential to raise awareness of how multi-nationals have kept the Congo in conflict, for instance. He is articulate and intelligent, why not get directly involved politically and stand with the people, against injustice? (or does this even make sense at all? Here I am reminded of a part in a recent documentary film in which a Native American answers a white woman who asks “what can i do to help?” with: “don’t march with us. just stop consuming so much.”)

In the end he is using the awesome power of African rhythms for self aggrandizement, while projecting his fantasies of violence onto “The Dark Continent“, which amounts to nothing more than cliche art-school libertarianism, garden-variety-Satanism, and “will to power” for sad, emasculated white men. To these people, like Boyd Rice, “Do What Thou Wilt” means doing evil, and “Beyond Good and Evil” means freedom for the privileged to exploit the powerless, with zero accountability.

MUTANT 2 – Drum’n’Bass

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In the late 1940s and 1950s the first wave of Afro-Caribbean immigrants, many of them ex-servicemen who fought, bled, and watched their friends die during WW2 for the UK, landed with their families in London. During that first winter bricks were thrown into their windows (often in bags containing shit), their homes were attacked, and there were regular assaults on their children. When the situation got really bad, they tore up bed sheets to use as bandages, used kitchen knives and broken furniture as weapons, to defend their homes and loves ones. But when these loyal colonial subjects fought back they became the primary criminals in the eyes of the police: regularly mistreated, unjustly punished, and even framed for crimes they did not commit. This is the kind of injustice and abuse faced by black people in England ever since, all the way to today’s discrimination and structural economic inequality.

These Jamaicans and Trinidadians played the music of their homeland at house parties and later in community centers which became night clubs. Events would be continually interrupted by the police, young party goers continually harassed and arrested, and the community centers would often get permanently shut down. Under these conditions, Afro-Caribbean sounds and musical sensibilities not only survived in the UK, but thrived and formed the foundation of much modern British music.

Afro-Caribbean rhythm traditions took root and spread all over England, with crucial, lasting influence: from Reggae-Rock such as the Clash and Bauhaus, to the dub infused urban electronic mutations of Garage, Dubstep, UK Funky, and of course, Jungle and Drum’n’Bass.

And these Afro-Caribbean roots are once again coming to the foreground, after almost 20 years of Drum’n’Bass history, in which much of the music was sadly ruined by fist pumping broification, the boring and repetitive testosterone of 16 year olds on crank. But now, tracks with the skeletal rhythm of 90s hard Ragga Dancehall, as well as all kinds of Africanized percussive elements, typify the NEW “new-school”, where Liquid and Neurofunk combines with the best bits of Metalheads, Jump Up, and many past styles.

Let us remember the process of struggle and legacy of conflict from which it comes, as we revel in the latest permutation of this MUTANT culture.

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01 Seefeel – Ashdecon
02 Sub – history
03 Sub – Alpha
04 Genotype – Further Searching
05 ASC – TMA-1
06 Rockwell – Tribes
07 J Kenzo – One Drop
08 OM – Jaguar
09 Moresounds – Flocon (House Of Black Lanterns Remix)
10 Distal – Nose Candy
11 Dub Phizix – Yukon X Peter Tosh X Charlie Dark – The Road
12 Alix Perez feat. Riko Dan – Warlord
13 Consequence – 11 Circles
14 Loxy & Resound – Vertigo
15 Unknown artist – i.kk.eee.kkk.h.l.iii.ll.ee.lll.ddd.m.c.mm.fff.mmm.ddd.n.e.
16 Fracture – Gangbusters
17 Kryptic Minds – Burnt to Ashes
18 dBridge – A Lost Cause
19 Code 3 – Chasm
20 Alix Perez – Menacing Ways X Derrik and Tonika – Taipan
21 ASC – MOdular Concepts
22 Alix Perez – 808
23 Paradox – Paralexia
24 Ulterior Motive and Jubei – Snore Tooth
25 dBridge – Mourning Dawn
26 Zero T – Tavistoc Dub
27 dBridge & Skeptical – Move Way
28 Dabs feat. MC Kwality – Skull + Bones (Sam Binga Remix)
29 FFF – Dreamstate
30 Carvar and Clock – Miskatonik X Anonymous
31 Lorn – Tomorrow
32 Koto – Endgame
33 Seefeel – Utreat (Complete)
34 Machinefabriek – The Breaking Water X Chris Hedges

On Fire / Polymorphism

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ON FIRE
Artistic exchange with South African Artists on gender and tradition
Curated by Constanza Macras and Tamara Saphir.

OPENING 28.02.2014 at 19h30  / Full Program

22h00 – Opening Party with DJ Zhao/ Ngoma Soundsystem and DJ Dorfdisco – FREE

Klosterstrasse 44, 10179 Berlin, Germany

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CTM Festival & Berghain präsentieren
POLYMORPHISM #11 / 07.03.2014

Untold w/ CURRENT CURRENT (live)
2562 (live)
BINTUS (live)
DJ ZHAO (dj)

http://berghain.de/event/917
http://www.residentadvisor.net/event.aspx?557401

Middle Beast

_MIDDLEBEAST2A journey worthy of Hassan’s assassins: Sufi Bass, Islamic Electro, MidEastern Jazz, North Afrikan Drums, Arabic Acid for dance floor murder.

01 Muslimgauze – Basra X Hossam Ramzy – Rhythms of the Nile
02 Rikslyd – Oriented
03 B-Line Brother – Souk Nationala X Maxmillion Dunbar – Casette Arabic
04 Funkineven ft. Fatima – Phoneline (Dauwd Edit) X Muslimgauze – Tuareg
05 Muslimgauze – Pale Elegant Egyptian
04 Unit Moebius – Neutral Mix
05 Hossam Ramzy – Cobra’s Dance (Fallahi Rhythm) X LV – DL Instrumental
06 Kosta Kostov – Mas Gnawa feat. MMbeki and MarcoT (Moroka Remix) X Hossam Ramzy – Rhythms of the Nile X Unknown Bellydance
07 I-Cube – Le Bon Vieux Temps
08 Acid Arab – Theme
09 Omar Souleyman – Nahy (mps PILOT Tweak)
10 Omar Souleyman – - Hefer Gabrak Bidi X Omar Souleyman – Shift Almani (Crackboy Remix)
11 Armando – 151 (Acid Arab Edit)
12 Unknown – Kiewie (Bubbling)
13 Unknown – Who’s the Paki
14 Dj Figo – Unknown
15 Uncertain X Siebert rey – Basem Triomania
16 El Diwan De Las Poetisas X Uncle Bakongo – Makonde
17 Moriphon 07 X Ill Blu – Dragon Pop
18 Muslimgauze – In The Bazaars Of Srinagar, Chuddar Clad Women Speak of Foreigner In Their Midst) X Takaaki Itoh – Slicer (Sleeparchive Remix1)
19 Muslimgauze – Bourj El Barajneh X Clapz II Dogz – Ripgroove
20 Fatima Al Qadiri – Oil Well

MUTANT 1 – Africanized Techno

mutant1

bigup Afropop Worldwide for commissioning this piece.

Most definitely not for the faint of heart, made with Berlin’s Berghain Club in mind, this one needs the best sound system you have access to (preferably a Function One), as well as very loud volumes.

“Percussion music is a contemporary transition from melody driven music (of the European tradition) to the all-sound music of the future.” – John Cage

Techno, an umbrella term for various styles of electronic music, can be characterized by an eschewing of narrative song structure and melodic content to focus on repetitive machine beats, usually with a steady 4/4 kick drum, snares on the 2, and a compulsive high hat in between.

A culture of mechanical anonymity and electronic universality, Techno purportedly embodies values from a post-human future, cut off entirely from the mess of our collective past. But reality of the music is the opposite: it came out of specific histories and locations, and is a direct product of both the 20th Century as well as much older rhythmic traditions from the mother continent.

Similar to older Afro-American styles like House, Disco, Funk, Soul, Motown, Rock, and Blues, the 4 on the floor beat emblematic of most techno is a good example of the duple rhythm, which became popular in America (and the world) from the legacy of slaves playing African percussion music without drums, with influence from European folk music. Fast forward to the 1980s, Africa Bambataa meeting Kraftwerk was a new chapter of fusion, and produced new strains of African rhythm mutation under new and specific circumstances. The simplicity of the 4/4 duple rhythm and machine sounds spoke to new generations raised in urban industrial settings, and part of its wide international appeal.

But in Techno African rhythm traditions survive and thrive, in mutant form, re-imagined and reconstructed based on earlier re-imagination and reconstructions. The brightest minds in modern electronic music have all made use of specifically African musical ideas and rhythm sensibilities, and IMHO, the best Techno is polyrhythmic, a reduced and streamlined version of African percussion. The music of the genre’s most important innovators often includes off-kilter syncopation, beats falling not squarely on the grid, as well as different interlocking rhythms playing at the same tempo, such as 3/4 with 4/4. Often subtle in its interaction with the dominant duple beat, these percussive elements and dynamics are expressive of complex rhythmic sensibilities which are, if indirectly, unmistakably related to African traditions. Today it is no different, many of the brightest minds are making the deepest, hardest, most forward thinking and uncompromising underground Techno with, consciously or unconsciously, African rhythm ideas in mind. Synthesizers play the part of Djembes, bleeps and blurps are drum accents: the African-ness of these beat patterns may be more obvious to me and others who spend a lot of time with African music, but I think will also become apparent to anyone who has an open mind and really listen.

If dance music itself can be defined as the design of sound patterns according to, and for, the proportions and speeds of the human body – African traditions have had many tens or even hundreds of thousands of years to perfect exactly this. Techno is often said to be about “functionality” on the dance floor – for this reason it makes sense that the evolution of new dance music should increasingly look to Africa for inspiration.

This mix was made to demonstrate all of this, including legends like Underground Resistance and Jeff Mills, as well as later and present day innovators such as Surgeon, Ancient Methods, Redshape, Peter Van Hoeson, etc, with a sprinkling of samples from field recordings and traditional music from Africa. (It would have been too easy to include UK Funky and other kinds of new bass music, which are often even more explicitly Africanized, so I am keeping this one mostly genre specific.)

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just in:  the good people at Berghain also wants to hear this in the space for which it was intended:  come hear an extended version of this set on 7th of March, with Untold and 2564.

NGOMA 17 – Cumbiatronic

CUMBIA_COVER

Very excited to bring you this long time coming Neuvo/Electro/Bass Cumbia mix, about time i showed solidarity with all my South American sisters and brothers, Christmas day is as good as any other :)

For a long while i played mostly classic Colombian Cumbia from the Discos Fuentes “Golden Age”, but recently more and more quality urban electronic and digital Cumbia which combines bass and tradition, with lots of groove and soul, has been added to the crates. The tracks here encompass many different worlds simultaneously: Afro-Latin heritage, international electronics, Hiphop, Dancehall, Reggaeton, sometimes even East Asian or Middle Eastern sounding melodies. While many diverse elements are involved, I have stayed away from related styles such as reggaeton, Moombahton, Latin Hiphop, Latin House, Tribal Guarachero – the selections here are nearly all immediately recognizable as Cumbia, with the characteristic chugging rhythm and copious amounts of distinct accordion. Most of the big names in the game are represented here, as well as several relatively unknowns, and a few unreleased exclusives and special edits from me. It was also difficult to not include any of the hundreds of Classic or “Trad-Modern” all time favorites. There will be time for all that and above mentioned… hopefully :)

This wave of “Digital Cumbia” is of course only the latest in a series of revivals, reinventions, and re-constructions of the music. Its roots are several hundred years old, in the coastal areas of Colombia, from a cultural (and biological) fusion of Africans with indigenous populations (“gaitero” music made with the large Amerindian flute is a good example – check track 07 and 08), with influences from Europeans (accordion), as but 1 of dozens of Afro-Latin styles.   From its rural origins to modernization for urban audiences in the 1920s; its absorption of swing, jazz and other foreign sounds; building up to the “Golden Age” of the 60s and 70s; to relative negligence by the world at large for some decades as the ghetto music of the underclass; to where we are now, the context of this mix: Cumbia’s current place at the center of hipster party scenes world wide – it’s a long, fascinating, and complex story, told by quite a few different historians and musicologists, here are a few links, i encourage everyone to dig further into it:

Cumbia: The Construction of a Musical Genre in the Mid-twentieth Century

Cumbia: The Musical Backbone Of Latin America
Cumbia!  Scenes of a Migrant Latin American Music Genre

Latin America has of course a long history of struggle for justice, freedom, equality, and human rights, against repressive economic policies and disastrous political measures, mainly coming from and at the hands of the United States.  Just like in Africa, many democratically elected Latin American leaders were systematically removed and replaced by corrupt lapdogs in the making of foreign controlled states which brought immense suffering for local populations but made money for Corporations such as United Fruit (origin and meaning of the phrase Banana Republic).  Generations fought and survived, and today the fight continues against neoliberal global capitalism, which brings to the continent a new wave of intensified neo-colonial exploitation with disastrous social consequences and catastrophic environmental devastation.  In trying to acknowledge and spread awareness of these movements toward liberation in South America, and align good music with the people from whom it comes, the often under privileged and marginalized classes, this mix includes the sampled voices or words from Subcomandante Marcos, Che Guevara, Hugo Chavez,  Nicolas Maduro, an environmental activist, and Tanja Nijmeijer*.

* I hope the inclusion of the voice of this Farc member will not be offensive to anyone:  while i am aware that the integrity of the group has been increasingly compromised since the 1970s, this woman’s words here still ring true and i believe come from a place of sincerity.
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01 Chancha Via Circuito – Tornasol ft. Leandro Frías
02 Bigote – Bolivia en New Orleans
03 Pablo Tez – Maracuya
04 Huzur – Cu Mama La Obor
05 Cumbia Cosmonaut – Cumbianauts Incoming
06 Dengue Dengue Dengue – Simiolo (Sonidos Profundos rmx)
07 Rafael Aragon – Caribe año 68
08 Thornato – Caita Gaita
09 Chancha – Rio Arriba
10 Sonido Trucha – El Dios Del Rayo
11 Vetiver Bong – Vagabundub Worisé Remix
12 Rafael Aragon – Cumbia Piu-Piu (Pa Kongal Remix)
13 Plutarco – Esperando a Patricia (The French Dude Jungle Remix)
14 La Yegros – Trocitos De Madera
15 Dj Quien – Travesia Morena Gata
16 Third World Orchestra – La Cumbia de Los Pomberitos (Dengue Dengue Dengue Remix)
17 Dj Dice – Mueve El Bote (Original Mix)
18 Sonora Irreal – Mandando Sandanga
19 Alika – Para Bailar (El Hijo de la Cumbia Remix)
20 Alika Ft. El Traidor (Pibes Chorros) – Fuego Le Vamos a Dar (HydroSelekter Refix)
21 Fantasma – Cumbia que Paga
22 Sonido Guay Ne§â – Oye Mi Negra (Copia Doble Systema Remix)
23 Dj Joven – Los Esclavos del Hi Fi X Princesa
24 Animal Chuki – Capicúa
25 Frikstailers – Guacha (Maga Bo Remix)
26 Self Evident – The Cumbia Slagoff
27 LucÍ Fuerza – Ras Más Quema X Tatitron & Dany F- Sacu delo (Champerimbah) X Pa Kongal – Care Care (Dj Zhao Mash Edit)
28 Henry – 76.4 (Veneno)
29 Tu Guaina – Malevo
30 Princesa – Aqui (Marcelo Fabian REmix) X Mika Martini – Whyno (A. Blickmann Remix) (Dj Zhao Mash Edit)
31 Bomba Estereo – Caribbean Power (Ferozmonas Remix)
32 Dengue Dengue Dengue – Simiolo (Ferozmonas Remix)
33 Mr. Loso – Kumbia
34 The Binary Cumbia Orchestra – La Inconformable
35 Afro Kumbe – Bailalo
36 Dj Gecko ft. Xtremo Poder (Pal Celso Piña ) – La Dana Colombiana
37 Dj Javier Estrada – I Think About You
38 Sonido Del Principe X Moodymann – Detroit Riot Dub
39 Ricardo Villalobos X Doma Tornados – Baile Remix X Micaela Chauque – El Milagroso (Daleduro refix) (Dj Zhao Mash Edit)

Enjoy and have a great holidays!