Cut Hands: Between Violence and Silence

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.

There are fundamental differences between Bennett’s particular exploration of “human transgression” and “artistic immersion in taboo areas of human expression” and, say, someone like Hermann Nitsch, whose obsession with ritualistic sacrifice is not specifically related to current events or power imbalances in the real world, or entangled in actual dynamics and history of racism and international conflict.

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 not only Africa, but S. America and Caribbean, like Haiti, 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?

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(cover for Bennett’s compilation from 1997, which some have claimed includes all fake African artists, and exclusively Bennett’s own music)

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, which amounts to nothing more than bullshit 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

Juju-Juke / Berlin

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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 Serious Bass Pressure connecting Footwork, Jungle, GhettoTech, and Drum’n’Bass.
Fuck the future, this shit is NOW.
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Friday, April 25, 11:00pm
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.

 

 

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

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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

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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!

New Years Eve will be HOT HOT HOT

 

 

I will be manning the Afro house / Global Bass floor alongside Marflix.  Going to get KERRRRR-AZAAAAY!!!!!!1459705_446752322093670_1474632164_n

http://www.youtube.com/watch?v=vkRHfU7SjCs

get tickets NOW as they’re going fast!

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and on the 3rd of January NGOMA SOUND SYSTEM will be delivering that sweet boogie live afro-electro sound:

Tropical Timewarp Ngoma

NGOMA 16 – Love and Rebellion

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The only reason that I have stayed away from Reggae so far is because it is one of, if not THE most represented of Afro-Diasporic musical traditions from the Southern Hemisphere (as determined by various historical factors). But time has come for NGOMA series to dive right into the beautiful and intense sounds of Jamaica, time tested and honed to perfection.

First up is a mix of the best One Drop riddims and Modern Roots from the past few years: soul and consciousness for rebels and lovers, upliftment for the people, truth in the form of vibration. With the immersive consistency and homogeneity of a single kind of rhythm for 80 minutes, what comes to the foreground are the voices: fiery and sweet, agile and refined, full of hope and sorrow. The music here is a continuation of the classic and true roots sound and spirit, but the subject matter is wholly contemporary: suffering and struggle in the neo-colonial age, the crisis situation of late capitalism. First part of this mix is all about various forms of rebellion in the grim realities of this unequal and unjust world; and the second part involves the hazardous search for love in these trying times. Mix includes a few all time favorite riddims, some heavy new killers, and i & i don’t give a flying fuck what you think, the reggae version of a great mainstream pop tune.

This one will be followed, in the days and months ahead, by a badman dancehall volume of pure gangsterism, and after that, a no-holds-barred wild and crazy bouncement and party set for you to wine the waistline in time for spring break.

01 Queen Ifrica – Peace
02 Sizzla Kalonji – Jah Jah Blessing
03 Prophecy – How Could I?
04 Asfa – Not the Life
05 High Grade – Milk & Honey
06 High Grade – Weed Flex
07 Ritchie Spice – Ghetto Girl
08 I Wayne – Rasta Tell Dem All De While
09 Capleton – The Day Will Come
10 Alborosie – Rastafari Anthem
11 Tarrus Riley & Captain Sinbad – World Wide Rebellion
12 Konshens – War Straight
13 Kibaki – Pagans
14 Star – Treat Me Right
15 Chino – A Nuh Nothing
16 Bobby Treasure – Everybody Is Important
17 Kiprich – Tell Me Jah
18 Fanton Mojah – Dem Can’t Stop the Time
19 Chiney K – Me God Mi King (Papa Levi Tribute)
20 Cutty Ranks – Blood Stain
21 Dr. Evil – Wine Up Your Body
22 Kenyatta – Clarks
23 Busy Signal – Hustle
24 Kiprich – Who Say
25 Conrad Crystal ft. Suga Roy – Beat Them Bad
26 Chronixx – Start a Fire
27 Cecile – Popular Girl
28 Rihanna – Diamonds (J Vibe Remix)
29 R.C. – Customized Lady
30 Tanya Stephens – If You Knew
31 Etana feat. Busy Signal – Love Love Love
32 Christopher Martin – Top a Top
33 Cecile – Who You Love
34 Zj Liquid – One A Way
35 Delly Ranx – Work Hard
36 City Streetz Semi-Instrumental outro

Ngoma over Dresden

Dresden

Looking forward to jam in this historical Dresden museum tonight!

NGOMA Sound System feat:
Carmel Zoum – MC
Philip Marcel – Percussion
Dj Zhao – Dj

Südafrika kommt nach Dresden – und wir begrüßen die extravagante Kunstausstellung mit Tanz und Kunst bis tief in die Nacht! Die Sonderausstellung in der Kunsthalle im Lipsiusbau „My Joburg“, die gerade mit großem Erfolg in der Pariser Stiftung La Maison Rouge – Fondation Antoine de Galbert präsentiert wurde, zeigt die äußerst
produktive Kunstszene in Johannesburg (Laufzeit: 26. Oktober 2013 bis 5. Januar 2014). Die JUNGEN FREUNDE der Staatlichen Kunstsammlungen feiern diese spannende Ausstellung am Vorabend des Buß- und Bettages mit der Party LIPSIUS VIBES. Bis Mitternacht sind Live-Speaker in der Ausstellung, die mit Euch über „My Joburg“ ins Gespräch kommen wollen, dazu versprechen DJ und Liveact eine aufregende Nacht.

Anlässlich zu LIPSIUS VIBES erklingt im Untergeschoss der Sound der afrikanischen Musikszene, zu dem getanzt werden darf: Kwaito, Kuduro, Soukous. Dazu haben wir das NGOMA SOUNDSYSTEM eingeladen, eine musikalische Einheit, bestehend aus DJ,
Live Instrumenten und Vocals – mal zu zweit, zu dritt oder zu fünft. NGOMA SOUNDSYSTEM spielen traditionell afrikanische-weltliche Rhythmen, urbane Bassklänge und hypnotisch elektrische Töne. Der passende Sound zur Ausstellung, auf den man sich freuen kann.

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NGOMA Classic 2 – AfroBeat

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Since Fela’s voice is much cooler than mine, i have switched out my intro with his, and this mix originally made to promote BlackBox number 1 has grown into a proper NGOMA release – with a few changes and much new goodness including 2 wicked special edits – one of the Ethio classic by Mahmoud Ahmed (following a funktastic number by Berlin’s own Woima Collective), and another of a very unique cosmic disco track by the techno head Lego Welt’s Afrocentric alter ego Nacho Patrol. Old version of this mix can still be heard Rebootfm – 11-dj-zhao-blackbox-1-ngoma”>here.

Again, no time for purism: music both classic and new is represented, African Jazz, Rock, Soul, Disco, with a few electronic remix treatments – within the loose parameters of the various related styles comprising the “Afrobeat” constellation, the primary concern here is the dance floor.
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01 Fela Intro / Tony Allen – Push Your Mind (Break Beat Remix)
02 Kokolo – Late Night, Closed Eyes (White Mike Mix)
03 Umoja – Amou Baleke
04 Ogyatanaa Show Band – Disco Africa
05 Manu Dibango – Souk Fiesta
06 Ofege – Adieu
07 Oghene Kologbo – Na Yawa
08 Tony Allen – Get Together
09 Saravah – Soul Supersossego
10 Woima Collective – Marz
11 Mahmoud Ahmed – Bemen Sebeb Letlash (Ngoma Push Edit)
12 Soul Jazz Orchestra – Mugambi
13 Soul Jazz Orchestra – The Blind Leading the Blind
14 Ebo Taylor Jr. – Children Don’t Cry
15 Gabo Brown & Orchestre Poly Rythmo – It’s A Vanity
16 Antoine Dougbé & Orchestre Poly Rythmo – Ya Mi Ton
17 L. Barrabas – Tabou For The People (Sofrito Edit)
18 Candido – Jingo
19 Nacho Patrol – Africa Space Program (Ngoma Hardhouse Edit)
20 Jimi Tenor & Kabu Kabu – Global Party
21 Soul Ascendants – Tribute
22 Cesaria Evora – Nho Antone Escade
23 Manu Dibango – Ceddo End Title
24 Fela Outro / Tony Allen – Push Your Mind (Break Beat Remix)
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MusikSalon 50 Years

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Musiksalon Berlin: 50 Jahre IITM / Projekt für transtraditionelle Musik
14. /15. November 2013 im Vortragssaal des Ethnologischen Museums

Thursday 14. November 2013
18:00 Strahlkraft – Erbe nach Schließung des IITM 1996
Transtraditionelle Musikszene: Aktuelle Situation – Politische und mediale Kulturarbeit

20:00 Nordindische Ragas im Dhrupad- und Khyal-Stil
Pt. Ashok Pathak, surbahar & sitar
Tabla: Sandip Bhattacharya
Tanpura: Shamika Pathak

Freitag, 15. November 2013
20:00 Hommage an Alain Daniélou: DIASPORAGAS
Amelia Cuni: Gesang, Tanpura, Mirliton
Werner Durand: selbstgebaute & adaptierte Blasinstrumente, Elektronika
Ray Kaczynski: Mridangam, Perkussion
Federico Sanesi: Tabla, Pakhawaj, Perkussion

21:30 Dj Zhao

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BlackBox

Something wicked this way comes…  a new monthly series in the heart of Neukölln:Screen Shot 2013-10-31 at 11.47.52

While the brightly lit gallery spaces of SAVVY Contemporary above focuses on the visual, cerebral and Apollonian aspects of cultural enquiry, BLACKBOX below is a Dionysian shadow world of hallucinatory sound and rhythm, of ritual and technology, of bodies in fluid motion.

A direct extension of SAVVY’s global outlook of contemporary art and culture, BLACKBOX celebrates music of the subaltern, of groups who are socially, politically, and geographically outside of hegemonic power structure; focusing on modern electronic bass and club music and traditional rhythms of Africa, South America, and Asia; fragmenting and dispersing an outdated Eurocentric “cultural center” of the world to encompass the entire globe.

Screen Shot 2013-11-03 at 16.18.19BLACKBOX 1:  NGOMA TIMEWARP
Saturday, November 9, 2013 / 11:00pm / ENTREE: 5 EU
SAVVY:ETC – Richardstraße 20, 12043 Neukölln, Berlin
PARTY TIME: 11PM  // ENTRY:  5 EU

IBOGA & KAELA NKANZA__________Kinshasa/Paris
a soul stirring live band pieced together from seasoned Jazz, Electronic, and Reggae heavy hitters.

DJ SOULVENDOR__________________Tropical Timewarp/ Berlin
vintage tropical selecta par excellence, this dude always brings the serious grooves from Africa and the Caribbean.
@the-soulvendor

DJ ZHAO__________________________Ngoma/ BlackBox/ Beijing
rhythm ambassador from the distant planet Sirius B, Dj Zhao will be reaching deep into the cosmic crates.
@djzhao

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Infinite Rhythms

 Rocking with MC extraordinaire and Ninjatune recording artist Infinite Livez:   Friday 1st of November at Cosmic Kaspar:
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Infinite Livez (Ninjatune, Exotic Pylon / London/Berlin)
www.infinitelivez.com
Born in Bethnal Green. Trained at Chelsea Art College. Released his first album (Bushmeat) in 2004 on Big Dada records. Released his second album in 2007 with Big Dada as a collaborative project with the Swiss electro jazz outfit Stade (Art Brut Fe De Yoot). Has worked with producers such as Blufoot, M3 and Part 2. Enjoys making comic books, short films and soft toys. Puts out his own improvised noise CDs. Used to design Gameboy graphics. Is a former FKO Raw freestyle battle champ. Likes Sun Ra, Wesley Willis, David Bowie, Public Image, Willus Drummond, and Funkadelic. Has reoccurring dreams of the end of the world. Lost his prize Barry Convex puppet. Lives in Berlin.
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and on Saturday night:
INFINITE LIVEZ - live set/host/ Infinite Livez of Big Dada/ Exotic Pylon
will be performing his infamous solo set that he has been busy perfecting during his excursion in Berlin. Expect an mixture of experimental noise, stream of consciousness rapping and live beat making from the London born emcee who is normally known for his work with Electro Jazz pioneers Stade.   http://www.infinitelivez.com
Dj Zhao - dj set
Dj Zhao brings the best contemporary and classic dance music together from wildly different times and places, with focus on Africa. Expected a schooling in the latest of global sounds such as Afro-Electro, Angolan-House, Kuduro, Coupe Decale, Naija, Rai, and Cumbia. As he draws upon a wealth of sonic traditions worldwide to provide a blend of mind expanding and floor smashing musical collages.    www.ngomasound.com

NGOMA @ Club Nüba, Paris

zhao_paris_websorry for the last minute heads up, been too crazy.  But let your Parisian friends know, surely to be a night to remember:  the premiere of a new series from the basstastique Bazzerk crew, at what many say is the hottest joint in the city on a rooftop with amazing view.  Psyched to be playing also with the legendary ambassador of deep French Caribbean groove Hugo Mendez of Sofrito again.   Boom! paris01 paris02 paris_j+C+Z

The Space Between Us

Space Between Us
PARTY 
9 October, 10pm / open end
WAU, Wirtshaus am Ufer, Hallesches Ufer 32, 10963 Berlin
DJ Zhao, Stefanie Alisch, Mma Tseleng, Bongani Madondo, Garnette Cadogan, Kimba Mutanda u.a. // Kwaito / SA-House / Kuduro / Juju / Shangaan

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CONVENTION 
7 – 9 October, daily from 4 to 9 pm / Täglich von 16 bis 21 Uhr in English
Picnicrecords: Stendaler Straße 4, 10559 Berlin/Moabit

Music is a companion in the trans-African movement display.
Stefanie Alisch, Rangoato Hlasane, Bongani Madondo, Kagiso Mnisi, Garnette Cadogan, Charles Mudede, Kimba Mutanda, Tanka Fonta, DJ Zhao, Alfred Mehnert and others will talk about, play music and touch on relations and shifts in the trans-African space.
Broadcasts and podcasts of the convention will be available on air on REBOOT FM

talks by the other guest speakers are here.

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PROGRAM:

Monday 07.10 – Echoes, back and forth
12:00 am Visit of the exhibition THE SPACE BETWEEN US at ifa-Gallery Berlin
04:00 pm Opening & welcome at Picnicrecords
04:30 – 05:30 pm Rangoato Hlasane & Kagiso Mnisi, Sekele – Bitsa Maphodisa: Street-bash as a marker of space for black youth in post-apartheid South Africa
06:00 – 06:30 pm Garnette Cadogan

Tuesday 08.10 – Writing: about / against /down /with
04:30 – 05:00 pm Charles Mudede, About Drumming
05:30 – 06:30 pm Dj Zhao (Ngoma Soundsystem, Berlin) The vitality of African musical
heritage and its deep connection to music today and tomorrow.
07:30 – 08:00 pm Bongani Madondo, Malombo & Ma-Mlambo
Healer’s Brew:Blues, African Healing Systems and the Punk in JAH’zz
– in discussion with Kagiso Mnisi and Alfred Mehnert, Percussion

Wednesday 9 October – Telling
04:30 – 05:00 pm Tanka Fonta, Being, Music, Confluences & the Evolution of Expressions
05:30 – 06:30 pm Stefanie Alisch, “The future’s what it’s all about” – Broken Beat London
07:00 – 07:30 pm Kimba Mutanda, The personal journey of a Hip Hop artist from Malawi,
told from the meeting point between traditional and modern times
10:00 pm – open end Party – with Rangoato Hlasane, Kagiso Mnisi, Garnette Cadogan, Dj Zhao, Stefanie Alisch, Kimba Mutanda

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Music Convention in collaboration with / in Kooperation mit
 Holger Zimmermann, Picnicrecords, Stendaler Straße 4, 10559 Berlin, www.picnicrecords.com
 | Diana McCarty, REBOOT FMhttp://reboot.fm | After Year Zero, Geographies of Collaboration since 1945, Haus der Kulturen der Weltwww.hkw.de/de/programm/2013/after_year_zero/

THE SPACE BETWEEN US, ifa-Galerie Berlin, 27.9.-22.12.2013 www.ifa.de  | | Funded by Auswärtiges Amt, Aktion Afrika |  Hauptstadtkulturfonds |  Goethe Institut Johannesburg

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