With a strict focus on intimate dancefloors, this mid tempo mix (along with its faster sister which will soon arrive) connects Afro-Jazz and Techno, Soul and Bass, Highlife and Electro, Disco and Ancestral drumming in ways you’ve probably not heard before.
I’ve always loved Acid. Not only due to the squelchy palette of the misused TB303 being, for reasons i can not articulate (related to liking the smell of petroleum??), so endlessly delicious, sexy, and addictive, but also because Acid House and Acid Techno, ever since the beginning, have always been more overtly and unabashedly polyrhythmic than their bigger stylistic cousins.
Made this for ultra cool international / art / architecture / concept / urbanism / fashion / music / design organization Platoon: United rhythms towards a borderless future: African House and European Acid, Hungarian Folk and Korean Pop, Cumbia Electro and Arabic Techno, Avant Jazz and Street Bass – international beats for dance floors and head space – against prejudice and xenophobia. DOWNLOAD: mediafire
Ever since drums were banned on most slave plantations in N. America during the 1600s, after the masters discovering that the slaves organized revolts with their talking drums, the expression of poly-rhythms in N. American popular music has primarily been through use of the voice. This is the reason music in the US is typified by the simple 1-2 “dupple” rhythm, in contrast to more complex beat patterns in South-America or the Caribbean (which kept their drums). Thus the evolution of all subsequent Afro-North-American music was profoundly shaped, from Blues to Funk to Disco: kick on the 1, and snare on the 2; all the way down to the late 20th Century – complex poly-rhythms in hiphop is produced with rap, and the drums remain a skeletal, minimalistic boom-bap, as if just to mark time.
Now in the 21st Century a renewed sense of rhythmic complexity returns to Afro-North-American dance music in the form of Juke/Footwork in Chicago: interlocking 2s and 3s form intricate beat structures, unmistakeably related to many forms of percussion styles in the motherland (but still often keeping that N. American hard snare on the 2).
This NGOMA volume demonstrates this reconnection, after centuries of separation, between African tradition and Afro-Diaspora: between Nigerian Juju/Fuji music and Chicago Juke/Footwork, between Ethiopian dance styles and Detroit Ghetto-Tech, between Iberian trad-modern street sounds and American R’n’B/Pop, between Afro-Punk and Club Music, between Congolese Mbira workouts and Hiphop, between Ghanaian and Senegalese drumming and Urban Bass Pressure. Let us pump up the volume and remember the power and spirit of rhythm which survives every hardship, cruelty, and oppression, and rejoice in the timeless Music Of the Drums.
big thanks to Keith Jones for knowledge passing, Itzi Nallah, Sonic Diaspora and states side massive for making the Juju-Juke tour possible, my B-girls Jessi and Maya for support.Juju-Juke Tour kick off in Belgrade
I have played this set a few times now during the Serbia, Germany, and US East Coast tour a few weeks ago, and crowds have gone completely BONKERS as the energy went straight through the roof: 500 screaming people and massive MOSH PIT at 3AM during Mikser Festival Belgrade; club crowd which refused to leave, clapping and hollering for 20 minutes after lights went up and sound was turned off at The Shrine Chicago. I guess the world is more than ready for 160 BPM Afro-Footwork pressure!!!
and here is that adrenaline fueled misanthropic juke edit of South African punk rockers Koos by itself (download and drop into your set if you are wo/man enough :D):