179 killed by institutional racist violence for the crime of trying to live in the drugs and guns infested poverty that white supremacy keeps them in, during the past 15 years, In NYC alone. How many disabled? In comas? How many with missing lungs or bullets in stomachs? How many broken ribs/arms/legs? How many physically assaulted? Abused in custody? How many terrorized? Humiliated? Incarcerated?
From Soweto to Chicago, from Jakarta to Paris,
from Lagos to London, from Conakry to Berlin.
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 is NOW.
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.
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):
a brilliant Electronic Gamelan mix by Nautilus Sound from Australia. beautiful as it is suspenseful, subtle and powerful, totally epic. includes all kinds of tasty Nu-Gamelan (lol) treats from Downtempo Gamelan to Gamelan-Step to Tribal Gamelan Tech to even Junglist jump up Gamelan.
Komodo, Sofa Surfers and Jam’N Mix
Dj Zhao – Unknown Indonesian Traditional + Spring Water
Monkey Chant Traditional
Resident’s – Santa Dog
System 7 – Borobudur
Komodo – Shadow Dance
Gamelan X – Flutterswarm
Komodo – Bali Dub
Tomosuke – Gamelan de Couple
System 7 = Simon X Files
Dj Zhao – Deadbeat+ Lost Luggage
Sevish – Islands