by on

 

We’re back at Gallery Bar for the second edition of Made In Africa this Thursday – the night of birthday celebrations! It’s Boima’s birthday, so do come out and show him love. Birthday boy Chief Boima and yours truly will be deck, supplying you homegrown and international heat and oil as we say farewell to Winter in America, Harmattan in West Africa, etc. and greet (slightly) warmer/dizzy/better seasons!

Made In Africa // Facebook RSVP
Thursday, March 3rd, 2011
Gallery Bar
120 Orchard Street
New York, NY 10002
21+ // $5 Cover // $5 Well Drinks until midnight!

& now – Gaddafi’s epic meltdown, THE TRANCE REMIX:

[youtube width=”525″ height=”393″]http://www.youtube.com/watch?v=cBY-0n4esNY[/youtube]

by on

[youtube]http://www.youtube.com/watch?v=rhDthllmro8[/youtube]
I think I lost my flipcam last week- or it got stolen. It doesn’t really matter since I cant edit the HD footage on my Acer + it just eats up memory with videos I can barely replay. My homie Justin has a nice camera though- and last week we did a test run for a hopefully vaguely ongoing, but maybe never again, video series looking at studios and producers in Kingston. Supposed to reach to Bigship next week, but time is sticky in Jamaica. Enjoy.

by on

[originally posted at Mudd Up!]

[audio:http://nyc.duttyartz.com/mp3s/Shackleton-Deadman-KingMidasSoundDeathDub.mp3]

Shackleton – Deadman King Midas Sound Death Dub

I am listening to this song which Lamin shared, some friends remixing another. It is filled with dusk-tones, close and fading, sunset a challenge to both darkness and light and at the same time I learn that a poet I’d read and knew in passing, has passed away. A friend who knew Akilah better sent some of us an excerpt of her speaking about grief.

And once again, we’re left with beautiful words and tones that linger but can never stay. In a sense, this is why we share it.

akilah-oliver

Akilah Oliver:

Grief is a complicated emotion but also an inadequate word in many ways. Maybe it isn’t so much that the term fails to encompass a range of emotional states, but I think also death itself, as an event, as a limit, as a field of investigation, is too many things at once.It’s solid and it’s slippery. For me what I’m doing in A Toast is using language to walk through that field to find out about love, the collapsible body, what it means to be human, all of that. Also, I think that I am trying to transcribe rapture. I mean that in the ecstatic sense of the word. . . . I am in a state of seeking. Grief is a part of that seeking, but so is redemption and anger, the forgivable and the unforgivable, this ecstasy of being in a kind of light, the simple astonishment of the impermanence of absence. This book is dedicated to my brother who died when I was very young, and he was very young, 28 years younger than I am now, so in some ways he has passed into myth for me, which is another kind of symbolic being-ness. It’s also dedicated to my son who died when he was 20, so there is that grappling with the loss of the body who has come through my body, a kind of intimacy that is almost indescribable. And it is also dedicated to my mother, who is still alive and kicking at 74, and the recognition of myself as the beloved body too, who has passed through another beloved. So there is this elegiac intent here as well. I am trying to trace the mystery of the bodylife, a term I’m borrowing from Cherríe Moraga. So there’s hope in these poems of course.

by on

shackleton
[audio:http://nyc.duttyartz.com/mp3s/Shackleton-Deadman-KingMidasSoundDeathDub.mp3]
Shackleton – Deadman King Midas Sound Death Dub

Kevin Martin / King Midas Sound twists one of Sam Shackleton’s extremely warm cuts, we first heard this on Fabric 55. Here, Kevin Martin removed Shackleton’s congas and made some very wise decisions, including adding KMS’s Kiki Hitomi’s gorgeous voice (which has a phantasmal presence here!), and also focusing/thickening Shackleton’s orange and brown tones. The result is remarkable.  I’ve listened to this one countless times, but today at dusk, walking home – I walked past an older woman who flashed me a gold-tooth smile, and this never sounded more beautiful!

by on

Holiday PATH train times aggravated an already-late start this Monday, so I missed the first few minutes of my radio show. Benjamen played a few rock tunes then I showed up, breathless, clutching a 99-cent Kassav LP and the mudd began. Hausa music, new Anne-James Chaton & Andy Moor, Illum Sphere, Jamie xx in various capacities, Palestinian ambient dabka, and the line that threads through it all. (Shouts to listener Shane, who wrote “Thanks to technology I know I’ve listened to “Time 2 Get Paid” by Beniton 18 times since I heard it on Mudd Up! 24 hrs ago.”)

I now turn things over to Columbia PhD student Amy, who has been thinking very hard about What It All Might Mean:

MUDD UP! LISTENER SURVEY

Dear listeners of Mudd Up! and all fans of DJ /Rupture, my name is Amy Zhang and I’m a PhD student at Columbia University doing research on DJ practices and their musical communities. I’ve been especially following DJ /Rupture’s work with Mudd Up! on WFMU.

If you can spare 5 minutes, please fill out this short questionnaire!

Though geared specifically towards listeners of the show, fans and general supporters of DJ /Rupture can feel free to share their thoughts as well—fill out whatever is relevant to you on the survey, or email me at muddup.survey@gmail.com.

Thanks so much for your time and thoughts!

by on

2820

[Khaira Arby]

On Saturday March 5th, Nettle will perform at the Bell House in Brooklyn. Info. Nettle, flexible and growing, is currently a 5-piece. We’ve even started using words and a guitar – although not too much of either.

Malian singer Khaira Arby will headline. The event is a benefit for ASSOCIATION OF THE SAHEL TO AIDE DECENTRALIZED DEVELOPMENT (ASSADDEC), a collection of 71 women’s groups in north Mali, supporting women’s small business enterprises, HIV/AIDS awareness and more. Which is awesome. Also performing: The Sway Machinery and DJ Israel Soulico.

Here’s a nice clip of Khaira and her band performing on KEXP — note, at least three of her musicians are rocking WFMU stickers! A wise band with excellent taste.

by on

[youtube width=”525″ height=”393″]http://www.youtube.com/watch?v=7aWN6NYbOzg[/youtube]

Heavy one from Dutty compadre Timeblind!

your cel phone and portable electronics probably have minerals mined in the Congo and illegally trafficked. watch the other related videos if you are unaware of this.

please support legislation to keep mining transparent and stop thugs in the congo from profiting from the misery of their fellow countrymen. DRC should be known for its amazing musicians, not for more misery like this.

by on

I’ve listened to some of Filastine’s upcoming album and it’s his best work yet! Grey is one of those people who believe that “log” is a better word for online journal than “blog.” Here is his log.

You can catch him live in Brooklyn at the Cove, tonight Feb 17th. Boosted shopping cart, wub-bass, rhythmic archival footage of riots & money, Accolades From The People of France, grit, etc.

filastinenyc

where: The Cove, 106 N 6th St, Brooklyn, NY
when: Thursday Feb 17, Filastine live set @ 1am
how much: $5

if Zuckerberg and the FBI don’t know you’re going, who will?

& back @ SONAR 2009

by on

Last week a link started floating around to DL the entirety of Lil B’s myspace tracks. Notoriously, B made over 100 profiles and filled them each with a few based freestyles. The 2.5 GB, 676 track, multipart collection (and 20 page tracklist)wasn’t compiled by the based god himself though- it is the work of an obsessive completist and digital archivist named Andrew Dickson. I found Dickson on twitter and quickly realized that his myspace collection wasn’t the first, or even the most ambitious of his archival projects. What drives fandom like this? Why share with the world a prized collection that any Master Chef would be proud of? I hit him with some questions to find out.

T: What other completist type zip folders have you created/curated and posted?

D: I’ve made quite a few and the majority of them are collections of compilation & remix tracks. The only time I ever thought someone would be interested, however, was for my first Hip Hop-related one (a Jay Electronica compilation). The first one ever made was for Aphex Twin, but I’ve done them for (as you said) Lil Wayne, Animal Collective, The Velvet Underground and a few others.

T: Why do this sort of work? How do you understand this sort of archive – when obviously anyone could spend hours dling and parsing through the internet. part of the joy for master chefs seems to be chasing down and completing things themselves, ie spending a lot of time on hulkshare and maybe even arguing numbers re: releases/unreleased leaked whatever based tracks.

D: The initial reasoning is always because I want to complete my own personal collection for whatever artist happens to be the focus. I have quite an organized, lengthy collection of music, and the primary focus in acquiring music has always been ‘the studio album’. As I get more into a band, I want to really hear everything they put out, and I normally spend some time searching and researching just where their material has all gone – normally there are loads of studio tracks that were never officially released on an album. Rather than just downloading a bunch of separate .mp3s, I try to compile and organize them where-ever possible. The idea of sharing them with the internet came from the idea that I’m pretty sure most fans wouldn’t mind one, well-sourced download for, say, all of Lil B’s rare myspace tracks. I completely understand the joy that comes with ‘searching’ for secret tracks, but I also understand that in the future, many of these will be lost. Thinking on it now, I guess you could say future fans of an artist would benefit the most from a time like this. Look at Harry Smith’s collection – after the depression, all this old folk music was lost and the only reference any one had was his collection of 78” records.

Hit the jump for a grip of DL links and the rest of the interview
(more…)

by on

heartfog

Last night’s radio show felt its way through hearts and fog which is what we all do, really.

tracklist:

Yussef Sheta Ya Helu Ya Asmar Egypt
Bayta Aicha Music From Saharan Cellphones, v. 2 SahelSounds
Forest Swords Glory Gongs Dagger Paths EP
James Blake Sparing The Horse Diplo Presents Blow Your Head Mad Decent
Stagga & Doshy Hornets unreleased unreleased
Ø Heijastuva Heijastuva Sähkö Recordings
Sepalcure Fleur Fleur EP Hot Flush
Deaf Center Time Spent Owl Splinters Type
Shaykh Ahmad Barrayan Layali Egypt Virgin France
Deaf Center Animal Sacrifice Owl Splinters Type
Seefeel Airless Seefeel Warp
Natural Snow Buildings Drift The Water Soul Waves Of The Random Sea Blackest Rainbow
Abdu Dagher Al Nil Al-Qadim Egypt Virgin France

you can subscribe to the Mudd Up! podcast for downloadable versions, issued a week after FM broadcast: , Mudd Up! RSS. Also useful: WFMU’s free iPhone app. We also have a version for Android (search for “WFMU” in the marketplace).

by on

[audio:http://nyc.duttyartz.com/mp3s/Ali_Hassan_Kuban-Bettitogor_Agil.mp3]

Ali Hassan Kuban – Bettitogor Agil

Ali Hassan Kuban was a Nubian singer, bandleader, and producer from the south of Egypt/north of Sudan, a “region is revered as a link between black Africa, the Middle East, and the Mediterranean.” His family moved to Cairo when he was young, and as a teenager he performed traditional Nubian songs at weddings. He released several albums in the 1980s and ’90s, updating traditional Nubian rhythms into powerful party songs. “Bettitogor Agil” is from his 1991 album Walk Like A Nubian, recorded in Berlin and produced by Sabah Habas Mustapha (a Brit, real name Colin Bass of pro-rock band Camel and some other weird whirled music projects.)

by on

Its 11 in Kingston which means it’s time for a nap and then a couple hours of Weddy-Weddy and then a longer nap. But in New York Brent Arnold is sacrificing a Afreet while Jace runs an ekg strapped to its chest through his Sufi Plug-Ins to make sure everyone is in tune for tomorrows free Nettle show at Zebulon. If that isn’t enough to make me fly back, New York Tropical finally starts back up on Friday. But the West Coast Needs Love Too. Joseph Stewart is helping to bring a little more intimacy to Los Angeles on Thursday- I asked him a few questions about what his new night, 2True is all about.



T: What inspired y’all to start the night?

J: My club partner Max Krivitzky and I went to see Kyle Hall and Carl Craig play at a big Scion-sponsored event in a cheesy Hollywood club and the promoter had hired a Funktion-One soundsystem. I’d never heard anything like it in my life. I’m an audio engineer and studied electronic music in school so I’m very sensitive to the quality of sound but before that night I’d never thought that level of fidelity was possible in a club environment. One of the reasons I love sound is that it literally touches you – sound itself is the compression and rarefaction of air exciting your insides – and on a Funktion-One system you feel it very clearly all around your head and chest and it’s not painful. That night Max and I started talking about how great it would be to have that kind of sound for more underground parties with no theme and minimal “production”.

T: Given that the lineup looks pretty similar to parties that seem to jump off every week, what are you guys going to offer that isn’t already going on in L.A.?

J: We are very lucky at the moment to have a good thing developing here in LA but since Wildness (Wu Tsang, Total Freedom and Nguzunguzu’s old party) stopped happening we’ve had to chase the dance a little bit. Mustache Mondays and A Club Called Rhonda in particular are always incredible and book amazing djs, but we’re after something a little more intimate with where djs can really experiment and do things they wouldn’t normally in a larger venue. The non-theme is – great sound, small room and international bass musics (particularly of the house diaspora). As for the lineup, Total Freedom, Kingdom and the Nguzus are not only friends but 4 our favorite djs and majorly inspirational to us so it only made sense to invite them to play our first night. Also our friend Hans-Nikke Nielsen, a recent transplant from Perth and very talented dj, is actually making what I believe is his first LA appearance…

T: What’s inspiring to you about nightclub spaces, why make more nightclub space?

J: I think the main thing is that they facilitate what our friend the artist Brian Rogers called “an impersonal intimacy,” which people talk about in histories of the Paradise Garage or any famously mixed club. Reading your account of the Baile funk in Brazil reminded me of this as did Wildness (Wu Tsang, an artist who organized Wildness with Total Freedom and Nguzunguzu, is working on a film, Damelo Todo, that works on these social relationships). I guess we want to create a sonically-activated safe-space for impersonal intimacy. More wisdom from Brian: “Music is always promiscuous, always crossing borders…it’s us that have to catch up and make good on that.”

T: What is the dream for 2true? And how does that fit into the existing scene in L.A.

J:We’d really like to develop enough of a regular draw so that we can eventually focus pretty much entirely on unknown and emerging djs except for a few special events. This is a very exciting time for dance music and we have heard enough bedroom djs and producers around the world blow our minds to know that we want to hear things develop regularly on a Funktion-One with a sweaty room full of our closest friends. We don’t really know how that will fit into our existing scene but we’re psyched to find out.