The 1 Brooklyn Shanti just passed us this video and download from his Drop it Steady project longside Baldi.

I’m a big fan of the FX TV show Archer. In this vid, Drop it Steady take an episode and chop suey it into their verses creating new strain variant on the idea of copyright pirate video mash ups. Between stuff like this and Autotune the News, I’m looking forward to an interesting and innovative 2013.

Download The Pirate King Theme


What are your stereotypes about Washington, DC? A place to go for protests? Full of suits and wonks? Epicenter of evil? Totally boring?

We residents of the District call bullshit. Sure, there is some truth to be found in those assumptions, but the reality is so much more than that. We’re a place of people fighting on the front lines against gentrification and for social justice, a place with many stories of amazing music, dance and creative cultures. Not enough people talk about this. These aspects are lost not only on most people from elsewhere, but even on some in the area.

Thursday’s release of ‘Distrito Cósmico’ hopefully will help change that. “It’s a song inspired by the Maracuyeah community — music elevating and uniting people beyond the mundane in collective and collaborative experiences that celebrate culture, community and fun,” says Lucy Pacheco AKA La Yorona, who wrote and sings this DC cumbia original (G-Flux composed the music and Luis Torrealva weighs in on chorus).

She’s talking of course of local DJ and booking collective Maracuyeah! (in which I’m something of a sub-comandante to comandantes rAt and Mafe) which has been expanding the dance and party universe in our city for over a year. “Maracuyeah has a role as a creative forcefield in this release,” says rAt, describing how she and Mafe helped the song come to fruition. The various players were all doing their own thing until they came together in Maracuyeah space. “La Yorona and G-Flux have been collaborators with us,” says Mafe. “They met each other at a Maracuyeah gathering and decided to work together. We’ve been part of the process through creative input and media outreach and are very excited to present this new single.”

Maracuyeah siempre sabrosa
Fiesta tropical — travesura
Fiesta tropical — baile duro
Fiesta tropical con mi gente nocturna

Says La Yorona:

“Synchronicity connected me with Mafe, rAt, G-Flux and Luis Torrealva and ‘Distrito Cósmico’ just seemed like a fitting representation of this collaborative representation of DC’s tropicalismo. My approach to MCing is based on playfulness, fun and encouraging others to let loose and enjoy themselves, to notice the inspiring spaces and experiences we are all creating together. The song is a representation of playfulness; I love it. I love that it’s DC artists meeting and creating together through music.”

Global sonidos turnin’ up the heat
Booty beats all up in the street
Cuz we takin’ over like a tropical boom
Tropical monsoon, tropical typhoon

Maracuyeah, like sister collective Anthology of Booty and several other projects, is part of a new wave of music and party innovation that has a long history in our city. “We have created a space for collaboration of people interested in exploring alternative tropical sounds,” says Mafe. “This single reflects the coming together of individuals who have been in the DC music scene for a while, collaborating with individuals who are newer to the scene.”

At Maracuyeah’s one year anniversary in April, the incredible local cumbia band Los Tribaldis played, along with Dutty Artz wunderkind Chief Boima plus rAt, Mafe and other local DJs. It represented the dual efforts of Maracuyeah — highlighting amazing DC talent as well as bringing folks to the city who otherwise wouldn’t come here, like Chancha via Circuito, Zuzuka Poderosa or Pernett.

“We are excited about the vibrant community that keeps growing and mutating and producing exciting experiments like ‘Distrito Cósmico,’” says rAt. “We are excited to see what comes next. I love to see creative people criss-crossing ‘flavor lines’ and expanding the concepts of self-interest and solidarity, in meaningful, long-lasting ways.”

The download for ‘Distrito Cósmico’ will be available on Friday — the release party is Thursday night at Tropicalia on U Street. Birthed in transitional 2012, La Yorona says she’s “gonna keep creating and collaborating and dancing.” Same goes for Maracuyeah… and DC.

[youtube width=”525″ height=”360″]http://www.youtube.com/watch?v=ESj164wKc6I[/youtube]

Super excited about this new event, BomBeat, that I am launching with my crew Cumba Mela, and Nickodemus from Turntables on the Hudson.  Its all going down this Saturday, November 24th at Le Poisson Rouge, in Manhattan. Expect to hear a wide range of global bass music: cumbia, dancehall, kuduro, house, moombahton, reggaeton….

We have Jeremy Sole coming from LA, repping KCRW, TheLift, and Afro Funke.

We are going to try our best to get a free EP for ever event. Be sure to check out the first one bellow!

BomBeat EP1 November 24, 2012 @ LPR NYC by BomBeat

Flyer from the first Backdoor, August 2009

Way back in the summer of 2009, a bunch of us in DC wanted to try an experiment — take the energy of the house parties we were throwing and DJing and try to transfer it onto the dancefloor at a club. We formed a new entity — the Anthology of Booty — with a preliminary mission:

committed to resisting negative forces such as racism, misogyny, and homophobia in social spaces like dances, clubs, and bars. We create spaces for dancing, enjoyment, relaxation, and art with an emphasis on inclusion and respect. As DJs, we play all kinds of music reflecting our different communities and passions.

You know, basically stuff that is discussed here all the time. Our vehicle to achieve this lofty goal of consensual fanny-bumping was the party Backdoor — paying homage to and carrying the tradition of so many communities forced to use the backdoor, sidedoor, separate entrance, and to the clandestine places where they/we partied anyway. It was also a play on the venue where we threw Backdoor — the basement of the 9:30 Club, called Backbar. We kept it on the downlow, advertised by word of mouth, and soon had ourselves a sweaty, sultry underground party.

It didn’t take long to outgrow the space, unfortunately, and so we set off in search of another venue for Backdoor, which proved to be challenging. Backdoor became nomadic, and even went on hiatus at times as we returned to our roots with some warehouse/studio events. Yet we still yearned for the days of a regular, monthly space where our blend of global booty beats and dancefloor politics could be counted on amidst all the other nightlife options. So its quite exciting to be having the first Backdoor party in quite some time, with the hopes that it will be the first of many. What’s more, it’s back in a basement!

I Want to Believe in Backdoor

If you’re in DC, stop through. If not, let’s see how we can get you here for the next one. Believe — we can throw banging parties and think about things at the same time…

I can listen to this BACK2BACK2BACK2BACK

But besides what’s keeping me all polyriddimic on the escalator out into time square every day- there has been some heavy drops in the last couple weeks of dope new free music. I’ve been trying to figure out for a long time just how free music works on the internet. Call yourself a net label and you risk failing b4 you even start. Give away free mp3s of pay to own releases that almost no one buys and suddenly you are a legit record label. Along with his dope fake NY-Times review Tracky Birthday also released a manifesto of sorts about net labels and free music… choice quote “Net Labels are Like Hookers, Only Cheaper.”

Body High just dropped a killer set of free edits which u should grab ASAP I screwed down the Game Over edit at Sweatlodge and it was NEXT.

The other freelease that I’m feeling comes from Austin (h/t to Wayne for the headsup) LOTIC MURDERSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS listen 4 urself

An album release party and free night of celebration in the heart of the heart of the country!

Click on the huge GIF to see the huge GIF in all its huge GIFNESS.

djs mothershiester and bent invite you to:

The 2nd Happy Hour installment of Africa is Not a Country features a special performance by Nettle. Led by DJ /rupture, this inter-continental project blends electronic beats, North African folksongs and percussion with avant garde noise. We’ll be celebrating the release of group’s new record — El Resplandor: The Shining in Dubai / iTunes / Amazon / Boomkat. “For this album, Nettle imagined a remake of Stanley Kubrick’s The Shining set in a luxury hotel in Dubai, U.A.E. El Resplandor: The Shining In Dubai is their soundtrack for that nonexistent film.”

Live DJ sets by bent and mothershiester through the night will feature Rock, Ska, and Punk anthems from Mozambique, South Africa, Kenya, and Nigeria. Jazz arrangements from Madagascar and Ghana. Soukous jams and Chaabi gems. Plus a glut of “pirated” Kenyan Pop mp3s that dj bent found while idly cruising the information superhighway.

Friday, December 2

Marrakech Lounge

1817 Columbia Rd. NW

7 to 11 pm

Nettle plays at 9pm!


enjoy drink specials of $3 beers, $5 wine and rail drinks, and delicious $5 appetizers at this brand new north african spot – Marrakech Lounge.

plus hooka/sheesha for enjoyment on the veranda

Africa is Not a Country is an anti-colonial musical journey, using the dancefloor/barstool to deconstruct the idea of “African music” as we rock out from Jo-burg to Cairo, from Dakar to Nairobi, with a quick lap around the islands.

don’t be fooled by the latest BS from “washington” – it’s wild, musical, rebellious times in DC! after an amazing weekend with the phenomenal RIPLEY (who i connected with via the great 2011 facebook-moombahton-boobie debate), including a great party, another incredible dj geekout, and the future of music coalition policy summit, the fun continues tonight as MARACUYEAH! hosts PERNETT, live and direct from colombia! made possible by collab with DA fam!

pernett parranda extravaganza flyer

the future holds even more. saturday is BACKDOOR once again, when the ANTHOLOGY OF BOOTY hoists our flag of revolutionary raunch and compels the people to scrub da ground. we’re fortunate enough to have a lost daughter return this weekend with KIRAN GANDHI bringing live percussionism into the mix.

next thursday myself and MOTHERSHIESTER try something new with an anti-colonial journey via music, dancing, and libations – AFRICA IS NOT A COUNTRY (not to be confused with the rad blog of a similar name) is our latest effort to deconstruct the elision of cairo, accra, dar es salaam, and durban.

and stay tuned for more excitement as other plans continue to evolve.

DC > washington.

[youtube width=”525″ height=”393″]http://www.youtube.com/watch?v=5scYXIvAr7w[/youtube]

…I catch a fever around the disbelievers
In a world of silhouettes, non can see your eyes.

Can’t find the meaning in all this late night scheming

I got about 45 minutes warning that Los Gaitero de San Jacinto were performing in Paris the other night. The band has been active since AT LEAST 1940 so there’s only so many chances we’re gonna get to see them.  I was hanging with percussionist Cyril Atef when I got the text. We had been discussing the african origins of colombian music and instumentation while going through choons for almost an hour.  Him tagging along was merely a variation on a meme. I still have to download the video and flicks of the show from my camera but lemme go ahead and do a separate post to tell you about the opening act we walked in on,  a cumbia-fusion meets visual trio from Bogota called retroVISOR


On rhythm section you have Camilo Giraldo Angel & Luis Alfonso Cruz laying down some free range samplodelic tripiness but it was the work of the VJ and concept director for the bands videos, Carmen Gil Vrolijk aka Carmen Electrik that really got me interested in their performance. Criminally brilliant with a side of smokin hot she’s chopping some well fruity slices of video mango that illustrate the flavor of these songs amazingly

she has degree in plastics

In the above tune, Chicha! she collaborated with a Estefanía Barreto & Juan Camilo Quiñones to create an 8 bit video that deals with native inhabitants being pushed out of their lands by big industry, a problem Colombia still faces today particularly with the damage being done from unearthing gold which releases mercury, cyanide and arsenic into the soil and water table. I’m waiting for my copy of their retroVISOR VJ Sessions DVD while doing my homework on what else she’s up to and trying to convince her to come out and session with me when I play in Bogota again



Pechiche = showing love + human exchange + comradery + laughter + sharing in a moment with friends + giving each other what you want with celebratory disregard + going hard at the party. It’s an energy my set has been reflecting lately and its very much a latin vibes ting. I’m happy to announce my first gigs in London this weekend longside Cal Jader/ DJ Arias/ and celebrating the release of Axel Krygier‘s album Pesebre with the man himself.

Chip Tha Ripper, “Ain’t No Love Here,” from From Me, To You (Prelude To Gift Raps) EP

Cleveland rapper Chip Tha Ripper is part of the newer generation of rappers coming out of Midwestern U.S. cities, and making interesting, street hip hop, and sometimes just sinister mid-90s-style throwback rap jams. Look beyond the cartoonish artist package, and you’ll find some solid rap music. “Ain’t No Love Here” is one the best tracks I’ve heard from Chip since “Get It Gurl.” Also check his verse on Freddie Gibb’s “Oil Money” –



I’m in a S. American time warp. Everything in Rio happens slow, filtered through the humidity. No one is in a rush. Everyone wears sandals. Last night I finally made it to a baile funk. I showed up around 3 to Favela do Vidigal- in the South Zone of the city, with my friend Gabi who is researching technology + production and distribution in the Funk scene.

I felt the bass when we got out of our cab- but we still needed a five minute moto taxi up the hill, past anti-police roadblocks, to the party.  The soundsystem stretched across the entirety of a T intersection- blacklights hung everywhere and the subs were mounted at head level- ensuring that chest-rattling bass could be felt even in the way back of the crowd. The blacklights accentuated the whites and neon yellows of the futbol apparel that men were rocking. Even with the hazy compressed sodium street lights- everything was glowing- it felt like a cavernous club interior. Armed men walked casually through the crowd, navigating crews of dancers bouncing to the floor and back to commands that translate to “drop it on my dick and fuck.”

What startled me most  wasn’t seeing all of the tropes of baile sensationalism before me- ASS, GUNS, BASS!- but how much it reminded me of my favorite parties anywhere. Dancers who loved dancing, cute gay boys twerking it like pros, poppers battling near the speakers, footwerkers taking off their sandals and braving the cobblestone to go double time on already frenetic beats, and music that was ethereal and present, infused with all the sweet/sweat synthsations of my favorite RnB coupled with a low end urgency that has kept with funk since the latin freestyle and miami bass days. The DJ was a middle aged man in a dark grey tee and a brown zip up hoodie, he didnt sing or dance along, just looked out on the crowd with a knowing look of stoic contentment, this is his work, and he is absolutely killing it- at one point, from behind the platform that hes standing on alone about 30 yards back from the system-  i glanced up at t his acer netbook and only saw Winamp running. There are no monitors, no headphones. I was already too drunk to need anything from the bars that served endless variations on fresh squeezed juices, liquor and redbull. I danced until it started to pour, the dj put a backpack on top of his laptop, a weathered tarp covered the speakers, the music kept going, but we decided to walk down the hill. Half way down the power cut out, everything went dark.

I’m still trying to get my head around the music- because it sounded different then most of the funk I had heard before. Vaguely: more European club music then 2-Live -Crew. It reminded me of NguzuNguzu- whose production I adore primarily because I have absolutely know idea what to do with it. It’s almost always too Ravey for me to want to play it out- but at the same time there is  something seditious and dark beneath all the glistening synths-  and that darkness and space is what keeps drawing me back. I honestly think they could of wrecked this party last night. The first track of theirs I  heard was Kingdom’s remix of Hate 2 Wait- which to this day is one of my favorites to drop when its time for a radical new direction in my sets. Dutty Artz extended family Khalif Mihaji Leif just killed a voicing of the original instrumental that wraps up to perfection with some Linzy-esque crooning. When homeboy graduates from college I give it two years tops until he’s a household name for 20 somethings worldwide.


NguzuNguzu  have a new E.P. dropping on Silverback records early October – they did up a promo mix for it- that you can grab over at Scattermusic– (i would  re-up it for u- but my internet run real slow down here)

“A raspy-voiced and diminutive queer rapper in throwback-eighties-chic screams overtly sexual call-and-response commands. A special-ed teacher with the authoritative demeanor of an army TAC officer instructs you to “Walk it like a dog” and “Do the Jubilee All”, a middle-aged mother yells fighting words at a rival. All of this over frantic, break-neck beats sampled from a small smattering of funk and hip-hop oldies. This is the sound of New Orleans Bounce.  From darkened clubs to tricked-out cars, high school dances to neighborhood bars, family reunions, barbecues and birthday parties, New Orleans locals of all ages have been bouncing to “Dat Beat” since the early nineties, incorporating the rhythms and vocal styling of second-line street parades, undulating Caribbean and African dance moves, and stolen hooks ranging from Beyonce to Bill Haley. It’s the sound on the street in the City that Care Forgot,, the booty-shaking cousin to Miami Bass, Detroit Ghettotech, Baltimore Club, but with the chaos and audacity of punk, a spirit that reflects the chaos and audacity of the Crescent City that birthed Bounce music.

Disasster Prone [27:44 – 320Kbps]

A native Dirty Southerner and long-time New Orleans resident, Deejay Karo offers up this mix as a taste of Bounce from the last several years. These tracks were recorded off of burnt cd’s, traded back and forth by local dj’s, producers and performers and  bought out of car trunks beneath the live oaks of uptown or in beauty supply store parking lots. Because of this, making a track listing would be next to impossible, but here are the names of some of the performers and producers in the mix:
Blaq N Mild, Peacachoo, J Rock, Showbiz CJ, Big Freedia, Sissy Nobby,Magnolia Shorty, 10thWard Buck, Gotti Boi Chris, Katey Red, Smitty Out Da City, Monsta wit da Fade… Respect and Love to everyone featured and deepest apologies those we didn’t rep in this list”

And y’all know why it’s called Disaster Prone, y’heard?
Deejay Karo and DJ Beesknees
Stinging Caterpillar Sound System

Man, when Beyonce makes songs and videos like this it just really makes me hope that those scurrilous rumors about Jay-Z being gay are not true and that he is taking care of his responsibilities on the home front.  Otherwise, WHAT A WASTE!  I like this on a lot of levels.  Especially the Betty Page style old film look and costumes.  And although I don’t always feel what she does I think this song actually has some passion and intensity.