Kode 9 is unquestionably the man of the hour. Not only is his Hyperdub label responsible for some of the world's most adventurous dubplates, but his relentless remix work has the auterist calibre of producers like Carl Craig... and he's a damn good DJ to boot. On that note, the new Dabrye 12" on Spectral Sound is an intercontinental wet dream. As if new material from Tadd Mullinix weren't enough (cf. the new James T. Cotton LP), the Get Dirty vinyl features remixes by Kode 9 and Flying Lotus. The audio virus is now a global pandemic of Y2K/SARS proportions - put this one in your melting pot and smoke it!Dabrye ft. MF Doom - "Air (Kode 9 Remix - Instrumental)" [alt link]
And here's the latest heat from Hyperdub. Not sure who Zomby is just yet, but his Myspace has some real goodies embedded on it.
Zomby - "Spliff Dub (Rustie Remix)" [alt link]
...plus a trans-Atlantic mash-up from yours truly. Kind of a rough mix, oh well:
Doctor Cuts - "Ayo Spliff Dub" [alt link]
Speaking of Carl Craig... last, but obviously not least, here are some sizzling, afro-futuristic grooves from the master(s):
Tony Allen - "Kilode (Carl Craig Remix)" [alt link]
Disclaimer: Moodymann - "Amerika"
6 comments:
Dude ... I usually like your posts ... maybe I am being a bit hypersensitive and politically correct ... I do not think I am. The use of a slave ship schematic to illustrate a "Trans-Atlantic Express" is in poor taste. Bless up.
Fair enough. But the history of most of the music we know and love is also the history of the diaspora. It's like the Moodymann song "Amerika" says: http://www.zshare.net/audio/86673835fe9481/ - "the blues grew up a slave." I didn't mean to suggest anything more than that, which is something that the best black musicians have tended to be very conscious of. (e.g. Sun Ra, Underground Resistance, Moodymann, Fela Kuti, the list goes on and on.) All the same, I understand your concern, and apologize for the contentious content.
As I said ... I like your blog. Just think it's a bit flippant in the particular setting. I respect your response. Just thought the context was a bit off. I know it's a stretch (and an inexact analogy) but try to imagine pairing Matisyahu's music with something about the Holocaust in an offhand manner. No disrespect meant.
Yeah, the meaning isn't exactly clear. No hard feelings, it's an issue that was well worth bringing up.
Not to disrepect either y'all, heh, but a) flippancy is something highly undervalued these days (people moaned that irony was dead, but has flippancy ever lived?) and b) i don't think that's an image we can show enough. not only does it express past, but it's also transposable upon a contemporary musical map (african music->america and other colonial enterprises and enterprisers->everydamnwhere.
i would suggest kodwo eshun's 'more brilliant and the sun' and the books it cites. it's all a continuum, baby, and exploitation's in the driver's seat.
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