New video for Babe Rainbow. A collaboration between myself, Alex Kurina and Kent Hugo.

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Mystery Intro

Madlib: Red, Black & Green Showcase

The Last Electro-Acoustic Space Jazz & Percussion Ensemble: Tones for Larry Young

Madlib: African Map Watch

Banbarra: Shack Up

Madlib: Afrosound Panorama

Madlib: Warrior’s Theme

Madlib: Afritonic pt. 2

[buy the Madlib Medicine Show Vol.3 here]

BONUS!

“We know that the traditional African society was founded on principles of egalitarianism. In its actual workings, however, it had various shortcomings. Its humanist impulse, nevertheless, is something that continues to urge us towards our all-African socialist reconstruction. We postulate each man to be an end in himself, not merely a means; and we accept the necessity of guaranteeing each man equal opportunities for his development. The implications of this for socio-political practice have to be worked out scientifically, and the necessary social and economic policies pursued with resolution. Any meaningful humanism must begin from egalitarianism and must lead to objectively chosen policies for safeguarding and sustaining egalitarianism. Hence, socialism. Hence, also, scientific socialism.”

-Kwame Nkrumah

Here’s a quick n’ dirty video I did for the recently self-leaked and apparently unfinished track “automating”, in anticipation of Darkstar’s upcoming album on Hyperdub.

Bonus:

Darkstar: Aidy’s Girl’s A Computer

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Darkstar: Squeeze My Lime

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Darkstar: Need You

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Darkstar: Break

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Mix of the Month: Gilles Peterson and Thom Yorke back to back spinning Floating Points, Darkstar, Mingus, Sun-Ra, Doom, Madlib, Dam Funk and the rest of the gang.

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BONUS!

BBC 2/All Black: The Jungle Underworld

BBC 4: Synth Britannia

“n the late 1970s, small pockets of electronic artists including the Human League, Daniel Miller and Cabaret Volatire were inspired by Kraftwerk and JG Ballard and dreamt of the sound of the future against the backdrop of bleak, high-rise Britain.”

BBC 3: Tower Block Dreams (Pirate Radio/Grime)

BBC 4: Krautrock – The Rebirth of Germany

“Between 1968 and 1977 bands like Neu!, Can, Faust and Kraftwerk would look beyond western rock and roll to create some of the most original and uncompromising music ever heard. They shared one common goal – a forward-looking desire to transcend Germany’s gruesome past – but that didn’t stop the music press in war-obsessed Britain from calling them Krautrock.”

Ben UFO: Why Not Mix

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Unreleased and forthcoming from the likes of Roska, Kode 9, Ikonika & Joy Orbison.

DJ Oneman: Winter 2009 Mix

“The Winter mix is a real mix of styles, incorporating old favourites like Shackleton and Burial as well as some new peeps to check out like Joy Orbison and Bisweed. It also draws in elements of downtempo d&b and some light techno for good measure and makes for a mix that reminds you of frosty winter nights.”

Martin Kemp: XLR8R Mix

“Loaded with high-quality tunes—many of which are forthcoming or entirely unreleased—the mix occupies that unique space where garage, 2-step, funky, and house bubble together in a uniquely potent brew.”

Dorian Concept: Mi NYE Mix (LuckyMe)

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“Oh hell no – no tracklisting this time”

The Gaslamp Killer: A Decade of Flying Lotus

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“Can’t believe i’ve been making tracks for over 10 years now..That said, there’s so much to learn still. I hope you all enjoy this mix. Thanks to the Gaslamp Killer for doing an incredible job on this. Can’t wait for you all to hear my album ‘Cosmogramma’ coming out April 20th 2010 on Warp Records.”

Darkstar: 20JazzFunkGreats mix

“Darkstar and their post garage phantom pop are probably the [Hyperdub] members we’re most excited about as we enter into a new decade, which is why we’re more than a little happy the wire whisperers took the time out from communing with their computers to make XXJFG an exclusive mix, which expertly blends Timbaland exoskeleton rhythms, trippy echo-soul and micro bass beats to perfection.”

[near the bottom of the page...look for the stars]

DJ Food: Blech 20.1

“Part 1 of a new Blech collection – classic tracks from Warp’s 20 year history, mixed together by Strictly kev aka DJ Food with a nod to the Blech mixes he did with PC in the 90′s. Certain sections mirror the set played at Warp’s 20th anniversary gig in London, 2009.”

and also…

L Vis 1990: Classic House Mix

[vis a vis RJ5000]

BONUS!

I caught Sa-Ra Creative Partners and Benji B at Gramaphone last night and, surprise surprise, the club got “thick”. What does that even mean? Shiiiiit. It means don’t wear a toque when Sa-Ra is in the building, I suppose. After a typically stellar set from Benji, the gang from Hollywood opened up with “Traffika” and everybody pretty much lost it. I had a drink with the gang afterwards and they were class acts through and through. Check out their latest album – click -

On the way back to my mate’s flat after the show, I bumped into these Japanese dudes on Brick Lane, they were drunken and disorderly, and I think they probably ended up sleeping on the street – always a good look if you’re an out of towner.

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Sa-Ra w/Jay Electronica & TaRaach: Love Czars II

I arrived in Tokyo at dusk with a sweat-drenched back and a belly full of space noodles and airline wine. I headed straight to the Grand Prince Hotel Takanawa, an urban resort known for its ultra-modern décor, which includes two faux-jungle pools and a maze of perfectly symmetrical sofas that look like giant caramels. It’s the annual Summer Sonic Festival and I’ve been convinced to join my friend Eugene and his band Gogol Bordello for the final stop on their world tour. The agenda is 5 days in Tokyo, the deal, basically, to bumper-shine the bandwagon and see what unfolds.  The festival is a smashing success. I watch from a side stage as Gogol Bordello blows the buttons off every gadget-holding punk in the pit. Late night, I vibe on the local scene at Shibuya’s The Ruby Room, where members of GB slay the open-mic night with their turbo-blend of dancehall and dubstep, something they call “ghetto fuck music.”

Taking in Tokyo with Gogol Bordello, I fall into a lazy haze, the Gypsy punk rock version of Japan. Everyone I meet is friendly and hospitable as I get lost again and again, solo in the streets of Shibuya, wowed and wasted on technology and cuteness. Led by tour guides, itineraries, lobby calls, scheduled pick-ups and drops offs and a dozen travel mavericks through humid, hyper-electric neighborhoods, I sip healthy ginseng vodka and narrowly avoid yarfing thanks to a nearby sushi-for-drunks joint. Left alone, I lose my wallet, bum poison ivy cigarettes, order teriyaki and nausea medication and receive chicken sashimi and constipation pills. Twice I feel the city right in the belly: first, during an earthquake that clocks in at 7.1 on the Richter scale and feels like being suddenly molested by a stranger. Second, crossing a soft-eyed boy shopping in a t-shirt reading ‘I am here to fuck your ass’.  So I’ll leave you with that nugget of beauty and a few other images from my slam jam in Tokyo.

Gogol Bordello: Alcohol

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“Created in 2008 by Japanese hip hop producer “dopement”. The label exist untill real Takeshi Kitano call him and says “You bastard! stop violating my s**t!” and kick my pretty ass.”

I like this guy’s style, here’s three new-ish tracks from Tokyo-based Takeshi Records:

Vast Aire/DOOM: Da Supafriendz (Dabrye instrumental remix)
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O.C.: Times Up (Samon Kawamura instrumental remix)
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Kaman Leung: Await
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Zomby: Helter Skelter, from One Foot Ahead of the Other EP.

From the brain of one of Amsterdam’s most notable rare groove enthusiasts, KC the Funkaholic, Kindred Spirits is a label like no other. Taking its name from KC’s legendary club night at the Paradiso, Kindred Spirits is backed by a gang of music fanatics who view themselves as a counterpoint to “the fast-food music establishment”.

Dealing primarily in funk, jazz, soul, afro-beat and the like, Kindred Spirits has also released records by the wonky-esque Dorian Concept and Madlib’s Jackson Conti project.

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Jackson Conti: Nao Tem Nada Nao

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Nacho Patrol: Africaspaceprogram

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Build an Ark: In Her Smile (Daedelus Remix)

I started playing electric bass when I was around 11. Shortly after I studied the upright bass. Studied may not be the best word, in fact I messed around with the upright, but did it constantly.  Played in classical orchestras, jazz combos, and even a Klezmer group for about 5 minutes. When I was 20 I started a jazz group with some local musicians and played all over the place. It was great, but this void started to grow in the middle of my chest.  I think I was looking for something more brutal, or compact and digital. Maybe even more control. I found that all in producing.  I started making these fucked up jungle tunes at around 190bpm. Even released some here and there… But that’s how I got to the computer and the keyboard.

There’s a bunch of free music on your website, stuff that sounds well different from ‘Love is a Liability’, a little bit faster, closer to jungle, drum ‘n bass… how did you get from that sound to where you are now?

Right, I hate that stuff now. In fact by the time this piece is published I will have erased it from my website. I love the faster bpms, I just cant do it right. Always comes out so weird.  I used to trade tracks with boxcutter, actually I still do, but he asked me one day to make him a 2-step track, and put some samples in it. I had a crazy flu, like 102 Fahrenheit that afternoon. I sat at my desk and just saw the matrix, you know?  It was crazy. That first track is still one of my favorites.  In fact the next day i made an early version of Human Meadow the first track on Love Is A Liability. I think when I slowed down it just made more sense to me.

Much like Burial, your music seems to be dealing with the nostalgia of past musical styles. What did you listen to growing up? Are there certain artists or styles you’re trying to reference?

What else influences you, outside of music?

NYC is a definite influence. The pace, the history, the insanity. The self-induced psychosis. Every-time I travel I’m always influenced by my new surroundings. Bristol had a huge effect on me. Greece was amazing. Dunstable is the shit! My best friend lives there. Simple place, beautiful. No thrills, just good fucking people. Places change people. I hate that. If I had a stronger heart I’d live in the woods alone, or maybe with a friend…but I’d get lonely. Who wouldn’t get lonely living alone in the woods? Thoreau? He’s crazy.

Do you like talking about your own music?

What kind of equipment are you using? Are you the type to constantly be on the look for new gear? Or is there a specific set-up you’re accustomed to?

I installed the latest version of the software I’ve been using forever and freaked out. Immediately uninstalled and got back to my 4 year old obsolete program. This gets said a lot, and I believe it to be very true. Does not matter whatsoever what program you are using.  It’s all in your head, your heart and your hands. Gear may be another story, but I’m not qualified to answer that.

Your sound is described as New York Garage. What is it that differentiates it from UK Garage, that makes it uniquely New York?

That’s actually hard to explain. The “New York” element, whatever that is, is something indigenous to me. Hip Hop is king over here as you might imagine. You can’t escape it. You may not want to escape it either. I come over to London, and on a Tuesday night I want to go hear acid house, or jungle whatever. Chances are good I can find it. I go out to lower Manhattan, I can find 10 Hip Hop shows. Maybe haha. The soul element in NYC is devastating though. I recently went to St. Nicks Jazz Club on 135th and St. Nicholas Ave, in Harlem. Check it out. Like ground zero.

Are there any other artists that you think fit this billing?

You mention Bristol had a huge effect on you, we’ve actually talked about this city on the site a lot, what is it that makes that city so special? Things are really exciting over there right now.

I just loved the vibe walking around the town. It’s small, but it’s exploding with energy. Then again I don’t live there so maybe its not so exciting for its inhabitants. I wanted to check out Rooted Records last time, but it was a Sunday or something. There was this one building that is built on this overpass witch looks very post apocalyptic. Crazy looking, very dark. In contrast to the amazing train station. That train station is one of the most beautiful I’ve ever seen.

What are some other artists that are really doing it for you?

Too many really. Floating Points kills it. Jodey Kendrick is making serious tunes over at camp Rephlex. But I keep it simple, my regular rotation is Vibert in his many forms. It’s almost sad really. It’s like Plug, Kerrier, Amen, Wagon, Luke… cmon…

What does it mean to you to be recording for a label with a history like Planet Mu? Or for a younger, more upstart label with growing buzz like Ramp?

I’m thrilled to be a small part of both of these amazing labels. The Planet Mu thing came about a year or two ago.  I was sending Mike Paradinas those awful jungle things and at one point I think he said, “Yeah, thanks. I have a good idea of what you are up to at the moment…”  a polite way of shutting me up haha.  But eventually I slowed down with a little help from a friend and sent Mike Human Meadow it just grew from there.  Quickly went from single to EP to LP.  But yeah, the history of the label is astounding. If the kids getting into dubstep today only new how important and influential MU is, not just for dubstep but electronic music as a whole. Seminal. Ramp is a small wonder. Out of nowhere comes these killer 10″s and 12″s. Tom who runs Ramp is a sweet guy. He was putting out some sick hip hop 5 years ago, and then flipped the switch and changed the program. He approached me for To London about a year ago. There has been a lot of freedom in working with Tom. He has a strong voice, as does the artist. More to come with Ramp.

Your website is pretty stylish, as well as all the cover art for both To London and Love is a Liability, do you do that yourself? I get a feeling you might have a background in design.

Thanks, yeah I wish I could take credit. My friend Tom Simon designed my website and the To London 12″. He is doing more design for me right now. AS1 in Miami designed Love Is A Liability and Tom did the logo. I don’t have a background in design. I do have so seriously talented friends tho haha.

Was it you or AS1 that came up with the ‘old school girls’ motif? and who are these women on the cover?

It was my idea.  I’m afraid I can’t say too much on this topic.

Your music comes off as quite nostalgic. What or who do you think about when making music?

It changes, nothing in particular. I think of regular things. I’m not trying to sound like anything. I’m not trying to sound like nothing either, which is important. I can’t deny certain influences or restrictions. I have only my own ability and my life’s experience.

The Wire, in their review of your album, called you a sentimentalist, would you agree?

Haha, yeah that’s ok. I think I am. But I’m actually not sure what that means. About what am I sentimental?  Old music?  Sure. Why not. I just wake up and hope I can do what I did the day before better.  Sometimes I wake up drenched in fear. Like, will I be able to make a tune again?  It’s surreal. It’s scary. It’s shitty.

While being great in headphones your tunes stand up on the dancefloor just as well. What’s the ideal setting you’d want someone to listen to this record?

I make the tunes in my underwear. I listen to them on my ipod 50 feet below the surface of Manhattan traveling at 40 mph. I’ve played them out at clubs and had the room dancing. I would say In your underwear underground dancing.

How prolific are you in the studio? I think I read on your twitter you’re finishing up an EP and some singles to put out by the end of the year. What’s next?

I just try to not rest on my laurels. After this album, there is an EP for Mu and a few more singles for Ramp. I don’t know… like I said, I just hope I can wake up tomorrow and make a tune.

There’s a teaser on your Myspace ‘some new things on my mind’ that sounds pretty exciting and different. Where are you taking your music next?

I’m in a few different modes right now. I am making equal parts Hip Hop and Garage right now. I’ve a few Grime tunes as well.  I’m actually pretty bored. I think I might start painting. Like grab an easel some canvas and paints, get in a car and drive north.  paint for a while.  ‘m soo tired all the time. It’s hard to get excited about anything. I don’t know where this is coming from, but it’s worth noting. I make a tune in five minutes that rejuvenates my feeling for everything.

-RJ5000

King Midas Sound: Dub Heavy: Hearts & Ghosts EP

Label: Hyperdub

Kevin Martin, the madman behind The Bug, Pressure & Techno Animal brings us the latest from King Midas Sound, a collaboration with Trinidadian writer/spoken word artist Roger Robinson. The pair team up in Kode9 & the Spaceape-like fashion offering a similar glimpse into the moody climate of dark, muddy, Afro-futuristic diaspora. While previous projects showcased Martin’s knack for riddim and claustrophobia, he seems to be saving his more open, atmospheric cuts for King Midas Sound. While sparse and minimal the productions on Dub Heavy Hearts feature Martin’s signature, albeit slowed, dancehall percussion and echoing, falling synthlines, but the overwhelming element in any of the three dubs is a bassweight that threatens to blow out weaker boxes. The sub action is serious on this one. No refunds on cheap speakers. Keep an eye out for the highly-anticipated LP “Super Heavy” out sometime this year on Hyperdub, naturally.

I Dub

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Efdemin / Martyn: Acid Bells (Martyn Remixes)

Label: Curle

Perhaps the most prolific producer of the past year, Martyn’s put out a slew of monster singles and a full-length, “Great Length’s”, that’s practically guaranteed to find respect on the more on point year-end lists. Efdemin is a minimal techno/deep house outfit looking to gain some new followers as they enjoy Martyn’s blessing on these remixes. ‘Dark Mix’ is actually a pretty uplifting track carried by more classical piano riffs that sound like an evolution of the piano interludes on Great Lengths. The flip, ‘Bittersweet Mix’, is the real gem on this sounding like prime funky house productions being filtered through the Martyn sound; bouncy Soca rhythms in a post-dubstep style for a real good look at what the future might sound like.

Acid Bells (Martyn’s Bittersweet mix)

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Lone – Cluster Dreams, Joy Reel/Sunset Teens

Label: Dealmaker, Werk

Maybe the most underrated producer of the wonky-not-wonky movement is Lone, whose quite good 2008 album Lemurian never really caught on (blame the awful cover art). Look for Lone to gain some massive respect riding on the tails of these two singles. Out of this pair it’s the Werk release that’s more in tune with wonky’s hyperactive Technicolor melodics. ‘Cluster Dreams’ is definitely a more chilled experience with a more relaxed BPM and softer tones, although both releases maintain a warm temperature and inviting summer-friendly sounds. Lone’s productions have drawn comparisons to Boards of Canada but Boards of Canada never really sounded like this much fun. Look for Werk to put out a big LP from Lone sometime soon, with great cover art.

Sharpest View Of The Sun

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-RJ 5000