Friday, Aug 18th, 2017 - 19:23:17

Music

Settler Colonialism & Apartheid Immigration

'Misrepresenting the process of European colonization of North America, making everyone an immigrant, serves to preserve the "official story" of a mostly benign and benevolent USA, and to mask the fact that the pre-US independence settlers, were, well, settlers, colonial setters, just as they were in Africa and India, or the Spanish in Central and South America. The United States was founded as a settler state, and an imperialistic one from its inception ("manifest destiny," of course). The settlers were English, Welsh, Scots, Scots-Irish, and German, not including the huge number of Africans who were not settlers. Another group of Europeans who arrived in the colonies also were not settlers or immigrants: the poor, indentured, convicted, criminalized, kidnapped from the working class (vagabonds and unemployed artificers), as Peter Linebaugh puts it, many of who opted to join indigenous communities. Only beginning in the 1840s, with the influx of millions of Irish Catholics pushed out of Ireland by British policies, did what might be called "immigration" begin.'

"Hadda be Playin' on the Jukebox" - Allen Ginsberg (1975)

"It had to be flashin' like the daily double - It had to be playin' on TV - It had to be loud mouthed on the comedy hour - It had to be announced over loud speakers - The CIA and Mafia are in cahoots - It had to be said in old ladies' language - It had to be said in American headlines - Kennedy stretched and smiled and got double crossed by lowlife goons and agents - Rich bankers with criminal connections - Dope pushers in CIA working with dope pushers from Cuba working with a big time syndicate from Tampa, Florida - And it had to be said with a big mouth - It had to be moaned over factory foghorns - It had to be chattered on car radio news broadcasts - It had to be screamed in the kitchen - It had to be yelled in the basement where uncles were fighting - It had to be howled on the streets by newsboys to bus conductors - It had to be foghorned into New York harbor - It had to echo onto hard hats - It had to turn up the volume in university ballrooms - It had to be written in library books, footnoted - It had to be in the headlines of the Times and the mind - It had to be barked on TV - It had to be heard in alleys through ballroom doors - It had to be played on wire services - It had to be bells ringing - Comedians stopped dead in the middle of a joke in Las Vegas..."

Rusko: "Jahova" (Babylon: Vol.1, 2007)

'After graduating from Leeds College of Music with a degree in Music Production, Rusko discovered the world of Dubstep through the Leeds club night Subdub and a debut appearance from the Digital Mystikz. Having spent the past 10 years making future dub alongside Leeds very own Iration Steppas, Rusko connected with the sound and moved down to London to further advance his musical opportunities with Sub Soldiers label mate Caspa. Veering away from the dark, serious side of the sound Rusko brought a highly driven energy and fun approach to the dubstep massive and quickly coined his own take on the genre and turned the scene upside down. His huge hit "Cockney Thug" has been played by everyone from Pete Tong, Switch, Diplo and Santogold, and has been remixed by the Burqa Sound System, Caspa, Crypts, Drop the Dime & the Scratch Perverts.'

Aisha - "The Creator" (Ariwa, 1986)

'A disciple of Lee “Scratch” Perry, Mad Professor was one of the leading producers in dub reggae’s second generation. His Dub Me Crazy albums helped dub make the transition into the digital age, when electronic productions started to take over mainstream reggae in the ’80s. His space-age tracks not only made use of new digital technology, but often expanded dub’s sonic blueprint, adding more elements and layers of sound than his forebears typically did. In the mid-’90s, he returned to the basics, debuting a more retro-sounding style on the Black Liberation Dub series. Additionally, he ran his own studio and label, Ariwa, which was home to a stable of vocalists (with an emphasis on lovers rock and conscious roots reggae) and some of the finest British reggae productions of the era.'

Bassnectar: "Smashers & Mashers ❧" (2010)

"Bassnectar began as a project of open-sourced musical experiments exploring the interplay between sound, light, communication, technology, and community. Bassnectar evolved in a San Francisco Bay Area commune and was initially identified with the visual arts rather with music created from movie technology like cameras. Bassnectar's original influences included Czech philosophers and punk rock bands such as Vaclav Havel, Stanislav Grof, Orbital, and Nirvana. In the mid-90s, he briefly toured with the Exhumed as a bⒶss player. Bassnectar experimented with LSD, MDMA, Ayahuasca, THC, Ketamine, & Psilocybin mushrooms at Goa raves in the mid-nineties, which led to the confluence of his bass-heavy and psychedelic style of electronic music. He has been creating genre-bending music since the 1990s, using a variety of programs such as Pro Tools, Acid, Reaper, Cubase, and Ableton Live. Bassnectar describes his music as amorphous and ever-changing... Some of the tracks are inter-laced with voice samples of a socio-political nature, including clips from Martin Luther King, Jr., Noam Chomsky, Mumia Abu-Jamal, Michael Ruppert, and Fred Hampton."

Alien Sex Fiend - Live, London (01/12/2012)

'The dead, especially those from the upper echelons of society were mummified in order to prepare them for the afterlife (Jaaniiw). They were accompanied by grave goods including gold, silver, metal, their armour and other personal objects. Mummification is less common now especially post independent Senegal. The dead were buried in a pyramid shaped tomb. The Serer griots play a vital and religious role on the death of a Serer King. On the death of a Serer king, the Fara Lamb Sine (the chief griot in the Serer Kingdom of Sine) would bury his treasured drum (the junjung) with the king. His other drums would be played for the last time before their burial in the ground facing the east. The griots then chant ancient songs marked by sadness and praise for the departed king. The last time this ceremony occurred was on 8 March 1969 following the death of the last king of Sine – Maad a Sinig Mahecor Joof (Serer: Maye Koor Juuf) Yoonir, symbol of the Universe.'

Zeds Dead - "Essential Mix" (2013-03-02)

"Canada's Zeds Dead drop a bass heavy Essential Mix. Zeds Dead are production duo DC and Hooks. They've been destroying dancefloors in North America and beyond since 2009 and once embarked on a 12 week, 80 date DJing road trip by bus! They've been championed on Radio 1 by Diplo and they've released music on the likes of Mad Decent and Steve Aoki's Dim Mak. They've also remixed an wide range of artists from TEED, to Marina & The Diamonds, to The Prodigy."

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