Since you all loved up that last footwork / juke post I made I figured I’d share a video piece that Wills Glasspiegel who did the audio I posted did, I assume on the same trip to Chicago.  Some of the material is the same but since it’s about dancing the visual is pretty key: watch those feet work!

Also Wills was nice enough to make the audio in the original post (below) downloadable for those of you who requested it for your filez.

Also Traxman who’s in the piece will be playing in NYC this Friday at an underground party at an undisclosed location in Williamsburg, Brooklyn.  Also Total Freedom from LA!  Looks like there will be some footwork dancers there too.  Shout to Azizaman for putting it together, looks dope.  FB event here w/ info.

I am not involved with this but am showing it a bit of promo love because I remember what it was like trying to bring Grime artists to NYC when no one knew what it was but I just loved this new crazy music and wanted to share.  It ain’t easy! If you like this kind of stuff vote with your dancing feet.

Let’s take things up a level. Let’s get glossy.

The November issue of WIRE magazine has Rupture on the cover lookin’ all grown and sexy.

Congrats! Go buy that shit! They say: “Peter Shapiro meets prolific producer Jace Clayton to hear about post-colonial Bass music, The Shining remade in Dubai and Sufi Plug-Ins.”

[Downliners Sekt - Picture by Fric Lopez / Postproduction by Gerard Franquesa]

A week from today, tune into Mudd Up at 8pm EST to catch a special show, recorded on-location with the mysterious Barcelona-based duo Downliners Sekt, who make “soul-filled gospel hymns for a technological apocalypse.” We will learn new myths about Portbou , enter the world of gypsies who sell fake gold teeth, and hear some unreleased Sekt material… Their past several releases have been availalble on vinyl and as free downloads. See you down the line…

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Downliners Sekt – Hockey Nights in Canada (Meet the decline)

Storm  Saulter is one of Jamaica’s most prominent young film-makers . With the panoptic gaze of interchangeable dancehall djs staring down from Digicell and Lime Tv advertisements, the hype cycle of radio and the frantic rotation of fashion and dance moves you couldn’t  be blamed for not realizing that Kingston has a thriving if limited independent arts scene. The best and brightest all seem linked to  Edna Manley – but Storm actually finished up film school in the states. After seeing his latest video for Tarrus Riley, and sitting in on a press screening of his full length Better Mus Come I sent over some questions about Jamaican politics, the challenges of independent film making and what drove Storm to leave behind the opportunity and infrastructure of Los Angeles.

T: You were born in Jamaica, but went to film school and worked in Los Angeles, given how limited the Jamaican film industry is, why return to the island to work?

S: It seems better to start a movement and build it from the beginning than to be just another person trying to make a statement in the same space as thousands of others trying to do the same thing.  We are defining new Caribbean cinema with the work we are doing now. Lots of young people (and a few older ones) in Jamaica and the region are seeing filmmaking as a real and exciting possibility for them right now. Better Mus’ Come is the beginning of a real movement.

T: The space you work in is shared by a bunch of other young filmmakers- can you tell me a bit about the space,  who is there and how you all came to work together. What is the ethos and purpose of New Caribbean?

S: I share an office with my brother Nile Saulter, Joel Burke, and Michelle Serieux. We are all filmmakers and we collaborate on all our projects together in different capacities. Directing, Producing, Cinematography, Editing, Writing. Our office is at 10a West Kings House Road, Perry Henzell’s home and production office during the creation of “The Harder They Come”. We share the property with a number of Directors and Producers. Ras Kassa, Ras Tingle, Jay Will. It is unquestionably the home of Jamaican filmmaking.
For more on New Caribbean Cinema go to www.newcaribbeancinema.com

T: Both the Tarrus video and Better Mus Come seem to deal with a similar type of historical amnesia- the way that systems of power attempt to limit certain types of information and stories in order to be able to continue propegating themselves. How do you see your work in creating new historical narratives or re-examining power?

S: Better Mus Come has had such an explosive impact in Jamaica because it is telling a story that we all know of, but we never knew the details. We would hear our parents speak of the 1970’s, The Cold War era, when Kissinger came to Jamaica and threatened Michael Manley and Jamaica with annihilation if we didn’t step away from Cuba. The beginning of this gang war tradition. There is a reason we were not taught this in school, so that events like the Tivoli massacre would seem like a new development that needed to be solved using brutal force by the Police and Military. But this is not new, it has only evolved from the same source. I guarantee you that many more of these ‘hidden’ stories will be told by this generation of filmmakers. And to be able to do so is empowering to the artists and the people.
READ THE REST OF THE INTERVIEW AFTER THE JUMP
Read the rest of this entry »

Over on Alt1040, Geraldine Juárez asks me smart questions about the ideas behind Beyond Digital: Morocco. I do my best to answer. En espanol para que los güeros aprendan!

Auto-tune más allá de lo digital - excerpt:

ALT1040 – ¿Es el espacio post-digital el extremo físico del internet? ¿Como defines post-digital?

DJ Rupture: Es importante pensar en tiempo post-digital o post-internet. Y para mi este tiempo es lento lento… todo lo opuesto a un meme (#sheen, #egypt etc… ) El tiempo y/o la velocidad del internet, creo que es una velocidad/tiempo muy rápida, muy capitalista; no solamente es hoy sino ahora mismo, fast-food al máximo. Y yo estoy bien metido en el matrix, ya sabes…

Los espacios post-digitales ¡tienen que ver con la lentitud!, con dar espacio a una idea (o “meme” LOL) , para darle más atención a mucho tiempo. Los contextos son super importantes… no solamente para entender mejor cómo funciona una canción o un género. Los espacios post-digitales tienen que examinar metodos de distribución (on y offline). para poder formar un ejemplo que sea actual.

Todos esos apagones del internet en Egipto y Libia sirven para recordarnos que ese ciberespacio no es un ideal flotando ahí arriba con los angelitos, cubriéndo nuestro planeta con lindas ideas e información… es también cables, túneles y nodos de control concentrado que se puede apagar, o filtrar. Como tú dices, ¡el internet siempre ha sido material!

Quizás lo post-digital tiene que ver con mirar al internet y el mundo digital desde una perspectiva de escasez y precariedad, donde no tienes el lujo de no pensar en su infraestructura.

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
Read the rest of this entry »

Did today happen? Does adulthood exist? All I know is that it’s snowing, again — or maybe it never stopped. The last time I was this tired I was walking through a forest after a show and before the airport. Mudd. Deliciously low visibility. A river. Nature has so many things without off switches. We passed a homeless guy pushing a cart.

Last night’s radio show, now streaming, featured a very informative Benjamin Lebrave from Akwaaba Music.

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).

cross-posted to Mudd Up!

Check the latest issue of BOMB magazine for an in-depth interview with Kevin Martin AKA The Bug. BOMB has just upped an excerpt & audio clip. Here’s an excerpt of the excerpt:

Jace Clayton: You told me this anecdote: you were at a dub night in London; it was lit by one lightbulb. That’s how I remember you describing it—

The Bug: Oh, yeah. That was again a very pivotal moment for me. Just after I moved to London I went to see Iration Steppas and The Disciples do a “sound clash” together. I didn’t know what the hell to expect. It was at a warehouse in the East End. Literally, there was a sound system on either side of a quite small room with a lightbulb hanging above each, no stage, the audience trapped in the middle, and this head-shredding volume and over-the-top psychedelia. Every mix that each producer was playing would get more and more out-there. At first you would think, Oh, this is a nice reggae tune, and by the end you’d be thinking, Holy shit, this is electro-acoustic madness! People were looking stoned, shell-shocked, or both by what was hitting them. (laughter) It almost altered my internal DNA and how I appreciated music. Before I moved to London, I’d seen a very early Swans show and had realized just how much I loved physical impact in sound.

Photo by Niall O’Brien. Courtesy of Ninja Tune.

JC Funny, every time we’ve played together I’ve always tried to leave the building when you were sound checking. It’s massive volume and you take it so seriously; oftentimes if the sound guy is not up to speed, you’ll let him have it. Can you talk about the importance of getting the sound you want in a live situation?

TB Boy, I guess I’ve got a bad reputation for being a bit finicky and demanding. Once you’ve had the experience of what music can be like, if you are a perfectionist and obsessive (like I realize I’ve become), you don’t want to compromise. I don’t follow the idea of making any type of compromise in my life, and definitely not in my music: music is my life. If you’re happy to shut up and let someone water down what you want, then you really shouldn’t be making music. It’s not important enough to you, you know? I believe in a hard-core mentality. Any art should be a pure reflection of the intention of the person making it, and any degree of compromise along the way is just going to lessen the impact of what that person is trying to do. As far as I’m concerned, the physicality of sound is crucial; it takes you beyond intellectual discourse, to very primal, psychological confrontations. I like what it can do to you: it can be seductive, it can be sexy, it can be aggressive, it can fuck you up, it can flatten you, it can wake you up. Intense musical experiences have changed how I live my life, full stop. To some people this may sound a bit over-the-top. My passion is music, and that is reflected in how I approach the live arena. Now, increasingly, when record sales are shrinking, it’s important to leave a statement, to walk away having done something memorable. Volume in itself isn’t memorable; anyone can turn the volume up to 12 and crush someone with it. That’s not impressive. It’s the constructions within the music that are important.

(partial synthesis of posts on Pirate Antropologies)

Just over a week ago, as I settled onto a couch in MC Doca’s living room, a Globo News reporter announced that funk MCs had been sent to prison for apologizing crime. A YouTube video of MC Ticão and MC Frank singing about how FB, the dono (owner) of the recently police-invaded Morro de Alemão was hiding out in rival faction Rocinha. The report next showed an armed blond police woman–with heavy makeup and perfect hair–shouting and banging on an apartment door. The camera revealed two shirtless, tattooed MCs, Frank and Ticão, who are brothers, blinking away sleep. Cut to a table with a watch, a ring, and a few chains. “The police encountered various gold chains” the reporter intoned. Tremendously successful MCs with gold chains?!? How incriminating!

MC Smith, MC Max, and MC Didô had also been imprisoned. They also lived in the two communities recently occupied by the police: Morro de Alemão and Villa Cruzeiro. The deputy accused the MCs of using the Internet to share music making “apologizing” crime and criminals, forming a gang (with the other MCs), associating with traffickers, and doing “marketing” (yes, she used the English word) for drugs and criminal factions.

Next the report announced that MC Galo of Rocinha had been arrested in a traffic blitz in Leblon. He had an arrest warrant for marijuana possession from 1998 and for singing “proibidão” (“very prohibited” music). The police evidence? A YouTube video of Galo singing in Leandro HBL’s and Diplo’s Favela on Blast. None of the press using the clips contacted Leandro to ask permission. And whenever Leandro has used Globo’s footage, he’s had to pay. A lot.

The video, which Globo used, is Galo’s top hit on YouTube.  The clip, they chose, compares the hard life of the MC to the hard life of a drug-seller. It’s not, even “proibidão.” So, why did Globo weave Galo–who had been arrested a day earlier–into the story? Perhaps to build sentiment against Rocinha, a community speculated as a target for police invasion and “pacification.”

Predictably, none of the reports look at the roots of “forbidden” funk–which refer to drugs, violence, and criminal factions. A common story among funkeiros goes that in the mid-nineties when the various judges prohibited bailes funk in clubs, typically in working class suburbs, the parties and the music moved into favelas. Farther away from police repression, some bailes began to be financed by criminal factions. At the same time funk’s base in Miami Bass & freestyle evolved into the Candomblé- and samba-influenced tamborzão beat.

I visited the MCs in prison yesterday along with MC Leonardo, the president of APAFUNK, and DJ Marlboro, who’s credited with recording the first “funk carioca” album in 1989. We met with the MCs in a classroom above the underground prison. After one guard allowed us to enter with cameras and voice recorders,  another returned to confiscate the camera and voice recorder of two human rights reporters. I hid my point-and-shoot camera. Until the guard came back shouting, “The meeting is over! Stop singing. No cameras!”

When asked if he ever expected to be jailed for his songs, MC Smith responded, “This is a political game that’s happening in Brazil now, so yes…. Ivete Sangalo lives in Bahia. And what’s that? Carnaval, carnaval ‘fora da epoca’ [out-of-season, all the time] and she sings about what happens. And I live in a community that was taken over by the state… one of the most dangerous in the world. And I live in a community with a high risk of violence, a criminal base, high rates of prostitution. And therefore I’ll sing what I live. And what I think. This is freedom of expression. Not only me, but for Max, Ticão, Frank, Didô.”

When will the criminalization of funk carioca stop? People point out how City of God is “proibidão” that was Oscar-nominated. Yet, funk suffers prejudice unlike high-class art. After the police invaded Vila Cruzeiro and Morro de Alemão and failed to capture “bandits,” it seems that they chose easier targets: MCs with “proibidão” videos on YouTube.

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MC Galo-Funk-Se Quem Quiser (words MC Dolores)

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MC Smith e MAG- Aqui o Bagulho é Doido

"ABC of Citizen Jail: Graduating Citizens"

"Suffering and Smiling"

TC reached into the roots of one plants on the table. “It’s a baobob,” he told me, “My daughter brought me some seeds from Africa. This tree is also the symbol of Rede Mocambo.” In Portuguese “rede” means network, and “mocambo” is the traditional, thatch building of quilombos, maroon communities of escaped slaves in Brazil. Quilombos continue to this day. TC heads Casa Tainã, a cultural center and initiator of the Rede, in a “modern quilombo” on the periphery of a small city in the interior of São Paulo.  TC told me that he plants a Baobob sapling in each “quilombo” which is part of Rede Mocambo.

The project started when Casa Tainã gained partnership with state-backed Digital Inclusion programs with access to technological resources and computers, and began to set up Internet telecenters in quilombos in the Southeast of Brazil. From these social, knowledge, and material exchanges, a “Quilombo Network” began to take root. Now the Rede extends through almost all the Brazilian states (even though not all quilombos have Internet yet because some don’t have electricity).

How do you get computers to the projects? I asked. “With old computers we practice ‘meta-recycling,’ transforming the computers to give them a new life” Robson, also of Casa Tainã told me. In the quilombos they show them how to practice metarecyling, to install free software, to access the Internet, and to make a video or to record a song. And “the quilombo production will then circulate on the ‘rede,’ the Internet.”

TC said that “this network was created as a tool to fight for and ensure our rights. Communication in a network generates greater understanding of quilombo and black struggles. We have to use the new open technologies to construct with them.”

Robson added that the Rede’s goal is also “to discuss the right to land, the right to religion, the right to culture, not hierarchical culture, but horizontal…. And the goal of the network is to think of a new cartography of African identity.”

“And in terms of cartography,” Robson continued, “The baobob connects all the quilombos in the network to Africa. It’s a remembrance of who they were before slavery, when we were kings and queens.”

TC told me that he also brings seeds from each of the quilombos that he visits to plant back to Casa Tainã and in other quilombos in the network. He had just returned from a regional Rede Mocambo Encounter in Northeastern Brazil. Cacao pods from Quilombo João Rodrigues in Bahia were drying in the sun.

“Palmares was destroyed by cannons. Now the big cannon is the media. But with decentralization of the means of communication and with new open technologies, we also have cannons. Imagine if Palmares had had the Internet. We have a tool for revolution,” TC.

[display_podcast]

Here is a mono radio rip from a live DJ mix on WFMU a couple of weeks back. It’s jam packed with unreleased, exclusive killer Shadetek tracks! The tracklist is a little rough, but the unreleased joints – opening track “NIC U” and “Pterodactyl” are gleaming freshness not to be slept on!  Look out for his Dutty House EP coming out Tuesday!

TRACKLIST

Matt Shadetek – NIC U
Matt Shadetek – This Is Love
Matt Shadetek – Pterodactyl
Contakt – Not Forgotten
??? Dubbel Dutch Remix
Matt Shadetek & Lamin Fofana – Sunshine City
Black Ryno – Nuh Take Talk (Matt Shadetek Remix)
Matt Shadetek – Delta
Kingdom – Bust Broke
Mayster & Contakt – Korak
??? Secret Agent Gel Rimix
Maxwell D – Going Away
SBTRKT & Sampha – Evening Glow
Matt Shadetek & DJ /rupture – Sunset B35
Chief Boima – Techno Rumba (DJ /rupture & Matt Shadetek Remix)

During the last few weeks, my friends and family have mistaken the work of Christine Abdelnour Sehnaoui for both a broken air conditioner and a car dying outside my window. I can’t say that I blame them. Her recordings call to mind unoiled hinges, deflating balloons, asthma attacks. This Parisian alto-saxophonist, born 31 years ago to Lebanese émigré parents, plays like music does not exist. When she performs live, Sehnaoui clamps her eyes tightly shut – an expression that speaks to the intensity of focus she applies to her challenging and surprisingly diverse oeuvre. . . Sehnaoui comes from a school of improvised music obsessed with the sonic possibilities of things.

My article on Christine Abdelnour Sehnaoui for The National is now online. Ordinarily I harbor a strong dislike for the saxophone. But in Christine’s hands, it is pure weird gold. Continue reading.

My first appearance on U.S. TV and I’m speakin’ Spanish! Welcome to the 21st ct., amigos. Gonna throw a tea party to celebrate, tod@s estan invitad@s. #DemographicWarfare

Contraportada en NY1 Noticias, platicando con el gran José Manuel Simián.

Bajo el seudónimo de DJ /Rupture, Jace Clayton lleva años sonando como uno de los DJs más interesantes de Nueva York, gracias a su mezcla de ritmos, géneros y texturas de todo el mundo. Además de ello, Jace se ha ganado el respeto de melómanos y críticos por su trabajo como bloguero musical y un programa radial que presenta cada semana en la prestigiosa WFMU. DJ Rupture, Jace, conversó con José Manuel Simián en Contraportada.

If you already know (you know) Mariana “Meteoro” Camberos art, it’s likely through her work for ZZK. She  is one of the artist’s responsible for codyfing the visual vocabulary of Zizek/ZZK branding; which is how I first became familiar with her. But that’s just one mirror-facet of her diverse output, or as she put’s it, “someone once said my work was very Zizek…. but I said, Im not zizek… zizek is all the artists.”

Meteoro Painting

Her neuva-tropical psychedelic day-glo works and styling jobs are right on the palm frond edge of the tropical communities (does that exist… maybe it does.)  collective unconscious. Seriously fresh-2-death designs evoking modern day icons like Carrie Mundane, early MIA styling,  NYstreet  style Keith Harring/ Basquit iconography pushing up against sacred ayuwasca geometries and jungle fractals. Her custom hand painted tees, hoodies, and zapatos are being rocked by some of the dopest kids outs (check the aviary shirt she did for Uproot Andy next time you see him), and her styling and 2-d work is equally stunning. Over a couple days of endless tea, empanadas, and tasty chino delight- we discussed inane visa regulations, liminal space,  our shared love of cumbia sung by little girls and a party called drum&boxx that put young contenders (rocking her custom fur-lined robes) boxing on the floor in a ring made of jungle-stepping ravers. (The interview that followz is the first of a series I’ll be upping and posting, along with photos, flipcam and musings- while I travel as a Watson fellow… it took  me a while to finish this post- im now in Rio)

Fresh Shipment of Meteoro's shoes ready to go to Paris

T: Your palette is focusing alot on day-glo/neon vibes- ur using all of these crazy brazillian fabric paints…. but day-glo has been moving onto clothes since the 1930′s- so what exactly is there left to say using this palette?

M: PUES ES FLUORECENTE Y FLUORESCENTE SIGNIFICA ILUMINADO POR DENTRO ESTO YA ME LLAMA MUCHO LA ATENCION
LA COSA DE BRILLAR CON LUZ NEGRA Y EN MEXICO SE DICEN QUE SON COLORES QUE CHINGAN  (JODEN) LA PUPILA Y AMO ESO

T: you push a psychadelic vibe- but from a distinctly latin american approach…. im seeing these sorts of fractal designs all over your apartment- but with none of the new agey shit that kills alot of western hippy psychadelic stuff- where do you see the convergence of european /american and latin approaches to these forms.

M: MMM ES INTUITIVO Y NO ES ALGO QUE VEA SALE SIMPLEMENTE SON LAS COSAS QUE ME LLAMAN LA ATENCION Y ADENTRO HAGO UNA SINTESIS, SON COSAS EN LAS QUE CREO Y OTRAS QUE ME VIENEN SOLAS COMO MUSAS.

T: youve been in Argentina for 5 years- what has it done for your work- why here- what wasnt working for you in mexicO- or why did you have to come here.

M:DESDE SIEMPRE QUISE ESTUDIARR FUERA DE MI PAIS PARA TENER OTRA PERSPECTIVA Y COMO PRETEXTO DE VIAJE, Y ARGENTINA POR QUE ALGUIEN ME CONVENCIO QUE ERA UNA BUENA OPCION Y MUY AJUSTABLE A MI PRESUPUESTO
Y ASI LO HICE.. ME DEJE LLEVAR .. AL PRINCIPIO SEGUIA SIN ENTENDER POR QUE ACA PERO LAS COSAS Y LA GENTE QUE HE CONOCIDO ME CONFIRMAN QUE ASI DEBIA SER.

T: what does tropical mean to you?

M:TOPICAL SIGNIFICA BUENA VIDA YO VIVI EN UN LUGAR TROPICAL Y ERA PURA ABUNDANCIA SOL FRUTAS MUSICA MAR ESO ES LO QUE LLEVO DENTRO Y LO QUE ME MUEVET

T:where do you see the visual intersecting with music? whats to be gained by understanding this relationship

M: POR QUE LA MUSICA NO SOLO ES UN DJ ES SU IMAGEN, LOS VISUALES EL STAGE Y LA ESCENA EN GRAL. ASI QUE UN  BUEN VESTUARIO ES INDISPENSABLE PARA TERMINAR DE CONCRETAR LA IDEA  DE LO QUE SE ESTA MOSTRANDO LO QUE SE QUIERE DECIR Y EXPRESAR. ES LLEVAR ESE RITMO A TODOS LOS NIVELES ESTETICOS Y ESCENICOS

Fresh Tour Shirt(s) for Cumbia Duo Frikstailers

T: your selling these dope handpainted shoes- but i know you really want a whole fashion and arts line/house….is there a master plan at all?

M: YEAH DO ALOT OF METEORO LUCHY CHARMS STUF LIKE OBJECTS TOYS CLOTHES,.. MORE KIND OF SHOES.. UN MURAL QUIZAS  Y COSAS PARA GENTE QUE LO NECESITA

T: ok- top literature influences, top musical influences, top artist influences, top designer influences…

M: KANDINSKY, CHARLES BUKOWSKI, JODOROVSKY, cLOUDDEAD, M.I.A, BRAZILIAN GIRLS, ALL CUMBIA, YMA SUMAC, matt w moore, AJ Fosik, HIHO AOSHIMA, YOSHITOMO NARA, MOTOMICHI, walter van beirendonck, TSUMORI CHISATO, Vivienne Westwood.

T: i know you love chocolate, can you recomend any of your favorite chocolates?

M:CARDUBY DE YOGURTH, Y UNOS COLOMBIANOS QUE TIENEN TUCANES EN EL EMPAQUE, Y.. UNOS ALEMANES QUE TIENEN MEZCLA DE FRUTAS TROPICLAES CON PICANTE ESOS SON INCREIBLES!

T: anyything else u want a bunch of  blog readers to know about?

M: SERIA QUE HAY QUE PONER MAS ATENCION A LA FUSION ENTRE MUSICOS Y DESE;ADORES POR JUNTOS PODEMOS DAR UN GRAN MESAJE
NO SUBESTIMAR LO QUE LLEVAS PUESTO YA QUE POR MAS SIMPLE QUE SEA ESTA DICIENDO ALGO Y QUIERES QUE DIGA LO QUE SEA  O PONERLE TU TU PROPIO MENSAJE DE BUENA ONDA

Check 1:40 for the real moment(s) of clarity here.

Dutty Artz is a book club. You might have thought we were a record label- given that we’re releasing tracks every month and constantly feeding the internet with audio files- but it goes a lot deeper then that. If you want to be part of the club, you should read Octavia Butler’s Parable of The Sower. If you’re not in the Northern Hemisphere- you might want to wait until Summer, caus this one is dark, and if read before bed, almost guaranteed to induce the vivid nightmares that lodge in your psyche for days before revealing themselves as dreams and not memories.

We’re scrambling just like everyone else right now- trying to figure out what it means to be a record label in an era where recorded digital media has no value- and the only people making money are slicing off pounds of flesh to get branded. You’ll see us move in that direction too. It’s inevitable. Hopefully we can do it without losing too much respect. Until then you can find me steady dreaming of new distribution paradigms as we pass each other printed relics.