Steve CHLLNGR showed me this way back when we were in Tejas for some music festival. He was excited about it. Even then the animated sci-fi music video in its embyonic stage looked like an incredible visual story. SKIP TO THE NOW >> Last week, the video was premiered in Wired, and right NOW it’s all up on Vimeo HD Channel. Oh, by the way… if you still like music, Steve’s debut album Haven is out as well.

DJ Kiva will be dropping this freshness November 10th at Le Poisson Roug with Africa Hitech, and he will be rocking Webster Hall with Matt Shadetek November 12th.

The following material was pulled from the Dubspot blog, which Lamin wrote:

Brooklyn-based multi-instrumentalist producer and musician DJ KIVA returns with a superb new solo album 1000 Sunrises out October 18 on his  Adios Babylon imprint via Destroy All Concepts.

Navigating beauty and pain with deep, mesmeric, off-centered beats, soulful, dub-wise electronic impressions, twirling synthlines, and reinforced sub-bass, 1000 Sunrises is a perfectly balanced album. The six tracks presented here are meticulously and lovingly put together, and they move with an unhurried, reassuring pace. From the opening “Feel It,” with its extra-bouncy thump and unrelenting, catchy synthline to the meditative “Tayyib,” which maintains a solemn and contemplative mood with eerie voices but holds a propulsive groove, and the staggeringly beautiful, mind-expanding title track “1000 Sunrises,” DJ Kiva remains remarkably self-reliant and uncompromising in aesthetic throughout the entire album. Album closer “City Of The Dawn” is the uplifting, post-future, and soulful electronic music you can only get from an experienced and self-assured electronic music producer, whose style and range go far beyond arbitrary and trendy sub-genres. Electronics, melody, dub, and soul come together – same as it never was.

Click here to view the embedded video.

As a talisman against the fall-like chill of Brussels, here’s a heater-upper remix I did for Architecture in Helsinki a few years ago. The original is so good, I went all out brought in Mr Lee G on vocal duties:
Architecture in Helsinki Heart It Races (DJ Rupture’s Ital Hymn Mix feat. Mr Lee G) by djrupture

Speaking of Brussels — Belgium has had no government for over a year! Everything seems fine in Brussels, arguably Europe’s most spatially dissonant city. It’s a surreal place.

Today, Wednesday August 31th, I’ll DJ at ‘une petite fête entre amis’ put on by La8. Info. The next day I’ll make an appearance on Radio Panik 105.4 FM, not sure when, watch the Twitter for that. (Radio Panik is one of a handful of open-eared European radio stations that rebroadcast my WFMU radio show.)

Last Sweat Lodge was our best yet!  Big shout to DJ Beto for coming through and throwing down with me, Geko Jones and Atropolis.  I had a blast.  The next one is approaching quickly and I am super excited to announce that we’ve got Brooklyn’s own Dre Skull as our guest.  Dre Skull runs the Mixpak label and just produced an amazing record with Vybz Kartel.  Kartel is to me one of the best and most interesting artists in dancehall music right now and I cannot overstate how impressed I am with Dre for his role in creating Kingston Story, their album.  Read all about it at Taliesin’s post here. On the night your’s truly Matt Shadetek, Geko Jones and Atropolis will be raising the temperature with your favorite tropical sounds so come dressed to sweat.

DUTTY ARTZ: SWEAT LODGE JULY

DJs:

Dre Skull

Matt Shadetek

Geko Jones

Atropolis

Friday July 8th 10PM-4AM

FREE PARTY

The Cove, 108 N. 6th St

Brooklyn NY

L train to Bedford Ave

You say sloth, I say acid
SLOTH / ACID
SLOTH / ACID

You say fried, I say chicken
FRIED / BRAINS
FRIED / BODIES

You say slow, I say slower
S L O W E S T
S L O W E S T

Peaking Lights – Tiger Eyes (Sloth Eyes Metabolism Mix)

The Weeknd – Sloth for This

Click here to view the embedded video.

[from their literally genre-defining album Rawar Style]

Their new album Approaching the Energy Field is very much an Album Experience of the sort which appeals to my ever-nostalgic cracker cerebellum (strangely, it is the same part of me that loves noise). Most reviews of their work highlight the genre-hyphening aspects of their sound, which is understandable; dub, arkestry, punk and various other styles resonate in harmony within their mix. What I hear, though, is a personality that is at once singular, communal and universal.  You can stream a lot of the tracks off the album at the link above, but I feel like the deep listening that is best enjoyed far away from your computer is really the way to enjoy this stuff.

Don’t get me wrong, though.  The music here isn’t really about nostalgia as much as it is about saudade, for after the sugar-rush when we’re each weirder for having met one another.

Cyril Braithwaite ca. 1960

In a recent Jamaica Gleaner article (for the Japanese translation click here), writer Howard Campbell refers to me referring to the recently passed sound system operator Cyril “Count C” Braithwaite as an “unsung hero” in Jamaican popular culture. Looking back, I have to clarify that his praises have been sung from Ken Boothe to King Sporty—both of whom claim Count C as their mentor. It’s just hard, I believe, to adequately sing the significance of a soundman who never left his community in over 60 years. The ephemeral nature of a few quotes and newspaper articles do not do justice to the lasting influence of a man like Cyril Braithwaite. Indeed, sound men like Count C don’t just shake the earth with sound, they shake the status quo with their social and cultural power.

Count C cemented his status in his West Kingston community, and in Jamaican music and cultural history, when he launched the Count C Sound System in 1947. Radio was nonexistent and, even when it did arrive in Jamaica in the late 1950s, few in West Kingston could afford either the box or the pay-as-you-go service. In times like these a sound man like Count C really was royalty. His was a small sound (a few horns and an over-sized, 5ft+ speaker, familiarly called a ‘house of joy’), but he was tough. Count C would never back down from a challenge, even when Duke Reid and the “big dogs” arrived on the scene.

Almost more than the music, it was Count C’s commitment and connection to his West Kingston community that stands out. Cyril Braithwaite was born in the 1920s into a family residing in Back-O-Wall, the West Kingston area which became the center of Jamaica’s nascent political power struggle during the transition to independence. Back-O-Wall was subsequently razed in 1963 to make way for the Tivoli Gardens housing scheme. Cyril Braithwaite died January 26, 2011, a resident of 6 Wellington Street,  just a stone’s throw from Tivoli. (Indeed, when the Wednesday night/Thursday morning street dance, Passa Passa, used to be held just outside Tivoli on Spanishtown Road, Count C lived so close he could claim to have attended every single one.) Decades after Back-O-Wall was transformed into Tivoli Gardens, the infamous focus of the manhunt for Christopher ‘Dudus’ Coke for much of 2010, current residents still find themselves in a struggle with authorities despite the passage of time and the fact that Dudus was caught last June.

Wellington Street is relatively short and narrow, with just enough room for a moving vehicle to slide by another parked to the side. About 100 yards long, bordered by Charles Street on one end and North Street on the other, Wellington Street is more like a lane. In this area, Count C was the first to own a television, a car (which he would trade out whenever a new one caught his fancy) and a two-story home (which Hurricane Gilbert brought down to one in 1998).

Fast forward to February 2011.  The security forces patrolling the area at night in their jeeps had to squeeze by the line of cars that brought out the people from uptown and downtown for Count C’s ‘set up’, a Jamaican celebration traditionally held the night before the funeral. Count C’s set up involved the earth shaking frequencies of Exodus Nuclear Sound System (which was started by Count C’s son Father Romie), a photo slide show and enough rum, beer, soup and curried chicken to feed neighbors, friends and family as well as friends of neighbors, friends and family.

Father Romie (2nd fr L) and Gary Exodus (R) with members of Exodus Nuclear in Count C's West Kingston yard, Feb 2011

Father Romie, the oldest of Count C’s 17 children, says, “West Kingston was a place where kids could run loose. They would go into the market, take the country people’s things, gamble. Most of my friends dead out now. They gambled, thiefed, picked up a gun and end up in a coffin. Count C’s kids didn’t do that. That’s why I have to love my father.”

By all accounts, Count C, aka the Wizard of the West, was a tough man. Romie says Count C led a “rough life”. Count C’s grandson, Gary Exodus, thanks C for teaching him “how to be a no-nonsense person”. In black and white photos from years gone by beamed in front of the deejay booth that night, Count C looked the part of a convincing street tough. The dead pan stare perched on a muscular neck portrayed a relaxed physical readiness that oozed “tough” without even saying a word. This was colonial Jamaica. In the 50s and 60s, the era of rude boys, dancehall crashers and budding downtown political violence, toughness was a virtue.

But toughness alone could only get you so far, and perhaps straight to jail or the cemetery. Cyril Braithwaite had bigger things in mind.

I first met Count C in 2007, the same year I started studying at the University of the West Indies in Kingston. Zeke Stern of Green Lion Crew had done an interview with Count C in 2006 and I followed up when I got to town. I knew Count C had outlasted ‘vintage’ contemporaries like Duke Reid, Sir Coxsone and Sir Nick. I was not aware of the breadth of his influence or the depth of his connection to his community.

Count C at his yard in 2009 (photo courtesy of Roy Sweetland)

The last time I saw Count C alive was in early 2009 when I visited with Roy Sweetland – “photographer extraordinaire”. (If my word isn’t enough, Tarrus Riley wants you take his.) Roy’s photos capture Count C in a new light. Now into his 80s, the deadpan stare is still clearly there, along with the relaxed readiness. This time though, the two-dimensional black-and-white photos from his youth have been replaced by a colorful, multi-dimensional man confident in his own experience. A few snippets…

On slackness: “I rebuke those things”. On music: “Music keep me alive til now”. On sound systems: “Sound systems really make the people unite.” No longer physically dominating, Count C was regal nonetheless.

Further interviews with Count C in 2007 and 2008 provided the basis of a forthcoming article in the 2011 July/Aug issue of Wax Poetics. I had wished he would be able to read the article, hold the magazine in his hands, appreciate how his influence and example extended and extends beyond Wellington Street.

Although Count C has passed, the Braithwaite cultural lineage is by no means over. Father Romie’s sound system, Exodus Nuclear, was of the earth shattering type when it was launched in 1986 and still plays out regularly. Father Romie has also hosted much of Vybz Kartel’s prolific recording over the last couple years at the studio Romie built next to his home in Kingston’s Havendale neighborhood. And Gary Exodus runs the Exodus dubplate studio, a social and creative hub where sounds from Paris to Poughkeepsie load up on musical ammunition with the hope that they will follow in the footsteps of the Wizard of the West, representing for their communities and making the impossible seem possible.

Busy Signal – Wine Up (Nuh Pop Dung)

File this one under things that make me happy. Busy Signal is in top form and Washroom deliver a gorgeous reggae flavored dancehall riddim entitled Bad Suh. I’ve been starting my sets with this one recently and also playing a few other cuts on the riddim including the Tifa and Voicemail. People in my Prospect Heights neighborhood may have been confused to see a tall red bearded man gesticulating and shuffling his way through the black grimy snow on his way to the subway to the sound of hot dancehall in his headphones.  Anti-winter music.

cool. 2011 cool cooldown. let the weird back out. the opposite of peer pressure is we are all expanding molecule clouds. Musical equivalents

Ce’Cile

NEW YEAR WE WANT SOME NEW KIND OF FUCK

NEW KIND OF WINE

[mp3 over at Mudd]

NEW KIND OF MINDFUCK

My regular 9 to 5 – Dubspot put together an interesting mini-doc featuring dub pioneer Scientist, who recently dropped an album on Pinch’s Tectonic imprint, talking about the origin and meaning of Jamaican dub and the role dub engineer in sound system culture and 1970s/80s Jamaican recording industry. The video also featured our very own DJ /rupture, composer/electronic musician Badawi, Deadly Dragon Sound System’s Ticklah, and music supervisor Barry Cole. If you’re  interested in the topic, and why it’s way much more than an “happy accident” I highly recommend Michael Veal’s Dub: Soundscapes & Shattered Songs in Jamaican Reggae. Check out wayne&wax’s analysis and review of the book + pertinent excerpt below, a little more context -

All the talk of circuits, knobs, and switches can distract one from the fundamental reality that what these musicians were doing was synthesizing a new popular art form, creating a space where people could come together joyously despite the harshness that surrounded them. They created a music as roughly textured as the physical reality of the place, but with the power to transport their listeners to dancefloor nirvana as well as far reaches of the cultural and political imagination: Africa, outer space, inner space, nature, and political/economic liberation. Nevertheless, this book will focus on those knobs and the people who operated them, in order to develop an understanding of the role of sound technology, sound technicians, and sound aesthetics within the larger cultural and political realities of Jamaica in the 1970s. (13-14)

CIA REGGAE MESSAGE PART 1 by SELECTA GREENDOG mp3 by GREENDOG CIAFRICA

Dutty Artz own mr_blakkamoore is ramping up for the release of his new album Babylon Nightmare coming soon on Lustre Kings and brings us this excellent podcast mixtape for a teaser: Global Warning (click here to download). Me and Liondub, who I produced ‘The General’ with contributed a remix of Jahdan’s ‘Songs of Love’ the first single for the new album.  There’s a bunch of great stuff on here including some exclusives from Digital Ancient aka Andrew Moon Bain and a feature from Baja of Dry Eye Crew and Delie from Noble Society.  Check out the post over at Largeup.com for a little bio of Jahdan and enjoy the mix.

Friend of Dutty Artz Moon from Lustre Kings invited us to participate in this party to celebrate the screening of ‘Wah Do Dem’ a new film set in Jamaica that’s been generating a nice buzz.  I’m excited to participate along with a lot of my favorite  people, it’s a family affair.  Brooklyn outdoor summer vibes!

Facebook event here.

WAH DO DEM movie premier block party!

featuring performances by Jahdan Blakkamoore, Matt Shadetek & Geko Jones(Dutty Artz), DJ Gravy (Rice & Peas), Jah One Soundsystem, Cool Places Sound, Lustre Kings Productions and SPECIAL GUESTS!

This is a BAMcinemaFEST and FABfest event.

COME OUTSIDE AND ENJOY DOWNTOWN BROOKLYN WITH US AT THIS VERY SPECIAL EVENT!

Empress I-Klass – With You (prod. by Stephen “Di Genius” McGregor)

“Amazing reggae flavored harmonies & hotness to warm up the radio & airwaves”

Stephen “Di Genius” McGregor produced the riddim for “With You” — can someone please identify that riddim? Empress I-Klass is a Boston based singer – born of Antiguan heritage. She has been around since the late 1980s performing and singing lead and background vocals in various bands here in the States and in the Caribbean Islands. She opened for Freddy McGregor in Boston in June 2006.

I actually LOLed at this one, posted by Eddie Stats over at Okayplayer’s new(?) Large Up blog. The last and first of his Toppa Top 10 fake reggae songs are the picks for me. Eddie Murphy taking a polished and very funny dig at Bob Marley (seems pretty clearly aimed, I could be wrong) and then some youtube guys hilariously misinterpreted transcription of Busy Signal (with jpegs!).