[youtube width=”525″ height=”360″]http://www.youtube.com/watch?v=ESj164wKc6I[/youtube]

Super excited about this new event, BomBeat, that I am launching with my crew Cumba Mela, and Nickodemus from Turntables on the Hudson.  Its all going down this Saturday, November 24th at Le Poisson Rouge, in Manhattan. Expect to hear a wide range of global bass music: cumbia, dancehall, kuduro, house, moombahton, reggaeton….

We have Jeremy Sole coming from LA, repping KCRW, TheLift, and Afro Funke.

We are going to try our best to get a free EP for ever event. Be sure to check out the first one bellow!

BomBeat EP1 November 24, 2012 @ LPR NYC by BomBeat

Muito obrigado to Alexandra for reaching the brink of near deafness with me and surviving to tell the tale.  Yes I saw windows shake.  Who says favela architecture is precarious if it can withstand the sonic onslaught every weekend while IPHAN declares a meticulous building that took four years to construct too fragile for subfrequencies?  Maybe the real precarity is in the formal city.

Building sound systems is its own architectural gesture too, especially with the elbow room of a big downtown square, a far cry from the tight squeeze of a favela’s improvised public spaces.  Turned on its side, Furacão 2000’s speakerboxes look like they would tower above downtown Rio’s citadel to petroleum, the Petrobrás tower lurking behind in all its sinister, cut rectangular prism glory.

In fact, the vertical architecture of downtown actually served as a sonic prism, trapping in the sound waves that just about made themselves visible — from the shaking window to my vibrating Coke can to the blurry vision when I was trapped in the ricochet effect of speakers against building.  Sonic Warfare indeed. (more…)

A week before Rio Parada Funk, the largest baile funk ever, Brazil’s Institute for Historical Patrimony and National Art (IPHAN) informed the press that they were going to veto its location in the historical epicenter of Rio de Janeiro. They claimed they were worried about the effects of the bass on the windows of century old buildings like the Municipal Theatre and the National Library. A few days earlier the event’s organizers had agreed to IPHAN’s volume limits. But this agreement didn’t satisfy IPHAN. And they required the Parada to move to a different, less elegant, more blue collar street also in Centro.

Yet the most popular street Carnival bloco, Cordão da Bola Preta, which last year had about 2 million participants, has marched without sound limitation for years along the same route.

By transforming the prestigious center of Rio into a ten sound system deep celebration, organizers of the Parada Funk would make a claim of the centrality of funk carioca and assert their rights to the city. In recent years violent police take-overs (called “pacification”) of favelas have resulted in the shutting down of many community bailes. The Parada’s taking over Rio Branco Avenue, the former route of the Carnival samba school parade, would have enacted and symbolically placed funk in the same trajectory as samba, from criminalized, poor Afro-Brazilian music to national rhythm.

Yet organizers like Mateus, who produces Eu Amo Baile Funk, urged MCs and DJs not to talk to the press about prejudice against funk but to emphasize it as a celebration. An MC responded, “Funk is equal to samba. We’re here to show that funk is culture.” The Parada, which is the first major funk event to receive funding from the state–the Secretary of Culture–would have been unimaginable a few years ago.

[youtube]http://www.youtube.com/watch?v=SDWqxRhA25Y[/youtube]

Dado DJ on MPC, then DJ Grazy and DJ Leo tag-team to make up for the one working CDJ

A few days before the event, the location was moved once again–this time by the city–to a huge plaza closer to Rio Branco. Workshops and lectures ran from 10 am to noon, followed by performances by 50 DJs, 40 MCs and various dancers. When I arrived a little after 12pm, speakers were still being stacked by young men who hadn’t slept since disassembling the systems for Saturday night’s parties.

Ten sound systems with walls of between forty and one hundred stacked speakers–and one made of car sound systems– rumbled through funk’s for over eight hours. The afternoon started with freestyle, electro, and Miami Bass, moved to montages (montagems) mixing funk’s North American roots with Brazilian rapping, Candomblé drum rhythms, and sampled phrases from “Bang Bang” (Brazilian Westerns) movies, and ended with stripped down, beatboxed funk of contemporary “PC generation” of DJs, who create songs with “pirated” FL Studio, Sound Forge and Acid from loops exchanged over MSN.

At Cash Box and Big Mix–with each about 100 speakers–I could not stand near my friends DJ’ing. I am used to the bass which vibrates through my skin, chest, ribs. But the good quality of their speakers brought out a fuller range. I felt like my ears might bleed. My friend, Greg, claimed he saw windows wobble.

Over time, the crowd began to swell–different newspapers reported between 14,000 to 100,000–filling the plaza and nearby street. The mass of funkeiros,dancing, listening, remembering and reenacting, affirmed the power of this changing rhythm and asserted its legitimacy within the city.

Montagem do Tango (circa 1998)

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DJ Mandrake-Aquecimento Global (2011)

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I started teaching at Dubspot in August, thanks to Matt Shadetek. Before I began teaching I was a teacher assistant for DJ Kiva for about a month, and it was during this period that Kiva gave our class a sneak peek of his project 1000 Sunrises, which he finally put out last week.  It always awesome to hear a project during its earlier stages, and then hearing it completed.  Definitely worth checking out.

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.

[youtube width=”525″ height=”355”]http://www.youtube.com/watch?v=uc4K_CdiG40[/youtube]

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DJ Quik – “Fire And Brimstone” from The Book of David (2010 Mad Science)

Here’s what I was listening to, as I read Tally post about fresh and exciting new Dutty Artz gear; the opening track from that other legendary producer/rapper from Compton, California DJ Quik. Undoubtedly, one of the most underrated rappers/producers, Quik is without question one of the greatest producers. Super talented, adventurous, and unafraid to experiment with with bugged-out rhythms and structures. If you dig “Fire And Brimstone,” definitely don’t sleep on his new album The Book of David, or his last collaboration with Kurupt BlaQKout or Trauma or any of his early album. Get it how you live!