(X) MiX-TAPES.DE /\ SubCulture Media & Music Blog

http://www.megaupload.com/?d=WNIOS6FL 

01 – Kopyright Liberation Front – The Rites Of Mu
02 – The Justified Ancients Of Mu Mu – All You Need Is Love
03 – The Justified Ancients Of Mu Mu – The Candyman
04 – The Timelords – Gary In The Tardis
05 – The KLF – 3 a.m. Eternal (Primal)
06 – The KLF – The White Room (Primal)
07 – The KLF – Build A Fire (Primal)
08 – Disco 2000 – Uptight (Everything’s Alright) (Discorama mix)
09 – Discotec 2000 – Feel This
10 – The KLF – Kylie Said Trance
11 – The KLF vs. Pet Shop Boys – So Hard
12 – The KLF – Chill Out (3 am Somewhere Out Of Beaumont)
13 – The KLF – What Time Is Love (LP mix)
14 – The KLF – Last Train To Trancentral (Live from The Lost Continent)
15 – The KLF – 3 a.m. Eternal (Live at The S.S.L.)
16 – The KLF – The White Room
17 – E.N.T.K.L.F. – 3 a.m. Eternal (Christmas Top Of The Pops 1991)
18 – The K Foundation presents The Red Army Choir – K Cera Cera (War Is Over If You Want It)
19 – DJ Kuta & C-Row – Deep Shit
20 – Blacksmoke – U.S.A. U.S.A.
21 – Blacksmoke – My Fuckin’ Heart Will Go On
22 – Blacksmoke – Blacksmoke Rising (PTM mix)
23 – Blacksmoke – F.F.F. (Fuck The Fuckin’ Fuckers)
24 – Juno Reactor – Pistolero
25 – Atomizer – Hooked On Radiation
26 – The Orb – From A Distance (12” Z mix featuring The Corpral)
27 – Solid Gold Chartbusters – I Wanna 1-2-1 With You
28 – Custerd – Boom Bang Bombay (We’re Gonna Rock The Boat)
29 – The Black Dog – Babylon (My Pasty Weighs A Ton)
30 – The Black Dog & Black Sifichi – Invisible Things (Greybeard’s Boom Bang mix)
31 – Blacksmoke – Silent Night (BBC Session mix)

>> DOWNLOAD THE MIX << (Right click the above link, then save the file to your computer)

Brian Eno once famously remarked that the problem with computers is that there isn’t enough Africa in them. I kind of think that its the opposite: they’re bringing the ideals of Africa: after all, computers are about connectivity, shareware, a sense of global discussion about topics and issues, the relentless density of info overload, and above all the willingness to engage and discuss it all – that’s something you could find on any street corner in Africa.

I just wanted to highlight the point: Digital Africa is here, and has been here for a while. This isn’t “retro” – it’s about the future.

For the Venice Biennial 2007 I decided to go through a lot of my files of music from around the African Continent to accompany my installation for the Africa Pavilion. I looked through my record collection for non cliche kinds of stuff like the Baka People who make drums out the way they play in water or the “Car Horn Orchestra” of Ghana which has a gathering of many taxi drivers who converge in downtown Accra to make a large symphony of honks from their taxis at the end of the work day or for funerals of drivers.

When I was a kid I went through different parts of Africa with my mother: we went to Kenya, Ivory Coast, Senegal, and Egypt, and this was the first time I’d been to Angola. The mix reflects alot of my interests in electronic music from the continent, and the way they’ve shaped and moulded alot of material in the “New World.”

The “Ghost World” mix is all about the multiple rhythms and languages of Africa, but it makes no attempt to give you everything – it’s from my record collection. That’s why the “story” of the mix is about: polyrhythm, multiplex reality. There’s even more current material like the Kuduru sounds of Luanda (who says Techno doesn’t exist in Africa!?) and old school hip hop like Zimbabwe Legit from the early 90’s of classic “conscious” school hip hop. Yes there’s material from Akon, but he gets mixed with Nelson Mandela, or MC Solaar, but I looked for material of his that combined with jazz, so Ron Carter’s brilliant bass playing worked out with that. There’s even material from my favorite South African composer, Abdullah Ibrahim or vocal outtakes from David Byrne and Brian Eno’s “My Life in The Bush of Ghosts” and various guest appearances by African dictator Idi Amin or the former President of Nigeria, Olusegun Obasanjo talking about democracy in Nigeria.

Pretty ironic, eh? From the Northern part of the continent groups like the Lotfi Double Kanon or the Master Musicians of Jajouka represent radically different approaches to history and contemporary Arab culture’s complex hybridity, as does the legendary voice of Egypt, Oum Kalthoum. It’d be a pretty wild party to see them all hanging out together!!!

Anyway, contemporary Africa is a place of paradox where some of the world most resource rich countries are bound hand and foot by corruption, human malice, and the basic sense that the continent has been left out of the march of progress of many of the “rich” nations of the world.

I made elements of this mix when I was in Luanda, Angola, getting ready for the Venice Biennial, and the sound that was coming out of all the clubs and soundsystems was “Kuduru” a kind of relentlessly fast minimalist rhythm that combines hiphop and techno. I like to think of this mix as a homage to Ben Okri’s novels and the classic works of Amos Tutuola. William Gibson said back in the ancient early 90’s: The future is already here, it’s unevenly distributed. I like to think that the mix is about the future of Africa and its global diaspora as much as it is about the past.

History is never silent, it reminds us again and again and again, that we live its presence in every part of our life every day. The mix is an art project that accompanies my installation at the Venice Biennial Africa Pavilion.

Enjoy!!
Paul D. Miller aka Dj Spooky that Subliminal Kid, NY/Luanda 2006-2007

Africa Remix: Ghost World – A Story in Sound
Dj Spooky Presents a Project for the Dokolo Foundation at the Venice Biennial 2007

“In Africa, When an old man dies, it is like a library burning to the ground” a quote attributed to Leopold Senghor
Mega Mix!
Por Por Akwaaba Welcome! Car Horn Orchestra of Ghana
Intro: Lafayette Afro Rock Band “Darkest Light” mixed w/Max Roach and Abdullah Ibrahim “Streams of Consciousness” (NY and South Africa)
Intro collage
African Anarchist Radio
Malcolm X “The Roots of Savagery” mixed w/
Max Roach/Abdullah Ibrahim “Streams of Consciousness” (NY/South Africa)
Tony Allen “Crazy Afro Beat” w/scratches by Rob Swift Vs Dj Spooky (NY and Nigeria)
X Plastaz “Msimu kwa msimu” (Tanzania)
Alif “Douta Mbaye”(Senegal)
K’naan “Soobax” (Somalia)
Kelis “Trick Me” (dancehall mix) (USA)
Fela “Kalakuta Show” (Mix Master Mike, Lateef and The Gift of Gab Remix) (Nigeria)
Lotfi Double Kanon “Bled Miki” (Tunisia)
MC Solaar featuring Ron Carter “Un Ange En Danger” (France/Senegal)
Akon “Locked Up” mixed w/ Nelson Mandela “Moments in Black History (Brad Sanders)” (NY/Senegal/South Africa)
Angola National Anthem – “Angola, avante!” Author: Manuel Rui Alves Monteiro (b.1941); Composer: Rui Alberto Vieira Dias Mingao
Mixed w/Malcolm X “The Root of Civilization”
Dj Spooky featuring Tapper Zukie “Revolution Dub” (NY/Jamaica)
Frederic Galliano featuring Pancha Angola: Kuduru Sound System
Frederic Galliano featuring Pinta Tirru “Entra No Roda” (Angola/France)
Bunny Lee Meets King Tubby “African Roots and Reggae” – (Jamaica)
Cesoria Evora – Angola (original + Carl Craig remix) -Dj Spooky remix (Cape Verde Islands/Detroit/NY)
David Byrne and Brian Eno “My Life in The Bush of Ghosts: Vocal Outtakes” (New York/London)
Fela “Zombie” (Nigeria) (remix)
King Britt “Obafunke Theme” (Philadelphia) mixed w/
Interlude Idi Amin speaks (Uganda)
Orson Welles “Citizen Kane” (L.A.)
President Obasanjo mixed w/”Move” by J Dilla (Detroit)
Ryuichi Sakamoto “Riot in Lagos” mixed w/ Nigerian National Anthem (Japan/Nigeria)
Baka Forest People of South East Cameroon – Water Drums (Cameroon) mixed w/
Foday Musa Suso “World Wide Funk” (DJ Spooky remix) (Gambia)
Master Musicians of Jajouka featuring Talvin Singh “You Can Find the Feeling” mixed w/ Abdul Nasser “Independence Forever” (Morocco/Egypt/India)
Duke Ellington “Afro-Euraasian Eclipse” (NY)
Oum Kalthoum “Hob Eih” (Egypt) – Dj Spooky remix
Mixed w/Tectonic “Heat Sensor”
Charlie Dark “Afro Dreaming”(UK-Ghana)
The Monks of Keur Moussa “Nous Te Louons, Pere Invisible” (Senegal)
Ginger Baker/Tony Allen (UK/Nigeria) – drum solo mixed w/
Drexciya “Polymono Plexusgel” (Detroit)
Zimbabwe Legit “Shadows Legit Mix” Dj Shadow remix (Zimbabwe/San Francisco)
Soweto Gospel Choir “Rivers of Babylon” (South Africa)
Konono No1 “Kule Kule” (Congo)
Abdullah Ibrahim “Mindif” (Dj Spooky remix) (South Africa/NY)

System Error: Al-Yamamah Mix (Podcast Aesthetics)

This Mix is voted favorite of 2007 until NOW

Paul D. Miller aka Dj Spooky that Subliminal Kid

Listen to the Podcast soon here on mix-tapes.de or here NOW (click ascolta)

Artists Statement
“A state of war only serves as an excuse for domestic tyranny.”
Alexander Solzhennitsyn

A couple of years ago, a Saudi oil minister made what has become one of the more prophetic statements to come out of the Middle East in a long time: “The Stone Age didn’t end for lack of stone, and the Oil Age will end long before the world runs out of oil.” It was a lament, an acknowledgement that a day of reckoning was coming that would change the global balance of wealth and power. The mix I created for the “System Error” show is a reflection of a series of geographic interventions that looks at that statement from the viewpoint of sound – it envisages an audio theater in the tradition of John Cage, with his 1939 composition “Imaginary Landscape,” that was the first work written for turntables, or composers like Duke Ellington with his “Afro-Eurasian Eclipse” symphony that quoted music from around the world. Essentially, this is a work that represents a practice of diaspora based on the hidden linkages in sound from a world that responds to the politics of perception. From the production processes of the information age’s collision with the values of the 20th century – mass media, mass production – to the digital ethos of the 21st century – rip, mix, burn, mass customization – the basic fact that music is a de-materialized experience for most of us that runs through everything from the Ipod playlist to the networks that people send mp3’s, videos on Youtube, or life on Flickr, brings us full circle into a world where you are what you consume. I like to think of this mix as a mirror I’ve held up to society: it’s a reflection of the way we live now. Perhaps, just perhaps, that Saudi oil minister was right.

In the 21st century, parables of warfare information control systems like George Orwell’s hyper-revisionist “1984,” have now become commonplace. In the 21st century we’re faced with a world where “newspeak” refracts what we thought about as even the origins of the Iraq conflict blur beyond any sustainable logic – weapons of mass destruction have become weapons of mass distraction in the U.S. media. Who are we at war with? Oceania or Eurasia? The Axis of Evil? Hugo Chavez? War is diplomacy by other means. It’s been said that “architecture is nothing but frozen music.” I want to reverse engineer that phrase and unpack some of the sonic issues that collage brings to the global stage – what happens when music becomes liquid architecture? Apply that scenario to info war and music, and you arrive at “System Error.” The “For Promotional Use Only (Al-Yamamah)” project that accompanies this catalog is a social sculpture of radically disparate voices: it exists in the tradition of Grandmaster Flash’s “Adventures on the Wheels of Steel” or Afrika Bambaata’s “Death Mix” – classic hip hop that completely destroyed what people thought “mix culture” was about. “System Error (For Promotional Use Only)” isn’t about simply re-ordering facts and numbers – it shuffles the contemporary imagination like a deck of cards and, in the process, subverts the “rational arrangement” of systems of media. The project explodes linear narrative so that some other meanings can manifest. In the realm of “fair use” that dj culture comes out of, the “System Error” mix synthesizes a fictional realm where people like Turkey’s Mercan Dede, London’s Roots Manuva, Brooklyn’s Matisyahu, Israel’s “Subliminal and the Shadow,” Jamaica’s Mutabaruka, Iran’s Sussan Deyhim, Pakistan’s Nusrat Fateh Ali Khan, Lebanon’s Clotaire K, California’s Zack De La Rocha, the minimalism of Irannian composer David Abir, or the jazz of Evan Parker’s saxophone, or the people of the hip hop diaspora like Saul Williams, DJ Shadow, Rob Swift, Asian Dub Foundation, or scribes like Arundhati Roy can coexist as data points in a constellation of digital information. All these figures inhabit a place where sound functions as a palette for creative endeavor.

How do you use the media to tell a story? At heart, “System Error” paints a tale of the last several years – of media disinformation, for example – highlighting Bush’s statements as found sound, or sampling various “maqam” songs from Iraq mixed with hip hop, which show a simple connection between how music reflects the data-aesthetics of information networks. It presents rumors of war: I like to think of it as data-bootlegs, the currency of a world economy of sound filtered through regional concerns. Think of it as contemporary art that brings you the world from fragments of sound. It’s a tableau made of soundbites collaged, dispersed and condensed into material that reflects a realm of infinite possibility. Marcel Duchamp, James Rosenquist, Jeff Koons, David Hammons, Joseph Kosuth… the list of visual artists with a relationship to “appropriation” art is almost a catalog of the major art movements of the 20th century that the 21st century has inherited. I just wanted to look at the issue from the viewpoint of acoustic space. What happens when this type of collage is applied to sound? Maybe that’s a question that Nam Jun Paik was striving to answer with his “Global Groove” mixes 30 years ago.

There are a couple of issues driving this scenario – theater, memory games, and the early Surrealist game of the “cadavre exquis.” I like to think of it as additive synthesis in a digital media context: it’s art culled from the viewpoint of collective memory. First, let’s begin with a sense of humor. This project comes out of a discussion I had with the artist/curator Naeem Mohaimen about why South Asian music blends so well with contemporary hiphop. I simply explained that the Caribbean is the central point of diaspora with this situation – its rhythms have reached back to every region of the world – from the from the Rai music of Algeria, to Bhangra and Qawwali of South Asia, from the Afro-beat of Nigeria, to the Kwaito of South Africa, to the dubstep of London, the echo of the Jamaican soundsystem ethos of tape collage and bass minimalism defines most of what we think of as “modern music” in today’s digital culture. I guess you could say that Jamaica is the “loudest island in the world” and the British Commonwealth is an echo chamber of the elements I chose to mix for this particular project. But there are other elements like, for example, the West Point Drum Corps (they don’t exactly jam with Sufi mystics like Mercan Dede everyday!). Second there’s the irreverence that children of the digital age show for historical boundaries – why not go to the Souk in Tunis and hear young kids rhyming in Arabic over Rai music remixes of Dr. Dre beats, or for that matter, listen to groups like Cold Cut sample Yemenite-Israeli singer Ofra Haza for their classic remix of Eric B. and Rakim’s “Paid in Full?”

I want to nudge people to think about art not just as objects, but as a collective endeavor where memory is translated through the filter of sound. This kind of collage looks at the words of the singers, the sounds that I scratched into the rhythms, the beats and elements that I put in collision with one another, as a simulation of history: it’s all a soundtrack to the end of the Oil age. Loop, repeat, refract: its just modern storytelling by other means. By the way, Al-Yamamah means “the dove” in Arabic, it’s the name of the project at the heart of a recent series of scandals in the U.K. involving slush funds, oil sheiks, Swiss banks, kickbacks, blackmail, bagmen, arms deals, war plans, climbdowns, big lies, Dick Cheney and Tony Blair – it’s a scandal that has it all, corruption and cowardice at the highest levels, a festering canker at the very heart of world politics, where the War on Terror meets the slaughter in Iraq. Yet chances are you’ve never heard about it – even though it happened just a few days ago. The fog of war profiteering, it seems, is just as thick as the fog of war. This is a soundtrack that maybe, just maybe, might get you to think that another world is possible. For me, music isn’t music – it’s information: that’s what art is about – this is just a start. As information, it fits into a complex niche in today’s modern digital economy, a place where data is the most pervasive and intangible feature of the everyday world we inhabit. War is, regretfully, a system made of information control systems, and this mix is an essay on the topic of how music filters through the networks of modern info culture – it charts a cartography made of invisible flow charts, graphs, and statistical data bases (after all, sampling is a mathematical model for analyzing large amounts of information like population growth for the census, etc etc). Remember – the “System Error” mix is strictly “for promotional use only.” Think of this mix as a memetic virus, and spread the word!

For Promotional Use Only: Podcast Aesthetics
Listen to the Podcast here on mix-tapes.de soon

System Error (Al-Yamanah mix)
by Paul D. Miller aka Dj Spooky that Subliminal Kid

Ghost in the Shell excerpt
Intro – Mercan Dede “Sahname”
Afro-futurism intro
Arundhati Roy – “Suspicion of Nationalism” mixed with Clotaire K “Maqam”
Asian Dub Foundation – “Rivers of Dub/Strong Culture”
Meat Beat Manifesto “Basic Beat/Timebomb”
Clotaire K “Lubnan”
Evan Parker “Gees Bend” mixed with the West Point Drum Corps “Field Flourish”
MC W vs Guvnah Arnold
Rob Swift “Mad Bombers/Terror Wrist”
Dj Shadow “Drums of Death” /mixed with GW Bush press conference
DJ Shadow w/Zack de la Rocha “March of Death”
Matisyahu “Beat Box”
The Clash “Guns of Brixton/Return to Brixton”
Bob Marley “Soul Rebel” (Dj Spooky remix)
Badawi “Jihad” (Dj Spooky remix)
Nightmares on Wax “Summer Love”
Azeem “Bush is a Gangsta”
Evolution Control Committee “Rocked By Rape”
Dj Siraki “Azaadi”
Asian Dub Foundation “Culture Move”
Asphalt Jungle “Sensation”
Ges-E & Visionary Underground “Extaa”
Oum Kalthoum “Hob Eih” mixed with Dj Spooky “Break Beat”
Saul Williams “Not in Our Name” mixed with Tectonic “Heat Sensor”
Black Star Liner “Yemen Cutta Connection Dub”
Nusrat Fateh Ali Khan “Tracery” mixed with hip-hop break beat by The Molemen
Lofti Double Kanon – “Kleb”
Navdeep “My Technique”
Subliminal & The Shadow “Divide and Conquer/Hefred U’mshol”
Coldcut featuring Roots Manuva “True Skool”
Tino Corporation “Magic Dub” mixed w/Mutabaruka “Dis Poem”
Sussan Deyhim “Meykhaneh (Wine Cave”)
Cheb i Sabbah “Violin Solo”
David Abir “Lesson 1 Movement A (Study1) excerpt”
Arundhati Roy “The World in Other Terms”
Vijay Iyer “Postlude Prayer” mixed with Susie Ibarra “Solar Drums”
Ghost In The Shell excerpt

Listen to the Podcast here on mix-tapes.de soon or here here NOW (click ascolta)

via www.djspooky.com

http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie–1076/index.html?area=8