För att framgångsrikt härda ut i den här vinterkylan rekommenderar jag er att pumpa det här månadsgamla setet med dubtechno, dubstep och electronica från schweiziska dj:n Timnah Sommerfeldt.
De La Soul – Stakes Is High
A Tribe Called Quest – We’ve Got The Jazz
Cormega – Thin Line
Lord Finesse – S.K.I.T.S.
Large Professor – Queens Lounge
Brand Nubian – Probable Cause
Prodigy – Mac 10 Handle
Lord Finesse – Soul Plan f. Roy Ayers
JVC Force – Strong Island
Shadez Of Brooklyn – Change
Killa Sha – One Hand Wash The Other f. Tragedy Khadafi & Trife Da God
Action Bronson – Imported Goods
Meyhem Lauren – Bout 2 Win Again
Nas – One Love (LG Remix)
KRS-ONE – Sound Of Da Police (Showbiz Remix)
Prodigy – Power Rap
Royal Flush – Rotten Apple
Cormega – Dirty Game
Tragedy Khadafi – Lyrical Calisthenics
Passed by at the FUSION FESTIVAL last week. You know, generally it takes some days to gather your thoughts after an exhausting experience such as this… many new impressions, new musical and personal acquaintances… let me start by saying, that this was probably the best festival I have ever been to.
Germans know how to organize. Excellent, cheap, all vegetarian food. Logistics that makes sure you can walk anywhere on the festival area in a few minutes – and art exhbitions, food stands, bars and light shows between the stages and DJ floors that make sure you are never bored when moving around. Free toilets everywhere. (If you wanna flush down your shit and wash your hands with soap, you can do that for half a Euro… which felt like a sweet deal in the dirt and sweat of the festival.) Free showers (OK, in the morning and around noon, the line was almost an hour long… but times flies when you are waiting in the sun with the grass and the trees around you… and you are talking to nice people who also enjoy the Basic Channel-techno heard from the nearby dancefloor).
The whole thing was like clockwork. But the thing I found most enjoyable about the whole deal was that the crass commercial spirit, haunting festivals all over the world, had been successfully supressed here. You can take your own drinks when you see the music. No company logos. You can take all the drugs you want to, as long you’re not an asshole about it. No fights. Very few hipsters with too much attitude. In general a very relaxed and friendly atmosphere. And the whole four day festival costs only 55 euros, which, as an example, is about a fourth of the Roskilde festival.
Before going I was familiar with less than a handful of the names in the program. That did not matter, though. Walking around I could hear electronic music all around me at all hours of the day, most of it quality stuff. It is the place for you to discover new names.
The Argentinian Hijo de La Cumbia was very nice, taking a hardcore, junglist approach to Cumbia (a genre that is, as I understand it, to Peru, Bolivia and Northern Argentina what reggae is to Jamaica).
Extrawelt gave us some tight, analog techno that sounded very different (much better, fatter) than what I found with them on youtube. One of the highlights of the festival.
Marc Houle showed class, masterfully serving us hard after banging hard techno track in the very early morning.
Best of all, as well as an old favorite of us here at Brytburken, was the German dub techno wizard Marko Fürstenberg. He showed the way to a minimal future with a set finely balanced between rich dub bunker pads and sharp, edgy, digital techno rhytmhs. It was well worth to ascend to consciousness at 11 AM to see that. That he played on the outdoor floor pictured below did not make things worse.
DMX Krew and Cylob live sets… that’s a very good thing.
Of course, it’s all about supreme taste in electronic funk and acid. They know which classics you prefer better than yourself, plus they give you the news, in a tight, hot package.
Första låten på Inigo Kennedys första släpp låter “europeisk”. Vad menas med “europeisk” om inte nåt kallt, progressivt, episkt, tillbakaframåtblickande, alltså nåt med syntetiska stråkar och komplicerad trumprogrammering. Däri nånstans ryms både essensen av hundratals år framsynt filosoferande och konstnärligt skapande, och referenser till Rother, James, Plaid, Empire (men inte Detroit eller Tokyo). Kanske det här kan kallas “musik för ruiner”? Heiner Müller hade gillat det. Det är inte bruksmusik, men lyssningsmusik på samma sätt som Müller skrev meta-teater.
Glöm inte att även spisa Kennedys visionära live-set.
Det är en fröjd att höra Inigo Kennedy mixa Aphex Twin, Kraftwerk och Jeff Mills.
En sådan bred blandning brukar sällan ge lyckat resultat, men man märker att Kennedy älskar den här musiken mer än a fat kid loves cake.
(tack till Butcher)