weekend heat from the Dutty Artz camp (OUR CAMP):

RCRDLBL offers up: Jahdan Blakkamoore – Go Round Payola (Matt Shadetek’s Bye Haters bassline rmx)

and XLR8R’s just unleashed a JD podcast, Full Hundred.

Download audio file (Podcast_Mix_2009_03_05.mp3)
Jahdan Blakkamoore- Full Hundred (mixed by Matt Shadetek)

for the DJs/remixers among us, we just released the Jahdan ‘Nice Green’ acappella into the wilderness. Those of you who care about this stuff will know just how difficult it is to find vox at 140bpm…

last but by no means least, Lamin keeps blazing away at the recession rap jams.

and – Dutty Artz TV is looking for an on-screen ANNOUNCER to help with our NYC street fashion segments. the person should be comfortable on-camera & interested in urban / youth fashion. (look for color everywhere) If this sounds like you or someone you know, myspace us or email datv @ duttyartz.com.

today on the radio, an exclusive mix session by Dexplicit. & tix giveaways for his Friday Trouble & Bass party at Love, plus a bunch of new jams from Flamin Hotz and more. podcast version of this will be upped next week.

Grime/bassline producer Dexplicit is responsible for one of grime’s biggest hits, Lethal B’s Forward (also called Pow). Alongside Dizzee Rascal’s I Luv U, Forward was one of the milestone riddims in grime — soaring up in the charts, getting banned on UK radio demonstrated its overground power and populist force. UK & European radio, unlike its American counterpart, doesn’t censor (you can use all those nasty words), so it is rare when a tune gets banned.

But these days, it is Dexplicit’s groundbreaking 4×4 bassline tunes that have our ears ringing. We’ll catch up with him the following week for an interview.

& in case you haven’t heard, Ghislain Poirier’s got a LARGE new mix available, cooked up from his own ingredients, Bastard Bass. tracklist @ Pitchfork. Paul Thompson can only hear screaming. Track 5 features my Maghrebi bredren Abdelhak Rahal on violin, which I engineered & recorded back in BCN.

My Nettle project has evolved (myspace dormancy notwithstanding), but as a live band, Abdelhak has played with me from the beginning (UK deportation setback notwithstanding). At a basic level, I feel that music should aspire to be about the movement of ideas and sounds and people not only on the dancefloor (shake what yo’ mama gave u) but also across borders; my gripe with remix culture of the ’00s is that sounds flow but people holding certain passports remain blockaded and tied-up as ever.

e.g. as stuff like kuduro bubbles around the blogosphere largely uncoupled from author-attribution, it’d be nice for kuduro producers in Angola to get repped and actually play some of the, um, ‘global ghettotech’ parties, which involves paperwork and bureacratic globalization realness and a small but solid push towards freedom, at least for the artists at hand – for them to bring their sounds to us on their terms, artistically. It ain’t easy yet it is sometimes possible… I’m saying this on a personal level, a passport level (read The Star Pit by Samuel R. Delaney, golden). While trying not to let geographic/political borders supercede all the microborders that penetrate you and I & inflect the social spaces we pulse through daily… Freedom & fish in a barrel & shooting. My own life: filled with walls.

The first track Abdel & I did was for Ghislain’s beat on my album, and the new tune with Abdel (Exils, on Ghis’s album No Ground Under) revisits and flips that moment. Due to Our Current Geopolitical Situation, it hasn’t been possible for me to bring Nettle to the United States of America, but we just received word that will be resolved in 2009…

fans of gnaoua can listen back to yesterday’s show.
[Maalem Mahmoud Gania cassette at WFMU]

Grimey bassline top producer Dexplicit will be my special guest in 2 weeks — Dex is putting together an exclusive mix of his own material with lots of unreleased surprises for the show. He’s making his US debut at the Trouble&Bass party, held inside the very-nice-sounding venue Love, which promises craziness.