I miss NYC’s tropical months – Britain is cold and grey. Today (Friday) JD & I will be warming tings up in Belfast while bredren Maga Bo rocks New York City’s legendary @ Turntables on the Hudson, accompanied by special guest Blanquito Man pon di mic. Blanquito Man featured in Celso Pina’s cumbia-dub-crossover MEGAHIT ‘Sobre el Rio’, which appeared not only in the ‘Americans, don’t leave home!’ movie Babel, but also on every subsequent cumbia mixtape of Mexican extraction. Just the other day I was listening to one and thinking to myself, wow this is so great, they havent used ‘Sobre el Rio’, then 3 minutes later it came in… at least it gets the chopped & screwed rebajada-ed treament:

[audio:Choppaholix – Choppacumbia – Track17.mp3]

Celso Pina – Sobre El Rio (Choppaholix edit)

Maga Bo is about to release an album on Soot called Archipelagoes and its a whopper. He also bunkered up with us to produce and record several tunes on Jah Dan’s forthcoming album.

here’s the 2nd video from Archipelagoes. this tune stars all-female Dakar crew A.L.I.F. He explained the lyrics to me, i think they’re talking about how awesome they are.


institutional heat!?! 7:30 sharp. I get the feeling that turning up on-time or pre-ordering tickets will be a good move… price includes museum admission.

I ordered extra subwoofers & Klash is reportedly bringing his dancers. fair chance the white-box theater will get duttied up. click image 4 info:



OiNK is dead. In the past week, I was invited to 2 post-OiNK sites (by an altruistic stranger and the same woman who gave me my first taste of pig). Both sites are quite good. Together they have almost as many members as OiNK did, and they’re only a few months old. You can change the skin/stylesheet of each one to an ‘OiNK’ setting, so it looks almost exactly like our departed friend.

Cut off the head, several grow back.


I’m playing NYC’s DubWar party tonite, with special guest Jah Dan blessing the mic. Details and ticket giveway over at Dutty Artz.

Matt Shadetek & I sat down and looked at our release schedule for 2008 – it is beastly. It is craziness. We are being topsecret w/ power moves for the moment but soon we’ll turn it on and it won’t stop. the label has a myspace, the iceberg’s tip.


Alan blogs. And it’s great. sorry, gringos.


Greg = gringo, but when he writes about funk carioca, he talks about contracts, which is wonderful. His post led me to Flamin Hotz, who talks about contracts, which is wonderful. The Flamin Hotz post is the best online overview i’ve seen of funk economics; before you can even talk about international exploitation/interaction, there’s a ton of Brasil-side madness to contend with:

When the artist in the favela sells the song, the contracts stipulates that he is signing over all of his rights to the music for a one time fee (roughly $1000 reais or approximately $500), the artist will not be allowed to play the song live any more, and that the artist will get no credit for the musical process that was put into the song. In the Baile Funk scene this is just business as usual and has created a huge divide in who actually is getting money from CD sales, radio play, and international licensing. Our goal with our international release is to combat this system where money is only filtering to the top of the food chain.

This touches on what happens in many musical ecosystems across the planet. Most of the classic reggae tunes, for example, are owned and controlled by the studio bosses, so when labels like Soul Jazz license material the studio bosses are the ones they must legally deal with — the ones who get paid. For example, if you want to put Sister Nancy’s classic anthem ‘Bam Bam’ on a compilation, you do not need her permission and she does not receive any money from it, even though she wrote and performed the lyrics.

The music business is a kind of pathetic vivid nightmare, run by greedy people, dilettantes, and people who don’t like music.


Maga Bo knows incredible amounts about Brazilian music. A comprehensive radio show/podcast he’s done for years is now archived at Spannered.


speaking of remix decisions (and burials), here’s a fresh interment from NYC’s Leif.


Burial – Archangel (Leif remix)

Burial remixes must be a kind of cottage industry right now (if u see the Buddha, remixx the Buddha) but I’m drawn to the way Leif attaches a Baltimore-style kick pattern & interweaves new subtleties into the original while keeping the trademark muted clanky feel. Baltimore structure with Burial timbres – so much more interesting than the plain ‘add B-more break’ remix decision! Leif redirects the effete British rave nostalgia-pop (“ambient trance” a friend calls it) of Burial down a sweatier east coast US alley.

The aura of the original remains intact, just displaced. In fact, the remix meshes so closely with the album track that it eats my memory of that ‘first’ version and becomes the definitive one, for me.

speaking of wubstep & What Happens When It Washes Up in Amerika, i’ll be playing NYC’s DubWar on December 21, at this spot called Love that everybody says has the best sound in NYC. Alongside DJ Geko Jones and Jah Dan blessing the mic. We will crush you.