Tracklist: 01. âFosaruneâ – Rani Jambak Rani Jambak is an artist based in Medan, North Sumatra and is of Minangkabau descent, her family migrating from West Sumatra. Iâm interested in her work with field recordings, as a mode of environmental awareness and activism, and also how she thinks of sound as a means to connect with ancestors. âFosaruneâ is her contribution to the Common Tonalities (2022) compilation, an outcome from the multi-year “Nusasonicâ program, concerned with experimental music in Southeast Asia, 2018â22. Nusasonic was an initiative of the Goethe-Institutes in Southeast Asia, in partnership with Yes No Klub (Yogyakarta), WSK Festival of the Recently Possible (Manila), Playfreely/BlackKaji (Singapore), and CTM Festival for Adventurous Music & Art (Berlin).
02. âSalamanderâ â Takkak Takkak A recent collaboration between Berlin-based Japanese producer Shigeru Ishihara AKA Scotch Rolex / DJ Scotch Egg and Vilnius-based Indonesian composer and instrument builder Moâong Santoso Pribadi, who is part of the duo Raja Kirik. Taken from their recent self-titled album Takkak Takkak (2024), released on Nyege Nyege Tapes.
03. âUntitled 10â â Uwalmassa Uwalmassa is a group formed by Harsya Wahono, Randy Pradipta and Pujangga Rahseta who are also behind the visual arts and music collective DIVISI62 from Jakarta. This track is taken from their 2018 tour release Animisme (DISK15), featuring music âinspired by Indonesiaâs urban slums, dangdut and pencak silat.â
04. âSumergir (Toumba Remix)â â SIM & Sueuga A recent release by Canadian-born SIM and Netherlands-based Sueuga remixed by Toumba from Jordan, put out by Sacrilejio Records in Lima, Peru. Taking cues from Jamaican dancehall, I suppose this track emphasises global connections, collaboration and genre hybridisation and mutation as evolution. Just donât call it global bass!
05. âWangga Rituals (Serial Experiments Edit)â â whypeopledance From the Lithuanian collective/labelâs 2019 compilation MATEDITERIA (MATERIĂ 005). I stumbled onto this gem of a track while searching for music by Aditya Permana, who is also on this compilation and who surface later in the mix as BAUR. I know nothing else about Serial Edits or whypeopledance, but I find this spiky collagist approach to “dance music and anti-dance music” a refreshing contrast to the slick productions that populate my playlists.
06. âMetallurgy Symphony (Simulacrum RMX)â â Dinoj M & SajaS Dinoj M and SajaS who are involved in DreamSpace Records, Batticaloa are dear friends of fugitive radio. âMetallurgy Symphonyâ is from Upcycled Rhythms (2023), that repurposes found materials as musical objects. This remix is up on fugitive productions.
07. âHantaranâ â Sipaningkah Taken from Langkah Suruik (2024), a recent notable release on Chinabot. Coincidently, Aldo Ahmad Fithra, is also Minangkabau West Sumatra, like Rani Jambak. He also invents and builds instruments, such as the âTasauffâ, that is inspired by three traditional Minangkabau musical instruments: the Tasa drum, Talempong gong and Rabab string instrument.
Lagkah Suruik, which translates as âstep backâ in the Minangkabau language, comes from a concept in the Silat Harimau martial arts philosophy. âThe Langkah Suruik is the wisest step, choosing to step back and not fight,â says Sipaningkah. âHowever, I interpret Langkah Suruik as a way to see, search for and relearn the roots of our personal traditions, so that we can then use them in reading the current world situation.â
08. ëëœ Pit â bela From Noise and Cries ê”âìâêłŒ ìžì (2024) belaâs debut album on Subtext in collaboration with Unsound. Now living in Berlin, bela began developing the ideas for this album âabout deathâ while living in South Korea. Bringing together Western influences guttural death metal growls and rasps and industrial music with the folk rhythms that rattled away in the background of state events and presented with the confidence and âcybernetic maximalismâ of contemporary queer club music.
09. âAfrican Sickos Ft. Citizen Boyâ â Nazar Taken the from the Amsterdam-based producerâs Territorial (2020), self-released during the Covid19 pandemic. Nazar is known for developing a style of ârough kuduroâ that reflects on his familyâs involvement in the Angolian Civil War (1975â2002) and I was drawn to his collagist aesthetics and as a counterpoint to sparser productions featured in this mix.
10. âMAKAN SUMPAHâ â bani haykal A Malay phrase that can be interpreted as âtake an oathâ, this is the closing track on the Singaporean artistâs recent release ANONYMOUS CURSES (2024) . In a country where protest is no possible, haykal has been steadfast in support of Palestine, and this album is dedicated to:
the people who are constantly spell casting, sending curses to end tyranny and injustices, those who tirelessly speak of resistance against the violence of colonialism, extractivism, occupation and apartheid.
I was fortunate to see haykal perform live at an event organised by Strange Weather in Singapore, where he set up on a small table, manipulating a drum sequencer and some effects, while performing his prose that he punctuated with ecstatic runs on the clarinet. Later, Yetpet [Instagram] played a sublime set, the memory of which serves as some inspiration for this mix.
11. âNecksnapsâ â Wahono I have somehow overlooked Harsya Wahono, and perhaps to compensate, his work keeps popping up in this mix. This is from an early release Abandoned Hiâ-âHats (2017) on Maddjazz Recordings , made when Wahono was living in New York after graduating from Berklee College of Music., Boston. Now living in Jakarta, Wohono is the founder of DIVISI62 and is also part of Uwalmassa, heard earlier in this mix. Like Sipaningkah, Wahonoâs approach to percussion and drum programming draws on traditional Indonesian instruments and rhythms organised according to club production techniques.
13. âKutofauluâ â Wulffluw XCIV From the first release by Sacrilejio Records in Lima, a compilation Expiation (2020). Wulffluw XCIV AKA Nikita Grunt music is described as âAvant Clubâ. From Russia he is the first non-African artist to release an album on Nyege Nyege Tapes subsidiary label HAKUNA KULALA, also in 2020. I think the textures are what drew me to this track, layered and detailed with sweeps and pans across the stereo field.
14. âBussraâ â ZULI I am a fan of ZULIâs jarring rhythms and only learned recently the producer from Cairo had moved to Berlin, where heâs been co-organising a series of club nights, irsh [Instagram] with fellow artist and DJ Rama. This track is from Komy (2023), a collection of five club tracks released to make way for new material. Proceeds from the sales go to Medical Aid for Palestinians (MAP).
15. âFanta Rougeâ â Neo Geodesia Listening to 2562 Neon Flames (2021) was something of a revelation. Saphy Vongâs compositions as Neo Geodesia made up of field recordings, samples and instrumentation a digital production were like nothing I had heard before. I mentioned this to Morgan Sully AKA Memeshift, who concurred saying that he was amazed at how much feeling Vong evoked in his music. This notion of âfeelingâ in digital music became something of a prompt for this mix, as it is such a difficult thing to qualify. Vong, based in London, is also the founder of the label Chinabot.
16. âShikorina (Zilla Remix)â â STILL From the remix collection of STILLâs debut album, I, appropriately titled I (Remixed) (2018) both released on PAN. I became aware of Simone Trabucchiâs moniker gradually via a Slikback remix that stayed for some time in my crate. I am curious about the breadth of the Milan-based producerâs work that spans publishing and visual art. This track is reworked by Don Zilla, manager of Boutiq Studios, Kampala. This is another track I was drawn to due to its layered collaged sound, reminding me of the dub/reggae productions of the likes of the Scientist and Lee Scratch Perry and the Bomb Squadâs hip-hop productions.
The point of connection for many of these artists is Nyege Nyege, and STILLâs following mixtape, video series and book project, KIKOMMANDO, arose out a two month residency at the Ugandan collectiveâs villa.
17. âCluster Drumâ â 3Phaz The Cairo based producer is an affiliate of ZULI and this track is from a compilation featuring artists who played at the latterâs video series cum club night, irsh. Humorously titled did you mean: irish (2020) it was released during the Covid19 pandemic. With a reputation for reworking Cairoâs urban Shaabi sound, I first encountered 3Phaz performing a live set at Unsound Festival 2023, a highlight of its club program.
18. â160 (with Gabber Modus Operandi & Wahono)â â Nakibembe Embaire Group The embaire is a large, long wooden xylophone found in East Africa, that is played simultaneously by multiple performers. The Basogaâan Eastern Bantu ethnic groupâhave a unique way of playing this instrument and the Nakibembe Xylophone Group are one of the last remaining groups who continue this tradition.
Fixtures of Nyege Nyege Festival, this track is taken from a self-titled 2023 release on Nyege Nyege Tapes with extra production by Gabber Modus Operandi (GMO) and Wahono from Indonesia. From the release notes:
The group needed to work out a way to combine their techniques with GMO and Wahono’s own musical approaches, so they fitted the embaireâs keys with audio-to-MIDI triggers that allowed them to capture the instrumentâs swing without drowning out the sound itself. Then, Nakibembe recorded a series of freestyle performances that would demonstrate the range of the instrument; Wahono and GMO took these recordings and the MIDI data and used digital processes to distort and shift the sounds into dangerous new places, adding vocal improvisations from GMO’s Ican Harem. The Indonesian trio wanted to explore a more minimalist approach with Nakibembe, and on â140â do exactly that, slowing down the whir of embaire clunks to a crawl and adding sporadic squeals and punctuating bumps. â160â is even more unexpected, losing the embaire completely and feeding the raw drum data into synthesizers that pop and squeak with the same unmistakable energy.
I was very fortunate to have caught this grouping at CTM 2020 and this release seems to encompass many of the themes that arise out of this mix; repetition and variation, cross-cultural collaboration, tradition and (digital) technology. As the release notes conclude: âdance music is neither static nor bound to its contemporary apparatus, and conversation rather than colonization can stretch concepts beyond phony borders.â
19. âTerowongan Jadi Underpassâ â BAUR I recently met BAUR AKA Aditya Permana during a performance at Yes No Klub Yogyakarta, introduced to me as âa legendary Drum n Bass DJ from Jakarta.â Unpacking a kit of electronics that fitted snugly into a suitcase, BAUR unraveled a set of squelchy rhythms over which he layered distorted phrases and yelps. I was concerned with composition methods at the time and after his performance, I asked him how much of his set was improvised. He replied that he had released a cassette of âsongsâ that he then deconstructs live, before adding: âitâs my therapy, but it seems other people get something from it as wellââa reply that also solved a lot of my problems!
This funky track is lifted from a cassette release, Pecundang (2024) on DIVISI62 . Translated as âloserâ, BAUR is a defiantly analogue project that draws on industrial music shared via tapes in the 1990s
20. âSad Sundaâ â Memeshift Morgan Sully is a fixture of Berlinâs experimental music scene and this track is taken from this yearâs Echoes (2024) on Chinabot, who curiously have also chosen to pursue the cassette medium. Echoes is a self-reflexive suite of music concerned with issues of home, migration and diaspora â memorabilia, ephemeral recordings and memories wired through electronic instruments. From the release notes:
âSad Sundaâ, [which] samples a cassette of âpop sundaâ, a form of popular music that blends western pop and traditional instrumentation from Java, that his mother brought with the family to Hawaii when they fled Borneo. Composed on an Elektron Octatrack over three decades later, Sully cut the samples into small snippets and randomly resequenced them. The percussion is from Roland CR-78 samples and drum loops pitched down and resampled in the Octatrack; through the frenetic club beats, we hear his current life in Berlin, where he now lives, bleeds into the music of his past.
– Notes These notes a part of an ongoing task that concerns writing about mixing; about what comes up in the mix and to think about DJing as a kind of (sonic) research.
“Mixed Feelings” is about leaving Singapore, Sri Lanka and the South East Asian region. It was meaningful to be there, reconnecting with family and friends, finding new freinds and peers and generally being open to its influence. âFeelingsâ also refers to an aspect of (digital) music production. Soon after returning to Berlin, I caught up with Morgan Sully AKA Memeshift and was gushing about Neo Geodisiaâs 2562 Neon Flames (2021). Morgan concurred commenting that it had a lot of âfeelingâ for a digital production and I wanted to think about this further. I associate feeling with âemotionâ, another term that has connotations for music. I think about âsoul musicâ or power ballads, where certain emotions â joy, fury, heartbreak, angst â are aestheticised and emphasised. It conjures up notions of authenticity which makes me wonder about âcold feelingsâ, and more reserved or disciplined emotional states. Descriptors such as âsurgicalâ and âpreciseâ are used to describe DJs who rehearse every sequence and can execute their mixes on cue. Do these lack feeling? When I listen to a mix I like to hear the artistâs hand: the tempo being shifted, a slightly off beat being coaxed into place. Which is not to say I donât practice, but I also like to improvise, to play, to trust and develop my intuition and go with what I am feeling in that moment. Perhaps a more risky approach, as things could go wrongâmore chance of âdropping the ballâ. Actually, I have mixed feelings about this mix because there are some stand out blunders that make me cringe, but I ran out of time to make another!
Iâve continued to approach DJing like a game and the plan for this mix was to begin with Rani Jambak and end with Memeshift, going by key tracks from Takka Takka, bela, Bani Haykal, Dinoj M & SajaS, Wahono and BAUR. As I was pruning my crate for this mix, I realised I was preferencing tracks from artists who are friends, peers, or I have met or seen perform in recent months. Notably, many artists are from Indonesia. A set by Yetpet at a Strange Weather event in Singapore in July was a key point of reference; a well-curated and deftly executed mix of unfamiliar tracks. A friend described it as âchilledâ, and while it may not have been stocked with âdirty bangersâ, it was full of great rhythms and hooks and was somehow euphoric.
While I had a preference for tracks with a lot of percussion and space, I noticed I was selecting tracks for contrast and textureânot all slick club production, but also spiky playful productions (eg Serial Edits), coarse textures (eg Nazar) and space (eg Sipaningkah). Only after did I realise that this mix was as much about labels as artist-acquaintances; Yes No Wave, Divisi62, Chinabot, Subtext, PAN, Nyege Nyege Tapes, alongside self-released tracks on Bandcamp. (Indeed, I was surprised to learn Iâd published a mix under the same moniker a year ago.)Â
Subhas [Instagram] is a unique voice in Singapore, whose music and organising confronts issues such as capital punishment, the treatment of migrants workers, climate capitalism and racism while advocating for class solidarity. His activities have provoked the ire of authorities and our conversation took place as he awaits the outcome of a court case in which the State accused him of âpromoting ill will between races and religions.â Subhasâ upcoming album is scheduled to drop when the verdict is announced.
If you like what you hear, sign up to receive details about Subhasâ upcoming album The State Vs Subhas Nair. You can also support Subhas via Patreon.
Music used in the episode is on the major platforms Spotify and Apple, in chronological order:
Malabar (2021)
Riot! / Dumbshit! (2018)
PUNISHMENT (2018)
Bhasa (2021)
Long2befree (2021)
The Line (2020)
UTOPIA (feat. Migrants Band Singapore) (2021)
Blk101sunsetway (2018)
DMT (2021)
Time Of My Life (2021)
Some Nights (2021)
âGood Morning Geylangâ, a deep listening dawn mix and a meditation on migration, labour, infrastructure and place-making in Singapore. Made in residence at Singapore Art Museum, 1 Aprilâ29 June 2024.
The field recordings that make up this mix were recorded in the streets, rooftops and void decks around the neighbourhood where I am staying in Geylang. Singapore is undoubtably an air-conditioned nation however Iâm not a fan of such climate controls. I prefer to keep the windows open and as my apartment is on the 4th floor of an old shophouse, I am at tree height. Iâm often stirred before dawn by the sounds of birds chattering. Soon after I hear the first MRT commuter train rumbling off in the distance and as the city starts to wake it is often the sound of a garbage truck and its distinct pungent scent that brings me to my senses. Iâm in an area where many migrant workers also stay and in the mornings I can watch them gathering in the street below, waiting to be taken in trucks to work sites around the city. Iâve been struck by the interplay of daily rhythms at this time of day. With reference to Henri Lefebvreâs notion of rhythmanalysis, I can discern the circardian rhythms as night turns into day, the institutional rhythms of the train schedule and the rhythms of the working day. Singapore imports much of its construction and domestic workers from neighbouring countries including Bangladesh, Thailand, Sri Lanka and Indonesia. Their wages are lower than locals and they have few rights. There has been some discussion about constructions workers who are transported around in lorries with minimal safety, an exception to Singaporeâs road rules, and there have been several serious accidents.
âGood Morning Geylangâ is the first iteration of a live sound work I am developing. Comprised of field recordings Iâm making in Singapore as a reflection on migrant labour/leisure. Iâm thinking of it as a deep listening work to be performed in pitch black â picking up on a recent discussion of sensory deprivation following the debut of REFUGE at Singapore International Festival of Arts, by the Observatory in collaboration with Duck Unit, Rully Shabara and Justin Shoulder.
â(Pseudo) Sino-Club Mixâ by DJ Ayam Hitam is a kind of sonic fan-fiction recorded in Singapore for Labour Day, 1 May 2024. With the artists Animistic Beliefs and Wanton Witch as its spirit guides, the mix invokes the Bangkok queer and feminist rave collective NON NON NON as its animating force, racing towards an inevitable climate catastrophe (cli-fi) dsytopia/utopia as evoked by RáșŻn CáșĄp ÄuĂŽi Collective. DJ Ayam Hitam scrapes the surface of the so-called âGlobal Techno Undergroundâ to fashion a sound shape-shifitng across South East Asia and that is allegedly âdecolonizing dancefloorsâ (de-culo-nizing as they say in Latin America) in clubbing metropoles such as Berlin and London.
The art of crashing a mix This mix was recorded live using a Pioneer DDJ-FLX4 controller and Rekordbox . The âgame planâ was to start with Neo Geodesiaâs “Wat Ang Ta Minh” and get to RáșŻn CáșĄp ÄuĂŽiâs “Bloody” by way of Animistic Beliefs and Wanton Witch. After landing in Singapore in April, I purged my playlist of UK bass, footwork, gqomâmy go-to genresâto instead play around with tracks made by producers from South East Asia, or those who have some vested interest in this region. Over the last week I scoured my hard drives for odd bootlegs and also listened through the back catalogues of labels SVBKVLT and Genome 6.66 Mbp, affiliated with the now defunct Shanghai club Shelter and its successor ALL. Indeed, it was the recent release of Osheyack and Nahashâs Bait (2024) (notably none of the tracks from this EP made it to my mix) that prompted me to read accounts of this burgeoning scene in Shanghai, prior to Covid. In an interview from 2019 for zweikommasieben, Osheyack discusses clubbing as a new phenomena in China with no precedence or (rival) scenes:
I think the difference is that the club culture there is so new that there is not really a context or a hierarchy of âyou need to do thisâ in order to play on Saturday night. So there are a bunch of people from a bunch of different places and Chinese kidsâwho are completely new to club music in generalâand they are just picking up everything and re-contextualizing it.
I was also taken by his description of ALLâs patrons as a âDJ-set culture of people wanting to hear a bunch of different shit mixed together.â
Last year I introducing a friend to DJ software, with which one can match BPMs at the touch of a button. She caught on very quick and was already working up a small crowd during this first afternoon session in a small bar. After some time, she turned to me and said something like: “I understand how to mix between tracks that are of a similar BPM, but what if I want to mix a track of say 120BPM with a track thatâs at 160BPM? Is there a button for that?”. Actually, I think on Rekordbox there is a function that auto-mixes across speeds, steadily moving the pitch and crossfade between tracks, but I enjoy listening to the hand of the artist, and so I replied to my friendâs query: “Thatâs the real art of DJing, knowing how to crash a mix!”
Not that Iâve necessarily achieved that with this mix. I did attempt to plan and rehearse it before recording it for the radio, but I failed in my attempts to play it again (the) same. Mixing across a range of BPMs, nudging the pitch sliders back-and-forth, eventually I gave up trying to repeat myself and tried to get into the zone. Made to share on Labour Day, 1 May, it is apt that this mix resisted being laboured over!
Working with software, Iâve come to think about the parallels between DJing and console video gaming. Is not the (novel) musical instrument as much a toy as it is a tool? Making this mix felt a bit like playing a racing game in which one attempts to get to the finish line without crashing. The thrill is in the ride and the challenge is to not âdrop the ball”, ie fail to mix in the next track. Wipeout would be the obvious point of reference, which I may have played once and was certainly terrible at it. Rez, a musical first-player-shooter, might be more appropriate. Although, as I recall its soundworld was more like progressive house and techno rather than the wonky sonics and âcrash montageâ mixing I tend towards.
Listening back, this is not my most elegant mix. I do cringe at some of the sloppy segues and there are some segments where I seem to have wandered astray and am clutching for the right track to get me back on course. Iâm also reminded of the “bashment” ragga sound systems that first lured me into mixing. Here the selector might not always beat-match to the ones and instead employ sound effects, rollbacks and fearsome noise as part of the sonic collage experience. The spills are as much part of the thrill and are a counterpoint to interlocking rhythms that wind-up dancing bodies. Was there ever a sound clash video game?
Tracklist 01. “Wat Ang Ta Minh áááááąááááá¶áá·á” â Neo Geodesia Saphy Wong is the founder of the “multidisciplinary Asian platform and record label”, Chinabot. Under the moniker Neo Geodesia, Wong treats traditional Khmer music with experimental electronic processes. This track is lifted from the remarkable 2562 Neon Flames (2020), in which Wong revisits the sudden death of his mother during the celebrations of Khmer New Year 2562. Iâve heard nothing else quite like it.
02. “Edda” â Rui Ho Rui Ho is a new discovery for me, whom I came across via Genome 6.66 Mbp. This track can be found on æ°èš (2017), which I believe was her first release. She has since evolved into a “non-binary pop singer”, and her more recent releases foreground vocals and narrative.
03. “ćæ” â Jason Hou & Yider I assumed I found this on a Genome 6.66 Mbp compilation, but I cannot locate it. I have a feeling this track also crossed over into UK grime and dubsteps playlists circa 2016, which is how I might have picked up on it following some thread about Sinogrime. Here is a curious video of Hou performing an AlphaSphere, a curious haptic sensor-based instrument.
05. “Shatter” â Hyph11E Tess Sun is one of the most lauded artists affiliated with SVBCVLT and this track is a personal favourite lifted from Aperture (2020), an album about holes!
06. “Empty Spoon” â Wanton Witch Miriam Alegriaâs is relatively new to me. Currently based in Berlin, via Malaysian Borneo and Bangkok where she founded queer rave collective NON NON NON [Instagram]. Wanton Witch caught my attention at CTM earlier this year, performing as part of Thai artist Pisitakunâs takeover of Berghainâs SĂ€ule, launching his “The Three Sound of Revolutionâ project. She opened her set with a slew of what sounded like high velocity Baile Funk cut-ups, before nose-diving into 4/4 hard techno. This track is from her album AKU (2023) which struck me for its emotional breadth, shifting moods and polished production.
07. “Kniom Nahn” â Lafidki Since 2008 Saphy Wong has released music as Lafidki. Taken from his debut album Chinabot (2017), “Kniom Nahn” has a charming music video, you can watch below. Chinabot has emerged as an important platform connecting South East Asian and diaspora artists pursuing experimental (club) productions.
08. “Medical Fodder” â 33EMYBW While 33EMYBW (nee Wu Shanmin) is arguably the face of SVBCVLT, I first encountered her music from the Arthropods Continent on the compilation Alterity (2020) released by Houndstooth, a label affiliated with the London club fabric. “Medical Fodder” opens the album and remains for me one of its highlights.
09. “Kawasaki Outrun” â DJ Loser & Xiao Quan I have no idea who these people are or how this track came to me. Invariably as I was slipping down some internet rabbit hole, but I cannot recall for what and when. That DJ Loser is based in Thessaloniki provides some clues, as I have spent some time in Greece in recent years. Is Xiao Quan a former pop singer in China responsible for the âSocial Shakeâ meme dance craze? And/or this producer living in SĂąo Paolo? Whiskers are trembling, what other treats await?
10. “Childhood Memories (Totobuang)” â Animistic Beliefs Taken from the Rotterdam duoâs extraordinary album MERDEKA (2022), notably released on N.A.A.F.I. (No Ambition And Fuck-all Interest?) from Mexico City. As mentioned above, Animistic Beliefs were foundational for this mix, leading me towards this so-called “global techno underground”, and specifically some of the sounds surfacing in South East Asia, that are supposedly decolonizing dancefloors. I would loved to have caught them on their tour through China and Vietnam [Instagram] in the last weeks. Iâve heard murmurings about the unhinged rave scene in Vietnam, that is in contrast to Singaporeâs relatively costly and thus closed party scene.
11. “è«èFIRE Edit” â RVE From Genome 6.66 Mbpâs Club Shanzai Bootleg Compilation (2020), “a collection of remixes, edits, and blends by artists from Greater China.” This is all I could find.
12. “Puritan (Gabber Modus Operandi Remix)” â Homicide Homicide, a political rap crew who formed in Bandung in the 1990s, are legendary. This remix by Gabber Modus Operandi, who are currently forging their own legendary status, was commissioned by the afore mentioned Pisitakun for his multi-faceted research project with the DAAD. “The Three Sound of Revolution” focuses on the artistâs interest and involvement with revolutionary protest music in Thailand and expands its scope to consider the South East Asian region. The album Middle Sound (2023) was launched earlier this year at CTM. Incidentally, Pisitakun has also released music with Chinabot.
13. “The Border-Walking Monk” â Howie Lee From the 7 Weapons (2020) series released by Belgian label Maloca Records. Splitting his time between China and Taiwan, Howie Lee is the co-founder of the label Do Hits, which also counts Jason Hou in its stable of producers. Lee is a veteran producer and visual artist who earned a reputation for music that melds traditional and folk instrumentation with contemporary club production techniques, working across a range of genres and aesthetics. I appreciate this trackâs wonkiness.
14. “Sacrifice” â Selecta From Genome 6.66 Mbpâs Genome Compilation Volâ.â1 (2016). I canât find anything more about this artist.
15. “LCD (Estoc’s TFW Your Name Is Written On The Ostrakon Remix)” â Tzusing & Hodge The Malaysian-born Tzusing is famous, no? I most likely came across him via his affiliation with the Berlin-based label PAN. This track is from an album of remixes, Next Life (2021), released via Tzusingâs label Sea Cucumber, that can be found âon the sea floor worldwide.â
16. “As If You Whisper” â Wanton Witch Another cut from AKU (2023).
17. “With Us (feat. Nahash)” â Osheyack From Osheyackâs Sadomodernism (2018) released on Bedouin Records from Tokyo. While a thought-provoking and theory-informed release that takes aim a complacent clubbing, I must admit to have simply reaped its bangers. From the 2019 interview mentioned above itâs worth noting Osheyackâs approach to performing live during this time:
When I play live, itâs a lot of short, small ideas cut up and pushed together, so that itâs digestible and danceable, but itâs trying to throw people off-kilter as much as possible, to shake people out of the âdancing experience.â And Iâm very much trying to make a comment on that kind of static genrefication that goes on in Europeâto try and break down rules as much as possible.
18. “LilBlackDizzeeKidXCX6Truth” â XDD Another track from Genome 6.66 Mbpâs Club Shanzai Bootleg Compilation (2020). No further info on XDD, but evidence that Sinogrime may have developed as a productive dialogue rather than simply a British projection.
22. “Hyph11E X Dj Missdevana (Amor Satyr edit)” â Amor Satyr An edit circa 2020 by Parisian producer Amor Satyr, who co-runs the label WAJANG with Siu Mata.
23. “ZENO” â Slikback & 33EMYBW I had to slip Slikback in here. Taken off the Slip A (2019) EP released on HAKUNA KULALA, a subsidiary of Ugandaâs Nyege Nyege Tapes. Slip B (2019) was released simultaneously on SVBCVLT, and the EPs are an outcome of the much respected Kenyan producer inaugral visit to China. Representing an exchange between East Asia and East Africa, this project maps out a cartography of (alter?)globalising club musics:
For the first stage of the project, SVBKVLT invited Kenyan producer Slikback to China for a 3-week tour and residency in April 2019. During these 3 weeks, Slikback performed in 5 cities (Shenzhen, Shanghai, Hangzhou, Nanjing and Beijing), spending time in the studio with artists throughout the tour. The results of these studio sessions are now being presented in the form of two EPs, to be released simultaneously across the two labels Hakuna Kulala and SVBKVLT on September 6th, coinciding with Nyege Nyege Festival 2019, Jinja â Uganda, at which Slikback and 2 of the collaborators, Hyph11E and 33EMYBW, will perform. All the artists involved in both releases will then perform at Unsound Festival Krakow in October 2019.
24. “Kurang Tidor – ćč»è§” â Animistic Beliefs Another track lifted from MERDEKA (2022). The title employs the Bahasa word for “independent” or “free” to describe the artists breaking free of expectations as they set out to explore postcolonial intergenerational trauma and their own changing selves.
25. “Bloody” â RáșŻn CáșĄp ÄuĂŽi Collective This track that is the finishing line for this mix is from the Saigon collectiveâs recent album 1 released on NháșĄc GĂŁy, a Saigon-based music and arts collective who throw raves, release experimental club music and lead mental health initiatives. An earlier version of “Bloody” soundtracks a short video by NháșĄc GĂŁy, Sá»NG Vá»I LĆš (2021), which translates as a “living with flood”, an idiom for accepting the situation, “any situation at allâ. The video juxtaposes scenes of flooding with sequences of raving. As NháșĄc GĂŁy explain:
Vietnamâs latitude puts it at the forefront of global warming consequences and a part of it will begin to be submerged within a few decades. Yet, playfulness and ingenuity of Vietnamese can turn the uncomfortable and unforeseen into a new playground.
Recently, when visiting my mother in Sydney, I came across a cache of vinyl records that she bought in the 1970s and was now storing in her garage. They are predominantly recordings of South Indian Carnatic music, often considered to be a âclassicalâ form. Whenever I visit, I spend some time clearing out items accumulating in storage. While Iâm certain these records had not been played for decades, my mother and I both agreed to hold on to them. Hidden in a cupboard I found the family stereo system from the late 1980s, and while its radio was useless, its tape deck was defective and its speakers had been misplaced, I was surprised and delighted that the turntable and amplifier still functioned. So I set about dusting off and digitizing some of these records, listening closely to a kind of music that I largely ignored growing up.
Coincidentally, my mother introduced me to a family friend; a distant relative who had recently moved to Sydney who is a musician and visual artist active in the Indian classical music scene. As we were getting acquainted, the conversation turned to the controversy rippling through the Carnatic music community. The singer Thodur Madabusi Krishna, popularly referred to by his initials T.M.K., had been awarded the coveted Sangita Kalanidhi for 2024. This is a prestigious accolade conferred annually by the Madras Music Academy (established 1928) and is considered to be the âhighest accolade in Carnatic music.â The 48 year-old musician and writer has become a controversial and divisive figure for his criticisms of caste and class inequalities in the world of Carnatic music, notably as one of these privileged elites. Indeed, in 2023 Krishna was given another prestigious award; a Ramon Magsaysay award for his efforts to reduce inequalities, using âartâs power to heal Indiaâs deep social divisions, breaking barriers of caste and class.”
While Krishna gave his debut performance at the Music Academy, aged 14, in recent years he refused to participate in the Academyâs annual month-long festival in December/Margazhi, known as Kutchery season, objecting to its caste favouritism. Instead, he was among a team of social organisers who co-founded the Urur-Olcott Kuppam Festival at an under-served, centuries-old fishing village in Chennai, to showcase a range of cultural forms across numerous sites and venues.
In 2023, T.M.K., who is of the Brahmin caste, commemorated the centenary anniversary of the anti-caste movement Vaikom Satyagraha, with music that honouring E.V. âPeriyarâ Ramaswamy, who is often referred to as the father of the Dravidian movement. Krishnaâs critics responded that he in turn advocated for “Brahmin genocide”, recalling one of Periyarâs provocations.
“Carnatic controversy” does not include any music by T.M. Krishna. Rather, the task of digitising my motherâs record collection became a timely entry point into learning about Carnatic music and its current issues in the context of Indiaâs Hindutva. The music in this episode in sequential order is:
N. Ramani, “Raga Ranjani”
Salem S. Jayalakshmi, “Muthu Vidhanam”
Palghat T. S. Mani Iyer, “Eka Tala” (excerpt)
Lalgudi G. Jayaraman and Party (N. Ramani, T. R. Mahalingham, R. Venkataraman, Umayalpuram Sivaraman, T. K. Murthy), “Violin, Venu, Veena” (excerpt)
Sivananda Vijayalakshmi, “Soundarya Lahari”
Itâs worth noting that the family of the late Palghat T. S. Mani Iyer (1912â1981) have a particular “beef” with T.M.K. who interviewed the revered mridangam playerâs for his recent book Sebastian and Sons (2020). Concerned with Dalit Christian mridangam makers and their relationship with Brahmin musicians, the family claimed they were not aware of the scope of Krishnaâs concerns and felt deceived by the âcaste-based” tone of his book.
A conversation between Dinoj M [Instagram] and SajaS [Instagram] of DreamSpace Records, artist Lucinda Dayhew [Instagram] and myself, Sumugan Sivanesan. Together we co-organised âDham Dham Riddimâ, a nine-day intensive music production âbootcampâ, held between 21 and 29 February at DreamSpace Academy, Batticaloa, Sri Lanka. The workshop sought to introduce people to digital music production across a series of sessions that progressed from field recording to sampling, from rhythm programming to lyric writing, and then on towards making a song that will contribute to a compilation album or EP. It emphasised using free, open source and accessible tools, with a focus on the digital audio workstation, Reaper. It arose out of a three-day workshop âThaalam Riddim Reapersâ we organised at DreamSpace Academy as part of Dinacon 3, 2022.
The episode also features the voices of participants in the programme including: Sivanathan Nivethika, Rameshkumar Sathursaan, Sajanthan Vasanthakumar, A.H.M. Asaath, A.S. Sajeeth, Thavarasa Jeyashanth, Velrajan Rohan, Ravichandran Jeroem, Chandrujaan Sathiyamoorthy, Yash Kirirajah, Kabilashini Balakrishnan, Anantharajah Ajai, Mokeethan Sathiyamoorthy, Suresh Ashwin, Raviraja Rishahari, Sakithyan Jeyakumar, Christy Suthakaran Abiyashap, Christy Suthakaran Joshua, Joseph Jesreyal Jeyashanth, Dinoj Mahendranathan, Sajani Sivasithamparapillai and Nirushika PragashâŠI hope Iâve not missed anyone!
1. “Anti War Dubâ – Digital Mystikz
On 26 January 2024, the International Court of Justice (ICJ) found [YouTube] there was a case for potential genocide being carried out by Israel in Gaza. The court stopped short of recommending a provisional cease fire and rather required Israel report back in one month about measures taken to address its concerns (legally binding for member states). My friend, the artist Sybille Neumeyer, responding to the ongoing loss of (civilian) lives commented that there is no longer a neutral position. Indeed, Iâve heard arguments in Berlin that calling for a cease fire opposes Israelâs right to self-defence and is thus antisemiticâan accusation that can lead to serious repercussions in Germany. This episode is a playlist/meditation on how peace activism has become weaponized, reflecting on my experiences at Transmediale and CTM festivals this year.
2. “Afrotekâ – Scratcha DVA
The context of this episode is the Strike Germany campaign, that began in January 2024 when the Berlin Senate announced that it would adopt an anti-discrimination act as a condition of its cultural funding, which included a controversial working definition of antisemitism proposed by the International Holocaust Remembrance Alliance (IHRA). It reads:
Antisemitism is a certain perception of Jews, which may be expressed as hatred toward Jews. Rhetorical and physical manifestations of antisemitism are directed toward Jewish or non-Jewish individuals and/or their property, toward Jewish community institutions and religious facilities.
To which the Berlin Senate added an extension which conflates criticism of Israel with the persecution of Jewish people. This decision was protested by a significant part of the cultural community in Berlin (see this letter signed by numerous Berlin-based artists and cultural workers). Strike Germany deploys similar tactics of Boycott, Divestment and Sanction (BDS), understood as a means of peaceful protest used with success against apartheid South Africa. The BDS movement against Israel has been banned in several countries and in 2019 the German Bundestag passed a resolution to outlaw it in Germany. This decision is subject to ongoing dispute (see this letter from artists, academics and cultural workers protesting this resolution). The Strike Germany campaign can also be read as a retaliation for the forced resignations of artists and cultural workers in Berlin who have been critical of Israel, notably from South Asia (eg the resignation of Documenta 16âs finding committee in November 2023 and the cancellation of Biennale fĂŒr aktuelle Fotografie 2024 soon after). Strike Germany has had a significant impact on the cultural sector, initially in Berlinâs club scene/economy, with artists withdrawing from performances at its famous Berghain club.
The âsisterâ festivals, Transmediale and CTM, held annually in late January and early February were also affected this year. London-based producer Scratcha DVA is one artist who announced his withdrawal via Instagram, and whom I was looking forward to seeing in Berlin. This track “Afrotek” (2021) with Durban producer Mxshi Mo brings together UK bass and gqom [YouTube].
3. âANG INTERNASYUNAL BUDOTS BOMB STYLE REMIX [SISONS GREETINGS!]â â Teya Logos
CTM opened on 26 January, the day the IJC announced its findings, so it seems significant that the festivalâs first club night at the aforementioned Berghain featured a room curated by Thai artist Pisitakun, a recent fellow at the DAADâs Music & Sound programme. Pisitakunâs research concerns the music of social movements for democracy in South East Asia and during his time at the DAAD he launched The Three Sound of Revolution project, named after the âthree finger salute.â With reference to the popular TV series Hunger Games and derived from a signal used in the French Revolution, the gesture has been recently adopted by protestors in South East Asia to demand Solidarity, Equality and Liberty. The Three Sound of Revolution is divided into three sub-projects, âMiddle Soundâ, a compilation of protest songs, chants and speeches remixed as dance/party music by a selection of artists was released in November 2023. This was showcased during Pisitakunâs take over of Berghainâs SĂ€ule, with the artist inviting others representing South East Asia to perform and also installing a screen printing station to distribute talismanic revolutionary imagery.
Given the situation of strike and withdrawals coupled with protests against the rise of populist Right wing movements in Germany and elsewhere in Europe, Pisitakunâs programming struck a chord. While CTM joined wide-spread criticism of the Berlin Senateâs anti-discrimination bill, it refrained from directly commenting on the war in Gaza and many of us were interested inâand perhaps anxious aboutâhow participating artists would respond.
Someone who clearly did not give a fuck was Filipinx artist Teya Logos playing âhardcoreâ Budots dance music, while screaming and slam dancing. She closed out her performance with a remix of the anthemic âDammi Falastiniâ by Palestinian singer Mohammed Assaf [YouTube].
4. âMONn-aARCHhE-EAT-JACKAAALâ (Elvin Brandhi Remix) – Pisitakun
âSince I was born I witnessed three different coups: in 1991, 2006 and 2014,â says Thai artist Pisitakun. âThe question is stuck in my mind: Why do we have so many coups?
This track, remixed by Elvin Brandhi, another artist featured in CTM, is from Pisitakunâs album Absolute C.O.U.P. (2020) [bandcamp]
5. “Prayers” â Pinky Htut Aung
This recording is taken from the compilation Common Tonalities (2022) produced as part of Goethe-Institutâs Nusasonic project focused on experimental sound cultures in South East Asia, made in collaboration with CTM alongside Yes No Klub (Yogyakarta), WSK Festival of the Recently Possible (Manila), Playfreely/BlackKaji (Singapore). From Myanmar and currently based in Paris, Pinky is a multimedia artist and noise musician. She spoke on CTMâs panel “Revolutionary Music Movements under Distorted Rule of Law” (31 January 2024), where I asked about the connection between the kinds of popular protest songs that was discussed in the panel and the noise and “hardcore rave” dance music that was showcased at Berghain. While such sounds are often overlooked by music scholars and professionals, I was interested in how they had become popular in times of social upheaval. Noise music is distinct from commercial pop music and elite classical or compositional forms. It could be understood as being a liberatory or cathartic practice, and is often made collectively, but is it necessarily political? Or does it signify a politics that is different to conventional party systems, like anarchism? I was struck when Pinky said that for her noise music is therapeutic. To pick up on CTM festivalâs theme “Sustain” for its 25th edition, could it be said that music sustains people through difficult times?
6. “Indignation” â Divide and DissolveDivide and Dissolve [bandcamp] are well known for their commitment to Black and Indigenous struggles as much as for their slow, loud and lurching music, devoid of vocals. I said to a friend who is keen to play heavy music with other racialised people, that she might not be familiar with Divide and Dissolveâs music, but she would certainly know their tee-shirt emblazoned with the words: “Destroy White Supremacy.” A classic, is how someone described it at the bandâs merch stand and Divide and Dissolve have since produced a series of tees with statements that are, according to the band, âdesigned to provoke a conversation.”
Emerging from Naarm/Melbourneâs punk scene, where I first saw them play in 2017 alongside anticolonial death metal band Dispossessed [bandcamp]. Divide and Dissolve have gone on to achieve notable success, releasing their last two albums with Geoff Barrowâs (Portishead) label, Invada. So I was curious as to why they had not heeded the call to divest from Germany.
With my mind still occupied with Pisitakun and Pinkyâs panel about protest music and noise earlier that evening, Divide and Dissolve set the scene at Berghain with a large back-projection of a animated Palestinian flag, rippling in the wind behind a wall of amplifiers. Guitarist and saxophonist, Takiaya Reed arrived on stage wearing a black and white keffiyeh across her shoulders and the duoâs drum kit was similarly draped with the checkered cloth that symbolises Palestinian liberation. After Sylvie Nehill left the band in 2022, Reed has continued with a roster of drummers and tonight she was joined by someone she named “Ced”, “Syd” or “Seb” oderâŠ? Having established that their performance at CTM was a statement of solidarity, Reed breathed into her soprano saxophone to begin the first song only to realise that it was broken. She asked that if anyone in the audience could help, she would appreciate them coming back stage. For some long minutes we stood around, before the super-sized animated flag chatting to our neighbours and sipping our drinks as pop music played over the clubâs legendary sound system. This was turning out to be an awkward performance.
Arguably, Divide and Dissolve decided to stay with the festival as their appearance would be more effective than their withdrawal. Indeed, artists critical of Strike Germany have argued that withdrawal is a privilege for only those who can afford to do so and often targets organisations working “behind the scenes” towards justice and peace. However, Divide and Dissolve also disrupted the smooth functionings of the event. Aside from delays due to her broken instrument, Reed took her time between songs to explain her position as someone with Black and Cherokee ancestry. She talked about cycles of violence, as those who have suffered genocide in turn perpetuate genocide, and elaborated on how some First Nations people in the US having survived colonial violence became slave owners. While Divide and Dissolve have cultivated a loyal and attentive following around the world, Reedâs ruminations were not well received by all at Berghain. I didnât think it unusual when someone called out that she should stop talking and “play more music”, and certainly the audience was thinning out. Undeterred, Reed continued to address her heckler in a calm voice, without aggression, but nevertheless confrontational. With Reed holding the space and taking her time to discuss the issues that motivate the band and to name and thank all who had supported her, I began to think that Reed wields her vulnerability as a kind of power. Indeed, if Divide and Dissolveâs bone-rattling sound is as much therapeutic to experience as it is cathartic to perform, it is arguably during these times of violence and anxiety that it is most needed.
A FITNESSS performance is an expression of raw energyâcreating immersive experiences that challenge conceptions of being and communion through movement, electronic sound architecture, and post-modern aesthetics. With an emphasis on audience involvement and collective presence, FITNESSSâ work explores the volatile nature of interpersonal dynamics, as well as the transformative power of crowd synchronization.
8. “Dimensional Spleen” – AĂŻsha Devi
I have been looking forward to see AĂŻsha Devi perform for some years. Although she does perform often enough in Berlin, I always seem to miss it. Now, touring her recent album Death Is Home (2023) [bandcamp], I find myself sitting exactly front and centre in the VolksbĂŒhne theatre where Devi will perform the closing concert. The stageâs scenography consisted of patchwork drapes and flags, set in motion by fans. Strobe lights and fog machines further contributed to Deviâs theatrics, and I heard someone commenting about “the weather on stage.” Dressed in a sheer black dress and shiny black trainers, Devi was often rendered as a silhouette and it soon became apparent that she had a Palestinian flag affixed to the back of her outfit (see main pic above). I canât be certain about Deviâs use of flags. Given the artist draws inspiration from her paternal ancestry in Nepal, Iâm guessing they are a reference to the Buddhist traditions of the Himalayas; when the wind blows through “prayer flags” bearing sutras they are believed to recite them. Devi often discusses the links between her mediation practice and music production by way of the healing qualities of frequencies. In a recent interview for Metal she offers:
Modern physics acknowledges 11 dimensions, and we perceive life in just 3D. To heal this civilization, I think we will have to be much more aware of our existence outside of this corporeal reality and in a higher dimensional plane. I really think that hyper-materialism is annihilating our sense of immortality, and thatâs why the intangibility of music is so present in our life. Music is one of the tools that can help us initiate this consciousness and open the portals. I want to bring back the essential ritualistic aspect in contemporary music.
I admire Deviâs open-mindedness and willingness to speak her mind as much as I enjoy her music. When she addressed the audience at the closing of the concert she voiced her support for Palestine and said: “I came here because this is my communityâyou are my community.” Despite several withdrawals (and at least one forced cancellation at Transmediale), I often heard people reiterate this sense of community with phrases like: “this is my community and so in these days of war, genocidal violence and the threat of fascism it is important that we come together and talk.”
Certainly, there are those of CTMâs community who were missed. Kyham Allami, for example, who was instrumental to Nusasonicsâ Common Tonalities project, announced his individual and indefinite strike from all German state funded work in October 2023, some months before the Strike Germany campaign.
This prompts me to think about the politics of friendship during this time of polarization. TBCâŠ
If dub is a âmutant virusâ, as Kevin Martin wrote back in the mid-1990s, then perhaps footwork is a feverâbringing some heat to a globalising club culture? Emerging from the South Side of Chicago, footwork and its sibling juke have certainly caught on since I first heard such productions via the blogosphere circa 2010. This was largely due to the late DJ Rashad (1979â2014) and DJ Spinn who had to began to tour beyond these scenes and into Europe. Here is an informative interview with these innovators and ambassadors of footwork at Redbull Music Academy from 2011.
Planet Muâs Bangs & Works compilations (two volumes released 2010 & 2011) are often credited for bringing this genre of dance-battle music, gestating among the community centres and gyms accessible to the South Sideâs youth, to the world. In this interview for Resident Advisor, 2011, Mike Paradinas, founder of Planet Mu, discusses the process of connecting with young producers in Chicago and sourcing the music for these compilations, such as ripping audio from YouTube! This was soon followed by compilations such as Juke Undergroundâs Juke World Order (2014â16), Teklifeâs VIP (2016-ongoing) and On Life (2017âongoing) series and Juke Bounce Werkâs JDUBZ (2014âongoing) series among others, which attest to the global appeal of this urban dance music that evolved out of booty house and ghetto tek. Iâve been steadily accumulating a hard drive directory full of these compilations over several years, and while juke and footwork tracks have been part of my DJ playlists for some time, it was only recently that I found myself really digging working with these forms. So, over the Christmas break I decided to sift through my archives, organising GBs of music towards making this turning-of-the-year mix. An annotated tracklist follows.
Tracklist 01. “Hello (Footmerc edit)” â The Isley Brothers
From Juke World Order Vol. 1 (2014) [bandcamp] released by Juke Underground to showcase juke and footwork as a worldwide phenomenon. I must have stumbled across this compilation online in the years I stopped mixing, between 2010â20, and it has sat shelved on a hard drive. Although they seems they were quite active, I couldnât find out much about Footmerc online, other than they are based in Austin. This video of a Teklife footwork battle at SXSW2013 is a curiousity. Their reworking of âHello Itâs Meâ (1974) by the Isley Brothers is nostalgic, yet likeable, and serves as a friendly entry point.
02. “Get Down Lil Booty” â EQ Why feat. Traxman
I think I first came across Traxman [bandcamp] via a Dance Mania compilation. Active since the 1990s, Corky Strong AKA Cornelius Ferguson is a so-called legend of the Chicago scenes as part of the G.E.T.O DJZ INC and Teklife crews. His releases are prolific and varied across several labels, including Planet Mu [bandcamp]. I was led towards his Acid Lyf [bandcamp] releases while listening to some early techno in recent years for fugitive radio. I was for some time thrilled by this mix he made for Resident Advisor, impressed by his seemingly irreverent but precise technique.
With arguably the best name in the game EQ Why [bandcamp] AKA Tyrone Smith is another prolific stalwart of the Chicago scenes. I first came across him via Chitokyo Mixtape (2013) released on Orange Milk Records [bandcamp], which is an eccentric and high-speed montage of 60 tracks over 60 minutes. There is more to be said about Japanese footwork scenes, whom EQ Why and Traxman seem to connect with. None of it made it to this mixâperhaps another time! This track from EQ Whyâs Juke Pack Vol. 2 (2021) [bandcamp] does a good job moving the mix rapidly from familiar pop/soul sounds into bass-heavy, repetitive dance floor workouts.
03. “Shawty You Lit 2” â DJ Taye
There was some hype about this Teklife prodigy coinciding with the release of their debut album, Still Trippinâ (2018) on Hyperdub [bandcamp]. This track comes from Tayeâs more recent self-released âmixtapeâ, PYROT3K (2020). It was the sampling that got me hooked â tight and repetitive and that shifts emphasis for rhythmic effect.
04. “Haters Knock Em Out” â DJ Pierre
DJ Pierre is probably best known for his work with Phuture (alongside Spanky and Herb J) who brought Acid House into the world in the late 1980s. This track came to me circa 2008 via a Subterranean Playhouse Sampler I picked up on an e-music service and is probably one of the first juke tracks I heard, although it does not sound so much like the kinds of music I associate with the genre. I was very happy to find it while rummaging through my hard drives. Relatively slow, hypnotic and repetitive I can imagine it piquing the interest of dubstep and grime enthusiasts.
05. “Azzoutof Control” â RP Boo
Kavain Wayne Space, often referred to as the âGodfatherâ of footwork, is credited with making one of Jukeâs foundational tracks, âBaby Come Onâ released on Dance Mania in 1997. Tracks such as this, with its repetitive rhythmic refrain and phasing, remind me of the early tape works of Steve Reich. Made for dancers, Booâs productions are undoubtably funkier, but they suggest a kind of fascination with sonic phenomena (eg psychoacoustics) that seems to operate beyond the tropes of dance music genres. The much-loved âBuuuuuâ eventually released his debut album, Legendary (2013), on Planet Mu [bandcamp] and label founder Mike Paradinas (who records as ÎŒ-Ziq) has been instrumental in promoting Boo and his legacy around the world. There are several insightful interviews with Boo online and I can recommend this conversation for Red Bull Music Academy 2016, where he discusses, among other things, the late DJ Rashad paving the way for his first gigs abroad. Via this video I came to the delightfully candid documentary of the House-O-Matics 29th reunion, 2014, embedded below. Made by Watch N Witness for television(!) it bears witness to the emergence of footwork out of juke and ghetto house, with cameos from notable dancers, DJs and producers such as the late DJ Deeon (1966â2023), who was affiliated with the Dance Mania label.
06. “Naked Rewerk” â DJ Innes feat. BE3K
Before making this mix, Iâd not yet heard the way footwork has infected vogue ball, although I was not surprised. I was, however, surprised to learn that Jake William Innes resides in Sydney, where I also grew up. This says something about the globalisation of footwork which seemed resolutely localised in Chicago from when it emerged in the late 1990s until it was taken abroad by DJs Spinn and Rashad circa 2010. Innesâ Shout Outs (2019) [bandcamp] brings together previously released tracks and collaborations with the likes of Divoli S’vereâa stalwart of New Yorkâs Ballroom scene and member of Qween Beat, founded by the legendary MikeQ, and with whom BE3K [bandcamp] is also affiliated. Innes is part of the TEKK DJz crew [bandcamp] alongside Traxman, and indeed the pair released a collaboration, The T & J Project (2015) [bandcamp].
07. “WFM” â Heavee feat. Gant-Man, DJ Paypal, DJ Phil, Sirr Tmo
Heavee [bandcamp] was another new discovery for me as I sifted through numerous Teklife compilations. Described on Hyperdubâs website as a queer producer, Heaveeâs tracks segued perfectly between the unrelenting “work” tracks, shifting the mix into different gears that reference RnB, jungle and vogue ball. This track is from Heaveeâs WFM (2018) album released on Teklife [bandcamp]. Later in the mix I was amused by how Heaveeâs âTake Controlâ sparred quite nicely with the histrionic minimalism of RP Booâs âTotal Controlâ and into Jana Rushâs howler, âDisturbedâ. To my mind, a reliable “connectorâ track is the mark of a great producer/DJ and Heaveeâs tracks featureâŠumâŠheavily in this mix. I hear some influence of video game music (VGM) in “Floor Burn”, confirmed in this interview for DJ Mag. There is also an appreciation for space, tension and drama that plays out on the EP from which it was lifted, Audio Assault (2022) released on Hyperdub.
08. “Diamonds (Ventah Remix)” â Iyer
Iyer first came to my attention for his Tamil Footwork (2014) [bandcamp] released on Ground Mass Music. At the time based in Singapore, Iyer has since relocated to San Francisco and his productions also speak of the globalisation of footwork as a music genre, if not the culture that emerged around competitive dance-battles. Searching for a different footwork flavour, I was snagged by this remix by Ventah from the Tamil Footwork Remix EP (2015) [bandcamp], with its nebulous synths and boomy and muted kicks. By chance, it aligned perfectly with Statikâs refix of Goldieâs Timeless (1995) classic belowâŠ
09. “Inner City Life (Statik Footwork Refix)” â Goldie feat. Diane Charlemagne
I suppose one could say that this 2021 re-working of Goldie and Diane Charlemagneâs drum n bass crossover anthem by a Manchester-based DJ and producerâand made available as a free download from SoundCloudâtugs at the heart strings, as did the original. Which makes me think it adds a flourish of old-fashioned nostalgia to the mix! I thought of it as the mixâs “emotional core”, although it occurs about 17 minutes into an hour-long sequence. Iâd say it brings another shade or mood to the mix following a series of pumelling “work” tracks. Statikâs remix is also indicative of the way footwork was embraced by UK DJs schooled on jungle, such as Paradinas mentioned above and Hyperdub founder Steve Goodman AKA Kode9. Under the moniker Addison Groove, Brighton-based producer Tony Williams, known for his dubstep productions as Headhunter, began bringing the genres (and speeds together)âand struck up a friendship with Rashad around 2008. DJ Rashad also concurs in a 2013 interview for The Quietus, noting the genresâ similar tempos, as does another notable and prolific British producer Mark Pritchard in this interview for Fact magazine from the same year.
10. “Our Love” â Surly
From a compilation JBDUBZ Vol. 4 (2016), released by the Juke Bounce Werk collective [bandcamp] which seems to have gone offline. Another label that emphasises the globalisation of juke and footwork, foregrounding an international network of artists. What I know of Surly, gleaned from their bandcamp page, is that they are based in Auckland, which had a reputation for nurturing a thriving drum n bass scene in the 1990s. This spare, shuffling track, with its skittering snare/rim patterns offsetting (synthetic) orgasmic moans, brings another kind of fidgety swing and affect to the mix. I often think that DJing is not simply about matching beats, but about tension and release and this track serves to wind things down in terms of its beat science, but raises the erotic quotient significantly. Itâs certainly not a battle track, but then I find it a little over the top for love-making, which I suppose it what makes it effective as a “DJ tool”.
11. “Funky Groove (Bass Bag)” â Heavee
Another great track from my current favourite producer, that takes the energy of the mix up a notch with its forceful drums and brash bassline that serendipitously locks snuggly into Surlyâs twitchy groove. Thereâs also some special talent in making the “funky groove” sample not sound totally kitsch. Taken from TRACKPAK V.5 (2020) [bandcamp], Heavee describes the track as being inspired by UK producer Addison Grooveâs “Footcrab” and specifically this remix my DJs Spinn and Rashad.
12. “Barnacles (Kode9 Remix)” â Hyph11E
I was trying to avoid Kode9. The London-based DJ, producer,âlabel bossâ and sound theorist AKA Steve Goodman has certainly shaped the kinds of bass and urban dance musics I listen to. However, as an early champion of footwork, I was wary of his influence overshadowing this mix. Also, Iâm not sure if this remix would be considered footwork. To my mind, Kode9 takes Hyph11Eâs sound design (AKA Tess Sun, who worked in film/television sound production before focusing on music), which has the atmospherics of a sci-fi alien horror movie/game crossover, and sutures them to a âbanging” drum track (I think lifted from DJ Paypalâs â100%â) with dollops of ectoplasmic bass. It rattles alongs like a mousetrap rollercoaster and it even has a big dipper moment, when the snares and cymbals drop out and the kicks and bass take over, which makes me think its structural blueprint comes from playing first-person video games. To my ears, it sounds closer to breaks than anything else in this mix, which I find quite funny. I canât seem to take breaks very seriouslyâwhich need not be a criticism. Why shouldnât dance music be full of novelty and thrills? The textural quality of the sounds is also different to what has come before it. Letting it play all the way out, I also found it mixes quite nicely with the EQ Why track, that follows, their respective bass punctuations seem to goad each other along, adding some extra bounce in the bottom end.
13. “Whip, Shake, Werk, Bang” â EQ Why
Like most of EQ Whyâs oeuvre, this track from 2020 [bandcamp] is well produced, charismatic and works reliably in a mix. Its frequencies resonate for me in all the right places and structurally the song punches, kicks and twitches just as I like.
Growing up in Gary, Indiana, Jlin AKA Jerrilyn Patton developed her music on the fringes of Chicagoâs footwork scenes, and is often described as being âfootwork-adjacentâ. I find that in the experimental music scenes in which I circulate, Jlin has come to represent the more experimental, abstract or âfucked upâ aspects of footwork and is increasingly being recognised as a contemporary composerâa piece she developed with Chicagoâs Third Coast Percussion was nominated for a Pulitzer Prize in 2023. This track, taken from Dark Energy (2015), Planet Mu [bandcamp], is to my mind playful and winsome, evidence of a lightness-of-touch.
In my experience of mixing footwork Iâve found that much of it conforms to a 160BPM/80BPM tempo. While the drum programming of producers such as Jlin are often described as âcomplexâ, “abstract” or “asymmetricalâ, footwork tracks tend to retain a 4/4 time signature (vestigial house?). So while it might not always be so easy to hear the âoneâ that emphasises the beginning of a new bar in polyrhythmic productions, there a different points in such tracks where it can be cued in or looped to emphasise a specific rhythm. In some footwork tracks, a looped vocal sample supplies the rhythmic backbone, eg DJ Tayeâs “Shawty You Lit 2” prior. Samples in footwork are often short sound bites, that serve as a hook and are potentially instructional on the dance-battle ground: “work it”, “bang this joint” etc. When listening back to recordings of my mixes, I was struck by how these different voices seemed to speak to each other, coming in from different points in the stereo field and occupying different spaces of the frequency bandwidthâŠ
16. “Ridin Hi” â DJ Earl
So, itâs obvious that DJ Hankâs refrain of âyou make me feel so highâ would speak to Jlinâs âso highâ before encountering DJ Earlâs “you ridinâ hi”. From a compilation Dred Collective Vol. 2 (2014) [bandcamp], released by a London-based âmulti-genre digital labalâ.
17. “Propaganda” â A.Fruit
Iâve only just come across Anna Fruit while making this mix; a Russian producer who the internet indicates is now based in Barcelona. This track appears on Teklifeâs On Life Vol. 3 (2022) [bandcamp] and sounds to my ears like it would suit a vogue ball.
18. “Workitbaby” â SubCode
I found this on Juke Bounce Werkâs JDUBZ Vol. 4 (2016) and there are ten in this series so far. The track is from SubCodeâs self-released YoushouldbeDancin (2016) long-player. Not a lot of infoâ they seem to be glitchy productions comprising samples from rap and RnB. It segues out of the âhighâ segment of my mix, made up of what Iâm calling âfragmentedâ tracks. The looping and cutting could be developed further as a particular mixing style.
19. “Bang This Joint” â DJ Manny
A tight production by Manuel Gaines, one of the co-founders of Teklife, lifted from his Control (2023) EP released on Planet Mu [bandcamp]. I like how all the sound sources are tweaked and EQâd and sit in distinct zones of the frequency bandwidth. The repetitive sampling winds up the rhythmic tension, and this is another track that lends itself to be mixed according to the vocal line.
20. “Floor Burn” â Heavee
From Audio Assault (2022) released on Hyperdub, an EP that the producer says is designed to score specific scenes in a video game battle such as:âthe calm before the storm, the showdown, the battle, and the aftermathâ. To me this track builds up the drama of the mix and sounds like something I could imagine hearing at a vogue ball.
21. “Total Darkness” â RP Boo
From Planet Muâs Bangs & Works Vol. 1 (2010) [bandcamp], the looping vocal sample in this track makes me a little anxiousâit sounds an alarmâand after some repetitions it sounds to my ears like the singer is invoking: “Boo-ooh…RP Boo-ooh”! It has an epic build upâitâs almost two minutes into the track before the voice commanding listeners to âtake the floorâ kicks in. I canât imagine what this would do to a dance floor.
22. “Take Control” â Heavee
Some fun mixing/wordplay as RP Boo responds to Heaveeâs suggestion, âI think itâs time to make the floor burnâ with âtake the floorâ which is then cut with Heaveeâs âtake controlâ. I suppose this would be the battle sequence of the mix. This track is from Heaveeâs TRAKPAK V5 (2020) and is described as being influenced by dub and ragga.
23. “Disturbed” â Jana Rush
Arguably the emotional climax of this mix. I find Rushâs productions to be spare, almost skeletal. Nevertheless, the vocal sample is hilariously hysterical, bringing to mind diva driven house music. Itâs taken from her Painful Enlightenment (2021) LP released on Planet Mu [bandcamp].
From Juke Undergroundâs compilation Juke World Order Vol. 2 (2015) [bandcamp], I feel like Iâve been carrying this track around for a long time. Its production standards are not as slick as much of the music featured in this mix, nevertheless its humour, driving pulse and jarring noise that have kept it in my playlists. I also thought it cute to bookend this mix with two cuts from Juke Undergroundâs series; beginning with a track that extends a friendly “Hello” and ending with another that issues a curt âGoodbyeâ before hanging up!
