I showcased this cut on my last MyLoveForMusic podcast, MLFM - March 2013 Episode: Rollercoaster Ride >>http://tinyurl.com/cjlzzym - I love this cut. Great arrangement.

music

William S. Burroughs – IN DUB
Conducted by Dub Spencer & Trance Hill
Echo Beach (EB100) – 15 tracks CD/15  tracks digital  
RELEASE:  14.03.2014
Limited Edition of 999 copies (paginated in a 6 page digipak)

Ever since the Swiss musicians ushered in the return of the Spaghetti Western to the world of dub with their debut album “Nitro”, they have impressed the press and audiences alike with their passion for playing, their sure instinct for sounds, their equally humorous and respectful dubification of popular hits (including Metallica’s Enter Sandman) and their immense technical skill. Riddim heard “a new sound-sphere where typical fat, stoic dub beats contrast with hand-played instruments and experimental sounds”. Jazzthetik praised the “fantastically tight band, formidable interior dynamic and supremely competent mixdowns”. Jazzthing wrote that “their psychedelic dub sound, which is occasionally interspersed by western guitar riffs and true rock solos, sounds wonderfully acoustic and analogue.” And The Wire had to admit that “it sounds cheesy and it shouldn´t work, but it does.”

Since their debut album the band have released five more studio albums, including the Clash tribute album “The Clashification of Dub”, plus a live album and a remix compilation with selective dubs by Victor Rice from Sao Paulo/Brazil.
Their new album celebrates William S. Burroughs and pays tribute his centenary, marking a new pop-cultural highlight in their work. With the official support and assistance of the William S. Burroughs Foundation in the United States, the band has succeeded in creating a heavy ambience masterpiece in 15 chapters. 

They roll through dub landscapes full of heavy reggae grooves and extraterrestrial electro sounds, carried by pumping bass lines whose hypnotic power clears the pathway to the centre and gently caresses the stomach. Floating above the dragging, instrumental reggae cut-ups that gently drift into psychedelic territory, the artfully diluted grooves, breaks and virtuoso hints, and the majestic slowness of the riddims, rises the voice of WILLIAM S. BURROUGHS, beat poet, wanderer between worlds, junky supreme and counter-culture icon. His distinctive voice meets craggy soundscapes, harsh guitar chords and an acerbic Hammond organ which play off against each other in the mixing desk. Drenched in echo, the sounds in this dub treatment contravene the rules of space and time. They leave behind a wonderful feeling of confusion where listeners can relax and respectfully accompany the soul of their travelling companion William S. Burroughs on the path to eternity - a highly addictive sound experience. 

1.	Burroughs Called The Law
2.	Dead Souls
3.	The President (The Western Lands)
4.	Uranian Willy (Part 2)
5.	Virus B-23 (Cities Of The Red Night)
6.	103rd Street Boys
7.	I Was Fooling Around With These Tapes In Hotels
8.	Prisoner of The Earth (Uranian Willy Mix)
9.	Excerpts (The Cat Inside)
10.	Prisoner of The Earth
11.	Last Words Of Hassan Sabbah (Nothing Here Now But The Recordings)
12.	Uranian Willy
13.	The Saints Go Marching Through All The Popular Tunes (Nothing Here Now But The Recordings)
14.	I Was Fooling Around With These Tapes In Hotels (Part2)
15.	Summer Will (Nothing Here Now But The Recordings)



William S Burroughs - Burroughs Called The Law (conducted by Dub Spencer & Trance HILL)

Lily Of The Swamp

Wanna throw some bones at l'artiste?
Name yr price on bandcamp
http://chromesparks.bandcamp.com/album/my-3

All There Is (Feat. Steffaloo)

Hayvanlar Alemi
Visions of a Psychedelic Ankara
Release date: June 12th 2015

“They ooze the alternative history of rock'n'roll from every pore" – The Wire.

Formed by three school friends in the Turkish capital of Ankara in 1999, Hayvanlar Alemi have established themselves at the vanguard of global psychedelic sound. Their acclaimed 2010 album Guarana Superpower was released on the buzz-label Sublime Frequencies and showcased the band’s unrepentant eclecticism and wide-eyed cosmic spirit. Interfacing with the golden age of Turkish psychedelic rock, surf music, Cambodian pop, West African guitar motifs, Middle Eastern traditional music and the knife edge of indie rock, it was clear from the beginning that Hayvanlar Alemi was an instrumental rock band for the unfolding millennium.

But in 2010 they also recorded and released (internet only) a dramatically different sort of album. The band had flirted with dub-reggae stylings since their inception and with Visions of a Psychedelic Ankara they at last realized their dream of making a full-blown dub album, though clearly a dub album that also embraced their own agenda. The album includes both covers of the Eek-a-Mouse classic "Assassinator" and a legendary Turkish radio jingle, and blends together re-workings of older Hayvanlar Alemi songs with freshly minted, dubwise improvisations.

Drummer Işık Sarıhan explains the album’s inception this way: 
“We were listening to a lot of dub and reggae during the days leading up to this album.  We even ended up playing in a reggae festival at some point; we were invited for some reason, maybe because we had some reggae rhythms on a bunch of songs on the previous demos.  Anyway, we had this fantasy of creating a dub record, but in our own psych-rock fashion which led to Visions of a Psychedelic Ankara.  The title is a reference to the African Head Charge album Vision of a Psychedelic Africa.”  

Visions of a Psychedelic Ankara is the flashpoint where dub music and global psych-rock melt together. It is a feast for all well-appointed sonic explorers.

Glitterbeat Records is releasing this album for the first time on vinyl (180gm/gatefold sleeve) in a limited edition of 500. 

Side A is the complete Visions of a Psychedelic Ankara (2010) and Side B is a collection of related, unreleased songs and experiments entitled: Selected Visions (2009-2011)


Hayvanlar Alemi - Adrasan Dub

Still Sleeping (Feat. Steffaloo)

Atavistic office breakdown: see The Salarymen go wild in third episode of Filastine’s Abandon video series- https://youtu.be/5Al3sjPa_9M

It is morning in the office of an anonymous startup at the dawn of the digital age, circa 1996. Beige walls entomb data serfs pecking at workstations, unaware that the world is about to flip upside down. Welcome to the latest episode of Abandon, a video series on liberation from work by the artists Filastine. 

Filastine are an Indonesian and American duo based in Barcelona, who combine bass-heavy electronic music with, image, movement and ideas to trespass borders. They have earned a dedicated international following for their otherworldly music and intense live performances. 

Their current project, Abandon, fuses video art, documentary, and music to explore how we sell our time on earth, and the ways we imagine getting free. Each of the four episodes profiles a unique personal revolt against low-valued work: an Indonesian miner, a Portuguese maid, American office workers, and Spain’s scrap metal salvagers. 

‘Salarymen’ brings Abandon into the office, at the very moment in history when computers first began to dominate our lives. But the dreams of a frictionless technocracy quickly hit a glitch: “the CRT screens are taken over by hypnotizing video feedbacks, triggering seizures in the workers,” explains Grey Filastine.  “The data serfs reject the machines, seek out anything natural, from the potted plants to the animals within themselves.”

To embody the salarymen, Filastine tapped the Seattle butoh dance trio P.A.N. “We have a long history of collaboration, some of our first tracks were made for P.A.N. performances,” Filastine notes. “This story was made for them: atavistic, raw.” Setting the scene for this office catharsis, Filastine sourced obsolete computers and period motivational posters to build a space of perfect spiritual emptiness.

‘Salarymen’s music also features vintage electronics, the squelching leads and lo-fi textures of classic synthesizers. “We used the same musical instruments that Kraftwerk played in their teutonic love songs to the robot, but bent the circuits for an opposite effect; the synths are harmonized with mechanical hums, and driven by percussive mouse clicks and qwerty keystrokes.”

Salarymen will be available in spring of 2017 on Filastine's coming album, Drapetomania.

Abandon

Salarymen

https://postworldindustries.bandcamp.com/album/drapetomania

Drapetomania

Download

Blockchainz

DOWNLOAD

Shanty Tones

free digital download and limited edition white 12" vinyl available here:
chromesparks.bandcamp.com/album/sparks-ep

Download on iTunes: http://smarturl.it/chrome_sparks 
Limited edition white 12" vinyl available here: shop.futureclassic.com.au


Marijuana

Track from ez3kiel's album "Handle with care", featuring Yann Tiersen.

Handle With Care (featuring Yann Tiersen)

Vinyl 12" & Digital : https://bit.ly/2WDhZCN
All music platforms : http://smarturl.it/bnc003
All releases w/ BNC & merchandise : https://bit.ly/2PARJoZ
Beats & Culture : https://www.youtube.com/user/BeatsnCulture
Releases July 16, 2019 

''Nafas'' Produced & Mixed by The Spy From Cairo, self released (2008) 

''Enter The Brahmin'' Produced & mixed by Thunderball/Fort Knox, (2016) 

"Common Path" 
written by Nikolas Yiakoumis, dub version mixed by SomehowArt 

Compiled by Beats & Culture 
https://www.youtube.com/user/beatsnculture 

Mastered by Blanka at Kasablanka Studio 
https://www.facebook.com/KasablankaMastering 

Label Design by Manolis Chalkiadakis 
backbonegraphics.com 

Cover Design and BNC Logo by Jola818 
untitled-1.org 

Youtube cover design by Sevasti Alexiadi

Executive Producers : Basilis Foteinos, Andreas Pallidis 

Melting Records © 2019 
https://www.facebook.com/meltingrecs 
https://soundcloud.com/melting-records 

Contact us: info[at]meltingrecords.com

BNC003

Common Path

Order vinyl & Stream

Invisible Sounds - Common Path (with SomehowArt's Dub Version)

Out on Oct 18 (vinyl/digital): https://oddokoddo.bandcamp.com/album/auma

ODD OKODDO is a Kenyan/German duo consisting of Olith Ratego and Sven Kacirek (@sven-kacirek)

The two artists met in Kenya, about a decade ago, when Sven Kacirek was recording his "Kenya Sessions", an album that put Kacirek on the map of outernational producers. It was reviewed as a "World Music 2.0" (de:bug magazine), whose "fascination endures" (The Wire). Olith Ratego also made an appearance on the "Kenya Sessions”, on the track "Too Good To Be True".

The duo formed the project ODD OKODDO in 2018, with the two musicians joining their various talents which dovetail in perfection. Ratego writes the lyrics and vocal melodies while Kacirek composes, records and produces the arrangements of all nine songs on AUMA. They create a colourful, dynamic sound which is defined by both Ratego’s enormous vocal compass and range of timbres as well as Kacirek’s outstanding skills as a sensitive percussionist.

Olith Ratego sings in a musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He refers to his music as "dodo blues". His lyrics touch upon the topics of politics, family and of course: love. As a skilled luthier, Ratego builds his instruments himself, like the five-stringed Okodo which lends its name to the project.

Sven Kacirek is a multi-instrumentalist who has been commuting between Germany and Kenya for many years now. In the past he has closely collaborated with various international musicians, among them Nils Frahm and Shabaka Hutchings. Kacirek’s sound builds upon a powerful bass marimba which is present throughout the album. It sometimes invokes the sound of a tuned 808 kick-drum. He works with an arsenal of Kenyan percussion instruments as well as household objects and found materials. Kacirek has now settled into a signature sound which has been described as "thrilling and dizzyingly inventive" by the Australian Cyclic Defrost magazine.

Auma

Ngoma Ni Mzito

Buy LP/digital

ODD OKODDO - Ngoma Ni Mzito [Pingipung 068]

Gemini-Robots (Chrome Sparks Remix)

"Itchy" is taken from the forthcoming Siriusmo album "Enthusiast" (MONKEYTOWN033) Out June 14

Siriusmo "Itchy" taken from the forthcoming album "Enthusiast" (MONKEYTOWN033) Out June 14

Kutiman -  Losing It (Featuring Karolina)

ヒミツ

Note: Filastine is still creating music, art and ideas, but has escaped from the commercial music industry. This account is now an archive. Bio below-
Grey Filastine is a multimedia artist dedicated to undermining borders. His music collides electronic beat production with dense layers of voice, concréte sounds, and strings. Pitchfork says it “sounds less like `world’ music and more like music from another world.” Another world is exactly what he aims to create, using sound, video, and dance to express a radically different vision of the possible. 
Filastine’s higher education is limited to driving a taxi in the United States, where he also founded the Infernal Noise Brigade marching band to live score the 1999 revolt against the WTO in Seattle. In 2006 DJ/Rupture released Filastine’s premiere album, Burn It!, which relocated him to Barcelona and launched a decade of releases and tours. His latest AV effort, Abandon, is a video series profiling dances of emancipation, filmed in locations from coal mines in Borneo to office cubicles in America.
Filastine is foremost a performing artist, where sound, image, and ideas are embodied. He is constantly on tour, appearing at festivals like Sonar (ES), Sydney Festival (AU), Downtown Cairo Arts (EG), Decibel (US), Foreign Affairs (DE) and Mutek Tokyo (JP). But Filastine’s work sometimes doesn’t fit any stage or category, his off-piste interventions include an official mixtape for The Act of Killing documentary, a Sound Swarm at the Paris Climate Summit, or a concert in the Calais Jungle migrant camp.
“the prototype of globalized urban sound” -Prefix Mag
“the soundtrack to a rising heat humidity index” -Spin
“Deftly collaged cuts melding throbbing bass synths and ricocheting 808s with concréte sounds and live instruments” -The Wire
“a hybrid electronic sound that could be described as worldbeat for the dubstep generation – and the result is a lot better than it sounds” -MTV Iggy
“Filled with both jagged edges and moments of sad sweetness...sure to win fans across multiple scenes”-XLR8R
“visceral, disorienting exotica” -The Stranger
“live stage show couples virtuoso live drumming and electronic grooves with a visual spectacle that holds crowds spellbound” -San Francisco Bay Guardian
“Makes Skrillex sound as conventional as Taylor Swift” -Evansville Courier
“An uncompromising, unfettered alternative soundtrack to Life On Earth” -Discontent

Shanty Tones

Filastine

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