
Outernational bass music nomad Filastine ups the ante with £00T. Fractured post-dubstep beat innovations support delicate string arrangements. Overdriven bass synths battle pentatonic gong patterns. Listen closely and listen loud.
Looting from the coffers of hip-hop, moombahton, dubstep and cumbia, Filastine keeps the bass pressure pumping and drums up front. But any similarity to club music genres ends quickly. While a growing tropical bass movement hypes a pan-global dance party, Filastine blazes a different path. Intricate polyrhythms, muted balkan trumpets, ephem- eral soundscapes, and unique vocal contributions push this album off the known map into uncharted musical territory.
Introduction No Step will test your speakers for the album that follows. Gendjer2 and Colony Collapse are the fruit of a tight collaboration with Indonesian indy rapper Nova. She contributes lush 60’s R&B harmonies and megaphone-filtered rhymes. Filastine’s time in Asia also brings a featuring from Japan’s chief rap dadaist ECD. In Lost Report hear him shouting against nuclear contamination over a dirty bass hook and the stuttered clicks of a geiger counter. These onsite collaborations were recorded everywhere from ware- houses to rainforests, then painstakingly mixed over the course of 2011 in a rooftop studio in the muslim quarter of Barcelona, with breaks to participate in the Spanish uprisings of last year.
Throughout the album Filastine leverages rhythmic expertise that he’s gathered far and wide, from the tiny Moroccan village of Jajouka to the coke-fueled parades of Rio de Janeiro. Echoes of Filastine’s old marching band, the Infernal Noise Brigade, propel the drum corp juke of Circulate False Notes and the glitch-crunk of Skirmish. Even Filastine’s years as a taxi driver are audible in the field recordings of radio static, street noises and polyglot collages.
£00T comes with a grip of videos and graphics that riff on concepts from the Arab spring to ecological and financial collapse. With a CD design doubling as utopian money, the album launches alongside a currency for a near-future network of clandestine floating cities.

DOWNLOAD album

Filastine - £00T

Filastine is a soundclash of outer-national urban beats, dub echoes, lofi orchestras, shouts from the periphery of hiphop, distorted batucadas, lush voices, and bass overdrive from dubstep to dembow. It is a music built of human sweat, ambiences of architecture and geography, the multitude, the city. 
Informed by long percussion studies in places like Calcutta, Jajouka, and Rio de Janeiro, and abetted by deep collaborations, Filastine is a project purpose-built to crash frontiers, to blur the line between electronic and acoustic music, mix signal with noise, and burrow deep underground to undermine political borders.

Buy/Download

Selected Tracks

mars 2014

dope

set1

filastine

Because I love Filastine <3

ecdsoundcloud

It's finally here, grab the release on Bandcamp now! 

http://syntheticepiphany.bandcamp.com/album/icarus

Check out CoMa's other work - https://soundcloud.com/dirtyoysterpearl

Synthetic Epiphany - Icarus Feat. CoMa

From 'Underneath the Rainbow' out 3/18/14 via VICE Records

Black Lips-Boys In The Wood

postworldindustries.bandcamp.com/album/aphasia
Outernational electronic music producer and multimedia artist Filastine continues to trample borders and take risks with his new EP Aphasia. Delicately crafted acoustic details cascade into walls of sound. Lush vocals float above speaker-rattling bass pressure.
￼Requiem 432 opens the album with layers of harmonic vocals that pitch and slur into percussive crescendos. Requiem is also a short film, Filastine threw a funeral party for the age of materialism in Cairo’s squatted necropolis, the City of the Dead.
Sixty Cycle Drum’s pumping lo-fi organs quickly transform into the album’s most danceable track, flirting with the hyper cadences of footwork.
Listeners will swoon for Murka’s gorgeous pentatonic vocal melody and string arrangement.
The 808-propelled trap rhythm of Drone Silences may be this album’s nearest reference to any recognizable genre, albeit with a spacious dub sensibility that places it far, far, away from brostep’s yankee heartland. The title of this last track is a nod to the cover art, a Reaper drone painted in Pakistani truck-art motifs by Mahwish Chishty.
Aphasia can be ordered now as limited edition cassette tape. On the flipside is LAWANLUPA, Filastine & Nova’s mixtape inspired by the recent documentary film The Act of Killing. Downloads and the 10” vinyl are available from June 23rd. All can be had directly from the artist’s Bandcamp page. postworldindustries.bandcamp.com/album/aphasia

Murka

Huacal (by Tremor) Filastine Remix

Silent Souls

Ghosts Of Paraguay Feat. Aidan Dullaghan - The River

Ils sont colombien, palestinien, malawien, cubain, angolais, égyptien, argentin, dominicain, australien, espagnol, pakistanais et sénégalais.
Ils vivent tous sur une planète trop grasse, il est temps de la mettre au régime.

Filastine - Singularities

The River Feat Aiden Dullaghan

デモに行けないとモヤモヤするんだ
だからこうしてラップするんだ
家のものみんな寝てる時間だ
いまやほぼ毎週
土日になればきまってどこかで
反原発 叫ぶデモ隊が
渋谷原宿なんかもー何周
したかわからないニセンジュー
イチー今年ー 沿道から
応援のコブシ 何回か
罵声浴びることまあそれ以下
冷たい目あたたかい目
どっちにも プラカード
母親と ベビーカーと
きっとその目に焼き付いた跡
アスファルト残した足跡
そいつらがきっと
そいつらがきっと
そいつらがきっと
そいつらがきっと
そいつらがきっと
そいつらがきっと
そいつらがきっと
止める原発
こだまビルの谷間真昼の
繁華街の買い物客の
耳に届け 原発いら
ないの声 聴こえるはず
ますます大きく強くなる
ドラムリズムアクセントホイッスル
けたたましい魂の姿
ひとりひとり 違うやりかた
男女 子供大人
失業者 ハードワーカー
暇持て余してるわけじゃない
今やらなかったらあとがない
こいつらがきっと
こいつらがきっと
こいつらがきっと
こいつらがきっと
こいつらがきっと
こいつらがきっと
こいつらがきっと
止める原発
こいつらがきっと
こいつらがきっと
こいつらがきっと
こいつらがきっと
こいつらがきっと
こいつらがきっと
こいつらがきっと
止める原発


ベビーカーとプラカード　ECD

Part of the free "Through Senses" EP

Hit the "buy now" link to go to the free download -or- visit: http://bit.ly/throughsenses

Arctica - Redshift

DOWNLOAD

Colony Collapse

Shanty Tones

Lost Records (with ECD)

Outernational bass music nomad Filastine ups the ante with £00T. Fractured post-dubstep beat innovations support delicate string arrangements. Overdriven bass synths battle pentatonic gong patterns. Listen closely and listen loud.
Looting from the coffers of hip-hop, moombahton, dubstep and cumbia, Filastine keeps the bass pressure pumping and drums up front. But any similarity to club music genres ends quickly. While a growing tropical bass movement hypes a pan-global dance party, Filastine blazes a different path. Intricate polyrhythms, muted balkan trumpets, ephem- eral soundscapes, and unique vocal contributions push this album off the known map into uncharted musical territory.
Introduction No Step will test your speakers for the album that follows. Gendjer2 and Colony Collapse are the fruit of a tight collaboration with Indonesian indy rapper Nova. She contributes lush 60’s R&B harmonies and megaphone-filtered rhymes. Filastine’s time in Asia also brings a featuring from Japan’s chief rap dadaist ECD. In Lost Report hear him shouting against nuclear contamination over a dirty bass hook and the stuttered clicks of a geiger counter. These onsite collaborations were recorded everywhere from ware- houses to rainforests, then painstakingly mixed over the course of 2011 in a rooftop studio in the muslim quarter of Barcelona, with breaks to participate in the Spanish uprisings of last year.
Throughout the album Filastine leverages rhythmic expertise that he’s gathered far and wide, from the tiny Moroccan village of Jajouka to the coke-fueled parades of Rio de Janeiro. Echoes of Filastine’s old marching band, the Infernal Noise Brigade, propel the drum corp juke of Circulate False Notes and the glitch-crunk of Skirmish. Even Filastine’s years as a taxi driver are audible in the field recordings of radio static, street noises and polyglot collages.
£00T comes with a grip of videos and graphics that riff on concepts from the Arab spring to ecological and financial collapse. With a CD design doubling as utopian money, the album launches alongside a currency for a near-future network of clandestine floating cities.

May I Interrupt

Skirmish

Outernational bass music nomad Filastine ups the ante with £00T. Fractured post-dubstep beat innovations support delicate string arrangements. Overdriven bass synths battle pentatonic gong patterns. Listen closely and listen loud.
Looting from the coffers of hip-hop, moombahton, dubstep and cumbia, Filastine keeps the bass pressure pumping and drums up front. But any similarity to club music genres ends quickly. While a growing tropical bass movement hypes a pan-global dance party, Filastine blazes a different path. Intricate polyrhythms, muted balkan trumpets, ephem- eral soundscapes, and unique vocal contributions push this album off the known map into uncharted musical territory.
Introduction No Step will test your speakers for the album that follows. Gendjer2 and Colony Collapse are the fruit of a tight collaboration with Indonesian indy rapper Nova. She contributes lush 60’s R&B harmonies and megaphone-filtered rhymes. Filastine’s time in Asia also brings a featuring from Japan’s chief rap dadaist ECD. In Lost Report hear him shouting against nuclear contamination over a dirty bass hook and the stuttered clicks of a geiger counter. These onsite collaborations were recorded everywhere from ware- houses to rainforests, then painstakingly mixed over the course of 2011 in a rooftop studio in the muslim quarter of Barcelona, with breaks to participate in the Spanish uprisings of last year.
Throughout the album Filastine leverages rhythmic expertise that he’s gathered far and wide, from the tiny Moroccan village of Jajouka to the coke-fueled parades of Rio de Janeiro. Echoes of Filastine’s old marching band, the Infernal Noise Brigade, propel the drum corp juke of Circulate False Notes and the glitch-crunk of Skirmish. Even Filastine’s years as a taxi driver are audible in the field recordings of radio static, street noises and polyglot collages.
£00T comes with a grip of videos and graphics that riff on concepts from the Arab spring to ecological and financial collapse. With a CD design doubling as utopian money, the album launches alongside a currency for a near-future network of clandestine floating cities.

Gendjer2 (with Nova)

Circulate False Notes

09 Spectralization

Juniper (remix of Y La Bamba)

Hypnotico

Informal Sector Parade

Sidi Bouzid

Opening track of 2009's album Dirty Bomb (press sheet below)

Filastine's 2006 debut album Burn It made inroads among music fans from the hiphop, world, electronic, and experimental scenes. The album peaked at #15 in France's national independent radio charts, and it received airplay from Mary Anne Hobbes & John Peel. The CD was snatched up and re-released by French label Jarring Effects, Japanese label Romz, and US anarcho-collective Crimethinc. 
With his sophmore album, Dirty Bomb, Filastine's gritty transnational soundclash of urban rhythm returns. Freely splicing dubstep with balkan brass or hiphop with bollywood, Dirty Bomb parties in the mud puddle of our increasingly polluted world. Kick drums beat out rapid patterns for dances yet to be invented. Rich acoustic strings merge with programmed synths. Listen to "Fitnah" for proof that a song doesn't need to be in English nor in 4/4 to be a mesmerizing pop wonder. Each vocal here resulted from an on-site collaboration. Aboriginal Australian Wire MC and Japan's ECD (indy hiphop icons of their respective countries) rap over the contorted crunk of "Hungry Ghosts". Closing the album is teen gypsy La Perla, recorded in a squatted cave in 
Granada.

Singularities

from the album
Dirty Bomb (2009)

released by France by Jarring Effects, in Japan by ROMZ, everywhere else by Post World Industries

Fitnah feat. Jessika Kenney

Filastine’s Burn It is one of those rare debut albums that reveal an artist operating at the height of their powers. A Hip-Hop backbone supports live polyriddims, collaborating musicians, lush electronica, field-recordings, and an array of guest MCs and singers. The result is genuinely fresh, streetwise, and solid. From start-to-finish. 
Burn It redefines the term “laptop artist” as someone who uses portability to record and produce anywhere. While Burn It will satisfy beat-heads, the album also exhibits a deeper musicality. Check the upright bass, horns, and sultry French vocals of “Palmares” (track 3) or the trio of singers on “Ja Helo” (track 14). “Quémalo Ya” (track 2) was composed on a Brazilian rooftop with vocals tracked in Havana, while Filastine assembled his studio in the medina square of Marrakesh to get the snake-charmer flutes of “Judas Goat” (track 5). If you were to circle the Earth a few times, listening closely to the beats and noises of the streets, it might sound something like this album. Street artist Swoon contributed her signature cutouts to create the cover art. 
Most folks who’ve spent years studying percussion are afraid to bend live beats into computers, but Filastine uses his drummer’s skill -- along with laptop & microphone – to redraw the musical map. He has studied under tabla superstar Zakir Hussein, played with coke-fueled samba bands in Rio de Janeiro, and soaked up knowledge in North Africa. Filastine’s live performance is a clash of laptop, loudspeaker, midi triggers, live percussion, and often a vocalist. This spring he’ll tour Europe alongside DJ /rupture. 
Sound is action in Filastine’s world. He founded the 20-piece anarchist marching band Infernal Noise Brigade, conducts guerilla activist interventions with custom-built soundsystems, and has been gassed, assaulted, or arrested by police of many uniforms.

Judas Goat

憧れのニューエラ(Road To Final Demo-Mix アカペラ

(ECD)
触れさせやしねえあの娘に指一本
涙でその頬濡れさせやしない
触れさせやしねえあの娘に指一本
涙でその頬濡れさせやしない

足すくむ震え止められない わめ
き声「殺せ叩き出せ」って聞いて
泣き出すの無理ねーだって自分が今
大好きなアーティストがスターがアイドルが
何人かどーかでそんないわれかた
どんだけ悲しい悔しい恐ろしい
そいつがレイシズム そしてヘイトスピーチ
こんな世界があっていいわけがねー
いいわけがねー
いいわけがねー
触れさせやしねえ触れさせやしねえ
あの娘にあの娘にたとえ指一本
触れさせやしねえ触れさせやしねえ
あの娘にあの娘にたとえ指一本
(ILLREME)
元気そうだな、動画サイトでみたよ
顔隠しててもわかるよ　君が集団のなか紛れて
「殺せ殺せ」と叫んでる顔をみてたらさ
何だか洗脳されてるみたいでびっくりしたんだ
あどけなかったあの顔をもう見れないと思うと
叫んでるその言葉が君を追い込んでるようにみえた

君の友達を世界が「殺せ」と叫ぶ未来が
君の家族を世界が「殺せ」と迫る未来が
なにより君自身が世界に絶望する可能性が
君の好きな国が傲慢になって潰される可能性が
始まったんだ　その火種をつけてるのは
まぎれもない、そうだ集団の中にいた君なんだ

思い出せよ　読んだろ「光る風」を
あの時君はどこに心動かしてたんだよ
(ECD)
マジで許さねー歌詞で表明
泣かせたりする奴超だせー
(ILLREME)
それにさ
このさき君は集団のなかで更にエスカレートするだろう
仲間内で承認欲求を満たそうとするチキンレースを
反応があれば、さらに火に油を注ぐだろうし
反応がなけりゃ絶望して更に油を注ぐだろうから
(ECD)
それナチとおんなじ世界の恥
野次られまくってイチからやり直せ
(ILLREME)
道理の車輪外れた言葉が通りを歩いてくことがさ
動機が何であったとしても、同意出来ない行為なんだ
(ECD)
触れさせやしねえ触れさせやしねえ
あの娘にあの娘にたとえ指一本
触れさせやしねえ触れさせやしねえ
あの娘にあの娘にたとえ指一本
(ECDILLREME)
触れさせやしねえあの娘に指一本
涙でその頬濡れさせやしない
触れさせやしねえあの娘に指一本
涙でその頬濡れさせやしない
触れさせやしねえあの娘に指一本
涙でその頬濡れさせやしない
触れさせやしねえあの娘に指一本
涙でその頬濡れさせやしない
触れさせやしねえ触れさせやしねえ
あの娘にあの娘にたとえ指一本
触れさせやしねえ触れさせやしねえ
あの娘にあの娘にたとえ指一本



The Bridge 反レイシズムRemix   ECDILLREME

Artist : Cape Town Effects
Album : Cape Town Effects
Label : Jarring Effects
Release on : August 26 2013
Buy : http://www.cd1d.com/fr/album/cape-town-effects

------------------------------------------------
Depuis presque 10 ans, le label lyonnais Jarring Effects entretient des relations privilégiées avec la scène indépendante hip-hop et électronique sud-africaine. Après une collaboration en 2003 avec le label African Dope (qui n’a depuis d’ailleurs jamais cessé), la rencontre quelques années plus tard de Ben Sharpa et du label underground du Cap Pioneer Unit mené par Damian Stephens donne lieu à une série de sorties discographiques et de tournées, en France et en Europe. Autant de collaborations durant lesquelles les liens entre le collectif lyonnais et les artistes sud-africains se tisseront solidement, autour d’un esprit commun d’indépendance et de défrichage sonore.

Suite logique de ces collaborations, l’idée de produire un album composé en commun par des musiciens français et sud africains prend corps à l’occasion du mixage de l’album 4DLS au studio Jarring Effects, au printemps 2012. Rendez-vous est alors pris en janvier 2013 au Cap, pour un mois de rencontres et de sessions d’enregistrement dans les studios de Pioneer Unit. L’objectif : saisir un instantané musical de la scène underground sud-africaine, pour aboutir à la sortie d’un album et à une double tournée française dans les salles et les plus gros festivals de l’hexagone.

Un goût commun pour la musique hip-hop et électro innovante, politiquement et culturellement consciente réunit les membres du groupe. Symbole de ce cross over musical, national et idéologique, les MC’s s’expriment en trois langues différentes : l’Afrikaan, langue des anciens colons, le Xhosa, dialecte du pays, et l’anglais, toutes trois utilisées en Afrique du Sud.

Cape Town Effects - Cape Town Effects - Hands Up

To bring £00T closer to the dancefloor we invited a gang of creative producers from across the world to tear up the album. LOOTED is a deep journey into an uncharted sound between trap, dubstep, bollywood, juke, dancehall, and a dozen forms of more traditional music. We at Post World Industries don’t love borders - not between lands, not between people and definitely not between musics. It’s clear that all the remixers share our philosophy, delivering up a broad selection of bass music; the only unifying themes might be adventurousness, hyper drums, and tremendous amounts of low-end pressure.
Download It!  http://postworldindustries.bandcamp.com/album/looted
Or get the silver vinyl 12"- http://goo.gl/Prjux

1. Circulate False Notes (The Clerk remix) 3:06  165bpm
http://postworldindustries.bandcamp.com/track/circulate-false-notes-the-clerk-remix
2. Gendjer2 (Copyflex remix) 3:13  106bpm
http://postworldindustries.bandcamp.com/track/gendjer2-copyflex-remix
3. Circulate False Notes (Nucleya remix) 3:21  95bpm
http://postworldindustries.bandcamp.com/track/circulate-false-notes-nucleya-remix
4. Skirmish (Niveau Zero remix) 4:09  140bpm
http://postworldindustries.bandcamp.com/track/skirmish-niveau-zero-remix
5. No Step (Unkwon remix) 4:26  130bpm
http://postworldindustries.bandcamp.com/track/no-step-unkwon-remix
6. Circulate False Notes (Suckafish P Jones remix) 4:16  160bpm
http://postworldindustries.bandcamp.com/track/circulate-false-notes-suckafish-p-jones-remix
7. Colony Collapse (Aucan remix) 3:04  152bpm
http://postworldindustries.bandcamp.com/track/colony-collapse-aucan-remix
8. Informal Sector Parade (Thornato remix) 3:49  155bpm
http://postworldindustries.bandcamp.com/track/informal-sector-parade-thornato-remix
9. Hypnotico (Filastine live mix) 4:20  110bpm
http://postworldindustries.bandcamp.com/track/hypnotico-live-mix
10. Sidi Bouzid (Alter Echo & E3 remix) 3:52  140bpm
http://postworldindustries.bandcamp.com/track/sidi-bouzid-alter-echo-e3-remix
11. Gendjer2 (DJ Delay remix) 4:35 100bpm
http://postworldindustries.bandcamp.com/track/gendjer2-dj-delay-remix

sorti en France, Belgique, Suisse 24/06 par Jarring Effects. In France get this from Jarring Effect (l'austre distribution) 24 June

LOOTED: Circulate False Notes & Other £00T Remixed (PREVIEW MASHUP)

Filastine "Looted" - Bass Music


Artist : Filastine
Album : Looted
Label : Jarring Effects
Release on : June 24 2013
Buy : http://cd1d.com/fr/album/looted

------------------------------------------------

Il y a à peine un an, Filastine sortait £oot, son troisième opus, et rencontrait un beau succès critique.

Primé pour ses clips vidéo, surprenant par la création d’une monnaie de contrebande, £oot avait été défendu sur une tournée d’une centaine de dates à travers l’Europe, l’Asie, l’Amérique du Nord et le Moyen- Orient.

Mais le voyage et les surprises ne sont pas terminées. Voulant désormais se placer sur les dancefloors, un gang de producteurs choisis pour leur créativité a été invité à revisiter l’album. £ooted – c’est le nom du projet - est un voyage au cœur de musiques jusqu’ici non explorées : trap, dubstep, bollywood, juke, dancehall et une douzaine de musique plus traditionnelles.

Filastine n’aime ni les barrières ni les frontières, qu’elles soient géographiques, humaines, ou musicales.
Un sentiment partagé par l’ensemble des remixers, qui propose ainsi un panorama varié de ce qu’est la bass music, avec pour thème fédérateur un goût de l’aventure rythmé par des beats puissants et écrasé sous une énorme quantité de basses.

Les deux faces du vinyle s’ouvrent chacune avec des remixes percutants de Circultate False Notes réalisés par The Clerk (nouvelle recrue de Post World Industries), et par le compatriote barcelonais de Filastine, Suckafish P. Jones.
Vous pourrez ensuite écouter les courbes musicales de New Delhi insufflées par Nucleya qui donnent à ce même titre une teinte subcontinentale. Pour ce qui est des autres contributions, elles varient de la soul caverneuse offerte par Unkown à No Step à la réinterprétation distordue et étouffante de Skirmish par Niveau Zero. Copyflex pour sa part transforme les harmonies sombres de Gendjer2 en un bashment tropical rebondissant. Enfin il ne faut pas manquer la reprise épique de Colony Collapse par Aucan, les pionniers italiens de la bass music.

Circulate False Notes n’est pas qu’un simple titre de morceau, mais un appel à la contrefaçon, au sabotage des économies injustes, à l’invention de nouvelles monnaies, de nouveaux moyens d’échanges.

Face A
01 Circulate False Notes (The Clerk rmx) 3:06 
02 Gendjer2 (Copyflex rmx) 3:13
03 Circulate False Notes (Nucleya rmx) 3:21 
04 Skirmish (Niveau Zero rmx) 4:09
05 No Step (Unkwon rmx) 4:26
Face B
06 Circulate False Notes (Suckafish P Jones rmx) 4:16
07 Colony Collapse (Aucan rmx) 3:04
08 Informal Sector Parade (Thornato rmx) 3:49 
09 Hypnotico (Filastine live mix) 4:20
10 Sidi Bouzid (Alter Echo & E3 rmx) 3:52
11* Gendjer2 (DJ Delay rmx) [digital only] 4:35 

------------------------------------------------

http://www.youtube.com/watch?v=hss_-20oXxc

Filastine - Looted -  Circulate False Notes (Suckafish P Jones remix)

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