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

A alternative metal band from Toledo, Ohio, The Silver Chains is only comprised of two members: guitarist Howard Johnson and drummer Jack Minendez. Both of them handle vocals. They are unsigned, and prefer to stay that way, according to Johnson. Minendez is the primary songwriter for the group, while Johnson heads most of the public dealings, including sales of albums and merchandise, live shows, even the Silver Chain's BandPage. Johnson was heard to say about the group:

"We're not one of those sappy, lovey-dovey bands. We can go hardcore when we want to. We just enjoy the balance, and we think that's more than evident in our music. As for live shows, get ready to be blown through the roof! We're bringin' an all -out assault when it comes to the stage. We just love what we do, and we hope you love it too. Thanks!"

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

Beat collections with borrowed advertisements and pop culture snippets.