12.06.21
https://bit.ly/3pVPdsb

Dean Blunt - WOOSAH

Christelle Bofale - it's both and it's both at the same time

Suny - Inwound

Natureboy Flako - Peaceful Place

Refreshers - Moving Up Dub 

Venus Ex Machina - Avril

Space Afrika - B£E ft. Blackhaine


Elysia Crampton Chuquimia - Spring of Wound (feat. Siete-Octavos)


Refreshers - Do U Remember 

Death Is Not The End - Monster Soundsystem

Michigan & Smiley - Nice Up the Dance

SEEKERSINTERNATIONAL - YARDTECH A

Donovan Germain - Tonight Riddim

Wayne Wonder - Saddest Day

MoMA Ready - Simple As A Song Ft. Mina Thomas & Yunie Mojica

Koreless - Joy Squad

Moodymann - Pull Up Selecta

Son Of Scientist - Vinyl Desert (Rude Dub)

Scratcha DVA - Secure the Uber [Feat. Michael Red]

Kode9 - Meow 200?

El-B - When I Fall In Love

Pangaea - Hex

Brassfoot - Black Pow Wow

Dark0 - Hardwire

Haich Ber Na - Today

Tough Matter w Ashley Holmes - NTS Radio June 21

Choreographer Okwui Okpokwasili and curator Sophie J Williamson, consider how time, history and circadian rhythms imprint themselves on our bodies.

In Being Taken for Granite, Ursula K. Le Guin described a kinship with mud as a body that yields, reacts, imprints and responds. Taking this text as a guide they will unravel relationships between the body and the soil from which it is born, considering ways of archeologically excavating and reading bodies – human, non-human and geological – to understand their ever-present dialogue with the past.

From the sedimentary strata of mountains to the narratives secreted in our own gestures, Okpokwasili and Williamson discuss the body as an accumulation and amalgamation of historic interactions. They will consider how lineage, past lives and trauma secret themselves in bodies, and how these silences resurface to reveal our entangled pasts, form us in the contemporary and redirect futures.

Okwui Okpokwasili is a Brooklyn-based choreographer, performer and writer. Her performance work has been commissioned by the Walker Art Center, Danspace Project, Performance Space New York, the Center for the Art of Performance at UCLA, the 10th Annual Berlin Biennale, and Jacob’s Pillow, among other institutions. Her work includes two Bessie Award–winning productions: Pent-Up: A Revenge Dance and Bronx Gothic. She has held residencies at the Maggie Allesee National Choreographic Center, the Lower Manhattan Cultural Council, the Rauschenberg Foundation Captiva Residency, and New York Live Arts, where she was a Randjelovic/Stryker Resident Commissioned Artist. She is currently a Hodder Fellow at Princeton University’s Lewis Center for the Arts. Okpokwasili is a 2018 MacArthur Fellow.

Sophie J Williamson is the initiator and convenor of Undead Matter, a multidisciplinary research platform focused on the intimacies of being with the geological. Williamson was Exhibitions Curator at Camden Art Centre (2013 – 21), prior to which she was part of the inaugural team at Raven Row (2009–13) and worked at the Singapore Biennale (2006), Venice Biennale (2007) and Manchester Asian Triennale (2008). Her writing has appeared in frieze, Art Monthly, Elephant and Aesthetica, among others. Residencies and awards include: V-A-C Research Prize Recipient (2020), Banff Centre for Arts and Creativity Curatorial Fellow (2020); and Gasworks Curatorial Fellow (2016). Her anthology, Translation, part of the Whitechapel Gallery and MIT Press – Documents of Contemporary Art series, brings together writings by artists, poets, authors and theorists to reflect on the urgency of building empathy in an era of global turmoil.

Produced by: Zakia Sewell
Music by: Nicolas Gaunin
Design by: Mariana Vale

Supported by Freelands Foundation

Earth and World: Being Mud

Climate Frequencies is a five part podcast series exploring climate change through sound, presented by Natalie Sharp and brought to you by BALTIC Centre for Contemporary Art. &nbsp; As the 26th UN Climate Change Conference (COP26) gathers in Glasgow, listen to the climate emergency and its reverberations through the ears of artists, thinkers and activists.  Climate Frequencies is available on Spotify, Apple Podcasts or wherever you get your podcasts.

Climate Frequencies (series trailer)

Climate Frequencies is a new series of the BALTIC Podcast that listens to the climate emergency and its reverberations through the ears of artists, thinkers and activists. In this episode, musician and artist Natalie Sharp heads deep into the bowels of the earth to listen to the rocks and minerals forged in the substrata.&nbsp; She asks how they might influence our idea of time, how we think about our past, present and future, and if they even have the potential to heal us. Sound artist and musician Kelly Jane Jones reflects on our connection to the natural world through the sound resonance of rocks. Author of Notes From Deep Time Helen Gordon discusses how geology allows us to step back into our planet’s history to draw lessons on how we might approach the changes in climate. Architects Miriam Hillawi Abraham and Nasra Abdullahi share their time-travelling short story from the perspective of the rock formations in the east African rift. Presented by Natalie Sharp. Produced and sound designed by Femi Origun-Williams and exec produced by Alannah Chance for .&nbsp;

Climate Frequencies: Ear to the Ground

Musician and artist Natalie Sharp heads just below the surface and into the soil and asks if we can cultivate care in our relationship to land. In this episode, musician and artist Natalie Sharp thinks about the soil crisis, land ownership, our relationship with the land and how communities are fighting against extractivist corporations not only for land access and ownership, but for their ancestral relationship to the soil itself. Artist Jade Montserrat discusses her video work Clay, Peat and Cage and talks to creative climate-justice activist Suzanne Dhaliwal about access to land and how local communities can fight back against extractivist companies and governments. Artist Emily Hesse explores our connection and relationship with land, sharing her text Inhabit.&nbsp;

Climate Frequencies: Into the Soil

In this episode, musician and artist Natalie Sharp travels deep into the heart of the Amazon rainforest to listen to the chorus of its inhabitants. She thinks about the effects the destruction of rainforests is having on the planet and asks if listening to the sounds of these unique ecosystems can change our perspective on the climate emergency. How could an interspecies alliance – an alliance between humans and non-human entities – combat the forces of destruction? Sound artist David Monacchi and urbanist-architect Paulo Tavares discuss their experiences of documenting the destruction of rainforests in South America and the impact on both human and non-human inhabitants. Artist and writer Maria Tereza Alves reads from her book, Recipes for Survival which considers the effects of the timber industry on her hometown in Brazil.&nbsp; Recipes for Survival includes content listeners may find distressing.

Climate Frequencies: When Forests Speak

In this episode, musician and artist Natalie Sharp enters the veins of the planet: its rivers, waterways and oceans. Artist Carolina Caycedo discusses the effects that large dams have on ecosystems across the globe; whilst legal expert Erin O’Donnell talks about the fight to grant rivers the same rights as humans; and poet Alexis Pauline Gumbs asks us to consider what it might mean to become an apprentice to a marine mammal. Presented by Natalie Sharp. Produced and sound designed by Femi Oriogun-Williams and exec produced by Alannah Chance for . &nbsp;

Climate Frequencies: Episode 4: Veins of the Planet

Surprise ! The tape is sold out, here is the mix 4 free. Props to Skee Mask for joining, you're the MF G !

Tracklist : https://temet.net/tape1/
Info : https://temet.bandcamp.com

2x45min taken from a 7h B2B mix, recorded live at Trempo (Nantes) in April 2019.  Covering all poles between New Beat, electro, Manc punk and darkroom EBM sleaze in the first half, and fully twysting out between ghetto tech, breakbeat hardcore, footwork, and gnashing acid tekkers on the rushing 2nd part - including a killer haul of juke-juiced flips of classic ‘80s synth-pop.

Text by Boomkat

Skee Mask B2B Simo Cell - TemeTape1 (Full Mixtape)

Since his first productions emerged back in 2010, Munchi has put his own spin on everything he's approached, bending moombahton into breakcore and creating moombahcore fusing skullstep and trap and making skulltrap, and curving bachata and merengue … . A voracious listener, he's been able to absorb sounds from across the diaspora - from reggeton and baile funk to Dutch bubbling and Chicago juke - and effortlessly engineer his own twist, creating tracks and mixes with a journalistic hunger for storytelling and contextual deconstruction. Blogger and musicologist Wayne Marshall even coined a separate genre for Munchi's diverse spread of genre-agnostic productions back in 2010: Munchiton. Since then, Munchi has worked with M.I.A. and Pharell Williams among others, and remixed everyone from Skrillex to Nguzunguzu, Noisia to Buraka.


 "I Love Mambo" was put together in 2010 for Dave Quam's notorious It's After The End Of The World blog. It was Munchi's first proper mixtape, and matched a handful of his original productions with his favorite tracks from the Dominican Mambo canon, that had evolved throughout the 2000’s after merengue ... even got more stripped down with live instruments replaced with digital sounds with the use of daws like fl studio. Munchi was fascinated by this music at the time, downloading everything he could get his hands on, scraping the internet's darkest corners for "the cheapest, cheesiest, dirtiest, most Fruityloops-ish" tracks. He laments that this era has come and gone, leaving "polished, pretentious and almost soulless" reggaeton to dominate the landscape. "At least when the rhythms were extremely raw you could feel the energy and spirit in it," he says. "It felt like it was alive and breathing." Listening now, the mix sounds as raw, fresh and vital as it did back then, brushing the dust off an often forgotten and certainly misunderstood moment in the history of Dominican music. At any moment the tracks sound so brittle they could collapse completely, only to be bolstered by a swift beat flip, vocal chop or cheeky bass drop. Over the course of an hour, Munchi accompanies us on a thrill ride through a genre that's left an indelible mark on dance music throughout the Caribbean and further afield. … "I Love Mambo" serves as a critical missing link. Munchi's "Detonao EP" is a collection of unreleased material recorded in Rotterdam between 2008 and 2010, and is among the most experimental, minimal and uptempo material Munchi has put his name to. Here he purposefully approximates the kind of jerky, plasticated speed dance that used to dominate the Dominican scene, offering his own spin on the mambo sound. Each track is unsettlingly clean, assembled from detuned toybox pianos, radio sting voices and cheap, groggy horns: opening track 'Damu Mambo' crashes into view thru hollow clunks, horror movie voices, pained air horns, glass smashes and rolling snares before ceding to looped vocals and "X-Files" whistles.In the wrong hands, this chaotic assemblage would be as playable as nails on a chalkboard, but Munchi's genius lies in his ability to massage almost anything into a coherent groove. There are even parallels to be drawn with Portugal's wiry batida sound, and Tanzania's hi-nrg singeli (just check those pacy percussive sounds on 'Comenzo El Party'). There's a sense that Munchi is aware of everything existing in the same continuum, shuffling through Dutch bubbling scrapes and bassline womps on 'Luis Esta Seguroski VIP', and mind-altering 'Percolator' trills on the hypnotic 'Ayoba Mambo'. A history lesson and wild-eyed cultural mashup that'll leave you breathless, "Detonao" is proof that Munchi is operating in a league of his own.

Damu Mambo

Fossilised Frequencies - Radio Buena Vida 16.07.23

Live Interference set from the Victoria Dalston. With Lone Taxidermist: Phil Winter Plays ancient tribal disco electronic vinyl whilst Natalie Sharp and Will Huckerby interfere using analog synths, vocal loops and fx processing all live and on the Fly. 
Part of the Charismatic Megafauna EP launch party

Interference live set Lone Taxidermist

Fresh from the twisted machinations and fertile imagination of Cumbrian-born, London-dwelling artist and seer Natalie Sharp, Lone Taxidermist’s debut album ‘Trifle’ is a gallery of grotesquery not recommended for either the nervous of disposition or lactose intolerant. Arriving from a nocturnal world of sex and skullduggery, these irreverent and outlandish ditties exist on a unique psychic realm in which profane and profound happily step out together on the lash - a collision between the high-maintenance and the kitchen sink that’s a feverish spectacle to behold. 

Along with her co-conspirators Philip Winter (Wrangler/Tuung) and Will Kwerk, Sharp decamped to the splendid isolation of the otherworldly Bodmin Moor studio of Benge (John Foxx & The Maths/Wrangler) to sculp this unique and deliriously disconcerting confection, equally informed by post-punk angularities and electronic experimentation. 

Invariably on the lookout for new and surreal dimensions of expression, Sharp’s malicious metier lurks somewhere between the eldritch diva manifestations of Diamanda Galas and the wry reflections of Victoria Wood, yet equally driven by a magpie spirit and conceptual chutzpah redolent of Leigh Bowery and an acidic wit damaged by John Cooper Clarke. It’s a stylistic path that has led to her being increasingly over-subscribed as collaborative maverick of choice for a dizzying array of artists, including recent work with Jenny Hval and Gazelle Twin.

Yet for now, our just desserts can be found within ‘Trifle’, an unflinching glimpse into a world created and (for her sins) lived in by Sharp, where glamour and gluttony marry as harmoniously as frozen summer fruits, gelatine, custard and cream. The proof, in this case, is very much in the pudding.

Interference live set Lone Taxidermist

Nat♯

Related tracks