NGOMA Polyrhythmus

Digital Africa 1 by Dj Zhao

Satanic Memphis Murder Rap and Dirty South Hiphop fused with Grime, Bass, and Dubstep instrumentals.

Fuck your political correctness. This is the voice of the otherwise voiceless, testament to the real lived experience of people so marginalised that they literally live outside of society. This culture must be celebrated with sober and deep recognition of the harsh and alienated social realities of racialised capitalism which shapes it. This music must be loved with full awareness and despite of the fact that gangsterism is a blight on African American communities.

After the Black Panthers and other similar inner city Black and Brown Marxist revolutionary movements were systematically destroyed in the infamous "Counter-Intelligence Program" of 1960s repression, organisation leaders framed and imprisoned or murdered by FBI age, this culture of gangsterism which valorises criminality was born. This is the nihilistic sound of revolutionary energy decapitated, confused, mislead, turned inward, causing harm to each other rather than working to overthrow the oppressors.

Musically, complex polyrhythms in the verses replicate the patterns of African drums, and delivered often with a ferocity and intensity that is the ultimate expression of late capitalism. The alienation, anxiety, frustration, rage, and sadness in this music speaks to all of us.

Theorists have described how bourgeois society deprives citizens of both a sense of adventure and of community. To people locked into a predictable life of school, employment, and retirement, their everyday existence a dull cycle of work, consumption, and sleep, the life of the criminal is the exact opposite, and captivating in ways their own lives can never be. This is why suburbanites mimic the style, language, attitude and posture of inner city gangsters. Trap music reproduces a feeling of danger, of intensity, of life and death urgency, and allows people who live safe and boring lives to briefly approximate a feeling of being truly alive.

Hood music is also a narrative of clandestinity, of trust, of honor, of unbreakable familial bonds, of real friendship and real enmity with very, very real consequences — a sense of true community which the comfortable classes entirely lack. When a real loss of agency and immediacy is assigned to the middle and upper classes, whose existence consists of tedious complacency and suffocating security, it of course isn’t morally wrong for them to try to fill this emptiness.

Trap is perhaps the most direct reflection of our times, where young people face grim personal prospects in a diminishing job market, amidst escalating economic, political, and environmental crisis. Trap music exactly mirrors the coldness, meanness, brutality, abjection, dehumanization, and desperation of late capitalism. Extending what Young Jeezy said about the rap game being the same as the trap game: the trap game (selling drugs) is a microcosmic facsimile of macrocosmic capitalism. Reality in the hood, a vicious cycle of addiction, suppliers, gangs, crime, police, and prisons, all part of a system designed to sustain this process, is a perfect miniscule model of reality around the globe, a larger vicious cycle where powerful states administer political and physical violence, destabilize resource-rich regions, manufacturing terrorism, while arms dealers make trillions, and corporations exploit the global South, devastating the natural environment. Trap music comes from a visceral experience of survival on the love-less streets, but is a mirror image of the world at large: a neo-Darwinian nightmare in its rawest form.

Satanic Memphis Murder Rap and Dirty South Hiphop fused with Grime, Bass, and Dubstep instrumentals.

Fuck your political correctness. This is the voice of the otherwise voiceless, testament to the real lived experience of people so marginalised that they literally live outside of society. This culture must be celebrated with sober and deep recognition of the harsh and alienated social realities of racialised capitalism which shapes it. This music must be loved with full awareness and despite of the fact that gangsterism is a blight on African American communities.

After the Black Panthers and other similar inner city Black and Brown Marxist revolutionary movements were systematically destroyed in the infamous "Counter-Intelligence Program" of 1960s repression, organisation leaders framed and imprisoned or murdered by FBI age, this culture of gangsterism which valorises criminality was born. This is the nihilistic sound of revolutionary energy decapitated, confused, mislead, turned inward, causing harm to each other rather than working to overthrow the oppressors.

Musically, complex polyrhythms in the verses replicate the patterns of African drums, and delivered often with a ferocity and intensity that is the ultimate expression of late capitalism. The alienation, anxiety, frustration, rage, and sadness in this music speaks to all of us.

Theorists have described how bourgeois society deprives citizens of both a sense of adventure and of community. To people locked into a predictable life of school, employment, and retirement, their everyday existence a dull cycle of work, consumption, and sleep, the life of the criminal is the exact opposite, and captivating in ways their own lives can never be. This is why suburbanites mimic the style, language, attitude and posture of inner city gangsters. Trap music reproduces a feeling of danger, of intensity, of life and death urgency, and allows people who live safe and boring lives to briefly approximate a feeling of being truly alive.

Hood music is also a narrative of clandestinity, of trust, of honor, of unbreakable familial bonds, of real friendship and real enmity with very, very real consequences — a sense of true community which the comfortable classes entirely lack. When a real loss of agency and immediacy is assigned to the middle and upper classes, whose existence consists of tedious complacency and suffocating security, it of course isn’t morally wrong for them to try to fill this emptiness.

Trap is perhaps the most direct reflection of our times, where young people face grim personal prospects in a diminishing job market, amidst escalating economic, political, and environmental crisis. Trap music exactly mirrors the coldness, meanness, brutality, abjection, dehumanization, and desperation of late capitalism. Extending what Young Jeezy said about the rap game being the same as the trap game: the trap game (selling drugs) is a microcosmic facsimile of macrocosmic capitalism. Reality in the hood, a vicious cycle of addiction, suppliers, gangs, crime, police, and prisons, all part of a system designed to sustain this process, is a perfect miniscule model of reality around the globe, a larger vicious cycle where powerful states administer political and physical violence, destabilize resource-rich regions, manufacturing terrorism, while arms dealers make trillions, and corporations exploit the global South, devastating the natural environment. Trap music comes from a visceral experience of survival on the love-less streets, but is a mirror image of the world at large: a neo-Darwinian nightmare in its rawest form.

Afro Psych-Hop Junglist Footwork

Digital Africa 2 by Dj Zhao

Get your ears right to this time

Digital Africa 4 by Dj Zhao

All you motherfuckers it's time to get down

Digital Africa 5 by Dj Zhao

Do not expand your musical borders. Abolish them completely.

A total departure from drum-centric dance music, this 3 hour sound collage is pure listening. Densely layered, painstakingly detailed, yet immersed in silence and emptiness, representing the quiet, beautiful, and deep end of Collective Improvisation, Modern Composition, Free-Jazz, Musique Concrete, Spectralism, Microsound, Just Intonation, and Drone.

Potentially functioning in similar ways as ambient, but this is not ambient, because it rewards not only passive, background listening, but also active, focused listening. The aim is 3 hours the listener will likely never get tired of, in one lifetime.

Dialectical sound: improvisation is the thesis, composition is the anti-thesis, and this mix is the synthesis.

Featuring the Marxist composer/improviser Cornelius Cardew, the group he founded AMM, the music of affiliates, and much, much more.

Tracklist:

Xavier Garcia - 6 regards sul L

Boca Raton - Tables 1

Anne Lockwood - water gong

Steve Roden - Truth Is The Bell (Saarbrucken)

kevin drumm • taku sugimoto DEN 1

Kenneth Kirtchener - february 19, 2004

Steve Roden - Bell Is The Truth (Berlin)

Unknown - Amann

Kenneth Kirtchener - february 19, 2004

David Toop -01 - Falling Light

sugimoto, taku (1965)04. spoon river i

William Mathews - Field Guide

John Tilbury & Eddie Prevost - D

Anthony Braxton - Dedicated to Ann and Peter Allen

Steve Roden - fruit pants

jacob_kirkegaard--swimming_pool

Marc Favre - Le beau corps d'ether

Cornelius Cardew - treatise CD 2 AudioTrack 02

RLW - Kleine blaue Hybriden

Filipe Pires - Litania

Kenneth Kirtchener - august 18, 2001

David Toop - DecompositionDecay

Gerard Grisey – Tempus ex machina pour six percussionistes

Sainkho - Tovarishi

Bill Dixon - Places And Things

Michael Pisaro - pi (920-994)

Gerard Grisey – Anubis-Nout - II. Nout

Alvin Lucier - Horn (James De Corsey)

john butcher - Soft Logic

RLW - ikk - purpur - scharlachrot

ISMU K.L.P.L

Thomas Koner - Tu, Sempre

AMM - Meantime

AMM - Conduit

John Wall - Rumble-Hard-Abrupt

Polwechsel - Not Forgetting the Forgetting

Gerard Grisey – Anubis [tres precis]

Bernard Parmegiani - Étude Élastique

RLW - Restless Occlusion

Xu Cheng - My Livingspace 4

RLW - In Acht

Kenneth Kirtchener - october 13, 2001

Kaija Saariaho - Poèmes de Saint John Perse - I. The bird, most ardent for life

Kenneth Kirtchener – september 2, 2003

Sainkho - Cschai-Su

Kaffe Matthews, Andrea Neumann, Tetuzi Akiyama, Toshimaru Nakamura - March 16, 2002

IRR. APP - A Body Rendered Disjecta Membra Through The Application Of Dust Pincher Appliances

Sainkho - Tovarishi

Bernard Parmegiani - Étude Élastique

Eiko Ishibashi - Ichida Part 1

IRR. APP - track 9

Kaija Saariaho - Les vieux naturalistes français

Gerard Grisey – Partiels pour 18 musiciens

James Tenney – Form 3 (In Memoriam Stefan Wolpe)