re all those grime movies:

Man like Carl says they are all "basically crap, yet! i sense a kind of germinal potential in them and think in some way they are truer and more openminded representations of Britain than most well made mainstream fare"

Man Like Tristam points me towards Top Boy, Channel 4's gritty urban drama series

mini-doc on New Jersey Club crew Brick Bandits


FADER TV: Brick Bandits by thefader

[via Benny B at Dissensus]

(via tendezroman)

from a couple years ago - produced by Redlight aka drum 'n' bass producer Clipz

if you told me that was a dark'n' lush jungle tune from 1995 over which she'd just thrown a new vocal, i'd totally believe you

it isn't, is it?

"out in the jungle/fighting like a lion" -- so goes the lyric on this, which doesn't sound like vintage jungle



more modern sounding and making me wonder why Bratt didn't do a Katy B



hang on a minute, hang on a minute...

"Mz. Bratt's father was MC Scallywag from the early 1990s acid house sound system, Spiral Tribe."

AND TO THINK THEY SAY THERE'S NO SUCH THING AS THE HARDCORE CONTINUUM!

see i used this next track, which is Scallywag over a Grant Nelson production, big tune summer 1992, as evidence in my FACT Liverpool lecture re. the thread of MC-ology running from hardcore to jungle to UKG to grime



the contiNUUM there, that's genealogical not just genreological

a family tree of MC to MC

Angus Finlayson at FACT presenting a pretty convincing case for seeing Diplo as a globe-trotting privateer in quest of booty-shake booty, whose modus is the re-presentation of "the
innovations of lesser-known global scenes – Brazilian funk carioca, New Orleans bounce... Dutch bubbling house" in such a way that manifest deb(i)ts are transmuted into credit for the re-presenter...

which makes him the perfect icon for connectivity, the telemetric data-flows that underpin the world financial system, the entertainmentscape and our personal communications... the same system that enables lightning-fast transfers of capital allows for an unprecedented mobility of cultural capital from local scenes to "ambassadors"



as Diplo says at the start of the Blackberry commercial, he travels the world "collecting influences"

but you don't really need to physically go anywhere to be this kind of hunter-gatherer

computer/smartphone + Interweb places the homebound, sedentary individual at the crossroads of all this post-geographical traffic

Arthur Kroker foresaw all this years ago, argued that sampling and digital music technology anticipated what would happen to culture/economics in the era of globalisation:

"...the harvesting of energy from the local and the bounded for the global and unbounded.... Ours is a time of non-history that is super-charged by the spectacular flame-out of the detritus of the bounded energy of local histories... archived body parts are disguised in the binary functionality of data and pooled into larger circulatory flows... Nietzche's body and conscience vivisectionists, vampiring organic flesh, and draining its fluids into cold streams of telemetry... "

(all quotes from Data Trash, Kroker's book with Michael A.Weinstein)