dj /rupture

Discogs is wrong. His half is first and Mutamassik is second.

yeah that seems right

anything else from mutamassik i should check for?

There is a comp on Sound!Ink that's really good. The War Booty EP on Soot is her best work, I think, but it's almost all on the Sound!Ink comp.

mutamassik back end isn't any better than rupture up front. then again, no worse, and i've always kinda wondered why she dropped off the map, while he went on to not-fame and not-fortune. maybe she's just puts less stuff out? do look up war booty though.

Because she never had a mix as high-profile (or as good) as Gold Teeth Thief basically.

agree, but her half of the shotgun wedding collab suggests that she's got something going on. maybe just to me

I agree she does, it's just that like, as in many things, the world had room for one semi-famous globe trotting ethno-hip hop-dancehall-connecting dj and /rupture turned out to be it. To be fair to him though, he's really put the work in whereas she's had one released mix so far (split with him.)

yeah, i was gonna suggest "lack of dedication?" but that seemed mean. a lot of things boil down to just that though

she had a few years head start, had a night in NYC I went to a few times - when rup dropped I thought of him as a mutamassik that would drop in more handholds of familiarity.

there was a more recent shotgun wedding edition he split, with filastine I think... his stuff from that (notable for use of neko case acapella) better than the massik split I thought.

cannot process "use of neko case acapella" and "better" in the same sentence

Really? I think that half is his weakest mix (although it is better than the Filastine half.)

It's just a snippet of "Dirty Knife" IIRC.

oh, just that

Haha well I was meaning that it isn't some crazy blend. That said there is a tune on the same mix that uses a significant portion of a Joanna Newsome vocal.

ah so this is where the mutamassik talk is. her new free album is really awesome so far - http://www.roughamericana.com/publicfiles/MUTAMASSIKThatWhichDeathCannotDestroy___.zip

this is beautiful http://www.negrophonic.com/2010/rembetika-solace-hour/

Hah, has DJ /rupture been looking at this thread? He just mentioned the raptor child rave scene gif on twitter.

I think it's just one of his favorite gifs. The link above is from his site.

Excited about the Moor Rembetika show tonight.

Oh that right, it's on WFMU tonight. The Ex go Greek?

lex upped the new/recent mutamassik lp that which death cannot destroy a couple months back, but no one picked up on it. it's weird stuff, intriguing, though not likely to increase her profile much. fragmentary, dubbed-out sound collages built around middle eastern folk and dance music (as per usual). mostly low end throb and a few ragged surface repetitions, all shifting constantly, woozy, psychedelic. lots of hand percussion, "ethnic" instrumentation and turntablism drifting in and out. which is to say that it might have come out on wordsound in the early 00s, aka illbient. like a punk badawi maybe, or spooky gone bedouin vampire. zombie dance mix assembled by christian marclay from broken adrian sherwood records. something oddly gothic about it, too, in the understated menace and crepuscular spookshow vibe. it sounds like music not of the revolution, but of its smoldering aftermath. tent city shit, despairing techno primitivism. relentlessly anti-pop, no repurposed hits, rhythms all crippled and bent, intentionally (?) awkward sounds and transitions. i.e., art school political punk all the way, but charming for that. while i can't say it invites or commands attention, it easily holds my interest from beginning to end. recommended if you were ever interested in any of the above referenced.

"Oh that right, it's on WFMU tonight. The Ex go Greek?"

Not really. More like noisy rembitika.

"it's weird stuff, intriguing, though not likely to increase her profile much."

Especially since as far as I can tell she's only releasing as 160 mp3s for free on her website.

yeah, too bad about the sound quality. if you're gonna release it mp3 only, might as well give us decent files, right? and her myspace page bums me out. play counts range from 500 to like 2. :,,,(

Think I am going to buy this Andy Moor Rebitika thing. Sounds great.

does ilm still care for dj/rupture

my first thought was 'fairtrade diplo' but that feels unfair

lol

his wfmu show was so great.

i heard massive amounts of music from everywhere

I still care about /rupture. Early mixes are still among my favorites.

GTT is so burned into my brain now that it is sorta dull when i go back.

i'll always love about half the uproot album (and the whole thing is compelling).

Would like to read the books his Mudd Up book club is reading

http://www.negrophonic.com/?s=mudd+up+book+clubb

i still care but he's working on a book more than music these days.

http://www.jaceclayton.com/gallery/enkutatash/ Ethiopian New Year's and 9/11 event

Enkutatash is a large-scale public choral work by Jace Clayton commissioned by the 5x5 Festival. It will premier in Washington D.C. on September 11, 2014. The score for Enkutatash is based on the Homeland Security Advisory System, the U.S. government's 5 level color-coded terrorism threat alerts which ran from 2002 to 2011. Enkutatash treats the changing threat-level data as a musical score, which will be sung by local choir groups and the audience, using the five-note (pentatonic) musical scale of D.C.'s Ethiopian community. Each note corresponds to a threat level color, and each day is a second – allowing us to sing the nine years of Threat Level Advisories in 45 minutes. Accompanying the sustained choral tones, an Ethiopian vocalist and masinqo (one-string African violin) player will perform a composition by Clayton based on a traditional East African harvest song. During the performance, the score will be indicated by light bulbs and colored flags. This simple visual system lets non-musicians participate, and will remain installed for duration of the festival. The slowly-changing US Threat colors constituted a song of fear, war, and suspicion. Enkutatash seeks to transform that it into its opposite: a song of planting, harvest, sustenance and seasonal time. Ethiopia has a unique calendar system whose New Year occurs on September 11th. This holiday is called ‘Enkutatash’, and is a celebration of family, neighbors, and yearly cycles. Clayton’s Enkutatash takes its name and premier date from this as an alternative to the geopolitically fraught connotations of 9/11 -- transforming a political warning into communal music.

There's gonna be a NY sneak preview too

I think tomorrow the 5th bit I am not seeing the details anywhere

https://soundcloud.com/djrupture/enkutatash-preview-excerpt-free-performance-in-dc-thurs-sept-11

Might get rained out

No rain. A mix of minimal avante-classical choral vocals with Ethiopian instrumentation and vocals...Kinda interesting though dull at times

Just pointing out the 2015 Mutamassik (Giulia Loli) release, Symbols Follow is out and its the best thing I've heard of its kin in some while.

Most if not all, in disjointed order, in this playlist:

https://www.youtube.com/watch?v=LQWlVGWCwsc&list=UUGCKxBp-vrR_wiLlkXV8IFg

He's got a book, and is talking about it in NYC tonight with J Shep. I'm curious about it, but haven't read it.

Jace Clayton With Julianne Escobedo Shepherd

Travels in Twenty-First-Century Music and Digital Culture is the debut book by Jace Clayton, also known as DJ /rupture. The book takes readers around the world to investigate how a broad spectrum of cultures have responded to and incorporated new technologies into their musical forms.

7 pm at McNally Jackson Books, 52 Prince Street, New York