Est. April 2003
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Overall Rating: 7.5
Audio Quality: 7.5
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1 other sets by Filastine - Sonar Calibrado Sound System
Members that downloaded this also downloaded
Filastine - Promo Mix - Part 1
Submitted By: 
trocknroll
trocknrollGenre: Electronic
Date of Set: Unknown
Filesize: 26.49 MB
Total Downloads: 3
Biography of Filastine
A longtime Seattle resident, Filastine has been a part of the hammering rhythm section of anticapitalist tribal-rock/performance troupe ¡Tchkung!, conceiver and founding member of radical marching band Infernal Noise Brigade, and, most recently, a sweat-inducing club DJ and composer of wildly diverse and drrty laptop music. In short, he has spent his artistic life heretofore straddling the line between unrelentingly political statement and action, and the lost-in-music euphoria of the broadest possible definition of pop music. His new proper debut, Burn It (on kindred avant spirit DJ /rupture's UK-based Soot Records), steams with juddering hiphop/modern R&B rhythms, South American breaks, North African trance, and a grip of vocal and instrumental contributors from every corner of the world.
Recent years have seen an overwhelming influx of Asian and Middle Eastern textures in pop production, with gargantuan hits like 'Get Ur Freak On,' 'Baby Boy,' and 'Toxic' threading undulating tablas, screeching Bollywood strings, etc. into their black-lit melodrama. While some of Burn It's tracks mine these veins in a way just as instantly gratifying and club ready, Filastine's appropriations are more legit. A voracious traveler and student of various global musics, he has studied with Indian tabla virtuoso Zakir Hussain, spent weeks at the feet of the Master Musicians of Jajouka, and dug deep into the ancient-to-the-future music of Brazil. Like many great producers, Filastine is also a great instrumentalist, and his years of rhythmic study lend magnificent depth to Burn It's varied and intricate programming.
The record's long list of singers, MCs, and musicians brings the songs to endlessly surprising and rich places, as well. Filastine layers artists from distant genres and locales with great architectural sense, and while at times the extremity of the juxtapositions borders on hilarious, the music always feels heroically well designed and strong in conception. On 'Palmares,' disaffected French oration is overlaid with clouds of gypsy-brass ennui, while party-starter 'Judas Goat' lets the rhaita, one of the wailing horns of the Master Musicians, loose over beats that wouldn't be out of place propelling an Aaliyah cut. On some songs, Filastine's constructions are reminiscent of the murky drama of Ninja Tuners like Amon Tobin and DJ Food, and throughout the album the lines between live performed contributions and meticulously contextualized samples is slurred and burnt. The most emotional and fully realized pair of songs come about two-thirds in: 'Boca de Ouro' alternates dizzy rhymes about dental work with a fuzzily cinematic chorus, and 'Autology' is a slow-burning adaptation of an Indonesian song in which the intoxicatingly mournful singing of Jessika Skeletalia Kenney sails over a bed of screeching bowed bass and quicksand-sinking drum patterns.
Overall, Burn It is a stunningly successful integration of varied international musical styles into the polyglot schemes of its maker; way beyond most 'electronic world music' in both its conception and execution. Not unlike the Infernal Noise Brigade, Filastine absorbs music from all over the world and bends it (with all due respect) to his own designs. And, like the INB, he veers wildly between pointed polemic discourse and bacchanalian party embrace. Burn It contains several brief collage tracks of media snippets and sound bites that illustrate the artist's antiglobalism and anticapitalist beliefs and agenda more expressly than any of the album's proper songs; and overall the work feels like a thrillingly tense interaction between these ideological factors and the gold-toothed, whip-riding luxury of hiphop culture (which is, of course, also the present dominant global pop culture).
In this way the album has more of a personal stamp and feeling of its creator than a lot of electronic music, as it deals—whether consciously or unconsciously—with these essential imperfections and warring forces in the dude that is Filastine. Ideally, though, the record could be taken as a great statement for the case that party music is the most equalizing and class-unrestrained corner of modern culture—that it is the very lifeblood and right of everyone.
Recent years have seen an overwhelming influx of Asian and Middle Eastern textures in pop production, with gargantuan hits like 'Get Ur Freak On,' 'Baby Boy,' and 'Toxic' threading undulating tablas, screeching Bollywood strings, etc. into their black-lit melodrama. While some of Burn It's tracks mine these veins in a way just as instantly gratifying and club ready, Filastine's appropriations are more legit. A voracious traveler and student of various global musics, he has studied with Indian tabla virtuoso Zakir Hussain, spent weeks at the feet of the Master Musicians of Jajouka, and dug deep into the ancient-to-the-future music of Brazil. Like many great producers, Filastine is also a great instrumentalist, and his years of rhythmic study lend magnificent depth to Burn It's varied and intricate programming.
The record's long list of singers, MCs, and musicians brings the songs to endlessly surprising and rich places, as well. Filastine layers artists from distant genres and locales with great architectural sense, and while at times the extremity of the juxtapositions borders on hilarious, the music always feels heroically well designed and strong in conception. On 'Palmares,' disaffected French oration is overlaid with clouds of gypsy-brass ennui, while party-starter 'Judas Goat' lets the rhaita, one of the wailing horns of the Master Musicians, loose over beats that wouldn't be out of place propelling an Aaliyah cut. On some songs, Filastine's constructions are reminiscent of the murky drama of Ninja Tuners like Amon Tobin and DJ Food, and throughout the album the lines between live performed contributions and meticulously contextualized samples is slurred and burnt. The most emotional and fully realized pair of songs come about two-thirds in: 'Boca de Ouro' alternates dizzy rhymes about dental work with a fuzzily cinematic chorus, and 'Autology' is a slow-burning adaptation of an Indonesian song in which the intoxicatingly mournful singing of Jessika Skeletalia Kenney sails over a bed of screeching bowed bass and quicksand-sinking drum patterns.
Overall, Burn It is a stunningly successful integration of varied international musical styles into the polyglot schemes of its maker; way beyond most 'electronic world music' in both its conception and execution. Not unlike the Infernal Noise Brigade, Filastine absorbs music from all over the world and bends it (with all due respect) to his own designs. And, like the INB, he veers wildly between pointed polemic discourse and bacchanalian party embrace. Burn It contains several brief collage tracks of media snippets and sound bites that illustrate the artist's antiglobalism and anticapitalist beliefs and agenda more expressly than any of the album's proper songs; and overall the work feels like a thrillingly tense interaction between these ideological factors and the gold-toothed, whip-riding luxury of hiphop culture (which is, of course, also the present dominant global pop culture).
In this way the album has more of a personal stamp and feeling of its creator than a lot of electronic music, as it deals—whether consciously or unconsciously—with these essential imperfections and warring forces in the dude that is Filastine. Ideally, though, the record could be taken as a great statement for the case that party music is the most equalizing and class-unrestrained corner of modern culture—that it is the very lifeblood and right of everyone.
Sonar Calibrado Sound System - Promo Mix - Part 1
Submitted By: trocknroll
trocknrollGenre: Electronic
Date of Set: Unknown
Filesize: 26.49 MB
Total Downloads: 3
Biography of Sonar Calibrado Sound System
Based in Brazil and the USA respectively, Maga Bo (Tru-Thoughts) and Filastine (Soot Records) are Sonar Calibrado (Postworld Industries). A study in the digital contortions of hip hop, breakbeat and drum ‘n’ bass, their recent live mix, 'Lost & Stolen Goods,' is a divine (s)mashup of batucada, rai, capoeira, bhangra, and skewed electronic beats in a borderless conundrum of gritty street sounds, found, stolen and modified rhythms and melodies from Brazil, Morocco, India and beyond.
Maga Bo is a DJ/producer working with an international collision of styles, street sounds, location recordings from all continents and beats that have yet to be classified by the marketing fucks that be. DJing and producing tracks with a portable laptop studio, he has worked and performed in Africa, Asia, South America, Europe and the USA.
Filastine creates music and live sets that wreck genre, charting a new sonic map through a synchronicity of hip-hop, batería, dialogue, breakcore, soundscape, drum & bass, and international obscura. It is a study in human voice and instrumental talent matched with methods of programming and processing only recently invented. Live mixes focus on complex rhythms with swing, layering concepts and audio debris that equally move feet or alter thoughts. Filastine began operating under this alias at advent of 2004 after years of preparation: building beats, recording with collaborative musicians, gathering noise with binaural microphones, sampling cassettes from street stalls, and studying percussion from Morocco to Brazil. This musical immediatism permeates the songs and mixes, which might feature contributions from rappers in Habana, or maybe the ambience of a Delhi street corner, placed into a construction of chopped-up beats and thick sub bass. The result is a deterritorialization of sound that embraces the intense, wherever it’s origin, with disregard for the ghettoes of electronic music.
Maga Bo is a DJ/producer working with an international collision of styles, street sounds, location recordings from all continents and beats that have yet to be classified by the marketing fucks that be. DJing and producing tracks with a portable laptop studio, he has worked and performed in Africa, Asia, South America, Europe and the USA.
Filastine creates music and live sets that wreck genre, charting a new sonic map through a synchronicity of hip-hop, batería, dialogue, breakcore, soundscape, drum & bass, and international obscura. It is a study in human voice and instrumental talent matched with methods of programming and processing only recently invented. Live mixes focus on complex rhythms with swing, layering concepts and audio debris that equally move feet or alter thoughts. Filastine began operating under this alias at advent of 2004 after years of preparation: building beats, recording with collaborative musicians, gathering noise with binaural microphones, sampling cassettes from street stalls, and studying percussion from Morocco to Brazil. This musical immediatism permeates the songs and mixes, which might feature contributions from rappers in Habana, or maybe the ambience of a Delhi street corner, placed into a construction of chopped-up beats and thick sub bass. The result is a deterritorialization of sound that embraces the intense, wherever it’s origin, with disregard for the ghettoes of electronic music.
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