Only last week I did a short post on Transnational Dance being the next big thing someday soon and of course we’ve known this for quite sometime. The whole inception and creation of the blog was based on our love for it and also in the belief that this was going to happen.
So the trend towards this continues and here’s former DnB and Dub artist most famously known for his track “Printer Jam” going all Transnational on our ass.
Here’s what he said to FACT recently:
You’ve always prided yourself on providing something different , so how have you approached this release?
I just wanted some different patterns to play with. There doesn’t seem like much point in making d&b, dubstep, techno, house, or anything generic. It’s all been done to death several times over now. I can knock out a d&b album in a week now and it feels pointless. So when looking for something new to make for a dancefloor, I just looked to Africa – the recordings of Babatunde Olatunji in particular. That guy mapped the world of rhythm almost completely.
The tracks have an African theme – what’s been your inspiration for this?
The entire continent is a big enough inspiration in itself for anyone. Also, Western media-eyes are gonna be fixed on West Africa this year, and not for anything *good* either unfortunately, so I wanted to sample some of its culture before the various institutions that govern me send a load of drones over there and bomb the fucking shit out of it.
Mistabishi before he found God:
Mistabishi after he found God:
*Mistabishi — Safari — Noh Music
Dnb’s maverick Mistabishi, obviously delighted to be unhibited by the shackles of conventional release schedules and PR bullshit, did a bit of a Radiohead recently and announced a new EP out of nowhere. The four-track Safari EP, its title a play on the influence of African cross-rhythms and — presumably — the murky and exotic London free party scene in which Mistabishi has immersed himself in recent years, is as uncompromising and idiosyncratic as last year’s hectic Skum and his second LP Trip, and the lack of any kind of label interference or commercial approach lends the whole affair a pleasingly rough ‘n’ ready, down ‘n’ dirty feel.
Across the four bouncy, grimy cuts — all of them at around the 165bpm mark, slow enough to let the music breathe but still fast enough to qualify as d’n’b — Mistabishi manages to make things sound both rough-edged and professional, a testament to his extremely impressive technical prowess (something that tends to get lost in the endless, tiresome arguments about DJ-ing ‘scandals’ and jumpers with Liquorice Allsorts on them).
The lo-fi vibe comes from the use of the Korg EMX he’s been using in various dingy warehouses, and it makes for something both deliciously dark and, somehow, immediate. This is real party music, for people who like their parties loud, screwfaced and completely free of official meddling.
The EP doesn’t outstay its welcome — only one of the tunes goes over the four-minute mark — and there’s plenty of creative beat programming, snarling low-end and vaguely cheeky bells and whistles, and while those used to the slicker, processed-to-within-an-inch-of-its-life side of dnb may feel a wee bit lost, they should jump in the Mista’s jeep… he’ll show ’em the way…
Tip of the hat to Irfan Davazli!