Berlin’s purveyor of all things Electroriental returns with a 2015 re-edit of a thumping Tech-House tune featuring North African Cheb Saleh aka Cheb Salih.
Loving these vibes:
2 great new tracks from Berlin’s Wardita.
The first one will be released in early July on LSF Records. It’s a Progressive / Deep House track with samples from Warda al Jazairias Track “Eshterouni” from the 80s.
And the second one is a free download and reminds us of a Sufi-gathering or Sufi Chants whereas in fact there is not one single religious sample in it. It starts smoothly with a Saz and turns into repetitive chants ….
There is special case of dj creating good mixtapes, and Dj Silenet Pressure do it very well. We’re living in a period the figure of DJ is missing. Most guys want to be producer. That’s ok ,but you know… there is a difference from be a DJ and be a Producer, you feel it on a mixtape. And when I listened to Bamboo Bass vol.7 I knew that DJ Silent was a real DJ.
Bamboo Bass is a tropical and fresh mixtape. He played sounds like: moombahton, zouk bass, rasterinha, trap, twerk, kuduro, dancehall and reggaeton, all of it in one mix. Sometimes I get me asking: How a guy from Berlin can dig musics from Brazil? Ok, internet – duhhh. But….you know the point rigth? Try to do the same thing, look for some special material from Berlin. It’s hard.
Thinking on that, I asked few questions to DJ Silent Pressure to know more about his work. Before you start read, play on this amazing mixtape. It’s tropical, so I sugest to you open a beer. I did it on second time.
Tell me about tour carrear, how do you started?
I started at the age of 16 with German rap, but quickly discovered the rough flavor of dancehall & reggae music. Short time after buying 12 inches, was replaced by 7 inches and I started spinning mainly reggae and dancehall for a couple of years. What I kept from hip-hop was the fascination for the art of cutting and scratching records which I always try to include when mixing all kinds of music.
Later, I opened up my selection discovering soca music which consequently let me to all kinds of African music which was also encouraged by traveling & playing in Ghana.
In my “early years” around 2006/07 I used to play around with some simple blends mixing dancehall with electronic sounds. This set was the first step into a more diverse direction which was getting more concrete when discovering the first Major Lazer, Douster, SchlachthofBronx and munchi tracks. My first Global Bass Tape “Firepower” gives a good overview about that time.
Over the years the sound developed including more and more genres.
After running the Bass dive party for a couple of years I founded the Bamboo Bass Party with a couple of friends in order to establish a regular party for Tropical Bass in Berlin. We had people like Uproot And, Murlo or Bomb Diggy playing with us.
In 2011 I joined the Berlin based SWS (sound with soul).
I traveled different countries in Europe playing my sound and playing shows with great musicians, such as Major Lazer, Uproot Andy, Serocee from Toddla T and many more.
How do you create your bamboo series?
The idea came up when we first started the party in December 2011. Being a little bit bored from only having dancehall-reggae partys, we decided to start something up to introduce a broader view on urban music & consequently establish a proper Tropical Bass in Berlin. As most of the Berlin party massive didn’t know what Tropical Bass was, so I wanted to give them that they could listen before they go out that night.
That’s when I started with the Bamboo Bass series. The concept is to illustrated how a selection on a party could look like and summarize the different subgenres of tropical bass in one fluent mix. In the beginning it was more about moombahton, UK funky, kuduro some Soca & dancehall tunes and that house influenced by tropical stuff as well as some cumbia and reggaeton. With the years and the rise of trap, twerk and zouk bass, our selection included those styles as well as the current bashment remixes from guys like Ape Drums. My partner in crime from tropicalbass.com with whom I m running the bamboo bass parties is moreover responsible for the latest zouk and afrobeats. All in all why try to give the people a very versatile danceable selection of global bass club tunes.
Unfortunately I couldn’t do a tape for each party so that the numeration isn’t exact anymore.
Bamboo Bass Party at Berlin
How do you search for new music?
Checking soundcloud + bandcamp from artists and producers, promo mails, checking the blogs of each (tropical) genre + portals like Juno and beatport. Plus exchanging tracks with DJ colleagues.
I Like sounds that are pushing and get people moving but are at the same time not to heavy and overproduced when it comes to the drop.thus I try to avoid the to crazy edm stuff. The tunes need to have a special balance and a catchy and still kind of organic type of sound. Traditional samples or original vocals are also a plus.
Rythymwise I’m a big fan of any kind of dem bow riddim adaption & currently totally up for all productions that mix up dembow & twerk beats like those great tunes from e.g. tropkillaz.
How is your creative process to create a mixtape?
I usually start with some freestyle juggling which becomes more concrete when I m preparing my sets for gigs. From that first ideas for certain cuts and smaller sets result. Then I work on the general concept and think about how the mix should develop (e.g. going from Zouk Bass to Bashment then getting faster ending up in Trap).
When I feel like having enough fresh tunes that fit I start sorting out the selection. Then I look for similarities in lyrics or special parts that could be good in a mixup and for samples to scratch etc. Afterwards I work on the cuts as long as I everything fits and record the tape, add the efx and send it to the mastering.
Tell me your 2 favorites tracks on Bamboo Bass vol.7
Actually there are a lot of personal favorites on that tape but if I have to name two I would go for:
– Prince Lokoni – Luku a meisje (Uproot Andy & Geko Jones Remix)
Because it perfectly blends those African vocals with trap sounds before switching to its uptempo kuduro-ish vibe. Moreover the drop of the trap part has this great kind of deep but still powerful but still not to overproduced sound that I miss in a lot of Trap tracks (which are to heavy for my taste).
– Tropkillaz – Alright.
Because of its great switch up between trap and dembow rhythyms as well as fitting in those feel good vocals (without being to cheesy).
If some one want to contract you, how they can find you?
Check me via my Facebook page (Facebook.com/djsilentpressure) or link me & listen all my mixes via soundcloud (soundcloud.com/djsilentpressure) or say “hola” via mail ([email protected]). If you re in Berlin you can find me at the dancehall party Bass Dive and of course at our tropical bass rave Bamboo Bass.
We are currently working on new dates and there is gonna be a Bamboo Bass compilation coming up. Stay tuned for more!
We’ve told you about Guvibosch before about 6 months ago HERE!
He’s originally from Jerusalem but now based in Berlin. He has collaborated with Rocky B as “Neft” on an EP which we’ll be releasing soon called “Dead”!
Guvibosch is back with some new tracks that highlight his individual take on dark industrial beats bordering on the experimental and Dubstep. This is really captivating material and so take it in and prepare yourself for the upcoming Neft release.
As you know from my most recent mixtapes, I’ve been getting back into all things 80’s. Some of you will know that once I get my teeth back into something, I kinda get really immersed in it and sometimes I go overkill on it.
Apart from the stuff I, myself, knew about from that era I’ve been on the look out for stuff I missed out on and especially stuff that might also fit the Transnational vibe of this blog. So I came across this Spanish New Wave act of the 80’s who sound damn fine. Check it out:
Here’s loads more fascinating stuff about them:
Europa was a short-lived synthpop group from Valencia, Spain formed in 1980 by Julio “Nexus” Pastor (synthesizers), Alfonso Aguado (vocals, guitar), Lino Oviaño (vocals, drum machine), and José Luis Macias (synthesizers). The quartet championed the use of synthesizers, drum machines and other polyphonic gadgets in a city that was stuck in the throws of progressive rock. They recorded and released their only album La Última Emoción in 1981 on cassette, released by DAI (Division Avanzada Independiente) a label interested in bands “capable of building electronic sounds from drum machines, sequencers, synths and effects, rather than conventional instruments like guitars and basses.”
The original issue of La Última Emoción was a single-sided cassette and limited to 500 copies. The band mixed all the tracks at their home studio using a Roland Juno 60, Casiotone 202, Korg Polysix, MS-20, MS-10 and the KR-55 drum machine. As part of the Spanish Techno-pop movement of the 1980s, Europa’s songs featured arpeggiated synthesizers and upbeat drum machines that flashback to the sound of Vince Clarke’s Depeche Mode days. Comparisons could be made to other Spanish Techno-pop bands like Aviador Dro, Vocoder or Metal y Ca but Europa weaved a unique style of driving, energetic rhythms, bouncy keyboards and soaring vocals perfect for dancing or speeding into outer space. Shorty after their debut release the band would switch their name to Última Emoción releasing an EP in 1983 and an album in 1984 before breaking up. Alfonso Aguado went on to front Los Inhumanos, Julio Pastor launched the Valencia techno bands Megabeat and Interfront, while José Luis Macias and Lino Oviaño formed Comité Cisne. In 2010 the original Europa line-up reformed to play a few select live shows celebrating the re-issue of their 1984 cassette Máquinas Románticas on Turia Records of Spain. Their sound remains clean, rhythmic and futuristically strange, transporting crowds to another dimension.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley for vinyl. Each LP includes an 8-page booklet originally housed in the 1981 cassette long-box complete with bi-lingual liner notes, lyrics and photos. 30 years later the futuristic sounds of Europa are ready to usher in another new wave.
There are only three days left before Berlin will burst out in Latin-flavoured happiness. We are looking forward to Esperanza just as much as you do so we decided to give a little warming up already. Get in the mood with this mouth-watering teaser..
So, what exactly can you expect?
Our main act, Tunche Soundsystem, an Andean-electronic band, which you can see in action here, will open the night with a vibrant and colourful live performance!
Intiche is another marvellous act who delivers ancestral-futuristic grooves with a combination of different live-electronic techniques.
Not unimportantly.. our own soundsystem will be rocking it, represented by alround tropicalist Zanada!
But the principal mind behind this fantastic event is Kumbale‘s René Gamez, a.k.a. Skrupersounds a.k.a Sonidero Sin Dinero Sound System! His sets seamlessly connect almost every corner of the Latin-global spectrum, from classic cumbia, Mexican rebajadas and urban flavoured cumbiaton, to catchy latinhouse, bassful moombahton and 3ball bangers!
Finally, eclectic retro-dj Seraphim will warp you back in time with a noiresque-funky mix of swing-tech, oldskool hiphop, balkan beats and Brazilian-vintage.
Proud of our posters !! >>
Erick’s found a little time to take a short break from his trail-blazing world dominance of 3ball with MTY and drop this awesome free EP!
This EP has enabled him to express more of a personal/individual take on Tribal Guarachero/3ball and give us all of hint of where he sees it going in the future.
It’s pretty understated and glides along in almost minimal/tech mode and you could def imagine this causing some serious damage in the clubs in Berlin! He even takes in a bit of Munchi and DJ Blass on “Sandunguero” which is the stand out for me.
Most original, first generation ‘global bass’ legends have moved in all kinds of directions. Few of them are as inspiring as the Berlin based autodidact musicologist, social activist and vibe-virtuoso Dj Zhao, who shows something of the ideas that inspired the ‘global bass’ movement to come into being. With his crew NGOMA Soundsystem, he strips off the layers of commercialisation, cultural whitewashing and creative inbreeding of the all the popular music that we hear around us like hiphop, house, techno or UK bass music, guiding us towards the endlessly richer source of it all: the traditions and cultures from Africa and the Near East that gave birth to all humanity.
In practice, this means an immersive experience of electronic grooves from many different branches of the African and Afro-diasporic musical family, forth and back between more and less familiar sounds (to the Western ear), from one region of the world to the other. His new recurring event ‘Mutant’ that just saw its 3rd edition and has hosted names like Rafael Aragon, Dj Ripley and Inti Che, brings this fantastic concept to the dancefloor in Berlin.
Attached to this event concept is a mixtape series with the same name of which we shared the first session earlier this year.
Now he is back with already the sixth edition. ‘The Merkolator’ is a contraction of Cajmere’s 90s experimental house gem ‘It’s Time for the Percolator‘ and the London slang word ‘merk‘, emblematic for the communities and subcultures that gave rise to grime, garage, jungle, 2Step and UK funky. The fusion of these worlds is the unique, bouncy sound of UK house. Zhao takes you on a trip to visit Jack and his neighbours, in his new appartment in an East-London council flat!
If you digged this, also check out the equally mindblowing previous edition, ‘Club Deconstruction’, which goes more deeply into the relation between cultural heritage, social class, colonialism and globalisation in modern African and Afro-diasporic music.
(Jersey, London, Luanda)
“Transcendent beauty is possible during both the renaissance and golden-age of a culture, as it is during the decline of empire.” — Anonymous
The music here strongly emphasize abrupt cuts, stop-and-switch dynamics, reflecting social fragmentation, and the often talked about compartmentalization of urban life into work/leisure/rest boxes. The music here is often tense, in my mind undoubtedly related to the pervasive class antagonism on the streets of NYC or London, and economic disparity which implements segregation. Violence is a constant theme: All of these new-ish music styles embody Gangsta Rap as much as Ghetto Tech, Booty Bass: pure sublimated aggression and commodified anger. The music here makes intensive use of manic repetition, often in a more radically rigid way than in traditional House or Techno, mirroring the reality of large sections of the underclasses, in whose culture this music is rooted, being locked into monotonous schedules of menial labor. So it is no surprise that *work* becomes a metaphor for the dance in Afro-American music, in a culture deeply shaped by both the historical legacy (No Drums Allowed) and present day reality of (wage) slavery.
Club Deconstruction represents fresh musical ideas in the “first world”, the former colonial centers, informed by recent internet enabled exposure to far away cultures (surely the only good effect of globalization). Track 5 – *Facta – Tungsten*, for instance, takes unmistakable rhythmic cues from Afro-House. While the periphery has always had access to Western culture (an effect of N. American cultural hegemony) – Kuduro from the Angolan ghettos has always assimilated the aesthetics of Techno and HipHop. Simultaneously, much of this music also draw on diasporic rhythm traditions in US and UK: Afro-Latin percussion on Track 03 – *Teeth – Black Thigh Shakes* is a good example.
Well that’s me breaking down this Mutant Club mix: 21st Century expressions of ancient rhythm heritage, shaped by colonial history, mirroring everyday realities of life, in the context of global capitalism.
Follow DJ Zhao:
Roi Rocky Assayag aka Rocky B introduced me to this dude, originally from Jerusalem but now based in Berlin. They have both collaborated on a track we’ll be releasing soon called “Dead” which is also featured on my recent ArabTronix Volume 3 mixtape.
This dude has some really sick, dark and interesting industrial beats bordering on the experimental and live improvisations, with a Middle Eastern tinge and you really need to check him out:
Here’s a Live MPC set too: