Beck's Tribute to Lou Reed : Sunday Morning (Velvet Underground Cover)


I’ve strayed away from posting a tribute to Lou on the site up until now, I’m not sure why but I just didn’t want to get caught up in the commotion/opportunism of it all. It’s not that I didn’t want to but I just felt it’d be too easy to do it on the first day and I wanted some time for it all to sink in.

Lou was directly responsible for me starting my first band with my next door neighbour and us playing one of our first ever songs, “Waiting for the man” and that’s all I want to say really. His music said it all.

I didn’t want to post any covers or music tributes but here’s something that I heard on the day he died by Beck.

I think it’s a beautiful cover and a worthy tribute as opposed to some dodgy or awful opportunistic remix or edit.  You can tell that there’s genuine sincerity in this and I’m sure Lou would have approved.

Here’s what Beck told RS:

It’s hard for me to sum up Lou Reed’s legacy. He’s such a major part of the music of the last 50 years. How do you have perspective on something that’s so close to you?

When I heard the first Velvet Underground record, I was 13 or 14, and it really struck me intensely. I was listening to anything I could get my hands on; I’d grown up with the Beatles and the Ramones, and I was getting into the Stones and garage rock. But when I heard “Venus in Furs,” I’d never heard anything like it. It was like hearing something I’d always wanted to hear. It felt so modern – I had to look at the back of the record to make sure it wasn’t a newer band. The sound was really dirty, much more primal than other bands from that era. The sweetness of the melodies and the songwriting, juxtaposed with this brutal sound, completely turned a light on for me.

After that, I don’t think I listened to any pop music for another 15 years. The Velvet Underground just eclipsed everything for a long time for me – it became the thing that I measured other music by. I think that’s common for a lot of people my age. Lou Reed and the Velvets were so formative for that whole era of bands that came out in the Eighties and Nineties, bands like the Pixies and Sonic Youth and Jesus and Mary Chain and Pavement and Yo La Tengo. I don’t know what you would call the genre that I’m in, but the Velvet Underground really define it. They’re the blueprint for that entire kind of music. The idea that you could play folk or country or guitar feedback or Brill Building pop, and you didn’t have to be authentic or quote-unquote real, was so liberating.

They were the coolest-looking band. I remember seeing a picture in a magazine where Lou had the wrap-around shades and the haircut and the boots. I think any kid who runs across something like that wishes they’d been around for it, you know? The really strange thing was, when my mother saw that I was listening to their record incessantly, she mentioned that she knew them – she had had some interaction with the Factory scene when she was growing up in the Village, and she claimed to have danced onstage at some of their early shows. I had no idea! But there wasn’t a lot of information about the Velvets back then. Later on, I was shocked to meet other people who had heard of them.

I’ve been playing Lou Reed’s songs since I first picked up the guitar. They can be so simple and perfect, and they can just cut you to the bone, but he never reduced it to sentimentality or cliché. He had that conversational style that’s really not easy to do. There’s just nothing cooler than that to me. I never get tired of playing his songs – it always works. I did one with Thom Yorke once [“I’m Set Free”]; that was perfect. On the Sea Change tour, we did “Who Loves the Sun.” Just this summer, I was doing an acoustic tour, and I played “Sunday Morning” in Paris. You can always play a Hank Williams song, you can always play a Beatles song, and you can always play a Lou Reed song.

I remember around ’95, we had just played a festival, and he was right after us, so I was coming offstage when he was going on. I wanted to introduce myself, but I wasn’t confident enough. So I never got to meet him. I’m really sad about that. The truth is, I haven’t even had time to digest the news that he’s gone. Man, what a loss.




We’ve been huge fans of Hoodie ever since he released his “Swekinations” EP a while back, which showcased the best Latin Moombahton that we’d heard since Munchi.

We’ve been asking him for an EP for some time now and he finally delivers with this awesome 2 track EP that you can now grab for FREE.

It contains 2 really different tracks that define the Hoodie sound.

Hoodie says:

“These tracks are the 2 newest tracks I love the most with influences of Trap, Old Skool Dutch Bubbling and of course the real Moombahton sound.”


Daniël Pattiata, born on 28 August 1990, also known by his artist name Hoodie, is a Dutch music producer & DJ. At age 10 he discovers music on a children’s program on his fathers computer. Obsessed by a monkey and a drum kit he developed his interest in music at a very young age. Music was not a strange thing in his family. His uncle played in several bands and his cousin was a well-known DJ.

In 2003 he discovers a new way to make music and made dozens of hip-hop beats with FL Studio. All those beats gave him exercise to give all the instruments the perfect level. When Hoodie decided to start with something new he bought Cubase from the local music store. In 2006 he was still into hip-hop, but he also want to try something new. Searching for a different genre he discovers House music. Daniël was instantaneously in love and he started to make club tracks right away.

In 2008 he released his first single at Sneakerz Muzik (Spinnin Records). His second release ‘Dirty Maluku Style’on Made2dance Records made a huge difference in his carreer. Supported by DJ’s: Gregor Salto, Dj Rockid, Schlachtofbronx, Teki Latex, Yolanda BE Cool and many more, he had made his first success. In 2010 he released ‘Break Bass’ which was a mix of Electro and Dutch House. It was released on Foktop! (Spinnin Records) and was published on CD as well (Sneakerz Foktop! Summer CD). After all the releases Hoodie had those few years, he got much respect and support from DJ’s and fans from all over the world.

Daniël’s DJ career started a few months later in 2010. His first gigs were at local bars and parties but after the Foktop! Summer Mix cd he was booked at his first big party with Bizzey, Sandro Silva, DJ Rockid and some other DJ’s. After all those gigs with DJ’s like: The Partysquad, Sandro Silva, Rockid, Yolanda BE Cool, Marc Benjamin etc.

In 2011 Hoodie made his first bootleg release with Yellow Claw a local group and got into the sounds of Moombahton. He decided to make Moombahton more often since the release of Marvins Room bootleg was a big succes.

In 2012 Hoodie had the chance to bring his mix of Dutch Sounds and Moombahton festivals and clubs. From Escape (Amsterdam,NL) to local clubs, Hoodie was known as a crazy mooombahton DJ who mixed his own moombahton sounds with dirty dutch house sounds.

Hoodie has a promising future full of big releases and collaborations with producers and DJ’s from his dreams. Hoodie is now known as a wild DJ and a gifted producer and we’re all hyped to hear what’s next in the future!






Hannah Habibi : Pop Art & Islam [Art]


I luv Arabic music and also any kind of kick-ass Arabic Art or Arabic “influenced” Art and so you’re gonna see a lot of this kind of stuff in this new art section in the coming months.

Here’s some work that I discovered a few months back when I was looking for new cover inspirations for my recent ArabTronix mixtape series and this stuff just blew me away. I found it refreshing, humourous and tongue in cheek and quite different to anything I’ve ever seen before.

It’s work by a London based artist Hannah Habibi Hopkins.

Here’s what her website says about her:

Hannah Habibi Hopkin is a London based artist whose work explores gender, religion and identity. Her current work turns traditional concepts of embroidery, as a romanticised pastime for a docile woman, into a ‘weapon of resistance’ against gender constraints.

She did a very revealing interview for a BBC Religion & Ethics website and so I’ll be taking a lot of text from that interview to explain her work.

The artist traces her fascination with the Arab world back to her 14th birthday: “I was given a CD of an Egyptian singer, a lady singing rather tragic and wonderful songs. It didn’t really mean anything to me at that time, but as time went on I became obsessed with the songs and the culture.”

Don't Worry

The evoking Egyptian music was the soundtrack of a personal journey. Ms Hopkin converted to Islam when she was 24 and wore the full hijab for several years.

The experience of being a white, blue-eyed girl wearing traditional Muslim dress in Britain, and the different ways in which people responded to it, was the spark for many of her works.

“I was regularly interrogated and asked why I was wearing the hijab,” she says. When she explained that it was due to her faith, many would go on to ask her why she was a Muslim, as they were puzzled by her non-Middle Eastern appearance.

“I find that people often project stereotypes upon you when you’re wearing a scarf,” she explains.

“Certain items of clothing, such as hijab and abaya, have become invested with such potent politicised symbolism – the wearer’s personal identity becomes secondary to her outward appearance.”


According to Ms Hopkin, the media often use images of women wearing Muslim dress to illustrate stories about oppression, or as a backdrop for reports on terrorism.

These are some of the stereotypes that she is keen to challenge through the use of familiar, accessible forms of art, such as pop art and comic-like graphics.

Her love of pop art guru Roy Lichtenstein, which blossomed when she was a child, is evident in many of her paintings. Like Lichtenstein, Ms Hopkin sometimes uses speech bubbles, a device typical of cartoon strips, to convey her message playfully.

Hannah Habibi Hopkin 'If you could see her through my eyes...'

In one of the canvases, a woman looks at the viewer through her niqab, as the text above her face reads: ‘If you could see her though my eyes…’, a reference to the song of the same title in the musical ‘Cabaret’.

The song tells of a man who is facing disapproval from his community because he has fallen in love with a Jewish woman. Ms Hopkins explains that she juxtaposed the lyrics with the image of a woman wearing a niqab because she feels there is a similar prejudice against Muslims today.

“There is also a play on words with the reference to eyes and the fact that the woman is wearing a niqab and all you can see are her eyes,” she adds.

Hear no evil, See no evil, Speak no evil Triptych _ Hannah Habibi Hopkin copy

A political undertone pervades Ms Hopkin’s bold adaptation of the proverbial ‘see no evil, hear no evil, speak no evil’, which was inspired by the events taking place in Egypt in 2011 during the so-called Arab Spring.

Ms Hopkins recalls following the reports closely: “There was a lot of graffiti springing up that was overtly critical of the government,” she says.

“This  (above) piece is influenced by the visuals that I was seeing spray painted on the streets. The message is about censorship: it started off looking at the concept of state censorship, but also self-censorship, when people are too afraid or unable to speak.”


  • The word hijab comes from the Arabic for veil and is used to describe the headscarves worn by Muslim women
  • The niqab is a veil for the face that leaves the area around the eyes clear
  • The burqa is the most concealing of all Islamic veils. It covers the entire face and body, leaving just a mesh screen to see through


Ms Hopkin is also aware of the “thriving Muslim feminist movement worldwide”, which she says is supported not only by women but also many Muslim men and has created debate among the disparate subcultures of Muslim womanhood.

“I feel that if only the voices of Muslim women were presented a little more by the media, rather than simply being ‘talked about’, we would all benefit and become a little more understanding of one another.”

WE CAN DO IT_  Hannah Habibi




TEXT taken from:

Hannah Habibi: Joining the dots between pop art and Islam



Another beauty from Dubbel Dutch.

When dancehall musician Ce’Cile released “Talk Talk” five years ago, the blippy Skatta Burrell-produced “Inevitable Riddim” that laid the groundwork for her lyrical zings sounded like something that could just as easily soundtrack a retro-Euro video game—but in 2013, the mutation of synthy drums fits right in. Now there’s Dubbel Dutch‘s modernistic take on the riddim for his upcoming Cloud Club EP on Mixpak (out November 12). Both entities have long paired the sonic aesthetics of dancehall, soca, and grime with global house, UK Funky, and all things club, and “Inevitable” follows in suit; the track is littered with tiny bits of flair—fluttering trance keys, a punchy squeak, trudging bloated synths—but falls back on minimally charged bass to take it to the dance floor.




You had Cain & Abel, Cal & Aron Trask (East of Eden), Liam & Noel Gallagher and UMB & Caballo. lol.

Caballo contacted me on My Space back in 2009 and I showed him some support and introduced him to the blogging world and Generation Bass. He started sending me stuff that he thought would be interesting for the blog and so instead of posting what he sent me, I just asked him to join us instead and post the shit himself.  For a while, we were the Holy Trinity (un-holy to some), Vince, UMB & Caballo.

In late 2010, things went bad for a while, we hated each other, some bad people ( we know who u are, as do u) tried to make some mileage out of that but we’re back on good, friendlier terms.  Older, wiser and more tolerant and perhaps we have a mutual understanding of each other’s complexities and behaviours a lot more now or maybe we have both just mellowed out.

Anyway, it’s with great pleasure that I introduce Caballo back to Generation Bass with his awesome Top 10 of Colombian tunes.  This is educational (I didn’t know Santana ripped that Maria track!!) and a great insight into colombian music that I love so much!  Many of my personal favourites in here!  A great, great Top 10!!!

Make sure to check out his blog posts on the Mad Decent & Tropical Bass sites, check out his Latino Resiste label and his productions/releases.

Here’s what he says:

Top 10 Colombian Songs from Caballo

I personally haven’t written this sort of posts since my early days of Generation Bass.  So, let’s say, this is a “ GB old-school post”.  UMB asked me to post my top 10 Colombian tracks of all the time.  What a gargantuan task, because there are too many great songs. But I did my best.

Instead of making a top in terms of ranking, I decided to do a top 10; that could represent a lot for Colombian people and/or musicians.

I hope you click on them, if you fancy.

10. Lucho Bermudez y su Orquesta – La Pollera Colora’

As you will see at the 13 seconds mark, Lucho Bermudez successfully blended two worlds, Jazz & Cumbia, it made accessible for the ‘elite’ to enjoy and dance the popular music, but at the same time, it gave a whole new level to the genre, in where notes, rests, lines and academic terms finally could give a context and copyrights to the music from their ancestors.

9. Carlos Román y su Conjunto Vallenato – Very Very Well

Carlos Roman & his Vallenato put in a Colombian context the American rock & roll hype that was swallowing the whole planet, their creation, opened a whole door for something that became perhaps our biggest musical export: Tropical Music.

8. Eliseo Herrera – El Trabalenguas

Colombians did not have urban music, like hip hop or rap, but as a fact much before funk days, Los Corraleros del Majagual, where dropping their fast lyrics.

We did not invent rap. But recordings suggest the idea, Eliseo Herrera & Los corraleros were rapping before it was cool to be a rapper.

This, in particular is actually the “modern version” of the original song.

7. La Derecha – Ay Que Dolor

Now, a lot of people may say, this is just a bunch of old tunes, what a wacko.. So for my next one I do have one that it is not old dude music, in a sense, but it deserves to be dropped in the top 10.

This song has a Boogaloo vibe that got ripped off by Santana several times with his hit songs Maria, and the one with the matchbox twenty dude.. anyway, This song rocks! Literally!

6. Otto Serge & Rafael Ricardo – Señora

Señora ! This Vallenato, is simply an anthem. I do not think there is a single song that has seen more liquor in Colombia than this one. If you are Colombian, most likely someone dropped this song after a heavy party.

5. Fruko y sus – Tesos El Preso

Salsa! What musical genre could be more Colombian, (after Cumbia) than Salsa. And who could be better than Discos Fuentes Biggest start from all times: FRUKO.

And what better than Fruko’s biggest hit: EL PRESO.

4. Joe Arroyo – No Le Pegue a La Negra

But Fruko’s youngest singer became the biggest Salsa star from Colombia, Joe Arroyo makes it to 4.

La Negra. Nuff Said

3. Jorge Veloza – La Cucharita

This particular genre doesn’t have as much hype outside Colombia, but let me tell you, it is HUGE! Carranguera makes it to the top 3, with this.

2. Diomedez Diaz – La Plata

The second place is for a dude, who (by himself) actually was the only support for Sony Music Colombia during a decade! He sold so many discs that Sony did not go bankrupt in Colombia having one of the highest piracy rates in the planet!! And he probably sold 4 times more pirate CDs, so we are talking about a dude who perfectly has sold 1 official millions copies per album and probably twice that in pirate cds and he has around 40+ albums!!

Colombian OJ Simpson, the only cocaine-killer-over the top celebrity, whose music is so great, we all get the blind eye, so he can keep doing music.


Toto y la Momposina – La Verdolaga

Number 1, perhaps it is not the most famous of them all. But it is the most influential one.

This song comes from a very old tradition that was kept by African Slaves in San Basilio de Palenque for centuries, and their generations.

And this particular approach to cumbia, gave birth to Vallenato.
In fact, this gave birth to digital cumbia. I could write the whole history of digital cumbia, but for today, I’d like you to take my word.

So, without a La Verdolaga, you would not have ANY of the other 9 songs you heard before.








So great to see Jay Fay really starting to make some serious inroads into the commercial and mainstream music world with his latest release/collaboration with DJ Fresh and Ms Dynamite. This is also great news for Moombahton and a much needed boost for the scene.

Of course I knew it’d come to this from the first time I heard one of his tunes back in early 2011.  I heard his “Sabroso” remix which just floored me and so I asked him for the track and also an EP release on our label.  We started bigging him up a few months later around that time on various posts and in forums, Bassfest, Sabroso and other posts.  He was a big follower of Generation Bass in those days and so was eager to release an EP for us.

He eventually had the EP ready 1 year later just as his star was beginning to rise.  It was delayed because he had 3 EP projects on the go at the time, one for  us, one for T&A and also one for Young Robots and he wasn’t sure in which order to release them.   However, he kept to his promise and gave us the “Mashitup” EP in 2012, in spite of having various and much bigger and better offers on the table at that time.

A man of his word and that is what makes up Jay Fay, a truly genuine and honest guy.  We hope his star continues to rise, we are quite sure it will.

This new collab is massive though and is likely to go Top 40 in the UK.  However, it’s not new, an earlier version having previously been released earlier this year on the T&A “Moombahton Forever” compilation.

Here’s the original:

Here’s the new version:

Premiered by Zane Lowe on BBC Radio 1 on 29th October 2013, who made it his Hottest Record in the World, ‘Dibby Dibby Sound’ is the second single to be taken from DJ Fresh’s new album – due for release next year.

‘Dibby Dibby Sound’ is coming soon on Ministry of Sound Recordings and Columbia Records USA.

Whilst you’re here you might as well grab this new mix that he’s just done for Tiesto’s radio show:

Freak – LFO
EDM Death Machine – Knife Party
Get Wild – John Dahlback
Ladies in the Back (Jay Fay Remix) – Star Slinger (Feat. Teki Latex)
Soup – Charlie Darker
Perfect! – Stoltenhoff
Wild For the Night (Dog Blood Remix) – A$AP Rocky
Play It Again – Autoerotique
Top Dog – Savage Skulls
Deep in the Night – Curses!
No Hook – Randomer
Pursuit – Gesaffelstein
Surge (Jay Fay Edit) – Rule of Eight
Dibby Dibby Sound – Jay Fay
Kingpin (Jay Fay Remix) – Skream & Friction
Be Your Girl (Kaytranada Edition) – Teedra Moses
Slab (Jay Fay Edit) – Chaos in the CBD
Mad Dings (Keith & Supabeatz Remix – Jay Fay Edit) – Swick & Tranter
Rockers (Bro Safari & UFO! Remix) – Kill the Noise
???? (Jay Fay Remix) – ?????
Fang Banger – Bro Safari & Space Laces
Mirage (Jay Fay Bootleg) – Nguzunguzu
I Can’t Wait – Canblaster

BOOGAT – Sunset remixes Free EP


Boogat is on a roll ! A week after receiving two awards at the 2013 ADISQ for best world album and best producer (Quebec equivalent of the grammys) and getting his music on the hit series Homeland, he releases a new EP “Sunset Remixes”, which includes remixes from his latest album “El Dorado Sunset” and also from “Pura Vida”.

He called on his international producer/dj friends to contribute to the EP: DJ GeeRaph (Mtl), Javier Estrada (Monterrey) KenLo (Mtl), Chong-X (Lima), El Hijo De La Cumbia (Buenos Aires), G-Flux (DC), Atropolis (NYC) and Poirier (Mtl).

And because Boogat is an all around nice guy who wanted to thank his fans and celebrate this amazing year, he offers this EP for free ! You can still grab Eldorado Sunset on iTunes too.

BOOGAT is a young talented MC living in Montreal and bridging latin groove with urban and electronic music while telling everyday life stories with catchy hooks and sometimes goofy lyrics. He also can be moving like in the very evocative «Cumbia De Las Luchas» where Juan choose to sign-up for the army and fight in Iraq to get his green card. His most recent album, Eldorado Sunset, got him two« Félix» at the 2013 ADISQ awards for best world music album and best producer. During the last 3 years, Boogat also released 3 free mixtapes, 1 EP and many collaborations with musicians from all around the world. His song El Alto De La Paz with Mati Zundel got synched to the groundbreaking TV show Homeland.

His explosive live show will turn any situation into a party for both the latin fans and a larger audience. Boogat is skillful in creating a connection and communicating with the audience during his shows where he plays his repertoire with a percussionist, a drummer and trombone player. Boogat and his band already played some major international festivals like Montreal Jazz Fest, Toronto Small World Music Festival or Sonar Festival in Barcelona and a series of concerts in the USA, Mexico and France.



For me Happy Colors aka Hector Mendoza is the realest of the realest when he says:

“I make music for…..ME”


Dominican DJ/Producer Hector Mendoza a.k.a. Happy Colors invites you to a world devoid of genre and filled with drowned out vocals, dark synths and bassy 808s. From the cool swelter of Miami, the 18-year-old DJ/Producer spends his time cutting, copying, pasting, sampling and recording wear sounds and rhythms solely to please his own taste and unique style. Because Happy Colors doesn’t make music for the listener that wonders “when is the kick going to drop?” 30 seconds in and he certainly doesn’t make it for that one person who says “this track is too long.” According to him, he makes music “for smart people with an open mind…” Because people with an open mind in music can understand and enjoy first, then analyze and criticize later.

Watch out for this dude cause he is KILLING the GAME right now and it’s a huge pleasure for us to showcase his current fave Top 10 tracks of the moment.

His No.1 is this below but the rest of his Top 10 are in no particular order:


2. Tulile – Cuca

3. Fulanito – Guallando

4. Musica De Palos Dominicanos

5. Grupo De Palo Peravia Los Olivos

6. Lapiz – Tiraera Al Casandra!!

7. Ape Drums – Worl’ Boss Ft. Vybz Kartel

8. Yellow Claw & The Opposites – Thunder (Cratesz Remix)

9. Danilo – Monkey Roots

10. Morrison – I Miss You







Nguzunguzu – Skycell


As time goes on my appreciation for this duo just grows.

Now they have unveiled the title track from their forthcoming Ep/Mini-Album on the Fade To Mind label and it’s something that for me harks back to Ryuichi Sakamoto, Goblin and even has a touch of Siouxsie and the Banshees about it in terms of mood, atmosphere and instrumentation. Totally weird stuff to compare it to but its what it reminds me of.  I’m really loving the haunting Film Noire vibe of it.

Check it out for yourself:

Nguzunguzu – Skycell
Out November 5th 2013 on Fade to Mind

Pre Order digital:
Pre Order 12″:

01. Foam Feathers
02. Harp Bell
03. Vision of Completion
04. Break In
05. Tumultuous
06. Mecha
07. Skycell


The songs of Skycell are built from air bursts, glimmering chimes, sunken bass, metallic scrapes, and industrial crashes. As the tension looms you begin to realize you are in an elevated jail cell with no bars, where your only escape is to free fall to your demise.