new bass and beats plus live guests(musicians, Djs, poets) and an ear for the global south. Cumbia. Dubstep. Gangsta synthetics. Sound-art. Maghrebi. International exclusives.
Two nights left. Two nights before going to New York where the breakbeat producer dj/rupture runs the weekly radio show Mudd Up! inbetween his frequent tours around the globe.
While I'm writing this article in my Lisbon apartment, I can hear the boat calling the passengers aboard, a trumpet-like sound, that probably hasn't changed for one century, arriving through my varandah as I live relatively close to the docks.
Rupture has a background in jazz, free and improvised music, and after living in UK and US spent some post 9/11 years in Barcelona where he was diggin' in maghrebi sounds, to return later back to brooklyn with fresh mix of transnational tunes.
Jace Clayton, that's his ID name, is also in front of the Soot records, 'a strike against geography' , established in 1999 and showcasing the artists such as Maga Bo from Rio who records street sounds world wide for documentaries and does collaborations with some of the greatest african musicians; a pirate percussionist Filastine, arab flavoured and politically loaded; or cumbia chefe Sonido Martinez, to add latino rhytms to the plates.
In 2001 he formed together with Matt Shadetek a label called Dutty Artz, a tropical multimedia storm... a monsoon.
His articles on music appear in Frieze magazine(surrounded by contemporary art), NY Times and recently in Abu Dhabi's leading newspaper. They're not simple journalist revues, but rather complex essays on sound, economy and power relations.
For shorter, though no less articulate opinions check the entries at his blogue Mudd Up! , which is dirt, lit and sound according to him. Where the watermelons fall instead of bombs, to be more precise...
The radio show that Rupture continously presents for over a year now at NY independent volunteer-run radio station WMFU broadcasted live and available also as a podcast is exactly what it says- a great mixture of unexpected bass beats(to include freshly squeezed bassline and grime), new heat coming from London(dubstep, strings and beats), live guests from his record labels, music bloggers and internationally acclaimed producers, and an ear for global south( 'too happy' socca rhytms, cumbia, etc. from America Latina to West Africa). Not to forget the gangsta rap from the East to the West coast, occasional sound-art pieces to frieze your mind and touch the neuralgic points, maghrebi classics, recent pop and hip-hop by local tongues, and 'international exclusives' like the virtuose Kora player (an african instrument of thousand and one strings) from Mali Toumani Diabaté or 'crying' Rebekah del Rio, straight from Mulholland Drive.
The shifts between the tracks are almost imperceptible, the use of headphones or the latest amplificador highly recommended, it can multiply the pleasure of listening, as all those noisy unadapting beats migrate in a perfect flow. A sonic experience to be repeated, played over and over again.
Hold me close for now I let you go/ llorando por tu amor/ you make me hot I make you hot/ yo te quiero mas mucho mas que ayer/ can't you see I'm all loose and strings I can't get no/ e no fim da noite pode pagar um café e vamos dançar o 'tchaka-tchaka' até o dia amanhecer/ we should shine a light on light on night on.
During the 2nd World War, Lisbon was known to be a refuge, an exile for artists, intelectuals and others running from Nazi Germany, before departing for New York. Traversing the Atlantic by boat which took one month.
The flux of people between the two cities is still very present, however now the transformation happens in the air, high above the ocean, in most transitional of all zones that, according to 'satanic' Salman Rushdie(yet another NY resident), apt in verses, was made possible by the 20th century and in turn made that century possible.
Two nights left. One night and a night.
A celestial spirit, a living sun
was what I saw...
While I'm writing this article in my Lisbon apartment, I can hear the boat calling the passengers aboard, a trumpet-like sound, that probably hasn't changed for one century, arriving through my varandah as I live relatively close to the docks.
Rupture has a background in jazz, free and improvised music, and after living in UK and US spent some post 9/11 years in Barcelona where he was diggin' in maghrebi sounds, to return later back to brooklyn with fresh mix of transnational tunes.
Jace Clayton, that's his ID name, is also in front of the Soot records, 'a strike against geography' , established in 1999 and showcasing the artists such as Maga Bo from Rio who records street sounds world wide for documentaries and does collaborations with some of the greatest african musicians; a pirate percussionist Filastine, arab flavoured and politically loaded; or cumbia chefe Sonido Martinez, to add latino rhytms to the plates.
In 2001 he formed together with Matt Shadetek a label called Dutty Artz, a tropical multimedia storm... a monsoon.
His articles on music appear in Frieze magazine(surrounded by contemporary art), NY Times and recently in Abu Dhabi's leading newspaper. They're not simple journalist revues, but rather complex essays on sound, economy and power relations.
For shorter, though no less articulate opinions check the entries at his blogue Mudd Up! , which is dirt, lit and sound according to him. Where the watermelons fall instead of bombs, to be more precise...
The radio show that Rupture continously presents for over a year now at NY independent volunteer-run radio station WMFU broadcasted live and available also as a podcast is exactly what it says- a great mixture of unexpected bass beats(to include freshly squeezed bassline and grime), new heat coming from London(dubstep, strings and beats), live guests from his record labels, music bloggers and internationally acclaimed producers, and an ear for global south( 'too happy' socca rhytms, cumbia, etc. from America Latina to West Africa). Not to forget the gangsta rap from the East to the West coast, occasional sound-art pieces to frieze your mind and touch the neuralgic points, maghrebi classics, recent pop and hip-hop by local tongues, and 'international exclusives' like the virtuose Kora player (an african instrument of thousand and one strings) from Mali Toumani Diabaté or 'crying' Rebekah del Rio, straight from Mulholland Drive.
The shifts between the tracks are almost imperceptible, the use of headphones or the latest amplificador highly recommended, it can multiply the pleasure of listening, as all those noisy unadapting beats migrate in a perfect flow. A sonic experience to be repeated, played over and over again.
Hold me close for now I let you go/ llorando por tu amor/ you make me hot I make you hot/ yo te quiero mas mucho mas que ayer/ can't you see I'm all loose and strings I can't get no/ e no fim da noite pode pagar um café e vamos dançar o 'tchaka-tchaka' até o dia amanhecer/ we should shine a light on light on night on.
During the 2nd World War, Lisbon was known to be a refuge, an exile for artists, intelectuals and others running from Nazi Germany, before departing for New York. Traversing the Atlantic by boat which took one month.
The flux of people between the two cities is still very present, however now the transformation happens in the air, high above the ocean, in most transitional of all zones that, according to 'satanic' Salman Rushdie(yet another NY resident), apt in verses, was made possible by the 20th century and in turn made that century possible.
Two nights left. One night and a night.
A celestial spirit, a living sun
was what I saw...
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