Keep Plastic Alive!!!!!

Tuesday, February 23rd, 2010

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Yep, you heard right. The chorus of voices online are all singing in unison. London’s Plastic People is currently the focus of a Police campaign to close it’s famous grey doors permanently. It’s only right I add my voice to the choir of resentment because I, like so many others, have a special place for the club in my heart.

My relationship with the double P begins way before I could even pass for being old enough to step through it’s doors. Walking past it’s original Oxford Street doorway on my regular weekend pilgrimage to Soho’s record emporiums. Even then, the tacky sign and unique flyers (I was a huge flyer fan) was enough to raise mental enquiry. What was it like in there?

I never did find out, but I more than made up for it when owner Ade packed up and went east in 2000. From then til’ now, I’ve seen some of my most respected DJs and bore witness to the best basement sessions, REAL basement sessions, I have ever been to.

This move to stop Plastic’s flow comes as no surprise. I am in touch with the handful of black-owned establishments in Shoreditch and all of them share tales of hard times when it comes to dealing with the powers that be. Not to say that this is merely a question of race however. In these times, those offering an alternate path, those who aren’t in the business for the money, or trying to blind the people with PR and spin pose a threat to the creeping machine of national order. Some of us may feel it more than others, but our presence on Plastic People’s dancefloor is in truth a statement of resistance to the deconstruction and realignment of the entertainment industry in the past two decades. Sounds extreme I know, but look around you next time you’re on a night out and tell me where else you can find Ade et al’s dedication to the things that truly matter.

Police have placed a notice outside the club citing their intention to revoke their license for:

1/ PREVENTION OF PUBLIC NUISANCE
2/ PREVENTION OF CRIME AND DISORDER

Clearly, to anyone that has been to the club, these are both flimsy and to be honest, outright ridiculous claims. Of all the venues in Shoreditch, Plastic People’s clientele are some of the least likely to contribute to either of the above. Surrounded by venues spewing out drunken, drug-addled punters, Plastic is an oasis….the only club in the area where people come for one reason and one reason only: the music. The police claim they have found evidence of cocaine usage in the toilets and DJ booth. Although the latter is hard to believe, show me a club with no drugs in it, Cocaine or otherwise. The PP crowd is one of the least drug heavy, best behaved I’ve seen – and believe me, I’ve been to a lot of clubs.

Anyway, enough ranting. Their doors aren’t closed yet. join the FaceBook group and stay-tuned to find out how you can help stop this from happening. If Plastic goes, where will we have left? House/warehouse parties have already suffered the clampdown and there is not one venue I can think of that has the same quality control as Plastic People. Local authorities have already managed to herd anyone who wants to listen to anything but the commercial dirge into one East-Central postcode, lets not let them go further and extinguish the few flames we have left…

UPDATE: CLICK HERE TO ADD YOUR NAME TO THE SAVE PLASTIC PEOPLE PETITION

Event: South LDN Afro Movements…

Monday, February 22nd, 2010

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If you didn’t already know, London is currently being shaken by a new-wave afro explosion. Dele Sosimi, Afrospot, The Soothsayers, Eric Soul….the list goes on.

Not afraid to step beyond the borders of Afro-Funk, Yaaba Funk are one of the more interesting shards of the aforementioned afro bomb. If you know Heads High, you should know Yaaba Funk from a heavy NYE basement session we collaborated on in East’ London’s ‘Life‘ venue (word to Kato!). if you don’t yet know Yaaba, you’re in for a treat. Peep the sample stream below, check the video and if you like what you hear, head over to SHOOK to investigate the interview I recently did with them…

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….and the event? Deep South runnings courtesy of Jamie Renton and his Chilli Fried machine…

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The Sound of Kinshasa…

Tuesday, February 16th, 2010

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Blogging is a curious thing…especially when there are major labels/sponsors involved. They make crazy money, invest in something dope, give us a whiff of it & we do the rest…..for free. That’s only one reason why I feel slightly strange blogging about Baloji. The other is that seeing as I don’t speak French, I have only a feint idea of what he’s saying. What I do know though is that the way he says what he says is on point. Don’t hate me but that’s my main criteria for judging MCs & singers anyway….unless they’re really talking shit….

Baloji is a Congolese MC via Belgium. He’s been around for a minute and his flows stick to anything from high speed 70s funk to raw roots traditional drums. He’s been working on the follow up to the acclaimed ‘Hotel Impala‘ LP and sources tell us the fresh ‘Kinshasa Succursale’ project is ripe to drop. As a taster, the Konono No 1 sampling ‘Karibu Ye Bintou’ is currently doing the rounds. Not only is the track tight, but the video is excellent too….thoughts?

BALOJI feat. KONONO n1 – KARIBU YA BINTOU from BALOJI on Vimeo.

Video: RA!

Wednesday, January 6th, 2010

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I’m going to keep this one short and sweet.

United Vibrations are one of the hottest, most energetic bands to walk the UKs stages in a while. I’ve had the pleasure of sharing many a gig with them and their music never fails to engage. On a personal tip, having broken bread with them at length, I’m as impressed with their ideology and aspirations as I am with the heat scorching up the microphones.

One of their set’s highlights is RA! a fast paced afro-jazz cut with a boom-bap breakdown and energy for days. Funnily enough, the cut is actually in part a celebration of solar energy, the other part being reserved as a homage to the visionary Sun Ra. The single is out now (it was officially launched on the winter solstice) and you can pick it up on ITunes. Vinyl lovers you’re not forgotten. Cop the plastic here.

Here is the video, recorded at the launch party….enjoy

Debate: Mos Def Vs’ Westwood

Wednesday, January 6th, 2010

Reporting back from last November’s post when Mos came over to foggy ol’ Blighty to present his Ecstatic album to fans at Kentish Town’s Forum, he also took it upon himself to do a lil’ venting to the people of the BBC (namely Tim Westwood) about the way hip-hop is currently being mis-represented on the 1Xtra show. Having a respectable figure in the game express his disappointment to the so-called ‘UK hip-hop evangelist’ is certainly not to be taken lightly; especially when there isn’t any other figure as well-known as Westwood that has the opportunity to represent the genre to such a wide demographic in this country.

Tim Westwood has forever remained the controversial hip-hop ambassador of the UK. His suburban, upper middle class upbringing, yet contrasting stateside Ali G-esque accent and bomb-dropping “ghetto” sound effects, some may say, make him the antithesis of true hip-hop. For many people over the age of 12, Westwood is one of those characters we love to hate. However, despite this, we must respect the fact that he has (for a more than a minute) been responsible for championing both home-grown talent and bringing credible overseas hip-hop artists across the Atlantic to the UK masses.

There are many topical debates we could delve into regarding the nature of hip-hop in relation to the DJs, the UK audience and the powers that be, however I will let the 1Xtra videos speak for themselves.

Its good to see that there are still people around who are prepared to rock the boat and be courageous enough to speak up to challenge the status quo. In saying this, I also sincerely believe that it is moments like these that will continue to push the movement forward. There is hope for the future of hip-hop.

We salute you, Mos Def.

P.S. Fairplay to Westwood for posting this up anyway.

Rhythm Talk: Fuji

Tuesday, January 5th, 2010

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Continuing our Rhythm Talk which began with Gwo Ka late last year, we’re back once more to ruminate on the Rhythm. This one goes out to all Nigerians…we’re talking Fuji!

Unless you’re a Nigerian, or have a good knowledge of West African drum music, chances are you’ll have heard little about Fuji music. Alledgedly founded by one Alhaji Sikiru Ayinde Barrister, the name Fuji oddly bears no relation to the Yoruba word Fuja/Faaji meaning enjoyment, instead being christened by Mr Barrister’s chance glance at an advert for Japan’s Mount Fuji. This however, is where the music’s link with the Far East ends.

Born of the union of Islamic and Yoruban cultures, Fuji Music grew out of the Yoruban Wéré music traditionally played to call Muslims to feast and prayer during Ramadan. If you get the chance to listen to any Wéré/Ajisari/Fuji rhythms you’ll understand why I’m not entirely pleased about my early years spent at Roman Catholic Church at my parents request…the rhythms are amazing! Layers and layers of them. Underpinned with raw drums, punctuated by song and embellished with drizzles of saxophone, guitar and keyboard. Listen….


Alhaji Sikiru Ayinde Barrister and Kollington Ayinla are recognised as the godfathers of the Fuji movement. Ayinde Barrister finding fame as the founder of Fuji after a spell under the tutelage  of Jibowu Barrister who, along with his peers in the “Ajiwere” scene, evolved a number of styles heavily influenced by the Yoruban Sakara and Apala musics. Kollington Ayinla, Barrister’s musical rival, is noted for the success he found delivering his fast-paced, dancefloor-friendly twist on the Fuji theme to the people. Check out his  “Alakara Ofa Keni Keji” for rhythmic proof.

sakara_drum_nigeriaThe Sakara Drum.

The main instruments in Fuji are the Gangan (medium sized Yoruba talking drum), the Sakara (Yoruba frame pictured above), the Omele Gangan (mini Gangan), the Sakara Omele (small sakara) and Bata Omele which forms the crucial backbeat. A Fuji orchestra can include a myriad of percussion; Shekere, Bells, Iyalu (large talking drum) and of course a drum kit, sometimes congas too. On the melodic front, you’ll usually find plenty of backing singers, keyboards, guitars and a touch of brass.

Fuji’s popularity continued through the 80s and 90s right up to the present day. As a supporter of the underdog, it gives me a certain pleasure to know that a style which was known for a time as ‘the poor man’s JuJu’ still has a secure place in today’s African music marketplace. That being said, those of us favoring music with more integrity and less American sensibilities might want to dig the past before delving too deep into modern day offerings.

One more recent artist who treated Fuji the right way is Adewale Ayuba. Known primarily for his JuJu creations, Ayuba’s take on the Fuji theme ‘Bonsue Fuji’ managed to successfully transcend barriers of age and class….not easy.

On a slight but nonetheless relevant tangent, those of you with open minds might like to check the following clip to witness what happens when the music described above finds its way to LDN and meets friends from South Asia, America and beyond. Richard Olatunde Baker and his Eardrum project have been successfully experimenting with cultural fusions for some time now. We were proud to have them as guests at one of last years Heads High sessions and judging by the sounds on this video, it would appear that those of us who know are in for a very special treat when their forthcoming album drops….

I’ll leave the rest to you. If you’re a scholar or a deep, deep digger, chances are this is nothing new to you. Hopefully though, those of you marginally less geeky (and I do mean marginally) will benefit from the leads and sounds presented above.

Long live the rhythm…

Many thanks to Richard Olatunde Baker for his contribution. Also, thanks to the Afro Slab blog for the pics. Make sure to click through to them for bytes & bytes of those ol’ dusty Afro selections…