Beastie Boys have shared their 1995 EP, 'Aglio E Olio’, to streaming services.
The 25-year-old recording was released in between the iconic albums 'Ill Communication' and 'Hello Nasty', with this short form offering made up of work the outfit knew wouldn't fit onto the latter album.
Amery 'AWOL' Smith, of New York rockers Suicidal Tendencies, joins the trio on drums, a collaboration that began after he helped the hip hop crew set up in the studio. The release packs a weighty hardcore punk punch, cramming an impressive number of tracks into its brief running time.
Last track that blew your mind?
Sully ‘Vérité’ (Check the mix)
Last film you watched?
“Uncut Gems. I took five second piece of the trailer and borrowed and sped it up to intensify certain points of the mix because it felt like it had a pleasing Hollywood-ASMR quality to it. I put a choir on top to give it an extra lift”
Ever groundbreaking Dublin label All City are set to reissue the 1983 debut solo album from Irish post-punk pioneer Stano, ‘Content To Write In I Dine Weathercraft’.
Robin Stewart and Harry Wright have built a reputation on their vivacious, fast-paced live shows contorting industrial techno with noise and plenty of distortion. But don’t get it twisted, Giant Swan are not an act to be shoehorned into genres or sub- genres. Their first exposure was playing live with the band The Naturals; a guitar-led four-piece that they’re still very much committed to.
Don Letts is a true legend of UK punk. A filmmaker, musician and DJ, the London-born icon has stood at the helm of the country’s most vital scene for over four decades, as both a documentarian and participant.
Known for bringing dub and reggae sounds into the punk sphere during his peerless DJ sets at The Roxy and forming the post-punk outfit Big Audio Dynamite with The Clash’s Mick Jones, Letts’ influence cannot be understated.
Half Pint ‘Greetings’
“A rally cry with a wicked bass line that’s an invite to all tribes to come and partake in the festivities”
Cronixx ‘Alpha & Omega’
“One of my current Jamaican favourites with the riddim twins, Sly and Robbie, in full effect - a modern take on the roots vibes that first drew me to Carnival in my early teens”
Chaka Demus & Pliers ‘Tease Me’
“This one’s for the ladies ‘cause once they’re movin’ and groovin’ everything else will take care of itself”
Congo Natty ‘UK Allstars’
“A great tune that perfectly captures the heyday of jungle when it crashed Carnival in the early ‘90s by paying respect to the pioneers of the form"
Bunji Carlin, Kubiyashi & Walsh Fire ‘Chicken and Dumpling’
“....and if you can resist all the culinary delights on offer across the two days of Carnival you're a slimmer being than me!"
"When the sun is shining, life can be really dark,” says Dori Sadovnik, one half of Israeli gothic dance duo Red Axes. He’s talking about the origin of the group’s shadowy sound. “Actually, when the sun is shining, and you feel not so good, it’s better to have rain.”
But there was a further connection. “It was very weird, the situation with the name,” he continues, “because after we released the record, I saw that there was another band that is quite big, The Growlers, and they called their first album ‘Beach Goth’, and they also have a festival of that name. What is funnier is that I was influenced by all this kind of garage rock. I didn’t notice The Growlers so much at the time. Without even trying to take something, we took something from another band.”
Wrapped around Sadovnik’s spoken vocals, delivered in a mixture of English and Hebrew, ‘Sipoor’ passes comment on DJs who are asked to ascribe meaning to their DJing in interviews with the music press. For Red Axes, DJs play out to make people dance and express their individual creativity, not to create pretentious odysseys. “‘Sipoor’ means story,” Arzi says. “All the time, DJs are asked in interviews or whatever, ‘How was the set?’ It becomes all about how the DJ tells a story. It’s funny to me.
''The dance thing we discovered in Amsterdam,” adds Arzi. “We already knew a little bit about it, and we started to get excited. We knew that in Amsterdam we were going to discover it more and more. It had a very strong impact.”
First we have our ‘Africa’ EP,” says Sadovnik. “We went to do two gigs in Africa, and we did three tracks with recordings of people from Ethiopia and a band from Ivory Coast. Then we went to a school in Ivory Coast for music and art, and we did music with the children there who were 15, 16 years old. This EP is going out on !K7 Records. It’s going up with a 20-minute movie about the trip. Next we went to India with a camera, and recorded another movie, and recorded artists and music. This is really exciting for us. Every EP is a different place.
Minimal Violence is a punk band. Sort of. Born from Vancouver’s underground punk community out of an eagerness to mix records as well as play in bands, the duo of Ashlee Luk and Lida P have clung to the DIY and outsider ethos of their scene with resolute talons since coming together in 2015. It is in the rawness of their roots that the appeal of their incendiary electronics lies.
“I definitely think we have evolved to a significantly heavier place than we started,” Luk tells DJ Mag. “Which is funny since it has always been such punk approach from the beginning but maybe from a softer angle.
And it is, as expected, the artists who defy traditional structures that Minimal Violence are kindred with. The pair, along with Josh Rose and Spencer Davis of Vancouver post-punk outfit Cowards, formed Sacred Sound Club as a response to the lack of experimental electronic and dance music events taking place in the city. It has since expanded, with a new wave of experimental, DIY electronic outfits and collectives rising with it.
Luk still plays in her dark punk band lié (she’s on guitar and vocals) and is precise when specifying the links she finds between the clamorous spirit of that outlet and the more dancefloor-ready edge of Minimal Violence.