Bonde Neurose - This group's to die for.

The different favelas of Rio are governed by three rival drug gangs: Comando Vermelho (CV), Amigos dos Amigos (ADA) or Terceiro Comando Puro (TCP). And as we know, most of the forbidden proibidão baile funk songs are the ones that glorify one of them.

And if you’re from a favela controlled by certain drug gang (no matter that you’re just an ordinary person and you don’t have anything to do with the drug traffic), you can’t show you’re face on the area of a rival drug gang. If you do so, you seriously risk your life.

Bonde Neurose was a group of three guys, Marcelo, Cado and King, and they were known for Marcelo’s grimey vocals (similar to Burro Banton – dancehall addicts know what I’m talking about) and heavy, theatrical, performance-like live shows full of scary costumes, and macumba (afro-brazilian voodoo-like rites). A big inspiration for them were terror films; zombies, skeletons and such. I think you get the idea from this music video of their song ”Baile dos Monstros” (Monster Party)




Well, it happended one night (according to a story I heard from DJ Marlboro in London) that they almost got killed because of a misunderstanding. You see they were from the favela of Pára Pedro (nearby Irajá) in the suburbs of Rio and the area there is controlled by ADA and some local drug bosses had heard a rumour that there was a version of one of their hit songs, ”100% Neurose”, with lyrics glorifying CV, the toughest rival of ADA. And that’s something you just can’t do; singing a proibidão for a rival, is an almost certain death penalty.

So the situation ended up to a point where the local drug bosses had thrown the guys of Bonde Neurose into some dirt hole and were threatening to shoot them right there if the matter wasn’t solved.

The interesting part of the story is that Bonde Neurose had a really dedicated fan, a groupie who was idolizing them and always hanging around, willing to do any favours for them - you know - bringing drinks, carrying their stuff etc. He kinda believed all this would make him one of them.

So also that night he was there and he jumped into the hole to be executed with them stating: ”Eu sou do bonde.” (I’m part of the group.) The guys of Bonde Neurose were telling him to get out, go home and save his ass. And even the drug bosses knew he wasn’t really part of the group and were yelling him to get out of there, but he insisted: ”No, no; I’m part of the group. If they’re bound to die because of a song, I’m going down with them.”

Anyway, the guys of Bonde Neurose were pleading their innocence; they have never recorded any proibidão praising Comando Verlmelho. And this is when DJ Marlboro gets a call in the middle of the night from the drug bosses trying to find out if these rumours were really true. Almost two hours he tries to calm them down; he hasn’t heard of any such song.

Finally it appeared that it was two other MCs, Cidinho & Doca, from another favela, who had done the version with lyrics that glorified Comando Vermelho. So this time Bonde Neurose gets off the hook. (The practice of borrowing and singing other people’s songs is very common in Brazil, also in other genres, but this time it almost led to a bloodshed...)

But talking about fans who are ready to die for you, how many artists in the world can claim that?

P.S. You can download some hot stuff by Bonde Neurose from Apavoramento Sound System’s homepage (including a pretty crazy track sampling Michael Jackson).


John Woo and Chico from Apavoramento have also released this fucking amazing comic book, "Break da Cavera" (in pdf), featuring Bonde Neurose. It’s drawn by Erick Rocker and so far there’s only the portuguese version out, but I seriously advise you to take a look - it’s really cool. They’ve promised to do an english version also, but it’s not out yet. I’ll sure let you know when it comes!

MC Gringo - Buzzing in Rio

MC Gringo is coming up with a big buzz. He has an EP called ”Gringão” out, shows with Mr. Catra, a radio show called ”Xão” with DJ Amazing Clay, an documentary is being made about him, he’s singing live at João Soares, one of the biggest brazilian talk shows, really, what next. Well he’s coming back to his roots, doing a tour in Europe.

All in all MC Gringo is really an interesting case: A german guy singing baile funk in portuguese and doing shows in Rio. And he has an interesting history too: he used to play in a punk band back in Germany, but the met a brazilian girl, got married and moved to Brazil. When in Rio he got swept away by baile funk and started writing his own songs. Some og those are now represented on an 12” EP out by Man Recordings. You can read more about both, the new EP and his personal history at the Man Rec website.

You familiar with german might also wanna check out this interview on Spiegel Online.

He’s said to be one the hardest working artists in the scene, always ready for a gig, no matter how far it is and how hard to get to. And hard it also gets every once in while; trying to enter the highly competitive baile funk scene in Rio isn’t really easy for anyone, not to mention a foreigner, like Gringo. Check this youtube preview about a documentary being made about him.



This is the jam session at the talkshow (that's DJ Amazing Clay at the MPC)



And the MC Gringo european tour dates:

29.1. London, UK, Notting Hill Arts Club
1.2. Bristol, UK, tba
2.2. Stuttgart, DE, Bassschule, w/Schowi+Passion
3.2. Cologne, DE, Stadtgarten, w/ DJ Daniel Haaksman
8.2. Vienna, AT, Planetarium, w/Joyce Muniz
9.2. Geneva, CH, Zoo/Usine, w/DJ Daniel Haaksman
15.2. Marburg, DE, w/DJ Daniel Haaksman
16.2. Ingolstadt, DE, Maki Club, w/DJ Daniel Haaksman
21.2. Nürtingen, DE, Provisorium, w/DJ Daniel Haaksman
22.2. Sat, Feb 23rd, Zurich, CH, tba, w/DJ Daniel Haaksman
23.2. Zurich, CH, tba, w/DJ Daniel Haaksman

Baile mix from Hadrien

This guy called Hadrien from South of France sent me a short mix to hear on myspace. It's done with Ableton Live, so it's pretty fast and loop-based, but there are some clever cuts and mashes, and nice tunes so I thought I'd share it with you.

You can download it from here:
http://juniorh.free.fr/BAILE%20MIX.mp3

And here's the tracklist:

dj sandrinho - italiano lento
mekon feat roxanne shante - sinden baile funk mix
m.i.a. - boyz
sinden + herve feat mc thiaguinho - tamborzuda rave new world
os tchutchucos - chapa quente
sweet dreams baile funk remix w/ bonde do role a capella
orgasmic & jean nipon - laura from eurogirls
fergie - fergalicious (felipe carvalho remix)
furacao 2000 - mengao 2000 pt 1
dj rui de janeiro - funk your love
bonde neurose - 100% neurose 2006
sany pitbull - troca-aplica
isa gt - pela'o (crookers remix)

Sinden - The London Bass King (Interview 16.11.2007)

While I was in London in November I had the pleasure of chatting about music with Sinden, one of the most prominent new producers pushing forward dirty house music. And as you’ll see later on, he has his hands also in the baile funk game.

We met before Get Familiar – a regular night he holds at Fabric with his musical soul mate Switch. The night was special in many ways: It really was like a family meeting, since there was a truly all-star line-up that night. After the interview I found myself having dinner with some old, and many new acquaintances and fellow DJs: A-Trak, DJ Mehdi, Kid Sister, Autobot and JK2 from Flosstradamus, Martelo, Scottie B, the guys of Simian Mobile Disco and Buraka Som Sistema from Portugal were there (just to name a few...) ”I know every person in the house tonight.” like Diplo, who was also hanging out there, stated.

Fabric is often mentioned amongst the best night clubs in the world and after that friday night I’m pretty much ready to agree. I mean; have they got some sub speakers under the dancefloor or why was is trembling under my feet? And I think Simian Mobile Disco managed to pull the lowest and most gut-shaking 808 bass drum I’ve ever heard. And watching Mehdi turning and twisting the eq:s along side A-Trak, driving the crowd into one big maddness. Not to mention Buraka’s booty-shaking, booming kuduro-set and Flosstradamus’s flawless mixing; from Alone to Ass’n’Titties, I mean, is that even legal?!? All in all, I wish I had some proper words of how sharing you the feeling of seeing, hearing and dancing to some of undoubtly world’s best DJ and live sets...


But let’s cool it down and go down to the basics for you not yet familiar. Who is this Sinden and what’s this Get Familiar all about anyway, as some of you New World readers might be asking.

Sinden is a DJ/producer who’s come and taken his part in the London club scene by a storm. ”When I was young I got into music through collecting; hip-hop, hip-house, dance. But at the same time I was into guitar bands and indie, so I was into everything really. But only when I moved away to university I bought decks and started DJing.”


First he teamed up with Switch and from there the way up has been quite fast. ”Switch was the one who got me into the production side. I met him some years ago and he took me into the studio and taught me how to produce. I just shadowed him really. I had ideas and samples, but didn’t have the knowhow, so he set me up with the equipment. So we did some remixes together, first one for Lady Sovereign.”

They formed a production team remixing the likes of Basement Jaxx and Bugs In The Attic, and creating their unique bass-heavy, dirty house sound. You can hear from the way Sinden speaks about Switch that he highly respects him: ”He got me into house music again. His production was just different from anything else I had heard. Doing this garage and drum’n’bass thing but on a house edge. We ended up as really good friends while working together.”


It was also with Basement Jaxx that Sinden was spinning as a resident for one and half years at their club night called Inside Out in Brixton, before starting to run Get Familiar together with Switch at Fabric in the beginning of 2007. ”The main idea of Get Familiar is to bring all kinds of styles into one night. We wanna make it different then any other night in London. We bring over up-and-coming artists we really believed in. And I think we’ve managed to set a new trend in London. Get Familiar is known as the night where to hear new exiting and cutting edge music.”

Specially Buraka Som Sistema and kuduro breaked into the ears of the UK audiences through their shows at Fabric. ”We were kinda fighting with Diplo – in a good way – of who gets to host them first, so we decided to do a night all together. Now they’ve been over 4 times already. And next year we’re bringing Sany Pitbull from Rio and DJ Znobia from Angola.”

In October Sinden had the possibility to visit Rio for the first time, as he was invited to play at the Funk Mundial stage of a big festival called TIM Festival, happening both in Rio and São Paulo. Along Sinden, also Diplo, Daniel Haaksman, MC Gringo, DJ Sandrinho and DJ Marlboro presented themselves in a night put together following the ideals of the ”novo funk mundial” (new world funk) promoted by brazilian anthropologist Hermano Vianna. ”It was cool, but a bit funny playing in Rio. In Europe I guess I’m more familiar to people as an electronic music producer, but there I felt like out of place. It was really hard engaging the crowd and I felt the tracks getting best reaction were local music.”

In my opinion, it’s exactly the same situation for brazilian baile funk DJs coming over to play in Europe. Even though because of globalization in music the borders between coutries are gradually coming down, but they still do exist. ”Yeah, music tastes are still regional. Like some tracks I play in London, wouldn’t work in France.” Sinden notes.


Sinden is also known from supporting baile funk and bringing it on in his sets. Besides Sany, also Sandrinho and Marlboro have done guest appearances on his radioshow at Kiss FM. ”In the beginning there were all these low quality mp3s going around the internet, but Daniel [Haaksman] was the first one to go there, license the music, pay people and wrap it up in a for the western audience as a consumable package, which was the Favela Booty Beats. I like baile funk because it sounds like raw street music, something people are doing in their bedrooms; like grime here. The baile funk producers were also using breaks in a new creative way, and weren’t afraid or ashamed of sampling anything. You hear so many pop samples in baile funk songs. And that attitude definately influenced also my own production.

Sinden is known for eclectic music taste and his DJ-sets melt together also varied styles like Baltimore Club, Dirty South Hip-Hop, Miami Bass, Dancehall, Grime, Electro and Garage besides before mentioned House, Baile Funk and Kuduro. During the current year he’s also been opening for MIA on her world tour. ”Playing at the festivals for massive audiencies was the best. People were going bananas. We also supported Björk and Prince, and that was amazing.”


The same musical diversity comes also out in his own production: ”It’s exiting how nowadays all the genres seem to be melting up and everybody seems to be mashing up different styles. At the moment you can’t really say there’s a single sound dominating the dancehalls. You can get away of playing a hip-hop track in a house party. The scene is not so specialist and seggregated anymore, but more open-minded and creative. You can make tracks that don’t conform to any style, you can just chuck in all kinds of sounds and make it unique.”

Besides Switch, Sinden has done a lot of tunes with Hervé, aka Count Of Monte Cristal. (You must know ”Tamborzuda” done with MC Thiaguinho on the Funk Mundial series of Man Recordings, but be sure to check out also ”Beeper”, an absolute hit track with Kid Sister on the vocals.) ”When I produce I also try to cram everything together. My tracks are bass-driven, so the core is the bass-line. I’ve always been curious and thirsty of new music. I like to sample a lot with a hip-hop attitude and for example Beeper is really sample-based. But I’m really respectful about sampling, I wouldn’t even think of rubbing someone from the scene the wrong way.”

The teamwork with Hervé goes so well, that there’s a full length album of Sinden & Count Of Monte Cristal due to come out some time towards summer of 2008. ”It’s gonna be a mad mix of different influencies and styles.” Sinden explains.

Together with Switch Sinden also runs a label called Counterfeet, that has, along with their own stuff, released some exelent stuff from Radioclit.


As he is a forward looking, trend setting DJ, I also asked Sinden what’s gonna be hot in the dancefloors next year. And as you can expect from a man with broad listening habits, he provided a nice list of his favourites: ”It’s hard to predict, but in UK, garage is having a real renaissance. It was big at one period, but then it went underground and split to grime and garage and then morfed into dubstep in the south. But in the north of England they're gettin into the old garage and it’s moving south again. There’s a kid called T2 that has a massive tune out called ”Heartbroken”. And there’s a big buzz around him and if it breaks on to the charts, that could set a new trend nationwide.”

”Also dubstep is great and really emerging into a exiting sound. I’m not so deep into it, that I could tell you the newest, freshest sounds, but my favourites are Benga, DNZ, and Skream. I hope that dubstep would get a bit faster though, so I’d be able to put it more into my sets.”

”Buraka Som Sistema have got a lot of potential. Also Bonde do Role have taken off well and toured a lot, but I’m not sure if people are ready for non-english music, if we talk about chart success.”

”In Baltimore Club Blackstarr is hot, he’s an artist who can sing and produce. Electro is big and bass music will also bounce back. Trouble’n’Bass from New York has a good rave twist on their breakbeat and grime style. Dancehall hasn’t had a good year, but you never know, it can surprise. My favourite producer from Jamaica is Stephen McGregor; his so young and such a talent, that something’s gonna come out for sure.”

”Punky band dance music is kinda dying out. Instead fast hip-hop like Spank Rock could be the next big thing. And all in all more hip-hop in dance music. R’n’B also has massive dance influencies. All my favourite records this have been r’n’b records, just because they’ve got really cool synths in’em. But you never know what’s gonna come out.”


Even though nowadays record business isn’t really the one looking at a bright future ahead with free digital downloading and everything, Sinden still believes releasing is worthwhile. ”I think it’s worth paying a bit extra to get good quality. I think mp3 is not gonna last, it’s gonna die out. People are gonna start demanding high quality files.”

The only good thing about mp3s is that they’re small sized, but in the future hard drive space will be so cheap, that it won’t be needed anymore. So people: Demand quality also when consuming music. And remember next time you go crazy on a tune in the dancefloor, that there are artists behind it. (And if it’s one of those rocking dirty house anthems with massive wobbling basslines, it’s propably Sinden with his pals Switch and Hervé...)

A new, more complete baile funk dictionary on its way.

When I first thought about the dictionary, I only wanted to clear up some portuguese terms because I might be using some words common to the baile funk scene that don’t quite have equivalents in english. But as interest and feed-back has been plenty and I think it's time for you guys to begin to understand also the lyrics of baile funk, some expansion is needed. So here comes the first phase of a more complete baile funk dictionary by DJ Rideon!

I’ve consentrated on such words, expressions , different meanings and slang that you might not find in other dictionaries. Also suggestions of what could I add there are welcomed. And if you really wanna understand some phrase or word, post it on the comments of the dictionary and I’ll try to help.

Check it out:
http://riobailefunk.blogspot.com/2007/01/dictionary.html

Rideon - Back To Miami (New Mix Out!)

Yes yes ya'll, it's time for a new mix!

This time we're taking it back to the old school. As most of you know one of baile funk's greatest influencies in the early days was Miami Bass, the bass-heavy, car-booming 808 sound with dirty lyrics that dominated in Miami during 80's. So for this mix I dug into my crates and brought you some pieces of history, a few miami bass essentials and a couple of rarer ones. It's 42 minutes of booming bass.

And if we're talking about baile funk's putaria style and sex-filled lyrics, here's where it all comes from. Needless to say that for example 2 Live crew were hugely popular in the baile funk scene of Rio suring the mid-80's.

(And I also must note that this isn't for those who take sexist lyrics too up-tight and serious. And this is definately NOT to be played on your computers toy-speakers or those poor-quality iPod whitey-headphones, but on a good hi-fi stereo with a lot of BASS. Or more suitably on your pimped ride full car-bass-boosters...)

Anyway, here you go:

DJ Rideon: Back To Miami

Tracklist:

2Live Crew: Shake A Lil’ Somethin’
Freak Nasty: Down Low
Fresh Celeste & M-4 Sers: Give It All To Me
J.J.Fad: Eenie Meenie Beats
Soundmaster T: 2 Much Booty (In Da Pants)
The Boys From the Bottom: Megalittlemix
The Boys From The Bottom: My Girl’s Got That Booty
Future Shock: Just Go
DJ Magic Mike: The Booty Dub
Gigolo Tony: Shake Your Pants
Egyptian Lover: Girls
Stone Age: Raw Dog
P.F.P: She Like It Hard
2Live Crew: Me So Horny
2Live Crew: Head, Booty & Cock
Rideon: Fuck Me Baby
2Live Crew: C’Mon Baby

Click here to download

Cover art:

Is portuguese THE new language to learn for the clubbers?

There was an interesting blog entry on The Guardian's Music blog by Danny McFadden. He states that by the rise of baile funk and kuduro on the dancefloor of western world, portuguese is becoming one of the dominant languages of electronic music.

I myself think it's a pity that most of the people who dig baile funk can't understand the lyrics, because that prevents it to fully boom on the western market. The lyrics are often funny and full of double meanings and without understanding what the artists are saying, the beats and the rhythm can be a bit repetetive after a while. Like, what's the point on listening to hip-hop if you can't really understand what the MC is rapping about. Of course you can dance to it, but for you to really get envolved and follow the scene, it would be crucial to understand all the tendencies that the lyrics hold inside. In baile funk for example there are various songs that have given birth to response songs and a lot of jokes that open only to the ones following the scene. (though don't worry; not even all the portuguese speakers understand the baile funk lyrics, since they're so loaded with street slang...)

Danny McFadden is starting with an "obrigado", but how about you, my readers? How many of you are irritated of not being able to understand baile funk lyrics and trying to learn some portuguese?

(for you to start with there a baile funk dictionary on my blog)

Seleção do Gringo on Beat Diaspora blog

I came across this Beat Diaspora blog by Greg Scruggs and found out that he’s just put together a nice baile funk mix called Seleção do Gringo (you can download it from Blogariddims). It’s a nice journey through time from old shool funk antigo to some tamborzão and proibidão tunes and going off to pós-baile-funk beats. But the best thing about it is that in his blog he opens each track and tells about it: the artists, tracks, and other things connected (such as the favela communities). It’s a really nice read-through while listening and plenty of useful and interesting information for those not directly connected in the Rio baile funk scene.

Greg has volunteered at an NGO called Instituto Dois Irmãos (Two Brothers Foundation) that’s based in the favela of Rocinha. He also highlights other favela based NGO’s like Nós do Morro. (At some point I’m gonna feature some of these organizations on my blog too: even though they’re not directly linked to baile funk, they do fabulous work there! Nós de Morro, Afroreggae and Dois Irmãos: Keep it up!)

He also brings out an interesting study about proibidão baile funk style. It’s written by Paul Sneed and called "Machine Gun Voices". But I’ll comment more on this after I’ve read it.

He also writes about Flamin Hotz, a record label that put out a bootleg 12” without any credits:
”The version of this song I got on relatively high-quality mp3 ripped from the Sou Funk EP, which I later discovered was 100% pirated, a pretty rough culture-vulture case. Fortunately, Flamin Hotz Records turned out not to be such bad guys, and I helped them track down which artists we could and pay them back. Júnior and Leonardo were one of them.”

Now this is an interesting case, as the guys from Flamin Hotz have publicly apologised for their bootleg actions on their website and aim to compensate the artists afterwords. They’re also planning on releasing another compilation directly with the artists. I hope this kind of responsibility is honest and leads to some good results. Anyway I’d like to hear more of this one!

But on the other hand Greg also makes some quite bold accusations:

Accusing Diplo of ”failing to credit artists” on his mixes I can understand; crediting the right artists is the only way they will ever get even some change to compensation by gaining some reputation. But as Greg and anyone who has bought CDs from the Uruguiana market or the streets of Rio knows, sometimes artist names and track titles are hard to find. And if I’d be Greg (having himself also has some unknown artists on his tracklist), I wouldn’t be so eager to judge others.

Accusing Bonde do Role as ”a cheap ripoff” and ”jokers from Curitiba” is another thing I don’t quite understand... I don’t see baile funk as a musical genre having some musical dogma or boundaries. So adding rock guitars to baile funk in De Falla style, in my opinion, isn’t any different then sampling Kratfwerk and indian chants as Sany Pitbull does. I believe Bonde do Role themselves have never claimed being ”authentic” baile funk, just having baile funk as one of their infuencies...

And then accusing Man Recordings of ”questionable contracts”. First I’d like to know how and what does Greg know about the contracts? And then arguments and some justification of how are they ”questionable”. I think it’s a bit low to throw in accusations without prooving anything and standing behind one’s words...

And I’m not trying to act as a judge or anything, I just feel that these kind of things should be argued and talked about properly.

But dispite of these it’s a very interesting blog and a good read. So I recommend to take a peek.

Kuduro vs Baile Funk – An interview of Frédéric Galliano (14.2.2007)

Last spring when I was in Rio I met there also a french producer called who is one of the world’s leading kuduro connoisseurs. He was in Rio on a project attempting to put together kuduro beats with baile funk MCs. We met at his rental appartment where he had set up his mobile recording studio. Right after me MC Xana was coming over to sing on top of one of Galliano’s kuduro rhythyms.


At this point some of you might ask what is kuduro. Well, to put it short kuduro is hyped up ghetto techno and house out of Angola; a mixture of electronic beats with traditional angolan carnaval music. By the name of kuduro goes also the crazy, freaky dancing style that combines with the music. Something of the music and the dance might tell the direct translation of the word kuduro that is ”tight ass”.

That’s about all I knew about it by that time, so that’s why I wanted Frédéric himself to explain more about the origins of kuduro:

”Kuduro was created by Tony Amado 1996. He used to listen house music. During that time songs like Reel 2 Real: I Like To Move It were international hits and he thought that it’s good but it lacks angolan flavour. So he wanted to do and angolan version of these. So kept the straight kick drum and all around the kick he produced traditional carnaval rhythms. It was an instant success. He called the style kuduro because he had created a dance style inspired by a Jean-Claude Van Damme movie, in which he dances all stiff and with a tight ass. (Amado thought the Van Damme dance was really funny; white man's dance...)”

On this clip Tony Amado explains it himself (in portuguese) and you can see the Van Damme dance.
The creation of Kuduro by Tony Amado


”The dance is special; broken, stupid, funny; they fall on the floor, bounce to walls. It’s acrobatic and more like clownery. Everything is possible in kuduro dance.” As it def is better seen then described I searched some kuduro madness on video for you to check out:

Kuduro Nenuko Vs Dinis

qui na mata

After Tony Amado all the DJs in Luanda copied the style and 10 years after it’s really popular in Angola and spreading around the world. But still kuduro doens’t get really much airplay in the radio in Angola, because the lyrics are so harsh; some sexual slackness some social and political. But it gets played in the popular mini taxis of Luanda, so everybody hears the new songs anyway.”


”When I heard it for the first time two years ago Kuduro hit me right away: For me kuduro is the first and only original electronic music from Africa. It’s fast as techno, but groovy as zouk. The mixture is incredible and completely african. It’s contemporary like european electronic music scene, but with 100% african style and attitude.” Since then he’s been to Angola to learn and record kuduro three times. And went again in March 2007.

”The composition of kuduro is really strict. It comes from the traditional carnaval music of Angola and all the snares and hi-hat hits have to be on a certain place.”

Frédéric learned to produce kuduro with DJ Kito da Machina from Luanda. ”After two weeks of everyday practice with him to learn the rhythm and the composition he said that now you’re qualified to do it alone. But I still send my batidas to him to Luanda to be approved, because the DJs in Luanda are the ones who created the whole music. And you know if someone does kuduro without the strict composition, they say it’s a ”kuduro de branco” (=white man’s kuduro). Some people in Portugal do kuduro, but with europan vision, and that’s stupid, because angolan kuduro is stronger, more original. They miss the real nature of kuduro and that’s very unfortunate.”

It was also with Kito da Machina that he produced the exellent album Frédéric Galliano presents Kuduro Sound System, where many of the hottest kuduro MCs like Tony Amado, Dog Murras, Pai Diesel, Zoca Zoca, Pinta Tirrù and Gata Agressiva lay their vocals on top of their booming kuduro batidas. In the future he’s producing a dub version album of Kuduro Sound System, and he’s also touring live with different kuduro MCs and dancers: Paris, Mexico, USA, Portugal, Roskilde Festival... the list goes on.




8.11, next thursday, he’s gonna be performing with his Kuduro Sound System at Cargo in London, UK. Also DJ Marlboro is there. And so am I, so come and holla if you’re around.

Edu K - new 12", video and tour

Edu K - The Popuzuda Rock'n'Roll bailepunk artist has just released a new 12" on Man Recordings. "Gatas Gatas Gatas" is an anthem booming on Sony Ericsson's new ad campaign and the vinyl has 3 remixes, including a superb baltimore remix by Scottie B, that's also found on my latest mix. So def worth checking out!


As is his new video, directed by Bryan Barber who has done also the video for "Hey Ya" by Outkast. There some serious costume partying going on there!



And if you're around, don't miss his tour in Europe and Australia! Here are the dates:

15.11. YoYo, London, UK
16.11. AYCE, London, UK
23.11. Unity, Frankfurt, DE
24.11. Usine, Ceneva, CH
29.11. Little Sex Machine, Amsterdam, NL
30.11. Wasserpark, Bern, CH
7.12. Perth, AUS
8.12. Brisbane, AUS
14.12. Melbourne, AUS
15.12. Sydney, AUS
16.12. Bondai Beach, AUS