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Portia Simpson Miller, the former and newly re-elected Prime Minister of Jamaica and representative of the People’s National Party, recently took an historically significant position by openly supporting GLBT legal protection in Jamaica, a country internationally notorious for a “culture of homophobia.” Miller’s statements come at a time of great cultural change in both Jamaica and dancehall music. This is for her.”

Some deeply powerful themes running through the latest mix that blk.adonis + Rizzla premiered over on DIS Magazine today – full of sexually explicit feminist minded dancehall, tracks where the voices are distorted so much that the gender becomes indiscernable, and track after track after track after track after track of heat. The things I’d do for a tracklisting, oh my God.

Download it below, and catch Rizzla in NY at Mixpak Extended Play #2 this Saturday!

Rizzla + blk.adonis – Portia Nuh Play by DISmagazine

“Having gay sex to homophobic reggae is almost as thrilling as blowing lines to anticocaine reggae” reads one of the Rizzla tweets that the Generation Bass blog showcased while debuting the new Blk.Adonis collaboration EP yesterday, whose title is a double play on Jamaica’s beleaguered People’s National Party and “Party and Play,” i.e. drug-fueled gay sex.

For those used to dance music that packs a little less of an socially inquisitive punch, Rizzla’s statements can come off as a little confusing. Is this critical of dancehall? Professing a love for it? Wedged somewhere uncomfortably between these two sentiments?

I’m more familiar with Rizzla than Blk. Adonis, but I can speak to the huge respect that I’ve seen Rizzla proclaim for the dancehall, reggae and soca genres that the “PNP EP” runs through a gauntlet of washing machine style throbbing basslines.

And while the “PNP EP” is full of twisted vocal snippets and amen breaks with sinister ha’s layered in between liquid drum & bass that on first listen might not resemble a dancehall influence, spending some time with it you can see a re-contextualized pastiche of dance music that’s both critical and embracing of the source material it draws inspiration from. At least, maybe. Maybe I’m not so sure.

To that effect, it’s a shame that Rizzla’s now defunct Wasted Youth Soundsystem blog isn’t still active, since it’s maybe a good place to look for more contextualization of the music. As well as pointing out the political hypocrisies of some queer circles exercising an outernational pursuit of sanctions against reggae artists, WYS also had tons of amazing soca edits and great articles, like this one on Gay Imperialism by Jin Haritaworn. If you’re interested in reading more about Rizzla’s relation to the politics of Jamacian music and North America’s somewhat neo-imperialist motivated persecution of it, it’s a great blog to spend some time on, as well as the comments in this thread of the Wayne and Wax blog for his take on imperialism and dancehall.

But geez, enough politics – what does this EP sound like? Pretty fantastic, actually. “PNP” sounds like a slice of moody, dark, cough syrup injected dancehall gets rubbed all over with KY Jelly and starts a wrestling match with Kingdom. “She Only Dance” pitches the phrase ‘she only dance to reggae and calypso’ to a uncomfortably high level, and envelops it in a castle of pounding kick drums, eerie vocal echos and rhythmically aggressive SOS signal bleeps.

“Go Straight Vs. So Fine” is total warehouse fare, integrating dissonant ha beats sampled from the MAW classic staple around some heavy, heavy jungle beats. Finally, the closer “Bekiki” is described fantastically by Generation Bass as being a “melancholy future-bashment” piece of work, and showcases a slower burning style of production that still fits extremely well with the vibe of the rest of the EP.

Download the full EP below, courtesy of Generation Bass (thanks folks)!




Big, big things are in the works from Rizzla, who provided us with an unbelievably hot mix to start the week. Kicking off with what sounds like a dial up internet connection that you might hear dissonantly playing in the background of a David Lynch movie, things only get more frenetic from there.

Amidst the chaos, you can find a plentiful helping of Ha beats influenced by everything from New Orleans bounce to apocalyptic military reincarnations of the classic Masters At Work “HA Dance” track, each providing enough of a variation on the original theme to sound jarringly different every time.

There are also plentiful original productions from Rizzla here, further showcasing a dancefloor versatility that’s positioned itself somewhere hazily in between house, intensely homoerotic rave, techno, garage, bass, soca, dancehall and vogue, all mixed with maybe a little side of scathing political critique. I mean, when you name a track “Battyboy bleeding in the dark”, there’s gotta be some politics at work. Regardless of how you choose to characterize it, some of these gems may be finding a home on a certain fantastic soon-to-be-revealed label later on this year.

As if that’s not enough, the mix is also stuffed to the seams with exclusives from Mikeq, Dubbel Dutch, Kingdom and previously featured dance music disemboweler blk.adonis. Grab it now, you won’t regret it.

Rizzla – FTM Mix (Mediafire)

Tracklist after the jump.

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Hard to introduce Boston based Blk.Adonis any better than he does himself.

Blk.Adonis is the soundtrack to a clandestine industrial dancehall massive where a murder has just taken place but the DJ refuses to stop the music… It’s “Skinny Puppy Riddim,” if such a riddim existed. Hieronymus Bosch-esque scenes of terror at a vogue ball. Harrowing whispers about the pleasures of anonymous sex over dem bow drums and metallic Lustmord atmospherics. These are no “witch house” songs for teenagers to shuffle aimlessly to. Blk.Adonis is black power, and this power works the dancefloor, even if it’s the dancefloor of the leather bar. It’s blood, sweat and cum- hold the tears, the club doesn’t need them. And if it ever gets too dark to see, let your ears guide your feet and let Blk.Adonis lead you further into black perfection.

The two tracks we’ve got today are kind of like fever nightmares condensed into mp3s. First up, Bonjay’s late-night dancehall ode to putting your lighter up in the club is transformed into a satanic dirge sung by The Knife’s backup choir from hell. While it’s hard to best the anthem status of the original, dragging the tune down into the seventh layer of hell is kind of a good look.

As a bonus, Madonna’s “Justify My Love” is warped into the kind of thing that you hear inside your head slightly after smelling burnt toast and just before collapsing to the ground. We’ll be watching these productions with much interest.

Bonjay – Stumble (Blk.Adonis Live Edit)

Madonna – Justify My Death (Blk.Adonis Edit)