Main Stage - Live at Dissonanze 2009, Rome - Pt 1

Radioclit

Uppercuts, Counterfeet, Paris, London

Call it Ghettopop, call it Bongo Dance, call it the tropical world clash showdown, the Radioclit sound system has full on DJ and production schedules and their heat is on. It was in 2005 through their monthly residency at Vice magazine's Old Blue Last pub, and the sessions that could follow any of those nights back at their Hackney studio, that they began to get known throughout the world. Those nights will go down in club history, the first of their kind to showcase the ghetto sounds of Baltimore projects, the dirty south or Rio favelas in Europe. Whether it was David Banner slamming through the crowd, Sinden or Diplo blowing up the spot, or Amanda Blank showing the world why she's one of the most important MCs spitting today, they were alerting London to some of the heaviest talent to emerge for an age. And together with Switch, Sinden, Diplo, M.I.A, Buraka Som Sistema, Bonde Do Role, Ed Banger and Institubes, there's now a fervently innovative worldwide scene with arms linked, and Radioclit as an essential part of that chain. Now Radioclit has turned into a world famous production team, Johan Karlberg and Etienne Tron have associated their names with the hottest artists on the planet; Switch and Sinden's label Counterfeet has showcased their talents through the Mature Macho Machine Ep and 'Divine Gosa' which has been hammered by everybody from Erol Alkan, Feadz, Annie Mac, Pete Tong and countless others. Radioclit recently worked on production for Trim (Roll Deep) , Santogold, M.I.A or Buraka Som Sistema. But probably most unexpected, is the work they've set into motion with Esau Mwamwaya. Singing in a traditional Malawian style, his ecstatically epic bumps of African vocal harmonies are wrapped up in coils of Radioclit's synth waves. And they've done it again, and spread the love by linking him up with a M.I.A collab. Two steps ahead of the game, Radiolit naturally shifted away from the obvious urban club bangers, toward a deeper version of their take on African/World music. Radioclit have been citing the tropical teachings of Malcolm McLaren's Duck Rock and Bob Sinclar's constant experiments with Afrohouse as primary inspirations. Whether it's drawing for some hyper-future synth shit, or deep traditional world percussion, it's all thrown together with an infinite knowledge of what a good mix should be about: a sense of rhythm, of climax, of shamanic trance. The way it's headed: definitely no time for laziness. The age of the Radioclit. Hold tight!