The art of the Dj has always been about providing a new context for the music: a german electronic track being played for b-boys in the Bronx or a lush Philadelphia string driven disco tune enhanced by a drum machine and causing havoc on the dancefloor of the Warehouse in Chicago - these are statements made by djs who liked to say that music knows no borders, both in terms of time and space. That's the art of Rocky Marsiano too, a veteran portuguese DJ, with an extensive resume - behind the decks, grabbing a mike or handling the mpc.
Rocky has travelled a lot through music: to New Orleans, to Brazil, to New York and Philly and beyond. His latest project, Meu Kamba, was an lp filled with african grooves from former portuguese colonies. It was an exercise built on memory and identity, but also with eyes and ears firmly planted in the future. Africa is part of our musical DNA he defended through his productions, sampling heavily from angolan, cape verdean and mozambican vinyl. Now, he presents two re-edits that point to Angola and Cape Verde, to semba and funaná, and offer a new present to the dancefloor. Once again, like Frankie Knuckles did in Chicago, the TR 909 works as the glue that holds everything together, bringing these old grooves up to date, providing them with a new context and, more importantly, keeping the music alive with new audiences, new dancefllors, new dancers. The art of the dj is also the art of keeping time, of playing the right tune at the exact moment. And the time of "Ritinha" and "Djó Djó" is now!
At six songs and 22 minutes, “De Bassari Togo” is a short record with a lot of punch. It’s also a vital collection of fiery afro-rock for historians and music fans alike. Bandcamp Album of the Day Dec 18, 2018