Hey DJ Friday: DJ Rekha
Friday, November 30th, 2007 by Paul Irishbhangra // indian dance
It’s always fun to check out my last.fm stats and see what I’ve aural addictions I’ve formed recently. The latest is DJ Rekha’s Basement Bhangra mix featured on Fader. Bhangra is one of those genre’s that I want to love more, but haven’t considerably found the sounds I want. Talvin Singh‘s old work qualifies, but this new release from Bhangra’s dirty princess delivers the ass-movers I’ve been seeking. The beat from “Teri Sadi” gets me riled, but peep the mix (or full CD) for the complete experience.From Bombay to basement.
Amar Arshi & Taz Dhillon – Teri Sadi
DJ Rekha’s Basement Bhangra micromix on Fader
buy this cd
A little while ago, 
This isn’t what I wanted to post. I really wanted to give you the original song straight up. Alas, remixes are a dirty scene; and I can only provide you with an mp3 with transitions on either end. As far as I can tell, no single standalone exists. This is alright with me, this song deserves to have subservient songs on either end. A wide, fat slam-ass steamroller bassline flattens out the foundation of this song, while some hop-skip house action on top rounds out the funky-ass groove. This is straight off of a complilation put together by Les Rhythmes Digitales’s Jacques Lu Cont.
This powerful duo debuted originally with the name “The Dust Brothers”, but an American group with the same name (later well-known for the Fight Club soundtrack) pressed some litigation and forced a change. Though mildly bitter, the british Chemical Brothers carried on, releasing their first album appropriately named Exit Planet Dust. Now, ten years later, the two release Push The Button, a break-rocking record exploring their trademark dance-rock-rap mix. Though “Galvanize” has gotten the first-single attention, it’s the sophisticated dance track “The Boxer” that rocks this record. Hard.
You wouldn’t expect a french house song to start off with wailing electric guitars and a strong vocalist. And you wouldn’t expect a raspy synth line to kick the track into high gear. And you definitely wouldn’t expect this from France’s most well-known house group, behind Daft Punk. On their second album, Au Reve, Cassius took a departure from the standard house sound of synths and 1,3 bass – here, we’ve got guitars, melodies, and a song construction closely approaching that of a pop song. 
Akufen’s unique sound arises out of a dedication to keep his listeners’ ears on their toes. For his acclaimed 2002 album, My Way, Akufen used a technique he calls micro-sampling; he would record hours of AM/FM radio and splice together half-second samples of different songs and voices to make a pattern-work quilt of fierce house sound. And now, just last month, The Rip Off Artist, Freeform, and Akufen collaborated on 
Scanty, AKA Richard Marshall, is signed to the record label of mister Norman Cook, AKA Fatboy Slim — which should give you an indication of his musical style. In fact, for two years people actually thought Scanty Sandwich was just another of Cook’s pseudonyms; their sounds are near identical: hard-hitting bass, danceable funky music action. And naturally, I can’t serve you this butt-stomping groove without the original sampled track. “Shoo Be Doo Be Doo Da Day” was written by Stevie Wonder, but MJ covered it in sizzlin’ motown soul fashion.
Mind-stimulating dance music. ILS, aka Ilian Walker, was picked up by breakbeat godfather Adam Freeland after the promo Idiots Behind The Wheel hit Adam’s ears. The sound that he heard was something new: instead of an targeting the hard body-moving breaks and drum machine sounds of standard breakbeat, “ILS succeeded in bringing a deeper, jazzier, more intelligent flavour to the genre without losing its trademark punch.”[
The music from Motown was the only stuff that could speak your soul and to your dancing feet. We all know Edwin from his classic protest song “War”, so much that Jackie Chan quotes it. Great song; this one’s even better. He recorded it a year earlier in 1969. The driving percussion feels like bullets shot at your toes (dance, sucka!) and the hard baritone sax and horns grab your shoulders into a solid groove. It’s a classic inescapable tune that got a little too forgotten. Revive it.