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Tigersushi: Forging Links with the Future

If electroclash represented the needless, and often desperate, repetition of nearly everything we loathed about the plastic ‘80s, another group of artists and labels–who we’ll call by no clever name, thank you very much–took influence from the synthetic decade’s more experimental inclinations. Enter Tigersushi, stage left.


Hood Stays Afloat

Hood is like a ship always tempted to push how far it can safely venture; at times it felt like it was sinking, but the water’s frozen around it and stopped the boat,” laughs Chris Adams of Leeds-based psyche mâché artists Hood, as he metaphorically describes his group’s dynamic. “We started as a speedboat two years ago [following 2001’s critically successful Cold House], then went round the various harbors and took on water; but we’ve been in for repairs and are seaworthy again.”


Mitsu the Beats: Transnational Soul

Twenty-eight-year-old DJ and producer Mitsu the Beats hails from Japan’s wilder northern climes (Sendai in the Miyagi prefecture)–think snow monkeys and hot springs, not bullet trains and the world’s largest city. Nonetheless, his ruthlessly smooth hip-hop is as metropolitan as it gets. Balancing an ear for hooks reminiscent of ‘93 with the boundless, borderless skills of Japanese MCs and occasional forays into broken beat, Mitsu is fast becoming a global talent.


Boyskout: Danceable Melancholy

When Leslie Satterfield started Boyskout in 2001 she had something to prove. After working on a quiet, moody solo project (Cat Power’s What Would the Community Think was a major influence) she was determined to show people that her sound could be, well, tougher. Three years later, the band’s debut LP, School of Etiquette, put the exclamation point at the end of Satterfield’s declaration.


U.K. Garage Girls

For years, So Solid’s Lisa Maffia and Ms. Dynamite were the lone female faces on the MC-driven side of UK garage, with Maffia dropping sparse cockney wordplay and Dynamite raining fire with breakneck patois. In their wake comes an army of girls who can spit syntax faster than a Tokyo bullet train, and whose alternative flow and lyrical content is shaking up the testosterone-fuelled scene. Read more » 

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