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Steve Spacek: Future Soul Flying

When it comes to musical collaborations, Steve Spacek has led something of a charmed life. From his highly regarded partnership with the band Spacek to vocals for GB and Platinum Pied Pipers, the London-born singer and producer has become synonymous with effortlessly hot future soul. So it's no surprise that when he hooked up with beat baron Jay Dee (a.k.a. J. Dilla) for a track on Spacek's first solo album, cutting a classic was kid's stuff.


Philip Smart In The Studio

It's hard to imagine any movement slipping through the cracks in New York, yet the story of reggae/dancehall here remains largely undocumented. Colored with artists like Sister Carol, Shinehead, Scion Sashay Success, Sammy Levi and, yes, Shaggy; labels like Wackies, Jah Life, Wittys and Mr. Doo; and soundsystems like Downbeat, King Addies and LP International, it's a legacy somewhat blurred by the dual citizenship of many of its practitioners.


Nego Mocambique: Sweating It Out

With only one self-titled record to his name (on the Segundo Mundo label), inventive Brazilian producer Nego Moçambique (the alias of 32-year-old Marcelo Martins) has already played at Barcelona's Sonar festival, Montreal's MUTEK, and in Paris and London. But he didn't have to travel that far to catch DJ Hell's attention. The head of Gigolo Records saw Moçambique live in Rio last February, and was blown away.


Jeremy Fish: Wild Things

Jeremy Fish inhabits a world of rats shaped like grenades, trees with breasts and skull-shaped hot air balloons. That is to say that his art mixes violence and vice with resolutely cute elements. Highbrow stuff this ain't–Fish's work is a direct reflection of his love for nature, roadtrips, dirty jokes, women and, above all, skateboarding really fast down San Francisco's steep hills.


Assassin: Taking Aim

Jeffrey "Assassin" Campbell is a leader of a new generation of Jamaican dancehall artists who are hoping to elevate the genre by providing music with more lyrical depth.

"I try to maintain a certain level of integrity in the material," says Campbell from his home in Jamaica. "It is not all about the frivolous dancehall. We try to add substance to the mix rather than just all hype and entertainment." As in the States–where thug posturing in hip-hop has become a tired cliché–Jamaican dancehall's obsession with guns, violence and homophobia has threatened to stunt its growth.


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