Dreamachine / Beyond Digital Mix – Tape Release Party
January 28, 2012 – 10.00 pm – 3.00 am
Fanfulla 101 – Via Fanfulla Da Lodi 101 – Rome
“Dreamachine / Beyond Digital Mix” is a C60 tape released by Palm Wine after a trip to Morocco attending at theMaster Musicians of Joujouka Brian Jones Festival 2009. The side A contains Dreamachine – a 30 min mix by Palm Wine made out of field recordings collected during the three days festival and in Tangier souk. The side B is an exclusive mix done by Dj /rupture and Maga Bo, part of their project Beyond Digital – Morocco, which combines different musical styles: from autotuned moroccan chaabi and traditional Andes song to mexican tribal guarachero, and so on; the mix include also an unreleased track by Maga Bo featuring K-Libre. The tape is a limited edition of 350 hand numbered copies.
In occasion of the release party Palm Wine Dj set and Dj Iron Bunda will perform.
Here is a text by Simone Bertuzzi / Palm Wine about the story beyond the tape.
This tape had to be released in June 2011. Things with the production and printing process went completely out my hands at one point. This is the story.
The reasons why I’ve decided to print the tapes with Fesmaatic in Morocco are basically two: the first, purely fetishistic one is to have a proper moroccan look: cassette label with vivid bright colours and plastic cuts in different shapes; for this reason I asked Fesmaatic to do the design for me, this was the digital result:
The second reason is in this sentence I wrote in my first report from Casablanca: “La Gasolina is coming from a shop nearby. The same song I danced in Venice on a boat for the Venice Biennale. What will happen when a taxi driver will play a Luzmila Carpio tune from Peru, selected by Rupture for my tape? My hopeness is that the music contained will travel as much as possible here, building connections and passions. I’ll see what happen.” My main goal was to have a sort of non-official distribution in Morocco, things are quite interesting in terms of bootlegging, cdr and distribution in general in Morocco. I wanted to let locals listen to both the music of the Master Musicians of Joujouka (very known in the rest of the world, but more or less unknown within Morocco) and the eclectic mix of music by Rupture and Maga Bo. This is also why I didn’t decide to focus specifically on Morocco and moroccan music, but I asked the djs to put as much music as possible from many different countries and epochs.
On august 1st I posted this on my blog, where I wrote: “I still don’t have any news from Fesmaatic, which apparently printed the tapes but disappeared once I sent them the money. This is sad from many points of view and leaves me unarmed. By the way I’m not able to consider it a failure and I wait – not only for a signal – but also for a great idea to turn this history into something interesting.”
From that point on I wrote Fesmaatic nonstop, very frequently; what seemed to be a perfect deal in the beginning slowly became an annoying cycle of emails, text messages and lost phone calls.
In September I managed to get a receipt from the agency of international money transfer I used, and, after the intervention of Master Musicians of Joujouka’s manager, I did speak with Fesmaatic and they told me they’ve never collected the money in Casablanca. So what about the receipt I got with his name, sent directly from the agency in Casà? Anyway, they told me the cassettes were ready to ship; they just need to check at the bank where my money went.
After another month of silence and bad manners (from both sides at this point) I managed to talk with Fesmaatic on Whatsapp – a chat application for smart phones – and they definitely told me they couldn’t get the job done, this is why: “Sorry it was illegal for me to do that job, I had no proof that cd is all made by you. I had no documents to show that”. At this point I lost all my energies and I accepted to close the deal with him after more than four months of failed communication.
In conclusion, I did get my money back from the agency, so I decided to buy the tapes in the UK, without any sort of label or print, but completely black.
I decided to publish the whole, long, story not to slur Fesmaatic (this of course doesn’t mean I am not angry with them) but to report how an experimental project started with good purposes ended up in difficult and cyber-international argues. And failed its initial premise.
By the way, I can’t hide my desire is to find a bootleg of my tape in Morocco some other time.