who am i? a specialist in counter-hegemonic brown sound, world's only luddite laptopist, on a mission to jam their signal with my noise

i'm also part of Sonar Calibrado Sound System, with Maga Bo and a bevy of mc's

my parent company: www.postworldindustries.com

for booking: contact(at)postworldindustries.com or call: +34 626349335 (españa)

if you've booked me download (cntrl click) this packet of logos & tech requirements and download these hi-rez fotos

clubs are great, better are odd spaces; money no bar at bookings for junkyards, liminal festivals, or decrepit boats
to be informed of shows and releases: get on mailing list

Here is some ink spilled on my music, I only put what i found in english or spanish. I've seen many reviews in japanese and french, and a few in swedish, arabic, german, dutch, and portugues. Users of those languages please search for yourself, since i can't understand them I won't post here.

"DJ/rupture's Soot label is batting a thousand for releasing records that call on Middle Eastern music, fuse the style with breakcore, hip-hop, and general beat trickery, and don't come out drenched in schmaltz. World citizen Filastine has produced the imprint's broadest release yet, filled with both with jagged edges and moments of sad sweetness. The music bespeaks a unique individual, one who's visited each and every place as an active political and musical participant with a mic in his hand. Burn It is sure to win fans across multiple scenes, with bonus points awarded for Swoon's beautiful cover art." — Matt Earp
XLR8R
http://www.xlr8r.com/reviews.php?uid=707C4593F1B4631D4E7B576877757214

Infernal Agitation- Philastine's Polyglot Brown Sound
The dictionary definition of "philistine" reads: "A person who is guided by materialism and is usually disdainful of intellectual or artistic values," and while this description assuredly does not describe experimental, globe-suckling producer Filastine, it relates to many of the questions and much of the content his work brings up.
A longtime Seattle resident, Filastine has been a part of the hammering rhythm section of anticapitalist tribal-rock/performance troupe ¡Tchkung!, conceiver and founding member of radical marching band Infernal Noise Brigade, and, most recently, a sweat-inducing club DJ and composer of wildly diverse and drrty laptop music. In short, he has spent his artistic life heretofore straddling the line between unrelentingly political statement and action, and the lost-in-music euphoria of the broadest possible definition of pop music. His new proper debut, Burn It (on kindred avant spirit DJ /rupture's UK-based Soot Records), steams with juddering hiphop/modern R&B rhythms, South American breaks, North African trance, and a grip of vocal and instrumental contributors from every corner of the world.
Recent years have seen an overwhelming influx of Asian and Middle Eastern textures in pop production, with gargantuan hits like "Get Ur Freak On," "Baby Boy," and "Toxic" threading undulating tablas, screeching Bollywood strings, etc. into their black-lit melodrama. While some of Burn It's tracks mine these veins in a way just as instantly gratifying and club ready, Filastine's appropriations are more legit. A voracious traveler and student of various global musics, he has studied with Indian tabla virtuoso Zakir Hussain, spent weeks at the feet of the Master Musicians of Jajouka, and dug deep into the ancient-to-the-future music of Brazil. Like many great producers, Filastine is also a great instrumentalist, and his years of rhythmic study lend magnificent depth to Burn It's varied and intricate programming.
The record's long list of singers, MCs, and musicians brings the songs to endlessly surprising and rich places, as well. Filastine layers artists from distant genres and locales with great architectural sense, and while at times the extremity of the juxtapositions borders on hilarious, the music always feels heroically well designed and strong in conception. On "Palmares," disaffected French oration is overlaid with clouds of gypsy-brass ennui, while party-starter "Judas Goat" lets the rhaita, one of the wailing horns of the Master Musicians, loose over beats that wouldn't be out of place propelling an Aaliyah cut. On some songs, Filastine's constructions are reminiscent of the murky drama of Ninja Tuners like Amon Tobin and DJ Food, and throughout the album the lines between live performed contributions and meticulously contextualized samples is slurred and burnt. The most emotional and fully realized pair of songs come about two-thirds in: "Boca de Ouro" alternates dizzy rhymes about dental work with a fuzzily cinematic chorus, and "Autology" is a slow-burning adaptation of an Indonesian song in which the intoxicatingly mournful singing of Jessika Skeletalia Kenney sails over a bed of screeching bowed bass and quicksand-sinking drum patterns.
Overall, Burn It is a stunningly successful integration of varied international musical styles into the polyglot schemes of its maker; way beyond most "electronic world music" in both its conception and execution. Not unlike the Infernal Noise Brigade, Filastine absorbs music from all over the world and bends it (with all due respect) to his own designs. And, like the INB, he veers wildly between pointed polemic discourse and bacchanalian party embrace. Burn It contains several brief collage tracks of media snippets and sound bites that illustrate the artist's antiglobalism and anticapitalist beliefs and agenda more expressly than any of the album's proper songs; and overall the work feels like a thrillingly tense interaction between these ideological factors and the gold-toothed, whip-riding luxury of hiphop culture (which is, of course, also the present dominant global pop culture).
In this way the album has more of a personal stamp and feeling of its creator than a lot of electronic music, as it deals—whether consciously or unconsciously—with these essential imperfections and warring forces in the dude that is Filastine. Ideally, though, the record could be taken as a great statement for the case that party music is the most equalizing and class-unrestrained corner of modern culture—that it is the very lifeblood and right of everyone.
-Sam Mickens
The Stranger
http://www.thestranger.com/seattle/Content?oid=31786

Filastine
Burn It
Soot Records
Street: 05.02
Filastine = Greyboy + Kid Koala + Squarepusher + Politics
This is easily one of the best records that will be released this year, electronic or otherwise. Before beginning to make music under the name in 2004, Filastine spent years gathering sounds and samples, building beats and studying percussion, and his record is dripping with an intelligent and worldly panache. Burn It stretches its Brazilian, African and hip-hop-influenced beats and breaks across genres, creating a record that could be mistaken for a cross-over effort, except that this is simply Filastine’s method – you’re listening to all these genres at once, mashed together. Filastine is not content to be only an amazing musician; he has been the soundtrack to countless protests around the world, using counter-hegemonic noise to fuel activism. While lost in the sound of a choir of rhaita flutes on ‘Judas Goat’, I realized Burn It’s vigorous beauty; this is a thinking-man’s record, assembled by the thinking-man’s DJ. (Tyler Ford)
Slug Magazine

Filastine
Burn It
Soot Records
With a fiercely anarchist agenda and voracious appetite for exotic global music, Filastine has a reputation for intense—and often illegal—live performances. The solo Seattle musician is notorious as the founder of the Infernal Noise Brigade, a black-clad marching band that has performed in demonstrations across the world, facing off against riot cops, rubber bullets and tear gas while creating cacophonies of tribal percussion. Whether or not you agree with Filastine’s politics, it’s impossible to deny his tireless passion.
Released on DJ Rupture’s Soot Records imprint, Burn It has many of the trademarks that make Rupture’s mixes so appealing. Hip-hop and jungle mix seamlessly with Middle Eastern strings, French and Spanish rapping, dancehall toasting, Hindi singing and countless other global sources. What sets Filastine apart, though, is his mastery of the drum. Having studied under Indian tabla masters and Moroccan percussionists (namely, the Master Musicians of Jajouka), Filastine layers his tracks with a hypnotic variety of both sequenced and live percussion. Murky hip-hop beats melt into rapid tabla workouts and then further transform into intricate patterns, all while politically charged guest vocalists sing, rap and ululate.
With Burn It, Filastine has condensed the populist discontents of multiple continents into a musical tincture that’s simultaneously aggressive and lovely. (Adam Fangsrud)
Missoula Independent
http://www.missoulanews.com/AE/News.asp?no=5724

Filastine closes Volume 6 with a breathtaking journey of a studio mix (minding the wash of personal field recordings between Budapest and Istanbul, it’s a literal journey). Fil launches straight into orchestral jungle from warp dub and Turkic hip-hop before crunching breakcore and crazy mashes of everything in between. When you’re blending Arto Lindsay, Hrvatski, Venetian Snares, and Dabrye, that in itself is practically a sign of genius. It’s no wonder he’s working with some odd time signatures in the process. Hard to dance to? Yes. Hard to appreciate? Fuck, no. This kid is the future. So, yeah, it’s pretty difficult not to dig this shit, but it’s prolly not something you’re likely to up and stumble across. If karma is with you, perhaps this CD will find you. In the meantime, keep your eyes peeled for the next Filastine studio album. You won’t regret the wait.
(Filmore Mescalito Jones)
Tiny Mix Tapes
http://www.tinymixtapes.com/DJ-rupture-Filastine

Filastine- Burn It
This hugely accomplished debut album from Filastine on DJ Rupture's Soot label is one that will stay on your playlist without fear of deletion. Taking influence from the four corners of the world; blending Brazillian funk with Jamaican riddims, Indian vocal honey with French rapping... this is a veritable world cruise (albeit without the pub-singer crooning). Filastine manages to distil his worldly influences without coming across trite or contrived, never while listening to 'Burn It' did I stop and get cynical, it's just not that kind of record. An excellent achievement and a huge recommendation - don't burn it, BUY IT.
BOOMKAT
http://www.boomkat.com/item.cfm?id=20887

Was lucky enough to catch the Filastine and DJ /Rupture show a month or so ago at the reliably-interesting Stateless party (nice crowd, too! Crowds bent primarily on dancing are my favorite). Filastine blew me away. I'm lucky enough to have seen a great many /rupture sets over the years since the Toneburst days, but it was maybe the 2nd or 3rd Filastine set I'd ever seen. And this one was on some other-level intensity. One of the better combinations of live percussion (that didn't just feel like self-indulgent drum-circle-esque freestyle), programmed sounds, loops and I dunno what-all. Just enough new to keep it off-kilter, but enough beats to hold onto or juggle from hips to feet and back.. Check out this latest Filastine mix available from the blentwell free emporium, then show more love by buying his latest, Burn it, from /rupture's label Soot. Rumor has it Filastine will be back in town soon. Haven't had a chance to talk since my birthday party last year at the Drunken Fish. But all his travels make for some good stories. Plus I must know where he gets his suits cut. (DJ Ripley)
DJ Ripley Blog
http://djripley.blogspot.com/2007_04_08_archive.html

Amazon.com, the only user consumer review of Burn It
Phat beats - a nice mix of organic and electronic textures. very musical. and the vocal performances are excellent. If you like creative dubhop, dubstep, latin hip hop/dancehall/reggaeton dnb mixed with world/pop music (i mean this in the most positive sense). youre going to enjoy this cd. filastine is from the infernal noise brigade or somthing like that and is hella political - i dont follow that stuff too close but if you like to wear a blakc hoodie and chuck molitovs at gap stores - i would imagine this would be a acceptable soundtrack. (reviewed by Ginsu)

FILASTINE
Burn It (Soot)
Ruptured and burned
On 2005's Low Income Tomorrowland, DJ Rupture eloquently rolled Dead Prez overtop a mesh of laptop and live beats, with the siren calls of a North African oboe instrument called a rhaita. On Burn It, Filastine's debut for Rupture's label, one of the multicultural experiments is the dagger-sharp track “Judas Goat.” Worldly field recordings, sound collages and electro burners line a tracklist with concealed explosives that loom in the splitting beats and impending ruin of cuts such as “Splinter Faction Delight,” promising paranoid sleeplessness for all in earshot.
(Dominic Umile) Remix Magazine
http://remixmag.com/artists/remix_cd_reviews_38/

Filastine
Burn It
Soot Records
This is grit. This is raw. This is...actually...a bit spooky. Trip hop two-step jungle break-beats infused with varioius ethnic instrumental samples and a stripped down to fundamentals production style round out producer Filastine's debut Burn It one of the more interesting releases to land on our desks in quite a while. He's studied with tabla superstars, played with 'coke-fueld' samba bands in Rio, and absorbed often disturbing knowledge in North Africa. With his debut, we're treated to midi triggers, laptop, percussion, creepy politically twinged samples, and a smorgasbord of varied vocalists throwing down. With CD art that depicts a wartorn zone filled with missile shells and burning tires coming from a guy who founded the 20-piece anarchist marching band Infernal Noise Brigade, this thing is quite a uniquely though evoking listen.
Kotori Magazine


Filastine’s debut album last year was one of the more interesting solo albums released in the last few years and he toured Australia with his live show last year. Filstine’s mix is more ‘programmed’ than Rupture’s and thus crams a lot more in to 30 minutes, managing some stunning segues and cuts. Bringing in the rough jungle amens, staccato baile funk, Gypsy brass, radio announcers from Istanbul and plenty of his own rhythms, there is a lot to take in and it is a great ‘journey’ - the kind of mix you love to hear on radio. As the promo banter says - “a conceptual counter punch to ethnic purity and far right nationalism”. (Sebastian Chan)
Cyclic Defrost Magazine (AU)

DJ/Rupture vs Filastine Qúemalo 12"
The original Filastine cut is just immense - a sort of dancehall/favela/dubstep amalgam that's just pure filth - and quite unbeleivably BASSY - a righteous cut that's presented here in vocal and instrumental versions - PLAY LOUD.
BOOMKAT
http://www.boomkat.com/item.cfm?id=33347

Live at Gramaphone, London
(show review)
Filastine released his debut LP Burn It on DJ /rupture's Soot Records imprint earlier this year. The album showcases his skill as percussionist and vision as a producer, combining a globe-trotting sensibility with deft programming. Arabic, Brazilian and other traditions meet crunching street beats to create an album that is widely travelled but still rooted in a carefully crafted individual aesthetic. This mix showcases Filastine's live show, which has a rowdy edge not so audible on his studio work. The same striking fragments of recorded sounds heard on the record are combined with dubstep, breakcore, grime, dancehall and loops and acapellas from other cutting edge club sounds. Add the spice of live percussion, played on a darbouka, midi drums, and a shopping trolley, and you have the recipe for something very tasty indeed.
Spannered
http://www.spannered.org/radio/854/

Thirteen songs into Filastine’s album Burn It, we find ourselves at a demonstration, standing in the middle of a drum corps making noise out of protest. It’s a sound familiar from recent years, the sound of anti-globalization rallies. Or rather, it’s more like a studio recreation of the sounds of a protest (of the drum parts you hear in Christopher DeLaurenti’s vivid field recording N30: Live at the WTO November 30 1999), that was then taken by a DJ and mixed a bit, looped into a weird jazzy state of limbo. What still comes across to the listener determination, born out of anger at the state of the world. In a way this track is an explicit statement of the spirit running through the whole album, similar in purpose to the Dubya-quoting interlude “This Is a Fight”. It’s a news clip you can dance to, a “report from the frontlines” given a beat.
Filastine himself has played in one of those drum corps; he founded a protest-touring drum ensemble called the Infernal Noise Brigade. He’s also traveled the world to see the effects of globalization firsthand. That traveling is an integral part of Burn It, biographically and musically. The album was recorded in Brazil, Cuba, and Marrakesh. It includes the voices of singers and rappers from across the globe; its words come in several languages. This is global music, constructed to tap into the universal human voice while incorporating aspects of many world cultures. Filastine himself serves as a guide and curator—he’s moving from place to place, laptop in hand, and using those experiences to create a distinctly inclusive style of music.
“Get on That Bullhorn & Leave the Fucking Country”, one brief interlude track is titled. Filastine himself has certainly done just that. In the music on Burn It you can hear the time he’s spent in India, Brazil, in northern Africa… and who knows where all else. There’s a distinctly Middle Eastern sound to parts of the album, there’s definitely rhythms from South America and Africa, and it’s all held together within the basic style of that universal global language: hip-hop.
Filastine takes styles, voices, and instruments from around the world and supports them with a laidback yet vigorous array of laptop beats and live percussion. Burn It is filled with the atmosphere of places around the world, and manages to stay free from generic “world music” tropes. This isn’t the sound of musicians from different countries meeting in some antiseptic studio to “learn from each other.” It’s the sound of a vagabond, self-proclaimed “audio terrorist” traveling the world, meeting people where they live, and blending their backgrounds, their feelings, their personalities, their home environments in with his own. The result is occasionally intoxicating conversations between cultures, with beats, jittery and grounded, meeting a violin or a rhaita (a North African oboe-like instrument), and sitting right next to vocalists from Cuba and New Orleans and elsewhere.
Burn It is a humanist sort of protest album, one based in the sounds and experiences people live with. It also is a rather mellow one, too much so for an album that should get you riled up, make you want to tour the world and try to change it for the better. An overall sense of anger at the capitalist domination of the world is introduced explicitly through the lyrics, and conveyed musically through Filastine’s audio world-tour approach, which argues, sometimes convincingly, for the significance of the uniqueness of all cultures. But all too often his production style overwhelms the proceedings by turning this into too laidback an affair. The tempo of most songs is slow, and the mood is spacey. Every time the tempo picks up, it soon falls back in line. It’s hard to feel engaged with the world and its problems when chill-out music is taking a hold of your body, leading you down the road toward zoning out completely and dropping off into your own head. Shouldn’t the music of an “audio terrorist,” battling hegemony with his laptop, sound a bit more driven than this? More lively, more awake, more engaged?
Burn It is most rewarding when the level of distance which monotony creates is broken down, usually by an especially spellbinding convergence of cultures. Filastine is a convincing travel agent, but a less convincing rebel. Burn It is marked less by fire than by the gliding, floating feeling you get during a train ride nap, when you know you’re moving but you’re not sure where to, or why.
by Dave Heaton
Pop Matters
http://www.popmatters.com/pm/music/reviews/filastine_burn_it/

This last one is very confusing, no? seems like i'm the shit and then suddenly too mellow. Can't please everyone. The most poetic press quotes come in castellano: "a vertebral columns of beats... and elements from all latitudes" or "gives a skillfull lesson in free-wrestling with global capital to a post-industrial capoeira rhythm" from the two below

'Burn It’ fue grabado entre Brasil, La Habana y Marrakesh, e incorpora materiales registrados por Filastine, estudio portátil en la mochila, en distintos puntos del globo. Los diferentes idiomas que se pueden escuchar a lo largo de los 16 cortes del disco (árabe, español, francés, inglés,...) nos dan una idea del carácter global que se persigue.
(....bio info aqui...)
Música global para articular mensajes encendidos contra la globalización y la exportación (imposición) transnacional de la cultura yanqui. Sobre una columna vertebral de beats de hip hop o drum’n’bass se van añadiendo elementos de todas las latitudes, desde voces femeninas con acento a suburbio francés o a café turco, rap en castellano con color cubano, o en inglés con deje del gueto negro, gaitas y percusiones del Magreb, programaciones que recorren el trecho que separa el hip hop del breakcore, errorismo digital, drum’n’bass, dancehall, violines del oriente próximo, voces búlgaras, ecos del dub, skits televisivos y grabaciones de campo de revueltas y manifestaciones.
A poco que uno investiga, descubre la importante motivación “accionista” en el plano político que subyace en este proyecto. Esa misma motivación queda perfectamente patente escuchando sus discos, esa mezcla de sonidos de diferentes partes del mundo. Esta amalgama sonora, fiel reflejo de la diversidad etnográfica y cultural que se respira en cualquier gran ciudad del mundo, debería hablar por si sola y sugerir a quien escucha todo tipo de reflexiones y posicionamientos sociopolíticos. Por eso nos resulta un poco forzado y “sensacionalista” que Filastine, alma nómada y (autodenominado) terrorista sonoro, recurra en su página web a contar cosas como... “Filastine ha sido huésped de ex-guerrilleros en El Salvador y de la guerrilla Zapatista en México, ha documentado un levantamiento en Argentina, se ha reunido con exiliados afganos en el Khyber, ha organizado huelgas de taxistas en los Estados Unidos, llevado a cabo intervenciones sonoras de alto riesgo, y ha sido gaseado, disparado, o arrestado por policías con muy distintos uniformes”... Parece McGiver.
Dejando de lado este afán por exaltar su naturaleza revolucionaria, el disco de Filastine se disfruta, con altibajos, de principio a fin.
Como en nuestras sociedades, los componentes étnicos, muchos, que nutren la música de Filastine, en ocasiones no son capaces más que de generar sus propios espacios de supervivencia en la periferia de lo temas, quedando como ejercicios de canibalismo cultural bienintencionado; otras veces, las que más se disfrutan, sí se logra la integración, la convivencia pacífica y fluida de estos diferentes elementos en un disco vagabundo y viajero, de escucha muy recomendable para desintoxicar los oídos de tanta basura sajona, que uno piensa que podría haber logrado cotas de impacto mucho mayores si, en vez de optar por un acabado de tiempos lentos y cadencias humeantes muy apegadas al hip hop instrumental, hubiera abordado el tema desde una óptica menos occidental, recurriendo con mayor ahínco y aún mayor convicción a las posibilidades de rapto y trance que brindan las músicas latinas o norteafricanas.
Si queréis ver como se las gasta Filastine (y su carrito de la compra) en directo, podéis acercaros el próximo 17 de julio (muchos ya estaréis allí por culpa del Sónar) a Barcelona, a La Makabra, recinto ocupado en Poble Nou, donde se estará celebrando una fiesta promovida por Soot Records con la participación de, además de Filastine,  DJ/Rupture, Shitmat y Jahbitat. ¡Todo por... 1 €!
Luis Miguel Rguez

Platoniq vuelve a la des-carga! Os lo comentábamos en aventuras anteriores del programa, que recientemente, por dondequiera que estemos, siempre nos topamos con Filastine, aventurero y antihéroe sonoro que anda por Barcelona desde hace unos meses, y que en cualquier momento el energúmeno iba a invadir vuestros boombox y discos duros en “Hard Disko”, los miércoles a la medianoche en scannerFM. Pues ese día ha llegado. Mister Grey en persona, nos dará un clase magistral de lucha libre contra los capitales globales, a ritmo de capoeira post industrial, desvelándonos sus recetas mas piratas: desde cómo construir tu propio sound system, a responder a los actos mas bárbaros con la gracia de la filosofía dub-budista. Dale un beat y el te lo quema. Filastine frapée: coktail explosivo para “Hard Disko”.
Olivier, Platoniq