Captain Planet follows up his hugely successful 2009 EP, Speakin’ Nuyorican, which scored multiple TV show pick-ups, with a new EP, The Ningané, releasing next Tuesday via Bastard Jazz. The title track of the new EP spotlights the vocal talents of Congolese singer Fredy Massamba, while the tune that we’re premiering today, “Dame Agua”, is a hot Latin number spiked with pounding salsa horns and an irresistible beat. This EP is something of a teaser for more great things to come from Captain Planet later this year as he plans the release of the full-length Cookin’ Gumbo this coming September.
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“We as a society think we should be able to fix everything just by having a pill,” says Susan Bennett, of Massachusetts General Hospital. And “everything” includes women’s sex lives, now being “fixed” by a burgeoning industry. Liz Conner’s entertaining documentary looks at the medicalization of women’s sexuality, beginning with her own employment by the pharmaceutical company Vivus, which hired her to “help with a clinical trial” by making porn videos. The assignment got her thinking about why or how a drug might not only “help” women to achieve normal sexual desire and behavior, but also, how that normal state was being defined. This meant rethinking as well how the disease was being defined. As the film points out, “female sexual dysfunction” (FSD) was advertised as a condition in need of treatment in order to create a market for the treatment—whether by electrodes or therapy or, most often, by drugs. The process is circular and then some. In the United States, drugs need to be approved by the FDA, which demands that a disease exists before such approval. And so the pharmaceutical companies, following the booming success of Viagra and other drugs to treat “erectile dysfunction” during the 1990s, undertook a campaign to define FSD. Canner points out that this campaign, multifaceted and ongoing, “is actually changing how we think about our bodies about our disease and about our health.” Her film—available on DVD from First Run Features on 21 June—means to change that changing.
See PopMatters’ review.
Whatever you think of veteran singer-songwriter Josh Rouse’s music, you can’t accuse him of standing pat. Usually, you might be able to look forward to a new album from your favorite artist every few years. Since his debut in 1998, though, Rouse has cranked out a new release every year or two.
Rouse has also offered a wealth of exclusive material via a subscription service through his website. Now, he is offering a free 25-track “Summertime Sampler” through NoiseTrade. You’ll need to provide your email and zip code for a download link.
The sampler includes the new song “Diggin in the Sand”, credited to Josh Rouse and the Long Vacations. The trio’s eponymous album will be out later this year. The rest of “Summertime Sampler” is made up of recent album tracks and rarer odds’n'sodds. Enjoy.
Nashville’s Bad Cop continue their parade of singles with the brand new platter, “Maniac”. This follows the recent “I’m in Lust With You” and “Control”, both of which we previously premiered on PopMatters. The band played NXNE this past weekend, as well as a gig in Brooklyn last week. A new 7-inch single by the band is on the way this summer. Meanwhile, we have this new video, the third that the group has produced with Nashville filmmaker Seth Graves. Bad Cop frontman Adam Anyone says the video “is about living in the South, where the people who are supposed to be watching out for you are often out to get you.” Scary stuff.
Juan Mendez is perhaps best known for his smooth, functional, and elegant techno music as Silent Servant, a member of the illustrious Sandwell District crew. Yet, Mendez was a postpunk kid before he ever got into techno. And while he occasionally does bring a postpunk sensibility to his Silent Servant work, Tropic of Cancer, a collaboration with Camella Lobo, is the place where the influence really shines. Mendez has admitted to Cabaret Voltaire’s The Voice of America as being a life-changing record, and on “Be Brave” the debt in scuzzy cold vocal effects and eerie looping minor chord guitars is so great that Richard H Kirk himself couldn’t help but repay the homage with a remix on the B-side. The single comes to us thanks to Regis’s Downwards label, the legendary Birmingham home of dark and industrial-tinged techno.
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