For the longest time, Diplo’s role as a producer has been steeped in importing, curating, and reconfiguring global dance sounds from favelas to shantytowns to the projects. That approach has been depicted as everything from transcendent, no-borders futurism to an exploitative colonialist ripoff, but most of his fans seem most interested in how much a given track bumps. The critical narrative shifted from Diplo as hipster scavenger to Diplo as arena-ready body-mover on the basis of a pop breakthrough that came through Major Lazer’s “Pon de Floor”. In its original context, it was the centerpiece of an album cross-examined for appropriating dancehall culture and West Indian identity for a dayglo cartoon caricature. Then Beyoncé got ahold of it for “Run the World (Girls)”, Diplo’s name started showing up in the credits of Chris Brown and Snoop Lion albums, the appropriation concerns shifted towards the trap scene, and the authenticity questions gradually quieted down.

Tracklisting and more

Major Lazer (Mad Decent Recordings - Philadelphia) @ Rinse.fm 106.8 FM - London (24.05.2013) by Evil Concussion on Mixcloud

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" I am beginning to feel this nocturnal extistence tell on me.

It is destroying my nerve. I start at my own shadow, and am full of all sorts me horrible imaginings..."