Cairo artist and electronic musician Ahmed Basiony died at age 32 on January 28, the fourth day of major anti-government demonstrations in his home city.

Basiony’s rather remarkable music is being played continuously on 100radiostation, an arm of Egyptian experimentalist Mahmoud Refat’s now-offline 100copies organization, which organizes the annual 100live electronic music festival in Cairo.

Here he is performing at the 100live festival in 2010:
 

 
Basiony leaves behind a wife and son. Let’s hope this revolution is worth all the lives and creative talent lost. Peace, justice, power and freedom to the people of Egypt.
 
Hat-tip Marc Weidenbaum at disquiet.

 
The question of whether or not Genesis Breyer P-Orridge has quit Throbbing Gristle remains not fully answered. Despite Thee Deevelopment, TGers Peter “Sleazy” Christopherson, Chris Carter and Cosey Fanni Tutti have gone on to fulfill their early-November live TG obligations in Italy and Portugal as X-TG. The group has uploaded some media from those shows on their new site.

P-Orridge’s ambivalent statement on the matter was offset by “Unkle Sleazy’s” take, and there’s likely debate as to how much value a P-Orridge-less TG holds. I’d think the excerpts below from the two shows speak for themselves.
 

  X-TG ‘XPad’ Live at Porto Casa Musica by Industrial Records
 

 
It’s great to see that Berlin’s Atari Teenage Riot—electronic anarchists and creators of the “digital hardcore” sound—are back and in terrific shape. Predictably, what was first slated as a reunion for a few European shows has turned into a full-blown world tour for Alec Empire and Nic Endo, along with new Rioter CX KiDTRONiK.

Throughout the ‘90s, ATR spread sonic fire from the nexus of hard techno, thrash-punk and noise, with their members (including formers Hanin Elias and the late lamented Carl Crack) also releasing solo projects on their own Digital Hardcore Recordings label.

As shown by this stage invasion during their appearance at Zurich’s Fusion Festival from this spring, the Riot seems back on in full force.
 

 
After the jump, relive ATR’s famous 1999 anti-fascist May Day riot in Berlin, with commentary by Empire…
 

 
Detroit techno soldier Monty Luke hepped me to this rather remarkable clip from an unnamed American music show in 1969. It seems apropos since last week marked the 39th anniversary of Jim Morrison’s death, and his ghost still haunts what once was the Doors Workshop in Los Angeles. Below, the LizKing notes that music in the future “might rely heavily on electronics and tapes” and feature performers “using machines.”

You think he figured that electronic music geniuses like John Oswald a.k.a. Plunderphonics would have such a blast blowing out the Doors, as shown in the fan video after the jump?
 

 
It’s always heartening to see electronic music veterans ably take on new genres and make them sing. One case in point is the UK duo Africa Hitech comprises producer Mark Pritchard and producer/vocalist Steve White (a.k.a. Steve Spacek). Pritchard helped shape the sound of British techno in the early ‘90s in his groups Global Communications and Jedi Knights, while White made waves in the early ‘00s with his avant-soulful warbling and knob-twiddling for the glitchy trio Spacek.

Both have been busy with lots of projects, but Africa Hitech bears special attention. The pair’s just-released debut EP Hitecherous weaves between lurching lovers dub, whomping dubstep, whizzing dancehall, and neurotic garage—all stripped down to their powerful rhythmic essences. Recommended new sounds.
 

 
Get: Africa Hitech - Hitecherous [CD-EP]

MC Gunsmoke
 
When done right, the underground music genre primer can be the most dynamic type of documentary. We’ve seen it time and again, whether it’s punk, hip-hop, or in this case the hugely energetic scene surrounding the dance music subgenre known as jungle in early-‘90s London. In 1994, the All Black show on BBC 2 presented this community-conscious look at a genre that would eventually morph into a largely over-the-top mish-mash of sci-fi imagery and unsubtle software flogging.

At the time of the doc, jungle is definitely posited as young, multicultural black music, and treated in classically analytical BBC style. DJs, producers, MCs, label people, academics—everybody seems to chime in on issues of roots, authenticity and commercialism. Not only do you get an intro to the basic ingredients of the music—the samples! the reggae! the soul! the basslines! the breakbeats! the speed!—but the producers even weave in some drama surrounding a club gig starring the legendary Shy FX and his crew.

Of course, this program fails to feature some of the genre’s giants, like Goldie, Roni Size or Dillinja. But the American Moonshine Music label sent journalists a VHS copy of this doc along with their compilation Law of the Jungle for good reason—it’s a quality document of a time now long gone. Check it!