DIPLO at Sound Academy (11 Polson), Friday (July 23), 10 pm. $25. 416-870-8000.
Love him or hate him, Mississippi-born, Philadelphia-raised Wes “Diplo” Pentz has done a lot for the dance music scene and its culture.
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Whether producing hits for the controversial M.I.A. (and then dissing her newest album on Twitter), stuffing Brazilian funk down the throats of zealous hipsters or, most recently, making bastardized, flak-catching dancehall with Dave “Switch” Taylor as Major Lazer, Diplo leaves a mark on whatever he touches. Call him a saviour or a minstrel, but he doesn’t plan on changing.
“I think Major Lazer is gonna be even more crazy and racist now,” says Pentz from his L.A. studio, flexing his infamous dismissive sarcasm. “I don’t really give a fuck about what people say, because at the end of the day I’m making music that’s fun. We’ve done shows in Jamaica, Brazil, Korea and Cambodia. I think what we’re doing is a fucking postmodern disaster, and I’m loving every minute of it.”
The new Major Lazer EP, Lazers Never Die (Mad Decent), includes three remixes by Portugal’s Buraka Som Sistema, Radiohead’s Thom Yorke and UK rave veterans Kicks Like a Mule that reflect the group’s international bent, plus two new tracks featuring Collie Buddz and M.I.A. (whom he describes as his “favourite artist” despite their well-publicized personality clashes).
“It’s something to hold people over,” says Pentz. “We’ve been in the throes of recording our next album and finishing up our Major Lazer cartoon, which should be airing in January on the Cartoon Network.”
Yes, the titular, vampire-blasting Jamaican cyborg seen on Major Lazer album covers and in videos is getting his own program on Adult Swim. This isn’t Pentz’s first foray into visual media. In 2008, he made his directorial debut with Favela On Blast, a Brazilian baile funk documentary that’s getting an iTunes release this week.
“If you don’t know about Brazilian funk or the culture surrounding it, [the documentary’s] a great introduction,” he says. “The scene down there is crazy. It’s a beautiful film, but also very bizarre.”
Pentz partially credits his interest in world music to growing up in multicultural Philly, where he cut his teeth as a producer and one-half of the DJ duo Hollertronix with Low Budget.
“When we used to do the Hollertronix parties [around 2003], we had this really great mashup of mixed races and classes,” says Pentz with a hint of nostalgia. “We used to throw them at this Ukrainian bar where the drinks were so cheap, we could play whatever the fuck we wanted. We’d have black kids singing New Order and white kids singing along to a Lil’ Flip record.
“This weird combination of different cultures and music worked itself into the way I produced tracks. Even a song like M.I.A.’s Paper Planes, where I made a hip-hop record out of a Clash sample, comes from being part of the Hollertronix movement.”
Pentz believes the city also instilled his strong work ethic.
“Philly is a hardcore city to grow up in – very dangerous, very broke. They don’t like you. Even if you’re doing good, they don’t like you,” he laughs.
“I got really thick skin from living there.”
As for his war of words with ex-girlfriend M.I.A., he obviously still has a lot of respect for her.
“A lot of people are cool, but they’re not busting out at the seams with that anger and energy like she is.”
Interview Clips
Diplo on the next Major Lazer album:
On the Heaps Decent Fundraising:
More on Major Lazer, Philly and Mad Decent Block Party:
music@nowtoronto.com
