Guerre Maladie Famine
Mix of the Month

Writers: Hamad Al Mujeem.
Published: January 23rd 2022



Photographer: Nadine Fraczkowski


Tracklist:

1.  MY DEAD LOVE FOR YOU 2 W/ SANATAS -        
    BADDCITIZEN
2.  NO JOKE [PROD. NAAMAH] - LUCIFER
3.  REAL VAMPIRES #1XX6 3HELLKIN - JUGNINO
4.  VYVANCE TRANCE 2_MIXDOWN 1 - SIENNA SLEEP
5.  CONGOMERATE - PERMANENT DOG PAW PRINT DIRT
    STAIN
6.  LIVEXFREEXMIXX - BAOFUMO
7.  NUNKA ME VISTE (PROD. ANTHONY1) - @1RICHVAMP
8.  IMAGO(2)://FATAL FANTASY
9.  IMAGO(2)://ARCANE
10. VYVANCE TRANCE 2_MIXDOWN 8 - SIENNA SLEEP

11. 20201021 .2 - SIENNA SLEEP
12. AA (WASTING SHIT EXCLUSIVE) - 2012
13. CHERRY SODA (PROD BACLEO) *73RR0R1X7 -
    BADDCITIZEN
14. UNIVERSE X REMOVEFACE {TAINTED LOVE}
15. ION LIKE NOBODY (FT. BAOFUMO) #DAWN -
    NINEANDINE
16. FREE BIG MEECH #BLACKMASKFAMILY #BMF - LUCIFER
17. BOB GLOCC X 2012 * BANDÉ À MORTTT :(
18. WIDE GIRL WINTER 16 DECEMBER 2012 -
    TWERKNATION28
19. ████ ███████ - USER 200204302
20. WHATEVER (DLTZK)
21. GLIDE - GHOSTSINLOVE
22. NOT AFRAID - EUROPA
23. Z3 PLUS - ANTHONY1
24. #BADSTIMULATION///18_8V8SUQ297ZPW3_INMORTAL
25. 6G - THE FERTILE CRESCENT


Duration: 36 mintues 42 seconds.


Guerre Maladie Famine aka Sacha is a DJ and Model based in Marseille, France. His current work revolves around how internalized social norms shape seemingly subjective personality traits such as music/aesthetic taste. Sacha has worked on a variety of projects throughout his career, including Balenciaga, Burberry, and, most notably, Anne Imhof's performance project "SEX."

My initial intent when putting together this mix was to showcase some of the young punk-infused, SoundCloud rap scene music I’ve been listening to a lot lately. These genres are simultaneously breaking rhythm and fundamental music axioms through a hyperbolic usage of effects and speed modification, and intentionally incorporating "low" quality mixing, evolving the rather linear pattern of trap music we all know into something more unpredictable—thus, making it all more interesting to me. Listening to it, a posteriori, I conceptually picture an archeologist excavating and reassembling a patchwork of corrupted audio-file remnants—a clumsy attempt to recollect what music in our society was like before its potential and eventual collapse.