We here at L A MISSION like to whip out our politics in public. We kinda get off on it. And so we're especially excited to slip you B EANER' s first solo outing on the label . From track titles to sound samples to magazine articles to packaging, this record / magazine / performance package highlights im/migration, the brown experience, and stripped identity. La Mission knows from brown. The collective is run by a crew of devastatingly handsome deviants whose racial identity is, well...it's complicated. We've lived our lives being neither white enough nor brown enough to fit neatly into racial categories. And so we took some time out from our usual exploits (like our "MultiDirectional Playground Tire Swinging" orgies and Elected Candidate/Dead Pig/HungerGames slashfic) to focus on brownness. People started talking about "cultural appropriation" when Miley Cyrus started twerking. We couldn't throw shade fast enough. But cooptation and exotification runs rampant in all genres of music-including dance music. We here at La Mission feel pretty fucking awkward about it. We've seen queerofcolor culture turned into whitedudebro business ventures. And as brown folks with stripped and fragmented identities, we're never sure of what culture is ours to use and abuse, anyway. Can we honor our own roots if they're messy and broken? When we're "inspired" by the music of other cultural groups, is that solidarity or stealing? Nothing we have is whole. We can only work with the fragments we have at hand, well aware that there's unfinished business… BLACKMOUTH is the live version of the classic soul/disco sampling house tune. Take the work o f o t h e r s w h o c a m e b e f o r e y o u a n d t u r n i t i n t o a d a n c e a b l e j a m . G O T B L U E S ? u s e s t h e w o r k o f a b l i n d 1930s blues bongo player to form a weirdo repetitive rhythm tool: another example of using a forgotten artist for one's own gain. The titular song, COOPTED & EXOTICIZED plays on the classic preacher vocal track. All these sure to get get get you up and get down, without thinking about the origins of these mostly pastiche grooves. More

Lim. to 250 copies. The son of a church organist, Jonathan “J Choirboy” Bishopstone began his musical education in the early 1990s at the supple age of three, learning both recorder and piano simultaneously. By the age of 13, he was already giving regular recitals in his hometown of Lewes in rural East Sussex. Before long, he was awarded a music scholarship at Eton College, where he joined the college choir. With a solid foundation in the Baroque, Classical and Romantic styles, he started to focus his attention on twentieth century classical music, before making the logical transition to house and techno in his final year at Eton. Just as with his classical education, he began studying the greats of the UK rave scene, artists such as Gordon “The Count” Cummins, John “Acid” Haigh and Graham Young, before moving further afield to international artists such as the legendary Michael Brown. This debut EP is produced with clear references to J Choirboy’s influences, from the majestic cantatas of Bach to the broken rhythmic styles of the early UK rave scene, and even features his own father’s organ playing on the first track “Fantazia”. More