The inspiration for the song and video are explained in a statement by the group below:

“Balkan Beat Box expresses our dissatisfaction with the social, economic and political systems which govern our lives and set the tone for what kind of world our children will grow up to live in. This video shows our support for the various movements and revolutions taking place in the world today and attempts to highlight the fight against corporate greed which has gripped our society and paralyzed or bought off our leaders.”

The video–which has already been viewed over 17,000 times on YouTube–was selected as Arabic-language news network Al Jazeera’s Internet Video of the Week on November 26, 2011. Rolling Stone South Africa also featured the video online and wrote, “The explosive New York-based trio are at their provocative and edgy best again, with their mashup of all things exotic, eclectic and politically sensitive.” (12/6/11) There has also been support for BALKAN BEAT BOX in the blogosphere: “…this is BBB going all Beastie boyz vs Sex Pistols in the Balkans…I’m loving this and I’ve been a huge fan of this band since day 1! If you’ve never seen this band live, you won’t believe the energy of their live shows.  So I would suggest that you make sure that you DO NOT miss them when they play…and make sure you grab all of their discography cause you need it…”

Balkan Beat Box has also asked their fans to get involved by translating the lyrics of “Political F*ck” into their native language and posting it on the Balkan Beat Box Facebook page here.

“People, people, see the rain fall down U wash yourselves from slavery, U rule this town I say now, middle, middle, simple man not radical U free yourselves, u change your luck It’s a political f*ck Not an attack…”

Balkan Beat Box first burst out of New York City’s underground music scene in 2005, with their self-titled debut that introduced the world to their multikulti musical mashup. Founded by Israeli-born Ori Kaplan (ex-Gogol Bordello, ex-Firewater) and Tamir Muskat (ex-Firewater), the band built their reputation on explosive live shows, becoming an audience favorite and a critic’s darling. The group soon added frequent collaborator Tomer Yosef as frontman, his wild onstage energy galvanizing live audiences ever since. The three emerged as a cohesive songwriting trio on 2007’s Nu Med, and found that each had strengths that complimented the others. Together they created an entirely new sound–equal parts Balkan-Mediterranean tradition, punk intensity, electronic cool, jazz discipline and hip-hop swagger. Their third album, 2010’s Blue Eyed Black Boy, was recorded in Belgrade and Tel Aviv and had a big impact on the band. “While we were in Belgrade there were anti-Kosovo demonstrations and riots, and mobs tried to burn down the American embassy,” Kaplan explains. “It was a very tense atmosphere, but we were in our studio, away from all that, translating that intense energy into something positive and good.”

Balkan Beat Box is working on a new album to be released early next year. For up-to-date information like them on Facebook or follow them on Twitter.

Gyrating silver pine cone style trees, robots with questionable appendages—and the scantily clad women more than happy to entertain their mechanical whims—ravers basking in the shade of giant metallic daisies, Spicy Pie and burritos—thankfully not in the same meal—girls applying makeup in 105-degree heat, and lots and lots of fanny packs. The music wasn’t bad, either.

Gogol Bordello, who are tailor made for festivals, put on an amazing show on the Main Stage, followed up by a soul stirring performance by Erykah Badu. Once again, Goldenvoice programmed to perfection, coming with sun-drenched flavor before dovetailing into rock later in the evening. After Gogol, we hightailed it to the Outdoor Stage to get prime real estate for Long Beach, California’s Delta Spirit. As a little added bonus, the Radio Dept. were rocking the Gobi next door at the same time, so we caught a few lines of “Pulling Our Weight” as we walked through the throngs of folks.

Elbow at 7pm in the Mojave was our next destination. Always the consummate gentleman, lead singer Guy Garvey seemed to make eye contact with every iPhone, Flip camera and Bloggie, extending a hand and a wink in thanks. At one point, he remarked that his “fair English skin couldn’t contend with the sun,” then asked the entire crowd to breathe in and blow out to cool him off. Not sure if it worked, but the back of my neck got a little help from the five dudes behind me. (#winning)

After passing Lindsay Lohan and Shaun White—both making their way from VIP to the Main Stage, but not together—we pulled up a nice plot of grass to check out Mumford & Sons. Like the Old Crow Medicine Show last year, Mumford brought their banjos, their pickin’ and their grinnin’ to the Main Stage massive in a big way, proving once again that you don’t need Marshall stacks, pyrotechnics, or a Chemical Brothers styled light show to captivate the crowd. Big shout outs here to Drew Thomas and the rest of the Coachella video crew for managing to capture all the intricacies of the Main Stage and bring it to the video screens—and YouTube—for all to see. “Shall we have a dance, Coachella?” asked lead singer Marcus Mumford before kicking the band into “Little Lion Boy.”

After Mumford, and upon Paul van Dyk’s recommendation, we decided to check out Empire Of The Sun at the Outdoor Theatre. What transpired was some galactic mélange of Gwar, Liberace, Prince and Adam Lambert. I can’t tell you what songs they sung or how their show compared to previous performances. I can tell you, however, that I truly felt like I was a part of something tremendous, weird and wonderful. If they ever come through LA, you best bet I’ll have a ticket in hand.

Empire’s set concluded just as Arcade Fire’s set was beginning, but rather than move with the crowd back to the Main Stage, we turned right and headed towards the Gobi Tent for another Grammy-winner: Raphael Saadiq. With his full band on stage—two guitarists, a bass player, a keyboard player, a drummer, a backup singer and a three-piece horn section—he exhibited all the flair and exuberance of a classic soul front man. He opened with “Staying In Love” (off The Way I See It), then continued with “Heart Attack” and “Radio,” both from his latest LP, Stone Rollin’. Catching smaller acts in the tents while the headliner is on the Main Stage has always been one of my Coachella traditions, just because you can easily get to the front without having to fight your way, and Saadiq’s band was a true joy to watch. Beautiful solos, incredible vocals, stage presence, horns and classic R&B roots. Not a bad way to end Day Two.

Words by Rich Thomas. Photos by Dustin Downing.

This week marks the (hopefully) triumphant return of Gogol Bordello, already receiving critical acclaim for their latest, Trans-Continental Hustle; the good ‘ol Trashcan Sinatras are back… meanwhile, Hole reunites for the first time in 12 years, and Courtney Love/Billy Corgan tweet viciously against each other. Sometimes you long for the days of pistol duels at sunset….

Avi Buffalo – Avi Buffalo
B.o.B. – B.o.B. Presents: The Adventures of Bobby Ray
Bullet For My Valentine - Fever
Mary Chapin Carpenter - The Ages of Miracles
Miranda Cosgrove - Sparks Fly
Daddy Yankee -  Daddy Yankee Mundial
Drowning Pool – Drowning Pool
Melissa Etheridge – Fearless Love
Peter Frampton – Thank You Mr. Churchill
Gogol Bordello – Trans-Continental Hustle
Hole - Nobody’s Daughter
Lall Puna - Our Inventions
The Lodger – Flashbacks
Lonestar – Party Heard Around the World
My Education – Sunrise
The Mynabirds – The Mynabirds
Nathaniel Rateliff – In Memory of Loss
Trashcan Sinatras – In The Music
Two Door Cinema Club – Tourist History
White Fence – White Fence
Wounded Lion – Wounded Lion

Today’s bloggin best…

- Flying Lotus replaces Thom Yorke leak with a flash player. URB

- Massive Attack kick off major film project for Heligoland. Dazed Digital

- Punks jump up, throw out back! Dr. Martens turns 50. Format Mag

- More LCD Soundsystem behind-the-scenes video. Fader

- Asher Roth’s manager arrested for tween endangerment. SOHH

- Noel Gallagher talks about getting his ass kicked onstage. Billboard

- Gogol Bordello is giving away a free song. GogolBordello

- And Phoenix is giving away and entire live album. WeArePhoenix

Today’s bloggin best…

- Rick Rubin is a Gogol Bordello fan. Billboard

- DJ Intervention is here to help. Funny Or Die

- Indie rocker are the new baby boomers. Slate

- Kanye’s gonna make hip-hop music again. Hypetrak

- New Dead Weather video, “Die By The Drop.” Pitchfork

- Asher Roth has a new mixtape. URB

- Gorillaz are on the cover of Complex. Complex

Eugene Hutz and the Gogol Bordello posse are absolutely badass! And when they took the stage at All Points West on Saturday afternoon, they made it immediately known that they were in the mood to blow the house down. With their infectious, machine-gun paced, ska and punk-infused Gypsy rock, the collective from NYC’s Lower East Side rocked so hard that a mosh pit magically appeared with kids buggin’ and wildin’ the fuck out.

The opening words from Eugene’s mouth as he took the stage were, “The good old days are not in the past, the good days are here today and tomorrow.” That declaration, accompanied by his all-out, high-energy, balls-to-the-wall performance took the entire energy of the All Points Festival to new levels.

Gogol Boredello on the Big Screen

The reason why a Gogol Bordello show is so effin’ awesome is that the surprises never stop coming – so as an eager spectator, you’re always looking to see what happens next. And on this day, the multi-cultural crew threw the kitchen sink at the crowd … and we loved every minute of it. We didn’t see it coming when the Ecuadorian percussionist/hypeman, Pedro Erazo stepped up from his drum set and got all “ragga” on our asses – or when Sergey, the spectacular electric violinist rocked the hell out of a vocal solo; or when Eugene himself stripped off his shirt, slung a banjo over his sinewy frame and began strumming like a man possessed. You name it, they had it – background singers wielding marching drums and cymbals, funky accordion solos, insane stage costumes – it was all there.

Before the last song, the sweat-soaked Eugene yelled into the mic, “I just got a telegram that we can do one more, so let’s fuckin’ do it!” The crowd roared in agreement. The show was pure madness (in a very good way) – and you just had to be there to take it all in.

Words by Geo Hagan, Photographs by Kwaku Kufour

It seems like Eastern Europe is finally starting to get some respect from Americans. Nico Bellic and the GTA giant made thick accents cool. Gogol Bordello has been able to take his mustachioed gypsy punk to a mainstream audience while smaller acts like Golem and The Sway Machinery are putting a fresh spin on ancient sounds.

The Sway Machinery’s Hidden Melodies Revealed: “Anim Zemiros”

The Machinery boasts an incredible lineup of musicians who’ve played with Arcade Fire, the Yeah Yeah Yeahs, Tom Waits and the Wu Tang. “People ask all the time what kind of music do you play, and I say ‘New York music,” says saxophonist Jordan McLean. The rollicking blend of music is nearly impossible to define. Inspired by Cantorial music and guided by the warped mind of Balkan Beat Box maestro Jeremiah Lockwood, The Sway Machinery are an organic mashup of world styles from Mali blues to Polish dances.

Playing such a selection basically dictates the band understand musical theory, world cultures and history, so it’s not a surprise that the five band members can be cerebral and mystical. “We’re moving beyond style and into idea,” says McLean, “because we’re creating our own myth with this music. We invite the audience to explore and create their own myths along with us—and kick their fucking asses at the same time.”

The underlying party rhythms of dance music is a huge influence for JDub labelmates Golem, a six-piece also out of New York. Golem began years ago covering klezmer traditionals, and has slowly evolved a hybrid rock version of the ancient songs. “It was originally party music so it’s not an academic pursuit for us,” says singer and accordionist Annette Ezekiel Kogan.  “The energy in the music is party energy,” she says. The new album, Citizen Boris, spins together accordion, horns, fiddle and feedback into dance rock that stands out for its creativity. History never sounded so fun.

By Jacob Cottingham

The Sway Machinery’s Hidden Melodies Revealed “Tell it All to Me”

Golem’s Citizen Boris: “Tucheses & Nenes”

Golem’s Citizen Boris: “Mirror Mirror”