Showing posts with label dub. Show all posts
Showing posts with label dub. Show all posts

Monday, 20 December 2021

Albums of the Year - 50 to 41

50. Irreversible Entanglements - Open The Gate
Free jazz groove


49. TV Priest - Uppers
Terse post-punk


48. The Pop Group - Y in Dub
Dennis Bovell remix


47. Monolord - Your Time To Shine
Fuzzed haunting doom


46. Mono - Pilgrimage Of The Soul
Mesmerising post-rock


45. Fere - Visceral
Experimental punk hardcore
 

44. X'ed Out - We All Do Wrong
Noise rock with bursts of brass


43. Duel - In Carne Persona
Heavy psych stoner



42. God Damn - Coward
Hardcore stoner metal



41. Uranus Space Club - Another Planet, Another Love
Funk jazz space rock

Saturday, 6 November 2021

The Pop Group - Y In Dub

 The classic album “Y” was a post-punk taster of what 

could be done with stripped down sounds and rhythm. 

Add dub master Dennis Bovell to the mix and a thing 

of strange beauty was born. 40 years later and 

Bovell has returned, tearing the songs apart and 

putting them back together like a mutant creation 

coming to life. If you have not played this album 

for a while, jump aboard this head fuck and get 

taken to the outer reaches of dub.


Thursday, 13 June 2013

Totter - The Crackle

I found this while browsing the Torn Flesh Records site - it
seems to have at least a hundred free downloadable albums.

This netlabel really seems to be cranking up the idea of what can be
done for bands on the interweb - good fucking job Mr Torn Flesh - 
check them out Here

A lot of the bands featured seem to come from the extreme
end of the spectrums- grindcore/death/harsh electronics etc but
among the chaos are some different genres.


Tottter come at you with some Dark Americana and a definite
Southern Gothic vibe but that is just a starting point.

Trip hop rhythms drive some songs along while the multiple
vocal styles keep things fresh and intricate. Just as Jim White
seemed to break the mold of laid back singers emerging from
the alt-country genre, Totter take things further with distorted
guitars weaving through passages, clacking percussion fighting
for space among violin sounds, Dub-Jazz breaks that add to the
sense of calm chaos, all infused with a Tom Waits holding-onto-
sanity, world-weary singing style.

Add a Dub feeling to a lot of the bass and drums and you have
different to listen to. Give this a listen if you want to stretch
your music genres. Recommended.

Name your price at Bandcamp

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Monday, 14 January 2013

Big Mean Sound Machine - Marauders

Big Mean Sound Machine are a 20 piece band who want to kick
your arse with sound. Their MySpace tag reads "Live Experimental
and Electronic Afro-Beat, Funk and Dub" - can't say fairer than that!


Everything is driven by the groove of the rhythm section which give
a foundation for the horns, guitar and keyboards to play over.

All 9 tracks are instrumental and draw you in with a funk feel
that defies you not to nod your head along to them. Imagine Fela
Kuti jamming along with the Emperors New Clothes and you
get the vibe played here.

There is some shit-hot tight playing but does not sound over-produced,
it just seems to flow effortlessly.

Buy from Bandcamp

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Thursday, 26 July 2012

The United Sons Of Toil - Forces Of Production (2012)

























I have to admit to approaching this collection of remixed tracks
with some trepidation.

When you have a powerful sounding band, so often the predictable
results are just to make everything sound unbearably noise filled
and heavier-than-heavy.

The United Sons Of Toil have shown admirable restraint in selecting
the tracks represented here.

Dub, electronic glitches, ambient spaces giving the songs a new dimension
and a paring down of sound makes this an excellent listen. In fact, this
goes beyond "just" a remix album and instead deserves to sit along side
other USOT releases as another side to them.

Don't take my word for it, because they are good guys, you can pay
what you want from Bandcamp

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Here is their own description of putting these tracks together:
We are inescapably immersed in a cut-and-paste culture. The oft-plagiarist world of musical inspiration has given way to digital deconstruction and reassembly. Individual tracks become raw material — merely starting points for new compositions. Five years in the making, this record documents a series of experiments in recontextualizing our music. Only one rule existed for this project: use only audio from the original recording — creativity often thrives under harsh limits.