Wednesday, August 9, 2017

post-step / post-brock

Over at Leaving Earth, a new and very interesting post from the enigmatic Taninian...  who's been posting sporadically (very long gaps in between each one) to take the measure of what T feels is the absurd bounty of the last seven or eight years of post-dubstep action... what  T prefers to call "post-step." 


In  T's account, it's been an almost non-stop flood: so copious, varied, and on an individual unit level so intensely detailed, as to be barely digestible. T's over-arching claim is that  this approximately 8 years long stretch of  diffuse, hyperactive productivity - which ranges from Nightslugs and Rustie-style maximalism to weightless grime, and out of which T singles out as exemplary figures like Jam City, Jameszoo, Starkey, Montgomery Clunk.. , it all amounts to an era of wildly innovative, form-bending music on a par with postpunk or the early Nineties surge of hardcore rave, jungle, gabba, first-phase IDM...

In this (final?) blog post, T pauses to ponder - perplexed and fretful - as to why this upsurge has not been shouted about sufficiently.... Why the discursive short-fall? Where is the persuasive narrative around the eruption that would enable it to be accepted widely as an on-going full-blown phenomenon - something that everyone needs to pay attention to? Even the exponents don't come over as proponents that strongly: the post-step producers aren't talking themselves up as anything that radical or remarkable - seemingly don't feel that's the case.

In short, the question is: what if you had a revolution and nobody noticed?

Good questions, and T teases out possible answers and analogies with other eras and their different fates. The argument is too involved and extensive to summarise, but the gist - or one of the gists - is that there's something about the media economy of the present era that works against consensus forming, a centrifugal tendency driving people into smaller niches. There is also a failure of will, of rhetorical drive.... and there is also this pesky retromania narrative that has gotten in the way...

Obviously, I'm not wholly on board with the fundamental premise, i.e. T's fervour about this stuff. I haven't viscerally felt the post-step output to be shaking things up, or shaking me up (what I feel viscerally is the lack of viscerality, in fact). But taking taste out of account, objectively I think it's fair to say that post-step  hasn't created or attached itself to new kinds of social energies, it hasn't opened up new subcultural spaces or generated new behaviours. Rather it's too easily and neatly slipped into the existing structure, occupying much the same sort of space and (non)function that was once filled by IDM.

I also think the advocates for it have not necessarily done it any great favours: whole lotta insight, not a lotta incite.

One thing that T doesn't really consider is the idea that for all its abundance of ideas, the work that's gone into it, the startling sound-shapes and rhythmic angularities...  that despite this apparent plenitude there might be something deficient in it - or at least absent -  that explains the lack of take-up on a wider-world level.

If I was to try to put my finger on it, I'd say it has something to do with the way the energy in the music doesn't explode outwards... doesn't burst into the world. Rather, it's implosive.

It doesn't feel like anybody or anything is being released through this music.

In that sense it is attuned to its era (as is so much post-indie fare, or conceptronica generally), is the perfectly logical product of it - it is shaped at the deepest level of sonic structure and texture by the same kind of neurotic everyday processes that make modern life so self-repressing and asocial.

Breaking with the rave model, post-step is music that doesn't brock out - cut loose, slam, smash it up...

It's post-brock.

The fact that "rock" is a buzz term in rave music (and in hip hop) suggests to me that there is a greater spiritual and libidinal affinity between the hard rock continuum and the hardcore continuum, than there is between prime-era nuum (rave, jungle, UKG, grime) and the music of the postdubstep diffusion.

So a second-division rave anthem like this



actually has more in common deep down - despite the surface dissimilarities, the totally different means of construction and production - with a second-division rock anthem like this




than any post-step release, even though you can draw a much more logical-seeming sono-historical lineage between early-90s dawn-of-nuum and the last seven or eight years of whatever-you-call-it.

It's not just the physicality of the impact and the response - rocking, slamming, banging - it's a historical parallel as well. Both the second-division hardcore rave track and the second-division hard rock tune are  instances of,  sub-units, of a Grand Cultural Project: each track or tune is a microcosm enactment of "a program for mass liberation" (the subtitle to Lester Bangs's famous Stooges essay).  Each is in miniature the promise of freedom -  the herald of a non-alienated existence.

So long ago was it, and so very different in feel is our tense present, that the Promise probably seems like it must always have been a lie - the sensation of unbridled movement in the music just false energy.  But relics from those times are still capable of making it feel real, if only for the duration of their unfolding.

One of the only places where this kind of unleashing-feeling can still be registered as a force in contemporary music is rap. Where - no coincidence - the language of rock and rock-star has bubbled up as a self-descriptive, a displaced ancestry to be claimed and flaunted: "Future Hendrix", "Black Beatles", etc etc. And - no coincidence either - surrounded by all the old rockist 'n' roleplay trappings of macho and misogyny, the ugly fall-out of  all that self-glorifying excess and breaking free of all constraints.

A backward step... what was great about the "brock out" era was that all the wildness and cutting-loose was kept, but most of the retrograde claptrap got chucked to the kerb.

A discontinuum of liberation-through-energy artifacts, aka the Brockism Canon - or at least a - partial - canon according to one brockist:























































And yes in case you're wondering I do include disco in this discontinuum  -  disco and house - or at least place them very close, virtually adjacent in their fundamental affinity of affect and aim. The emphasis with discofunk and house is less on slamming or brocking, true - more on gliding and swirling  - as you'd expect, given that it is less coupled to a heteromasculinist / phallocentric libidinal economy -  but disco-house is still absolutely about transport and release and self-escape  - about access to a state of non-alienation. "Only when I'm dancing do I feel this free" to quote La Madge. 

Monday, August 7, 2017

before and after Omni

playlist of  RH's early work and his later work




playlist of Omni post-peak work and stray oddities






Saturday, August 5, 2017

parallax paradiddle



(via luka via dissensus thread on sickest insanest darkcore sonix)


"an effect like a sampladelic equivalent of the way a drummer will let the stick vibrate on the skin, rather than make a crisp hit - a sound like a spinning coin that's starting to decelerate. "Nightvision" is so reverb-riddled and elasticated, so nuanced with percussive accents and hyper-syncopations, it's virtually a drum solo, albeit constructed painstakingly over days as opposed to happening in real-time" - my take at the time



the flipside is almost as good

d'cruze remix of "nightvision" just a bit too fiddly




while this auto-rmx of "nocturnal" one is jazzed out with glinting textures

Wednesday, August 2, 2017

so long, Omni



supposedly this was "Moving Shadow's attempt to beat the record for longest song in the Top 40 singles chart"

apparently "they came close but didn't quite make it"

but that story doesn't sound quite right  

what about The Orb's "Blue Room" - that's nearly 40 minutes long, right?

Tuesday, August 1, 2017

after Omni

also via the Drumtrip post (which is from a few years ago)

some stuff Haigh did in the D&B field after Omni





Black Rain, his parternship with Sean O'Keefe aka Deep Blue aka one of 2 Bad Mice






actually Black Rain was not in fact "after Omni" but a few years before the very last Omni album Rogue Satellite






hello, here's Rob doing the auto-remix (under an alias) move again




Another very late Omni release, is this Cut Out Shapes (Rare and Unreleased) thing that Moving Shadow put out in 2012




This though is an actual "after Omni" Rob Haigh release



as is this









and this






and this











i should really listen to all of them properly, and try to suppress the itch for a breakbeat to come in

Thursday, July 27, 2017

before Omni

i knew about his postpunk / avant-funk / industrial / NwW-aligned deep past - all the Satie/Budd-esque piano etudes

but i didn't realise (until I read this Drumtrip piece) that Rob Haigh had hardcore form before he hooked up with Moving Shadow

shortly before Omni Trio he recorded as Splice and ran the label Parliament Music, aka PM Recordings -  an extension of his Hertford record shop Parliament Records. The label put out 16 EPs and 12 inches in a fast burst during 1992 and a little ways into '93

Haigh never mentioned any of this when I interviewed him in '94 (via letter not phone, let alone in person: the replies arrived  handwritten but in capital letters - as if lower case, a glimpse of his actual handwriting, would be too personal)

i wonder if he was embarrassed by his early breakbeat efforts?

let's give them a listen then, to see if he should have been

w/ partner Rhodes.K - the Fuck It Up EP












on his tod, the Bass Odyssey EP






the Re-Edit to Taste EP








Aspects of Dub EP










Pianism EP







is that the first appearance of the Omni Trio name? now i think about it i think i have this record somewhere, surely picked up just because of the Omni rmx - not realising it's yer classic auto-remix (under an alias) maneuver

and then this bonus track which is Haigh showcasing his piano skills and giving away some licks for other producers to use




with his mate Rhodes-K again - the All You Need EP








a one-track collab with Syko as part of the multi-artists EP This Is The Future




Well, it's juvenilia definitely (meaning in terms of his rave-era artistry - he was already quite old by this point), but enjoyable in its scrappy, nutty, made-in-minutes energy - i can perhaps see (especially in the context of speaking in '94 and its ever-maturing growth to artcore) that he'd want to draw a discreet veil over these early sketches


odds and sods by other bods on the label







you got love the title "Progressive Handbag"






Monday, July 24, 2017

jazzual








and this one - the last word in jazzy jungle -  drum and double-bass

Thursday, July 20, 2017

when you need to feel love



jongaliss



relick on the next EP is even more flustered-frantic and treble-hissy, but sans the wicked bassdrop and the "jongaliss"




and that whisked-into-soul-souffle chanteuse sample comes again on this 95 tune



where does that Tinkerbell tingle of Angel Delight hail from then?

perhaps her identity should remain a mystery

Tuesday, July 11, 2017

paradigm shifty

over at Dissensus, Sadmanbarty recently posed the question: Who's the Best Artist Since 2000?

interesting answers in the thread (Kanye versus Gaga versus Gucci Mane versus Wiley versus..)

but none more interesting than Sadmanbarty's own comment, in which he averred that grime was the best music of the period (only up to mid-2000s though, after that didn't evolve - co-sign that!), and then mentions T Pain as influential-for-the-good (but not actually good, or lastingly good himself as music-generator) through his popularisation of Auto-Tune:

"The novel use of autotune has lead to some of the most paradigm shifty music of the last 17 years; late-00's dancehall, afrobeats, chicago bop and the post-Future wave of Atlanta rap."

He then picks Vybz Kartel as his #1 Best Artist Since 2000 (partly cos of his "alien autotune tracks") with Young Thug, another language-liquidizer, at #2.

That comment about "most paradigm shifty music of the last 17 years - late-00's dancehall" caught me by surprise, because, well - perhaps ignorantly - I had thought that after its early 2000s burst of ideas-packed excitement (and mainstream penetration) Jamaican music had pretty much dropped off the face of the Earth.  Certainly hadn't got the sense that any paradigms were being shifted there, at any rate.

So I asked Man like Sadmanbarty for some recommendations and he kindly obliged - not just for recent-ish dancehall, but for Chicago bop and Afrobeats too. You can listen to them all in a continuous flow at this YouTube playlist I've assembled. There are also below in the post.

What they all have in common - and it's almost a generic global-ghetto-beatz gloss that covers the surface of all music now - is the crinkled sheen of grievously over-done AutoTune. Standardized bizniz seen. AutoTune and similar devices / apps (e.g Melodyne) have established global dominion, audio hegemony. They're inescapable, and seemingly even more so in the non-West such as Middle East and North Africa.

Found it a bit wearing on the dancehall to be honest (even though there's quite extreme and inventive things being done here and there by the singers who doubtless record in the studio with AutoTune in their headphones affecting their vocals in real-time, so they work out how to push the effect). Similarly with the Chicago bop (liked the MBE stuff marginally more than Sicko Mob for some reason).

Partly the finding-it-wearing has to do with how rhythmically I can't hear anything really new going on in the dancehall - just that bashment big-beat style, often with a kind of digital smear to the drums. Perhaps that's the overall maxed-out sound quality. The end result is that everything in the tracks feels like it's made out of the same denatured stuff, it's like there's this flat plane of hypergloss. The tracks are so toppy that they feel imbalanced (one wonders how they sound in the dance). Still that reflects the fact that the treble sector is where all the innovation, or extremism, is taking place maybe, and has been for much of the 21st Century so far.

Where it sounds most appealing to me - most ecstatic - is the African stuff, especially where the rhythms are more lilting and sinuous than big 'n' bashy. The AutoTune pleasingly exacerbates the frothy fluidity of the singing and the snaking shapes of the melody-lines.

AutoTune dancehall






























Chicago bop

























Afrobeats




















As to that original Q - who's the Best Artist Since 2000....

no overall single figures springs to mind, i'd have to divide it up into categories and with multiple contenders jostling for the top spot

* Pop Star as Public Figure -  Kanye West versus Ke$ha (with Gaga not far behind on sheer zeitgeist points and with the proviso I've little appetite for the audio bar "Bad Romance". i suppose you would also have to honestly mention Drake somewhere here)

* Performer / Vocal Presence-  Future versus  Ke$ha versus Dizzee

* Beat-maker  - Terror Danjah versus Metro Boomin versus Mustard (aka Dijon McFarlane - no really that is his actual  name).

* Pop Group in the Bygone and Obsolete Sense - Vampire Weekend versus Ariel Pink's Haunted Graffiti.

* Endless personal pleasure tinged with awareness of marginality in the scheme of things - Ghost Box versus Moon Wiring Club versus Ariel Pink

* A Compelling Case to Be Made although somehow i don't quite feel it fully myself - Burial versus Radiohead versus Daft Punk


i feel i''m forgetting things from the first half of the 2000s but it all feels quite long ago and hazy

Sunday, July 9, 2017

playing trix on your mind
















not forgetting this early beaut




interviewed Neil T around this Enforcers epic for this 1994 Wire "continuum series" piece on ambient jungle



soundbites from the Kurtz scenes in Apocalypse Now...

getting a teeny bit smoov for me with this one but love the vocal lick



yes going with the general drift towards slick and "soulful"




Bukemish




older and ruffer, better



and well weird remix



re-remix, well mashed n strange




a very odd 94 track with strange bird-like tweets and a very angular stompy beat -  can't imagine this got a lot of action on the dancefloor - cool anomalous tune though






wonder what he did after D&B? and what's he doing now?

Saturday, July 8, 2017

Dark House more like















scuttling beats + slimy samplige

my personal fave Whitehouse is i think this one, which is on the "distraught ecstasy" / "harrowed-by-bliss" tip - a cousin to Johnny Jungle's "Flammable" but better i think




mind you White House also put out:

Criminal Minds 'baptised by dub', globe + the hardcore massive "anthem", shit ton of bay-b-kane, some bizzy B, A-Zone "Calling the People", Rood Project "Thunder", buncha Remarc,

and Warped Kore, "The Power" which might actually jostle the Untouchables out of #1 spot now I think of it






One of the great hardcore labels



Wednesday, July 5, 2017

Dr. S. Gachet



always loved the fact that there was a rave DJ called Dr. S. Gachet












i bracketed it alongside names like LTJ Bukem

mysterious!

what did these people look like?

how did they come up with the names?

Bukem - it transpired - came from Hawaii 5-0 ("book 'em, Danno")

Dr. S. Gachet, someone told me, was a character from The Man from U.N.C.L.E.

however i can find nothing to substantiate that at all

so it remains a mystery and perhaps this is as it should be

a couple of sets from Gachet at his height as a AWOL regular





here's a feature about the return of Dr S. Gachet to the deejaying scene after what seems like a rough personal patch in the 2000s following a jungle-related injury to his back and various other misfortunes

other names from pirate ads and rave flyers  (or artist names) that always tickled me

Shaggy & Breeze
Kieran the Herbalist
Gappa G
Rude Bwoy Monty

acidmonium







Zanesi being one of the INA-GRM concrete bos

not sure about  Arnaud Rebotini





an explanation



shades of this



and perhaps this



and also this

ardkore internationale











artist via this comp of the Singeli sound of young Tanzania, Sounds of Sisso

via FACT's best 25 lps of last quarter

compilation just one of several by the label Nyege Nyege Tapes

Monday, July 3, 2017

Renegade Snares - a book about drum & bass

Recently I was in London and kept seeing an ad for a compilation on the walkway walls of the Tube - Drum & Bass Arena 2017.



The thought - Drum & Bass, in 2017 - did my head in. Because 2017 is twenty years since 1997, the last year I fanatically followed every twist 'n' turn in the drum & bass dialectic (by 1998 I'd switched pretty much wholesale to UKG which was then mutating into 2step).

I've checked in every so often since then, heard the occasional encouraging flicker of renewed invention, but for the most part it's been a mutual divergence of paths.

20 years! That's a hell of a lot of history, though. That's four times as long as the first phase of the genre, even interpreted rather generously as summer 92 to summer 97.

That first phase - the emergent years of darkside>jungle>drum&bass (artcore-vs-techstep-vs-jump-up) have been covered quite thoroughly, but there isn't a book that looks at the whole arc of D&B's lifespan - then and now and all points in between.

Renegade Snares is the title of a project launched by Carl Loben and Ben Murphy of DJ magazine to take on and fulfill that mission. The book is being funded via Unbound.  Check it out and lend them your support.

Mission statement:

A fusion of Jamaican dancehall, American hip-hop and Belgian techno, drum & bass is a uniquely British concoction born in multi-cultural London. From its roots in the underground over 25 years ago, drum & bass has gone on to top the pop charts, fill concert halls and sound-track movies. It’s an amazing, futuristic creation that has resonated around the world.

Drum & bass has given rise to charismatic figureheads like Goldie and Roni Size, had the patronage of Björk and David Bowie, and periodically mutated into new forms, staying one step ahead of trends and fads. It’s an underground, outlaw sound that has had a remarkable impact on popular culture.
But drum & bass doesn’t, yet, have the definitive book. A few have told individual stories or given accounts of the early years, but Renegade Snares tells the whole tale. It charts this extraordinary genre from its fiery beginnings, through its mainstream acceptance and periodic movements back into the underground, gaining unique insights from all the scene’s biggest players — both established and brand-new.

Written with the blessing of the scene’s leaders, including Goldie, who’s kindly agreed to write the foreword, Renegade Snares tells the stories of DJs like Fabio, Grooverider, Hype, LTJ Bukem, Andy C, Roni Size, Randall, Ed Rush & Optical and Bryan Gee, and of lesser-known mavericks like Dillinja, Omni Trio, Remarc or Calibre – the renegades who’ve stayed true to the scene every step of the way. We’ll shed a light on the new school trailblazers too, from High Contrast, Noisia and London Elektricity, to futurists dBridge, Kasra and Fracture.

From warehouse raves and hardcore, through soundsystem jungle to intelligent drum & bass; from the Bristol sound to tech-step; the Brazilian connection to a second surge into the charts; heavy metal and neuro-funk, to its influence on genres like nu-breaks, dubstep and bass music, this is the true unexpurgated history of drum & bass we’ve been waiting for.

Carl Loben is the editor of the internationally acclaimed DJ Magazine. A music journalist for more than 25 years, he wrote for Melody Maker for most of the 1990s before joining the staff at DJ Mag toward the end of that decade. He has also written for many other titles including MOJO, Guardian Unlimited, FACT, The Quietus, the Huffington Post, Muzik, Generator, Vox, Attitude and lots more. In 2003 he wrote the Electronic Music section of the Billboard Music Encyclopedia, and has also worked as an Associate Lecturer at Solent University in Southampton.

Ben Murphy is the former editor of DJ Magazine. A music journalist for over 15 years, he’s also worked in artist management with acts including Roots Manuva and Leftfield. As a freelance writer he’s contributed to Bandcamp, Clash, Crack, Electronic Sound, FACT, The Guardian Guide, Highlife, i-D, Record Collector, Red Bull Music Academy, Songlines, Time Out, Vinyl Factory, XLR8R and more, while also providing sleeve-notes for record labels Warp and Harmless, and giving introductory talks for the respected Classic Album Sundays record listening sessions.

Friday, June 30, 2017

subaquatechnolectro

epic in-depth history of Drexciya the enigmatic subaquatechnolectro legends over at Red Bull Music Academy

written by old chum Mike Rubin with quotes from other old pals like Kodwo Eshun and Brendan Gillen aka Ectomorph


























Thursday, June 29, 2017

Be Don or Be Gone









Trace in the place with the bad boy bass









Tuesday, June 6, 2017

Roman techno

Via Valerio Mattioli, an intersting piece at RBMA about Rome's hardcore techno scene of the Nineties - involving figures like Lory D and Leo Anibaldi





Talking of untold stories about Italian left-field music, Mattioli is the author of a book that needs to be translated into English - Superonda: Storia Segreta Della Musica Italiana - which covers figures like Ennio Morricone, Franco Battiato, Lucio Battisti, Mario Schifano and more - very much doing for the Italian art-into-rock vanguard what Krautrocksampler and Japrocksampler did for their respective freak-nations.

Interview with Mattioli here about the book. 

Thursday, June 1, 2017

Monday, May 29, 2017

RIP Marcus Intalex



one of the great tunes of the great summer of 1994

pummel tunnel



bit House of God in feel - a clanky pummel through a dank reverb tunnel

which  - 26 years on from the DHS maxi-EP in question - does feel a wee bit "arrested phuture" .... but tuff tune nonetheless

ah there appears to be some kind of esoteric spiritual / philosophical thread running through this dude's releases



what with a whole album (from a year and a bit ago) based around a Buddhist concept - Vipassanā



ooh look, a track with Ike Yard aka Stuart Argabright,




on the same label as The Present  - who did some tunes I liked in a nu-darkcore vein a while back, like this (which I think they've refurbished in some way)



not sure about their newer stuff though





Monday, May 15, 2017

The Mover, Selected Classics (Remastered 2017) / Gloomcore mix by DJ Scud




DJ Scud with a new mix of 96-era gloomcore / avant-gabber / speedcore

01: Neuroviolence: Shattered (Zero Tolerance)
02: Dr Macabre: Voodoo Nightmare (Power Plant)
03: Renegade Legion: Dark Forces (Dance Ecstasy)
04: D'Arcangelo: Somewhere in Time (Rephlex)
05: Final Dream: Eternal Darkness (Audio Illusion)
06: The Mover: Over Land & Sea (PCP)
07: Decoder: Fog (Hard Leaders)
08: Headcleaner: 139A (Head Cleaner)
09: Somatic Responses: Axon (IST)
10: Trace & Nico: Amtrak (Nu Black)
11: Somatic Responses/Caustic Visions: Malignant Earth B2 (Network 23)
12: Nasty Habits: Shadow Boxing (31 Recs)
13: Trace & Nico: Squadron (Nu Black)
14: French Connection: Bio Hazard (Super Special)
15: ADC: MTA-100 (X-Forces)
16: Somatic Responses: Space Grinder (Praxis)
17: Somatic Responses: Insecure (Praxis)
18: Marshall Masters: Stereo Murder (The Rave Creator's Final Warning!) (Cold Rush)
19: Neuroviolence: Surfing on a Sea of Blood (Zero Tolerance)
20: Negative Burn: Gates of Hell (Dance Ecstasy)
21: Christoph de Babalon: Nameless 2 (DHR)
22: XMF: Grave (XMF)
23: No Name: Black Dreams (Fischkopf)
24: XMF: Antimusic (XMF)
25: Mobile Squat Base etc: Waiting, Love on the Way (Explore Toi)
26: Mindfuck: The Mindfuck (Hacker-Terminator) (Explore Toi)
27: TR & Klaus Kombat: Garde a Vue (Sans Pitie)

^^^^^^^^^^^^^^^^

"See you in 2017"

A new collection of remastered anthems and atmospheres from gloomcore god The Mover aka Marc Acardipane - out May 26, 2017 



Press release: 

Over two decades have passed since The Mover AKA Marc Acardipane made his first appearance to the world of electronic dance music. Under the wings of Planet Core Productions (PCP) his releases spoke for themselves and he quickly earned a special pioneer status and cult following. The Mover was always a unique sound leaning towards the edge of darkness and abstract characteristics. 

With several releases on his co-owned label PCP as well as R&S Records and Tresor he always managed to create unforgettable milestones of raw, apocalyptic yet danceable tunes that have remained timeless and individual until today. 

With „The Mover - Selected Classics (Remastered 2017)“ on his freshly launched label „Planet Phuture“ he returns to the surface and shakes the world with a compelling assortment of the most impactful tracks in a remastered, fresh sound quality. Experience an uncompromising dystopia with tracks like „Nightflight (Nonstop 2 Kaos)“, „Into Wasteland“ or „We Have Arrived“. „Astral Demons“, „Waves Of Life“ or „Spirit Slasher“ will pull you deeper into the center of your subconscious mind and certainly leave you dazzled. 

„The Mover - Selected Classics“ is unquestionably one of those releases that can’t be ignored and must be a part of everyones Techno collection! 

TRACKLIST

1.
Mescalinum United - We Have Arrived (Remastered 2017) 
2.
Nightflight (Nonstop 2 Kaos) (Remastered 2017) 
3.
Into Wasteland (Remastered 2017) 
4.
Astral Demons (Remastered 2017)
5.
Invite The Fear (Remastered 2017) 
6.
Over Land & Sea (Remastered 2017) 
7.
Final Sickness (Remastered 2017) 
8.
Down Deep And Cold (Remastered 2017) 
9.
Spirit Slasher (Remastered 2017) 
10.
The Emperor Takes Place (Remastered 2017) 
11.
Mescalinum United - Reflections Of 2017 (Remastered 2017) 
12.

Waves Of Life (Remastered 2017) 





Sunday, May 7, 2017

dubplate archaeology

via Steeve Cross, a piece on Dominic Angas - the Dom in Dom & Roland - and his nuum-archaeologist quest for rare jungle & d+b  dubplates - including his own long-lost tune "The Trap" that got played out at Metalheadz at the Blue Note - but never got a proper release

(writes Dave Jenkins) "The Trap" was / is "a thundering, high-pressure amen workout shrouded in ghostly atmospheres that perfectly capture the mood, energy and creativity of the era. Grooverider was the only known DJ to have “The Trap” on dubplate and the sole master DAT tape was lost somewhere in the haze of weed smoke and excitement between Dom’s studio and Music House."



this quest has led to the project  Dubs From The Dungeons  "a series of mid-to-late-90s classics that were the sole preserve of Blue Note’s frontier elite and never-before-released"


initially  Dom + R dubs like this








but soon to expand to "similarly heavyweight peers’ private collections... [including] Dillinja’s massive dubplate dungeon" which will seed  “Acid Rollers” b/w “End Of The Line” 


Remember liking some of D+R's tunes a lot at the time - dark dank doom-laden amorphousness - but overall it's not a phase (96/97) I've revisited - that goes for No U Turn too for some reason, and I loved loved LOVED that stuff at the time. it was the last blast (not that I knew it, then) of my jungle-D&B passion - literally the end of the line