kool summer here after bubbles

 

immediately followed on the album by this wacked out spacy tune 

who knew the people behind 'Celebration' could do something like that? 

sort of vaguely reminded of this - more general vibe than specifics 

texturologies

 

Now here was I imagining that twas Beaumont Hannant  wot invented the word "texturology", which I nicked for Energy Flash

But no!

Enlightenment comes, appropriately enough, from David Toop (via a Facebook post)

It was Jean Dubuffet, back in the late '50s 

"Dubuffet invented various techniques to portray soil in a series of paintings called ‘Texturologies’. For this work [The Exemplary Life of the Soil (Texturology LXIII) 1958 - above], he adapted the ‘Tyrolean’ technique, used by stone masons to texture newly plastered walls. Dubuffet shook a brush over the painting, which was laid on the floor, to scatter tiny droplets of paint across the surface. His intention was to give an ‘impression of teeming matter, alive and sparkling, which I could use to represent soil, but which could also evoke all kinds of indeterminate textures, and even galaxies and nebulae’." - The Tate

Not part of the Texturology series but called "Brutal Beauty" -  a title which again sounds techno but this time more punisher-beatz hardcore Orbit / Final Frontier vibes - or gabber-esque  - or a bit Perc

"Spinning Round"

more Beaumont including one from the Tastes and Textures EP 

Texturology makes me think of this particular gambit of Aphex Twin's 

Communique #1

 

proto-jungle? kinda but not really

 

i have a phantom memory that "The Phantom" is sampled in this 

am I wrong? 

it's a great tune in its stiff way

now this tune ("The Ozone")

reminds me a little bit of this Dem 2 alter-ego tune "Grunge Dub"

and one of Dem 2 actually had a postpunk / industrial background din'e?

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

otherwise thoughm never quite love-loved the Renegade Soundwave stuff, there was something a bit naff about them (the name, the trying-too-hard-hard-man thing)

explored in this 1989 review 

RENEGADE SOUNDWAVE

IN DUB

(Mute)

    A smart move, this. The voices were always an obstacle to enjoying Renegade Soundwave, carrying as they did all kinds of unwelcome connotations: "street credibility"; a clenched, unsmiling masculinity redolent of The Godfathers; a blunt, thuggish menace that colluded with the confrontation-by-numbers subject matter (gangsters, drugs'n'sex, petty crime, nailbiting). Eliminating the human factor has the salutary effect of bringing to the fore Renegade Soundwave's forte: the science of b.p.m., the architectonics of dub-space, dance music as girders and gradients. More groups should leave themselves out of the picture.

    This depersonalised dancescape is mirrored in ciphered titles like "Phantom Sex" and "Pocket Porn Dub". In the RSW universe, contact and involvement have been supplanted by voyeurism and the masturbatory pleasure of 'remote control'; "hot" desire (passion, narrative, motivation) has been superceded by "cool" fascination (surface sensationalism, the instantaneous, chance). The debut album dealt with these preoccupations explicitly; "In Dub" transmits the information non-verbally but just as effectively. Welcome to hyper-reality.

    Apparently, CD players fill in the miniscule errors on CD's by making a considered estimate of what the missing fragment would have sounded like. And it's said that if you deliberately damage a CD you can trick the  computer to compose it's own spectral cyber-music that strays further and further from the organic original. "Phantom Sex" sounds like such a computer impersonation of rare groove, the chuntering, clavinet-squelching bump'n'grind turned to geometry. After this, however, Side One doesn't quite zap the nerve nodes. "Bacteria" is stripped down too far, until all that's left is a skeletal grid-beat drained of funk, plus some Andean flutes and mandolins. "Transition" suggests a desolate, uninhabited dancefloor, but is just too remote. "Pocket Porn" is creepy and clammy, but ends before it gets going, sounds like an off-cut of a grander garment.

    "In Dub" comes into its own on the second side. "Women Respond To Bass" is still low-key, but spiritual with it: an almost ECM guitar twinkles in the far corner of the horizon, intangible whorls and eddies of ambient sound flicker at the thresholds of audibility. "Holgertron", by contrast, is upfront, predatory electro, a stalking cyborg-tarantula. "Recognise & Respond" elaborates a fantastical dub-labyrinth of archways and corridors. "Air Hostess" makes the album's solitary concession to "heart and soul" with an interlude of lachyrmose chords, but is mostly disembodied and decentred: at times, it really does sound like the body of the song has been eviscerated, but the hacked-off limbs continue to keep strict time.    The closing "Black Eye Boy" is the album's only outright dub reggae, with a mesmering cymbal pattern and horns that plummet lugubriously into the abyss between the beats.

    "In Dub" is neither feet-motivating nor heart-pumping, but rather a cerebral pleasure. At best, it provokes a detached, cold admiration; at worst, a blank feeling of disconnection. It's asocial, an event that happens only to solitary individuals: no dancefloors will be fired up by this 'dance music'. In the same way that modern  cyber-technology turns the human mind into a screen, "In Dub" organises your headspace like a mixing desk. Prepare to have your consciousness remixed.

raving dub / dubbing rave

also mikey dread / roots radic "raving dub"

 

octopus-limbed funk

 

sampling spotting saddo 3 (putting a rush on)

4 Hero "Time To Get Ill" 

the easy spottable = beastie boys "Time To Get Ill" 

the less easy spottable = Stephanie Mills "(You're Puttin') A Rush on Me"

spottage courtesy somebloke on the Facebook Old Skool Hardcore group

always heard that as "hu-mi-li-a-tion"!!  (puttin a rush on / oo - mill - ush- awn) (think it's been sampled elsewhere too, more mangled)

Oh wow, unexpected xtra bonus spottable accidentally spotted just now

 the song is also the source of  Tek 9 "you've got to slow down"!!!

also as in this wunnerful wunnerful remix by the Nookster

all-time top50 jungle tune that

re-echoes of Jah

posted this in 2019:

 

is sampled in this



but (2021 speaking) the Jah-ah-ah Twinklesample also appeared in another Rebel MC tune

there's also some "Fade Away" in there (Junior Byles / Native Steppers) and various other intertextual / interpolative traces

another Jah-ah-ah Twinklesamplige I already noted last time around



tuuune

ever increasing Circles

 

love this

hat tip Kieran Press-Reynolds

feels like this could be a whole vast growth area for music, the superimposition of all-new songs on top of already perfect tunes, in a way that it's totally compatible and only enhances the original

sort of like the mash-up, but with 1/2 the mash being the all-new tune

very very clever - i saw what you done there 

tangentially puts me in mind of FN's "How well disposed would a person have to become to himself and to life to crave nothing more fervently than the infinite repetition without alteration of each and every moment?"

sample spotting saddo 2 (bits of Slits)

 

tiny tiny snippet o' Slits whizzes by in this - "silence is a rhythm too"

A bigger chunk o' Ari in this one 

from the start of the Cut version of "Love und Romance" which I can't seem to find on YouTube

sample spotting saddo (Luke + Eric)

the source - the  secret sauce - practically the whole thing, or the best bit of it = 

 

okay that's a bit unfair, the plucky sounding instrument bit is good, and the talking East London youth, and the B-line, and the whistling angel-ghost sound