Raz Mesinai garnered international attention in the early ‘90s as half of the duo Sub Dub, in the context of Brooklyn’s so-called “Illbient” scene. But by that time, the Jerusalem-born composer and audio libertine already had over a decade behind him as a bedroom producer, at first busting out b-boy beats for break-dancers before starting to cross more experimental circuits. (More…)
Probably 80% of DJs/producers use SoundCloud, and have enjoyed using it. I understand the beauty of being able to share your music, but the fact is that it is not regulated fairly for copyright owners. Piracy went from being uncool and illegal to becoming the norm in how we treat the work of rights holders. (More…)
Fuck this. If I wasn’t writing on this tablet, the ink on these letters would be bleeding down the page from my tears, which right now are seeping underneath the keyboard, no doubt causing a malfunction in the circuit board, certain to kill this piece of shit by tomorrow. But whatever (More…)
A decade after they announced the shutdown of their Portland-based dubwise label BSI Records, Ezra Ereckson and his visual-artist wife Tracy Harrison are back in the record game, having just put out “Freedom Fighter” by the Disciples, the tenth release on their recently activated artisan-dub label ZamZam Sounds. (More…)
Ableton Live is a loop based program created for live performance and improvising with electronic music. This is a paradox, musically and ethically. A loop is a continuous sound that, when it reaches its end, starts at the beginning again. It’s an exact replica, a copy of itself, repeating over and over, and a live performance is duplicated after the fact. (More…)
October saw the American dub-reggae-based sound-system scene get its profile raised with the launch party for Dub-Stuy Records, the Brooklyn label launched by Quoc “Q-Mastah” Pham’s Sound Liberation Front crew. But as Vice tech-site Motherboard notes, the party was really centered around the debut of the deluxe 15,000-watt sound system that SLF has spent the past year building and tweaking. (More…)
“Drum and bass, dub, roots and culture.” To anyone used to shopping in Brixton Market, the loop is as familiar as a Jamaican patty. Recited for hours on end by a street rep equivalent for London’s University of Dub, the promoter has a lock on the genres the locals prefer, not to mention a rotating cast of first class artists to pitch. (More…)
Jamaican dancehall began rushing Germany’s charts in the early ‘90s, at around the same time that Berlin’s Basic Channel label starting releasing its uniquely stark brand of dub-influenced techno that’s influenced countless artists in the city and around the globe. (More…)
Alongside the Olympics, London is currently bursting with activity celebrating the 50th anniversary of Jamaican independence. The all-star mega-big Respect Jamaica 50th Festival enters its second week at the nearby Indigo2, sporting a roster that includes everyone from Jimmy Cliff and U-Roy to Maxi Priest and Shaggy. (More…)
Rock criticism’s great sensationalist Lester Bangs warned the world about the “Cybernetic Inevitable” that rock was fated to suffer. It was an evolutionary stage where flawless musical machines put human musicians out of work. (More…)
With the exception of albums such as Kode9 and the Spaceape’s Memories of the Future, and Dusk and Blackdown’s Margins Music, dubstep is not known to be political. Reflective of its contexts, like Burial’s debut, certainly, but a protest idiom, like punk, well, no. (More…)
It was two in the morning as I made my way up the hill. Halfway through my second listen to Burial’s new Kindred EP, the music had started to saturate me, like rain that has stopped searching for the fastest way to the sea. But the sounds were still new too new for me to trust my ears. Was this strange wail I was hearing a part of the recording that I’d missed the first time? (More…)