Dubmission Records: Recent Episodes
Dubmission Records
Dubmission Records have blazed a trail of warped woofers since the mid 90’s, when they launched with a trio of bass heavy dubwise compilations.
In 1996, they kicked off with the Mashing Up Creation album, which featured tracks by Doof, Adelphi and http://soundcloud.com/andyguthrie amongst others. It was reviewed favourably by The Sunday Times, DJ and Sleaze Nation – the latter describing it as “carrying on where original dub hijackers The Orb left off!” It was swiftly followed by Dubbed On Planet Skunk, with stand out tracks from http://soundcloud.com/zion-train, Quirk and Alpha & Omega. The third instalment took 2 years to put together – More Bass Than Space was a double album which represented every spectrum of the modern dub scene, with tunes from artists as diverse as Hallucinogen, http://soundcloud.com/woob, http://soundcloud.com/solarquest, Singers&Players and Tribal Drift. It sold well all over the world, and led to tours of Australia, New Zealand, Mexico and USA.
From 2001-5, the Dubmission crew concentrated more on artist management and event promotion than releasing records. However after hearing Ape to Angel by http://soundcloud.com/pitchblacknz, they decided to bring Dubmission out of “retirement”, as it represented everything and more that the label had tried to achieve.
Since then the label has gone from strength to strength, with several more releases from http://soundcloud.com/pitchblacknz (Frequencies Fall, Rude Mechanicals, Rhythm, Sound & Movement plus their first two albums, Futureproof and Electronomicon), as well as Seen, Heard and Felt by http://soundcloud.com/international-observer, Make Animals Happy by http://soundcloud.com/warptechnique, Third Ear Audio’s Third Ear Audio and Paddy Free’s Karekare. The crew has also found time to compile two smoky collections for the Japanese label, Wakyo: On A Dubmission Volumes One and Two.
In 2010, to celebrate 15 years of business, they released 15 titles, including new EPs by http://soundcloud.com/pitchblacknz, http://soundcloud.com/warptechnique, Doof and Green Monitor, plus re-issued classic but deleted albums by Bluey, Stress Assassin and Bill&Ben, as well as playing 15 shows around the world and uploading 15 DJ mixes of Dubmission music to download.
The last few years have seen EPs released by http://soundcloud.com/akashaexperience, http://soundcloud.com/quanta-uk and http://soundcloud.com/erssound., two albums and an EP by http://soundcloud.com/deepfrieddub, a collection of http://soundcloud.com/pitchblacknz remixes of other artists and a new compilation series, The Next Mission, designed to showcase up and coming talent.
All Dubmission releases are available from http://dubmission.bandcamp.com
Introducing Random Translations, a captivating collection of remixes curated to celebrate the re-release of soundcloud.com/pitchblacknz’s Ape to Angel this September. The anthology blends mixes from the album's original era with contemporary reinterpretations, and serves as a perfect companion to the previously released Frequencies Fall.
Introducing Random Translations, a captivating collection of remixes curated to celebrate the re-release of soundcloud.com/pitchblacknz’s Ape to Angel this September. The anthology blends mixes from the album's original era with contemporary reinterpretations, and serves as a perfect companion to the previously released Frequencies Fall.
Introducing Random Translations, a captivating collection of remixes curated to celebrate the re-release of soundcloud.com/pitchblacknz’s Ape to Angel this September. The anthology blends mixes from the album's original era with contemporary reinterpretations, and serves as a perfect companion to the previously released Frequencies Fall.
Introducing Random Translations, a captivating collection of remixes curated to celebrate the re-release of soundcloud.com/pitchblacknz’s Ape to Angel this September. The anthology blends mixes from the album's original era with contemporary reinterpretations, and serves as a perfect companion to the previously released Frequencies Fall.
What a pleasure it was to take a deep dive into dub with Isaac and Dub Princess” (Tom Bailey)
What a pleasure it was to take a deep dive into dub with Isaac and Dub Princess” (Tom Bailey)
What a pleasure it was to take a deep dive into dub with Isaac and Dub Princess” (Tom Bailey)
Black Mountain Transmissions is an audio series by Misled Convoy, crafting long-form atmospheric dubs live in surround sound and then refined into stereo.The fourth edition, The Beings, is a multi-generational collaboration with ambient artist Ludus, first performed live at the final soundcloud.com/splorefestival, held in Tapakananga National Park, Aotearoa in February 2026. Michael Hodgson (soundcloud.com/misledconvoy) and Emma Bernard (soundcloud.com/ludus_music), performed an hour long live 4-way audio-visual show that traversed different themes and tempos, with the audio swooping around an audience lying on bean bags and mattresses while visuals were projected on to the ceiling. The quadrophonic recording data was then refined in the studio to create a stereo composition for ultimate listening pleasure.The Beings grows organically and dramatically, engaging the listener in a constant floating motion, with atmospheres changing almost as soon as they’re settled. Nothing lasts: melodies emerge and evaporate, notes chime and cascade, rhythms build and breakdown, basslines drop and disappear. Ludus’s keyboard flourishes bring character and body to Mike’s more abstract soundscapes, colouring in the edges and elevating the mood.Black Mountain Transmissions Volume 4 is a fluid, immersive collaboration where evolving atmospheres, shifting rhythms, and textured sound design carry the listener through a continually unfolding sonic landscape.
Black Mountain Transmissions is an audio series by Misled Convoy, crafting long-form atmospheric dubs live in surround sound and then refined into stereo.The fourth edition, The Beings, is a multi-generational collaboration with ambient artist Ludus, first performed live at the final soundcloud.com/splorefestival, held in Tapakananga National Park, Aotearoa in February 2026. Michael Hodgson (soundcloud.com/misledconvoy) and Emma Bernard (soundcloud.com/ludus_music), performed an hour long live 4-way audio-visual show that traversed different themes and tempos, with the audio swooping around an audience lying on bean bags and mattresses while visuals were projected on to the ceiling. The quadrophonic recording data was then refined in the studio to create a stereo composition for ultimate listening pleasure.The Beings grows organically and dramatically, engaging the listener in a constant floating motion, with atmospheres changing almost as soon as they’re settled. Nothing lasts: melodies emerge and evaporate, notes chime and cascade, rhythms build and breakdown, basslines drop and disappear. Ludus’s keyboard flourishes bring character and body to Mike’s more abstract soundscapes, colouring in the edges and elevating the mood.Black Mountain Transmissions Volume 4 is a fluid, immersive collaboration where evolving atmospheres, shifting rhythms, and textured sound design carry the listener through a continually unfolding sonic landscape.
Drawing inspiration from the novel Neuromancer, soundcloud.com/drewidub’s cosmic new single launches us deep in to the solar system.Interstellar Dub started as an experiment in minimal dub techno, but was eventually overwhelmed by dirty spring reverbs and phasing hi-hat delays. A heavyweight rhythm and a hypnotic bass form the foundation, while extra-terrestrial melodies and synthetic skanks add spice and colour to this off-world stepper.On the meditative Aphid Steppa, dreamy guitar and melodica licks interplay with snarling synths and a percussion based rhythm, propelled along by a solid bassline, before finally giving way to a deep space outro.The Meanjin / Brisbane based producer first came to prominence as guitarist for reggae band soundcloud.com/kingfisha, but has slowly been building a profile for his dubwise productions, inspired by the UK steppers scene and Australia's outdoor bass culture, with releases on soundcloud.com/culturedub, Dubmission and soundcloud.com/sub-channels-records.
Drawing inspiration from the novel Neuromancer, soundcloud.com/drewidub’s cosmic new single launches us deep in to the solar system.Interstellar Dub started as an experiment in minimal dub techno, but was eventually overwhelmed by dirty spring reverbs and phasing hi-hat delays. A heavyweight rhythm and a hypnotic bass form the foundation, while extra-terrestrial melodies and synthetic skanks add spice and colour to this off-world stepper.On the meditative Aphid Steppa, dreamy guitar and melodica licks interplay with snarling synths and a percussion based rhythm, propelled along by a solid bassline, before finally giving way to a deep space outro.The Meanjin / Brisbane based producer first came to prominence as guitarist for reggae band soundcloud.com/kingfisha, but has slowly been building a profile for his dubwise productions, inspired by the UK steppers scene and Australia's outdoor bass culture, with releases on soundcloud.com/culturedub, Dubmission and soundcloud.com/sub-channels-records.
Drawing inspiration from the novel Neuromancer, soundcloud.com/drewidub’s cosmic new single launches us deep in to the solar system.Interstellar Dub started as an experiment in minimal dub techno, but was eventually overwhelmed by dirty spring reverbs and phasing hi-hat delays. A heavyweight rhythm and a hypnotic bass form the foundation, while extra-terrestrial melodies and synthetic skanks add spice and colour to this off-world stepper.The jazzier 4 Chillies floats between dense, discombobulating dubscapes and a dynamic driving tempo, while Oceanic Dub enjoys a more relaxed pace with a chugging bassline and sublime flute, courtesy of long-time collaborator soundcloud.com/kristina-forrest-514233741On the meditative Aphid Steppa, dreamy guitar and melodica licks interplay with snarling synths and a percussion based rhythm, propelled along by a solid bassline, before finally giving way to a deep space outro.The Meanjin / Brisbane based producer first came to prominence as guitarist and synth wobbler for dub reggae band soundcloud.com/kingfisha, but has slowly been building a profile for his dubwise productions, inspired by the UK steppers scene and Australia's outdoor bass culture, with releases on soundcloud.com/culturedub, Dubmission and soundcloud.com/sub-channels-records.
Drawing inspiration from the novel Neuromancer, soundcloud.com/drewidub’s cosmic new single launches us deep in to the solar system.Interstellar Dub started as an experiment in minimal dub techno, but was eventually overwhelmed by dirty spring reverbs and phasing hi-hat delays. A heavyweight rhythm and a hypnotic bass form the foundation, while extra-terrestrial melodies and synthetic skanks add spice and colour to this off-world stepper.The jazzier 4 Chillies floats between dense, discombobulating dubscapes and a dynamic driving tempo, while Oceanic Dub enjoys a more relaxed pace with a chugging bassline and sublime flute, courtesy of long-time collaborator soundcloud.com/kristina-forrest-514233741On the meditative Aphid Steppa, dreamy guitar and melodica licks interplay with snarling synths and a percussion based rhythm, propelled along by a solid bassline, before finally giving way to a deep space outro.The Meanjin / Brisbane based producer first came to prominence as guitarist and synth wobbler for dub reggae band soundcloud.com/kingfisha, but has slowly been building a profile for his dubwise productions, inspired by the UK steppers scene and Australia's outdoor bass culture, with releases on soundcloud.com/culturedub, Dubmission and soundcloud.com/sub-channels-records.
Black Mountain Transmissions is an audio series by Misled Convoy, crafting long-form atmospheric dubs live in surround sound and then refined into stereo.The fourth edition, The Beings, is a multi-generational collaboration with ambient artist Ludus, first performed live at the final soundcloud.com/splorefestival, held in Tapakananga National Park, Aotearoa in February 2026. Michael Hodgson (soundcloud.com/misledconvoy) and Emma Bernard (soundcloud.com/ludus_music), performed an hour long live 4-way audio-visual show that traversed different themes and tempos, with the audio swooping around an audience lying on bean bags and mattresses while visuals were projected on to the ceiling. The quadrophonic recording data was then refined in the studio to create a stereo composition for ultimate listening pleasure.The Beings grows organically and dramatically, engaging the listener in a constant floating motion, with atmospheres changing almost as soon as they’re settled. Nothing lasts: melodies emerge and evaporate, notes chime and cascade, rhythms build and breakdown, basslines drop and disappear. Ludus’s keyboard flourishes bring character and body to Mike’s more abstract soundscapes, colouring in the edges and elevating the mood.Black Mountain Transmissions Volume 4 is a fluid, immersive collaboration where evolving atmospheres, shifting rhythms, and textured sound design carry the listener through a continually unfolding sonic landscape.
Black Mountain Transmissions is an audio series by Misled Convoy, crafting long-form atmospheric dubs live in surround sound and then refined into stereo.The fourth edition, The Beings, is a multi-generational collaboration with ambient artist Ludus, first performed live at the final soundcloud.com/splorefestival, held in Tapakananga National Park, Aotearoa in February 2026. Michael Hodgson (soundcloud.com/misledconvoy) and Emma Bernard (soundcloud.com/ludus_music), performed an hour long live 4-way audio-visual show that traversed different themes and tempos, with the audio swooping around an audience lying on bean bags and mattresses while visuals were projected on to the ceiling. The quadrophonic recording data was then refined in the studio to create a stereo composition for ultimate listening pleasure.The Beings grows organically and dramatically, engaging the listener in a constant floating motion, with atmospheres changing almost as soon as they’re settled. Nothing lasts: melodies emerge and evaporate, notes chime and cascade, rhythms build and breakdown, basslines drop and disappear. Ludus’s keyboard flourishes bring character and body to Mike’s more abstract soundscapes, colouring in the edges and elevating the mood.Black Mountain Transmissions Volume 4 is a fluid, immersive collaboration where evolving atmospheres, shifting rhythms, and textured sound design carry the listener through a continually unfolding sonic landscape.
Black Mountain Transmissions is an audio series by Misled Convoy, crafting long-form atmospheric dubs live in surround sound and then refined into stereo.The fourth edition, The Beings, is a multi-generational collaboration with ambient artist Ludus, first performed live at the final soundcloud.com/splorefestival, held in Tapakananga National Park, Aotearoa in February 2026. Michael Hodgson (soundcloud.com/misledconvoy) and Emma Bernard (soundcloud.com/ludus_music), performed an hour long live 4-way audio-visual show that traversed different themes and tempos, with the audio swooping around an audience lying on bean bags and mattresses while visuals were projected on to the ceiling. The quadrophonic recording data was then refined in the studio to create a stereo composition for ultimate listening pleasure.The Beings grows organically and dramatically, engaging the listener in a constant floating motion, with atmospheres changing almost as soon as they’re settled. Nothing lasts: melodies emerge and evaporate, notes chime and cascade, rhythms build and breakdown, basslines drop and disappear. Ludus’s keyboard flourishes bring character and body to Mike’s more abstract soundscapes, colouring in the edges and elevating the mood.Black Mountain Transmissions Volume 4 is a fluid, immersive collaboration where evolving atmospheres, shifting rhythms, and textured sound design carry the listener through a continually unfolding sonic landscape.
soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.
soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.
soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.
soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.
soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.
soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.
soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.
soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.
With remixes by soundcloud.com/dubwar, soundcloud.com/shankaranewzealand and soundcloud.com/southlondonhifi, the Version Ah Get Tuff EP digs deep into soundcloud.com/dakini-records's Talisman cover, turning up the tempo and bringing the bass to the fore.
With remixes by soundcloud.com/dubwar, soundcloud.com/shankaranewzealand and soundcloud.com/southlondonhifi, the Version Ah Get Tuff EP digs deep into soundcloud.com/dakini-records's Talisman cover, turning up the tempo and bringing the bass to the fore.
With remixes by soundcloud.com/dubwar, soundcloud.com/shankaranewzealand and soundcloud.com/southlondonhifi, the Version Ah Get Tuff EP digs deep into soundcloud.com/dakini-records's Talisman cover, turning up the tempo and bringing the bass to the fore.
Te Tīmatanga traces the primordial origins of the universe, spiralling in and spiralling out in a series of never-ending beginnings like the double movement of creation. Recited in three parts - Te Pū, Te Aka and Te Whē — Te Tīmatanga begins with kihikihi, evoking the first rustling of Te Kore, and develops further within a soundscape of echoes and delays. The pūtātara signals the initial burst of potent energy, the kōauau and pūtōrino sing its ebbs and flows, and as the waiata inscribes through repetition, its oro reverberates out and begins anew the spiral of creation.Transversing the islands of Aotearoa, soundcloud.com/toroa is the new project of soundcloud.com/shankaranewzealand, soundcloud.com/te-manu and ngāio, whose music navigates the currents between worlds. As an expression of place, Toroa sonically weaves pūoro Māori, dub and storytelling in all its forms through waiata, taonga pūoro and live hiko.From the void of limitless potential to the illuminated world, we are woven together.
Te Tīmatanga traces the primordial origins of the universe, spiralling in and spiralling out in a series of never-ending beginnings like the double movement of creation. Recited in three parts - Te Pū, Te Aka and Te Whē — Te Tīmatanga begins with kihikihi, evoking the first rustling of Te Kore, and develops further within a soundscape of echoes and delays. The pūtātara signals the initial burst of potent energy, the kōauau and pūtōrino sing its ebbs and flows, and as the waiata inscribes through repetition, its oro reverberates out and begins anew the spiral of creation.Transversing the islands of Aotearoa, soundcloud.com/toroa is the new project of soundcloud.com/shankaranewzealand, soundcloud.com/te-manu and ngāio, whose music navigates the currents between worlds. As an expression of place, Toroa sonically weaves pūoro Māori, dub and storytelling in all its forms through waiata, taonga pūoro and live hiko.From the void of limitless potential to the illuminated world, we are woven together.
Te Tīmatanga traces the primordial origins of the universe, spiralling in and spiralling out in a series of never-ending beginnings like the double movement of creation. Recited in three parts - Te Pū, Te Aka and Te Whē — Te Tīmatanga begins with kihikihi, evoking the first rustling of Te Kore, and develops further within a soundscape of echoes and delays. The pūtātara signals the initial burst of potent energy, the kōauau and pūtōrino sing its ebbs and flows, and as the waiata inscribes through repetition, its oro reverberates out and begins anew the spiral of creation.Transversing the islands of Aotearoa, soundcloud.com/toroa is the new project of soundcloud.com/shankaranewzealand, soundcloud.com/te-manu and ngāio, whose music navigates the currents between worlds. As an expression of place, Toroa sonically weaves pūoro Māori, dub and storytelling in all its forms through waiata, taonga pūoro and live hiko.From the void of limitless potential to the illuminated world, we are woven together.
One of the downsides of the vinyl format is the limitations on how much audio will fit on each side and still sound great. The vinyl release of Ashtech’s Walkin’ Target album, produced and co-written by soundcloud.com/gaudi, is a great example of this, as four tracks had to be left off to allow the bass to breathe.The Walkin’ Dubs EP addresses this, with soundcloud.com/ashtech's orphaned tunes joined by two tracks that only previously appeared on compilations.
One of the downsides of the vinyl format is the limitations on how much audio will fit on each side and still sound great. The vinyl release of Ashtech’s Walkin’ Target album, produced and co-written by soundcloud.com/gaudi, is a great example of this, as four tracks had to be left off to allow the bass to breathe.The Walkin’ Dubs EP addresses this, with soundcloud.com/ashtech's orphaned tunes joined by two tracks that only previously appeared on compilations.
Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald.Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace.As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us”He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.
Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald.Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace.As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us”He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.
Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald.Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace.As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us”He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.
After a long absence, soundcloud.com/erssound returns to Dubmission for a short journey into mystical dublands. The Dubconscious EP features a trio of meditative dubs, relaxed grooves and positive dancefloor vibes, fueled by sub bass and hypnotic percussion.
After a long absence, soundcloud.com/erssound returns to Dubmission for a short journey into mystical dublands. The Dubconscious EP features a trio of meditative dubs, relaxed grooves and positive dancefloor vibes, fueled by sub bass and hypnotic percussion.
After a long absence, soundcloud.com/erssound returns to Dubmission for a short journey into mystical dublands. The Dubconscious EP features a trio of meditative dubs, relaxed grooves and positive dancefloor vibes, fueled by sub bass and hypnotic percussion.
soundcloud.com/mcthfg's latest EP is a meditation on, and reaction to, greed, hatred and exploitation. Appalled by the expanding world crises, Direct Action celebrates hope, change and resistance.
soundcloud.com/mcthfg's latest EP is a meditation on, and reaction to, greed, hatred and exploitation. Appalled by the expanding world crises, Direct Action celebrates hope, change and resistance.
soundcloud.com/mcthfg's latest EP is a meditation on, and reaction to, greed, hatred and exploitation. Appalled by the expanding world crises, Direct Action celebrates hope, change and resistance.
soundcloud.com/mcthfg's latest EP is a meditation on, and reaction to, greed, hatred and exploitation. Appalled by the expanding world crises, Direct Action celebrates hope, change and resistance.
soundcloud.com/mcthfg's latest EP is a meditation on, and reaction to, greed, hatred and exploitation. Appalled by the expanding world crises, Direct Action celebrates hope, change and resistance.
The deeply personal Full Circle EP is an audio adventure by soundcloud.com/tormaindub through the transitions of life, with each track exploring a different style of dub, with its own story and emotional landscape.
The deeply personal Full Circle EP is an audio adventure by soundcloud.com/tormaindub through the transitions of life, with each track exploring a different style of dub, with its own story and emotional landscape.
The deeply personal Full Circle EP is an audio adventure by soundcloud.com/tormaindub through the transitions of life, with each track exploring a different style of dub, with its own story and emotional landscape.
The deeply personal Full Circle EP is an audio adventure by soundcloud.com/tormaindub through the transitions of life, with each track exploring a different style of dub, with its own story and emotional landscape.
The deeply personal Full Circle EP is an audio adventure by soundcloud.com/tormaindub through the transitions of life, with each track exploring a different style of dub, with its own story and emotional landscape.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
An intersection of original dubs and outernational electronica, Ashtech’s Walkin’ Target, produced and co-written by Gaudi, was originally released in 2007 on cult Canadian label soundcloud.com/interchill and is now presented for the first time on vinyl.Tightly structured, Walkin’ Target revolves around soundcloud.com/ashtech’s earth rattling basslines and soundcloud.com/gaudi's solid production aesthetic, with three of the tracks featuring the inimitable vocal stylings of Cheshire Cat (Leftfield). A former bass player with Almamegretta, Ashtech’s intuitive style combined with Gaudi’s melodic flair to create a joyful collection of groove orientated roots and downtempo dubs that upon release found a home in the collection of music lovers worldwide.Long deleted and not available on any mainstream download or streaming platforms, Ashtech dug out the original audio files, which were lovingly re-mastered for this pressing.
Pitch Black’s fourth album finally gets the vinyl pressing it so richly deserves.Originally released in 2007, Rude Mechanicals found soundcloud.com/pitchblacknz firing on all cylinders. The nine years since their debut had been spent touring their cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.They successfully combined and refined the stand-out elements of their previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds them addressing climate change and greed, with lyrics by Auckland MC KP.To create the double-vinyl release, soundcloud.com/auraluxmastering re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.
Pitch Black’s fourth album finally gets the vinyl pressing it so richly deserves.Originally released in 2007, Rude Mechanicals found soundcloud.com/pitchblacknz firing on all cylinders. The nine years since their debut had been spent touring their cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.They successfully combined and refined the stand-out elements of their previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds them addressing climate change and greed, with lyrics by Auckland MC KP.To create the double-vinyl release, soundcloud.com/auraluxmastering re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.
Pitch Black’s fourth album finally gets the vinyl pressing it so richly deserves.Originally released in 2007, Rude Mechanicals found soundcloud.com/pitchblacknz firing on all cylinders. The nine years since their debut had been spent touring their cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.They successfully combined and refined the stand-out elements of their previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds them addressing climate change and greed, with lyrics by Auckland MC KP.To create the double-vinyl release, soundcloud.com/auraluxmastering re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.
Pitch Black’s fourth album finally gets the vinyl pressing it so richly deserves.Originally released in 2007, Rude Mechanicals found soundcloud.com/pitchblacknz firing on all cylinders. The nine years since their debut had been spent touring their cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.They successfully combined and refined the stand-out elements of their previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds them addressing climate change and greed, with lyrics by Auckland MC KP.To create the double-vinyl release, soundcloud.com/auraluxmastering re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.
Pitch Black’s fourth album finally gets the vinyl pressing it so richly deserves.Originally released in 2007, Rude Mechanicals found soundcloud.com/pitchblacknz firing on all cylinders. The nine years since their debut had been spent touring their cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.They successfully combined and refined the stand-out elements of their previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds them addressing climate change and greed, with lyrics by Auckland MC KP.To create the double-vinyl release, soundcloud.com/auraluxmastering re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.
Pitch Black’s fourth album finally gets the vinyl pressing it so richly deserves.Originally released in 2007, Rude Mechanicals found soundcloud.com/pitchblacknz firing on all cylinders. The nine years since their debut had been spent touring their cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.They successfully combined and refined the stand-out elements of their previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds them addressing climate change and greed, with lyrics by Auckland MC KP.To create the double-vinyl release, soundcloud.com/auraluxmastering re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.
Pitch Black’s fourth album finally gets the vinyl pressing it so richly deserves.Originally released in 2007, Rude Mechanicals found soundcloud.com/pitchblacknz firing on all cylinders. The nine years since their debut had been spent touring their cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.They successfully combined and refined the stand-out elements of their previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds them addressing climate change and greed, with lyrics by Auckland MC KP.To create the double-vinyl release, soundcloud.com/auraluxmastering re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.
Pitch Black’s fourth album finally gets the vinyl pressing it so richly deserves.Originally released in 2007, Rude Mechanicals found soundcloud.com/pitchblacknz firing on all cylinders. The nine years since their debut had been spent touring their cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.They successfully combined and refined the stand-out elements of their previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds them addressing climate change and greed, with lyrics by Auckland MC KP.To create the double-vinyl release, soundcloud.com/auraluxmastering re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.
Introducing Freqs in Flux, a captivating collection of remixes curated to celebrate the inaugural vinyl release of soundcloud.com/pitchblacknz’s Rude Mechanicals. The anthology seamlessly bridges the past and present, featuring mixes from the album's original era, contemporary reinterpretations, and a selection of previously unreleased versions that will beguile both longtime fans and newcomers.On remix duty are the legendary Adrian Sherwood (of soundcloud.com/on-u-sound-records renown), former popstar soundcloud.com/internationalobserver (The Thompson Twins), Kiwi dubmeister soundcloud.com/subsetdubs, tech visionary soundcloud.com/tomcosm, multi-instrumentalist and game soundtrack designer Module, long-form audio-visual explorer soundcloud.com/misledconvoy (one half of Pitch Black), breakbeat scientist soundcloud.com/funknslocuts, Australian reggae band soundcloud.com/theversionaries-music, ambient producer Deep Seed and the Mexican space pirate soundcloud.com/tormaindubFreqs in Flux serves as a perfect companion to the previously released Rhythm, Sound and Movement collection, and not only celebrates the legacy of Rude Mechanicals but also showcases Pitch Black’s broad sonic world.
Introducing Freqs in Flux, a captivating collection of remixes curated to celebrate the inaugural vinyl release of soundcloud.com/pitchblacknz’s Rude Mechanicals. The anthology seamlessly bridges the past and present, featuring mixes from the album's original era, contemporary reinterpretations, and a selection of previously unreleased versions that will beguile both longtime fans and newcomers.On remix duty are the legendary Adrian Sherwood (of soundcloud.com/on-u-sound-records renown), former popstar soundcloud.com/internationalobserver (The Thompson Twins), Kiwi dubmeister soundcloud.com/subsetdubs, tech visionary soundcloud.com/tomcosm, multi-instrumentalist and game soundtrack designer Module, long-form audio-visual explorer soundcloud.com/misledconvoy (one half of Pitch Black), breakbeat scientist soundcloud.com/funknslocuts, Australian reggae band soundcloud.com/theversionaries-music, ambient producer Deep Seed and the Mexican space pirate soundcloud.com/tormaindubFreqs in Flux serves as a perfect companion to the previously released Rhythm, Sound and Movement collection, and not only celebrates the legacy of Rude Mechanicals but also showcases Pitch Black’s broad sonic world.
Introducing Freqs in Flux, a captivating collection of remixes curated to celebrate the inaugural vinyl release of soundcloud.com/pitchblacknz’s Rude Mechanicals. The anthology seamlessly bridges the past and present, featuring mixes from the album's original era, contemporary reinterpretations, and a selection of previously unreleased versions that will beguile both longtime fans and newcomers.On remix duty are the legendary Adrian Sherwood (of soundcloud.com/on-u-sound-records renown), former popstar soundcloud.com/internationalobserver (The Thompson Twins), Kiwi dubmeister soundcloud.com/subsetdubs, tech visionary soundcloud.com/tomcosm, multi-instrumentalist and game soundtrack designer Module, long-form audio-visual explorer soundcloud.com/misledconvoy (one half of Pitch Black), breakbeat scientist soundcloud.com/funknslocuts, Australian reggae band soundcloud.com/theversionaries-music, ambient producer Deep Seed and the Mexican space pirate soundcloud.com/tormaindubFreqs in Flux serves as a perfect companion to the previously released Rhythm, Sound and Movement collection, and not only celebrates the legacy of Rude Mechanicals but also showcases Pitch Black’s broad sonic world.
Introducing Freqs in Flux, a captivating collection of remixes curated to celebrate the inaugural vinyl release of soundcloud.com/pitchblacknz’s Rude Mechanicals. The anthology seamlessly bridges the past and present, featuring mixes from the album's original era, contemporary reinterpretations, and a selection of previously unreleased versions that will beguile both longtime fans and newcomers.On remix duty are the legendary Adrian Sherwood (of soundcloud.com/on-u-sound-records renown), former popstar soundcloud.com/internationalobserver (The Thompson Twins), Kiwi dubmeister soundcloud.com/subsetdubs, tech visionary soundcloud.com/tomcosm, multi-instrumentalist and game soundtrack designer Module, long-form audio-visual explorer soundcloud.com/misledconvoy (one half of Pitch Black), breakbeat scientist soundcloud.com/funknslocuts, Australian reggae band soundcloud.com/theversionaries-music, ambient producer Deep Seed and the Mexican space pirate soundcloud.com/tormaindubFreqs in Flux serves as a perfect companion to the previously released Rhythm, Sound and Movement collection, and not only celebrates the legacy of Rude Mechanicals but also showcases Pitch Black’s broad sonic world.
Introducing Freqs in Flux, a captivating collection of remixes curated to celebrate the inaugural vinyl release of soundcloud.com/pitchblacknz’s Rude Mechanicals. The anthology seamlessly bridges the past and present, featuring mixes from the album's original era, contemporary reinterpretations, and a selection of previously unreleased versions that will beguile both longtime fans and newcomers.On remix duty are the legendary Adrian Sherwood (of soundcloud.com/on-u-sound-records renown), former popstar soundcloud.com/internationalobserver (The Thompson Twins), Kiwi dubmeister soundcloud.com/subsetdubs, tech visionary soundcloud.com/tomcosm, multi-instrumentalist and game soundtrack designer Module, long-form audio-visual explorer soundcloud.com/misledconvoy (one half of Pitch Black), breakbeat scientist soundcloud.com/funknslocuts, Australian reggae band soundcloud.com/theversionaries-music, ambient producer Deep Seed and the Mexican space pirate soundcloud.com/tormaindubFreqs in Flux serves as a perfect companion to the previously released Rhythm, Sound and Movement collection, and not only celebrates the legacy of Rude Mechanicals but also showcases Pitch Black’s broad sonic world.
Introducing Freqs in Flux, a captivating collection of remixes curated to celebrate the inaugural vinyl release of soundcloud.com/pitchblacknz’s Rude Mechanicals. The anthology seamlessly bridges the past and present, featuring mixes from the album's original era, contemporary reinterpretations, and a selection of previously unreleased versions that will beguile both longtime fans and newcomers.On remix duty are the legendary Adrian Sherwood (of soundcloud.com/on-u-sound-records renown), former popstar soundcloud.com/internationalobserver (The Thompson Twins), Kiwi dubmeister soundcloud.com/subsetdubs, tech visionary soundcloud.com/tomcosm, multi-instrumentalist and game soundtrack designer Module, long-form audio-visual explorer soundcloud.com/misledconvoy (one half of Pitch Black), breakbeat scientist soundcloud.com/funknslocuts, Australian reggae band soundcloud.com/theversionaries-music, ambient producer Deep Seed and the Mexican space pirate soundcloud.com/tormaindubFreqs in Flux serves as a perfect companion to the previously released Rhythm, Sound and Movement collection, and not only celebrates the legacy of Rude Mechanicals but also showcases Pitch Black’s broad sonic world.
Introducing Freqs in Flux, a captivating collection of remixes curated to celebrate the inaugural vinyl release of soundcloud.com/pitchblacknz’s Rude Mechanicals. The anthology seamlessly bridges the past and present, featuring mixes from the album's original era, contemporary reinterpretations, and a selection of previously unreleased versions that will beguile both longtime fans and newcomers.On remix duty are the legendary Adrian Sherwood (of soundcloud.com/on-u-sound-records renown), former popstar soundcloud.com/internationalobserver (The Thompson Twins), Kiwi dubmeister soundcloud.com/subsetdubs, tech visionary soundcloud.com/tomcosm, multi-instrumentalist and game soundtrack designer Module, long-form audio-visual explorer soundcloud.com/misledconvoy (one half of Pitch Black), breakbeat scientist soundcloud.com/funknslocuts, Australian reggae band soundcloud.com/theversionaries-music, ambient producer Deep Seed and the Mexican space pirate soundcloud.com/tormaindubFreqs in Flux serves as a perfect companion to the previously released Rhythm, Sound and Movement collection, and not only celebrates the legacy of Rude Mechanicals but also showcases Pitch Black’s broad sonic world.
Introducing Freqs in Flux, a captivating collection of remixes curated to celebrate the inaugural vinyl release of soundcloud.com/pitchblacknz’s Rude Mechanicals. The anthology seamlessly bridges the past and present, featuring mixes from the album's original era, contemporary reinterpretations, and a selection of previously unreleased versions that will beguile both longtime fans and newcomers.On remix duty are the legendary Adrian Sherwood (of soundcloud.com/on-u-sound-records renown), former popstar soundcloud.com/internationalobserver (The Thompson Twins), Kiwi dubmeister soundcloud.com/subsetdubs, tech visionary soundcloud.com/tomcosm, multi-instrumentalist and game soundtrack designer Module, long-form audio-visual explorer soundcloud.com/misledconvoy (one half of Pitch Black), breakbeat scientist soundcloud.com/funknslocuts, Australian reggae band soundcloud.com/theversionaries-music, ambient producer Deep Seed and the Mexican space pirate soundcloud.com/tormaindubFreqs in Flux serves as a perfect companion to the previously released Rhythm, Sound and Movement collection, and not only celebrates the legacy of Rude Mechanicals but also showcases Pitch Black’s broad sonic world.
Introducing Freqs in Flux, a captivating collection of remixes curated to celebrate the inaugural vinyl release of soundcloud.com/pitchblacknz’s Rude Mechanicals. The anthology seamlessly bridges the past and present, featuring mixes from the album's original era, contemporary reinterpretations, and a selection of previously unreleased versions that will beguile both longtime fans and newcomers.On remix duty are the legendary Adrian Sherwood (of soundcloud.com/on-u-sound-records renown), former popstar soundcloud.com/internationalobserver (The Thompson Twins), Kiwi dubmeister soundcloud.com/subsetdubs, tech visionary soundcloud.com/tomcosm, multi-instrumentalist and game soundtrack designer Module, long-form audio-visual explorer soundcloud.com/misledconvoy (one half of Pitch Black), breakbeat scientist soundcloud.com/funknslocuts, Australian reggae band soundcloud.com/theversionaries-music, ambient producer Deep Seed and the Mexican space pirate soundcloud.com/tormaindubFreqs in Flux serves as a perfect companion to the previously released Rhythm, Sound and Movement collection, and not only celebrates the legacy of Rude Mechanicals but also showcases Pitch Black’s broad sonic world.
Introducing Freqs in Flux, a captivating collection of remixes curated to celebrate the inaugural vinyl release of soundcloud.com/pitchblacknz’s Rude Mechanicals. The anthology seamlessly bridges the past and present, featuring mixes from the album's original era, contemporary reinterpretations, and a selection of previously unreleased versions that will beguile both longtime fans and newcomers.On remix duty are the legendary Adrian Sherwood (of soundcloud.com/on-u-sound-records renown), former popstar soundcloud.com/internationalobserver (The Thompson Twins), Kiwi dubmeister soundcloud.com/subsetdubs, tech visionary soundcloud.com/tomcosm, multi-instrumentalist and game soundtrack designer Module, long-form audio-visual explorer soundcloud.com/misledconvoy (one half of Pitch Black), breakbeat scientist soundcloud.com/funknslocuts, Australian reggae band soundcloud.com/theversionaries-music, ambient producer Deep Seed and the Mexican space pirate soundcloud.com/tormaindubFreqs in Flux serves as a perfect companion to the previously released Rhythm, Sound and Movement collection, and not only celebrates the legacy of Rude Mechanicals but also showcases Pitch Black’s broad sonic world.
Pitch Black’s fourth album finally gets the vinyl pressing it so richly deserves.Originally released in 2007, Rude Mechanicals found soundcloud.com/pitchblacknz firing on all cylinders. The nine years since their debut had been spent touring their cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.They successfully combined and refined the stand-out elements of their previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds them addressing climate change and greed, with lyrics by Auckland MC KP.To create the double-vinyl release, soundcloud.com/auraluxmastering re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.
soundcloud.com/te-manu and soundcloud.com/shankaranewzealand release the first in a series of singles exploring the intersection of pūoro Māori (traditional Māori music) with contemporary electronica.Performed by Dan Mace, Pūnganangana is an ancient karakia (incantation) that calls upon the old winds to help achieve the task at hand. Featuring taonga pūoro (traditional Māori instruments) and saturated with dubbed-out FX, the three versions weave together a brooding soundscape full of the primordial forces of earth and sky.
soundcloud.com/te-manu and soundcloud.com/shankaranewzealand release the first in a series of singles exploring the intersection of pūoro Māori (traditional Māori music) with contemporary electronica.Performed by Dan Mace, Pūnganangana is an ancient karakia (incantation) that calls upon the old winds to help achieve the task at hand. Featuring taonga pūoro (traditional Māori instruments) and saturated with dubbed-out FX, the three versions weave together a brooding soundscape full of the primordial forces of earth and sky.
Alpha & Omega’s Only Jah Children, is finally released as originally intended – as two stand-alone mixes – with fresh versions by the space pirate soundcloud.com/tormaindubFeaturing a propulsive bass line, triumphant horns and a tribal rhythm, Only Jah Children was originally released in 1997 on the Dubbed on Planet Skunk compilation. For reasons long forgotten, the two mixes were edited together to create a single track, embarrassingly without the band’s permission :-( Thankfully the original DAT was discovered last year, with this release, mastered by Vibronics, the result.Formed in the 1980’s and with over 30 studio albums to their name, soundcloud.com/dubmagic are pioneers in the development of the UK dub sound, in part due to their willingness to constantly experiment with new sounds and styles.Their sound soon spread further than the UK, with Mexico’s Tor.ma in Dub one of the eager recipients. As he writes “they helped create a whole new style and not only in music, but also in movement and a way of feeling the sound waves, creating a sense of community, encouraging dance and meditation. They have a huge fan base and are the inspiration to lots of artists through the years, including of course, myself.”Tor.ma in Dub’s two new remixes add his psychedelic steppers style to the originals, introducing some new elements and, in his words, bringing “together tradition and modernity, the physical and ethereal worlds, body and mind, roots and infinity.”
Alpha & Omega’s Only Jah Children, is finally released as originally intended – as two stand-alone mixes – with fresh versions by the space pirate soundcloud.com/tormaindubFeaturing a propulsive bass line, triumphant horns and a tribal rhythm, Only Jah Children was originally released in 1997 on the Dubbed on Planet Skunk compilation. For reasons long forgotten, the two mixes were edited together to create a single track, embarrassingly without the band’s permission :-( Thankfully the original DAT was discovered last year, with this release, mastered by Vibronics, the result.Formed in the 1980’s and with over 30 studio albums to their name, soundcloud.com/dubmagic are pioneers in the development of the UK dub sound, in part due to their willingness to constantly experiment with new sounds and styles.Their sound soon spread further than the UK, with Mexico’s Tor.ma in Dub one of the eager recipients. As he writes “they helped create a whole new style and not only in music, but also in movement and a way of feeling the sound waves, creating a sense of community, encouraging dance and meditation. They have a huge fan base and are the inspiration to lots of artists through the years, including of course, myself.”Tor.ma in Dub’s two new remixes add his psychedelic steppers style to the originals, introducing some new elements and, in his words, bringing “together tradition and modernity, the physical and ethereal worlds, body and mind, roots and infinity.”
Alpha & Omega’s Only Jah Children, is finally released as originally intended – as two stand-alone mixes – with fresh versions by the space pirate soundcloud.com/tormaindubFeaturing a propulsive bass line, triumphant horns and a tribal rhythm, Only Jah Children was originally released in 1997 on the Dubbed on Planet Skunk compilation. For reasons long forgotten, the two mixes were edited together to create a single track, embarrassingly without the band’s permission :-( Thankfully the original DAT was discovered last year, with this release, mastered by Vibronics, the result.Formed in the 1980’s and with over 30 studio albums to their name, soundcloud.com/dubmagic are pioneers in the development of the UK dub sound, in part due to their willingness to constantly experiment with new sounds and styles.Their sound soon spread further than the UK, with Mexico’s Tor.ma in Dub one of the eager recipients. As he writes “they helped create a whole new style and not only in music, but also in movement and a way of feeling the sound waves, creating a sense of community, encouraging dance and meditation. They have a huge fan base and are the inspiration to lots of artists through the years, including of course, myself.”Tor.ma in Dub’s two new remixes add his psychedelic steppers style to the originals, introducing some new elements and, in his words, bringing “together tradition and modernity, the physical and ethereal worlds, body and mind, roots and infinity.”
Alpha & Omega’s Only Jah Children, is finally released as originally intended – as two stand-alone mixes – with fresh versions by the space pirate soundcloud.com/tormaindubFeaturing a propulsive bass line, triumphant horns and a tribal rhythm, Only Jah Children was originally released in 1997 on the Dubbed on Planet Skunk compilation. For reasons long forgotten, the two mixes were edited together to create a single track, embarrassingly without the band’s permission :-( Thankfully the original DAT was discovered last year, with this release, mastered by Vibronics, the result.Formed in the 1980’s and with over 30 studio albums to their name, soundcloud.com/dubmagic are pioneers in the development of the UK dub sound, in part due to their willingness to constantly experiment with new sounds and styles.Their sound soon spread further than the UK, with Mexico’s Tor.ma in Dub one of the eager recipients. As he writes “they helped create a whole new style and not only in music, but also in movement and a way of feeling the sound waves, creating a sense of community, encouraging dance and meditation. They have a huge fan base and are the inspiration to lots of artists through the years, including of course, myself.”Tor.ma in Dub’s two new remixes add his psychedelic steppers style to the originals, introducing some new elements and, in his words, bringing “together tradition and modernity, the physical and ethereal worlds, body and mind, roots and infinity.”
The Garden of Arborea is the latest in soundcloud.com/misledconvoy’s Black Mountain Transmissions atmospheric dub series, recorded live in quadrophonic sound before being meticulously refined in the studio for stereo listening.The Garden of Arborea was the theme for this year’s Luma Light Festival in Queenstown, for which Mike, as the musical director, composed a series of immersive surround soundscapes for different zones and light installations. Following the festival, Misled Convoy was invited to perform at Nano Festival, for which he weaved all the Luma soundscapes into a continuous, multi-track collage and played that live on a quadrophonic system. Recordings of this performance, along with all the control data, were then taken into the studio, where they were shaped into a stereo composition. The Garden of Arborea evolves organically, growing and shifting like the natural world that inspired it, with atmospheres unfurling slowly, punctuated by rhythmic accents and deep bass drops. Black Mountain Transmissions perfectly complements Misled Convoy's Translations remix series, allowing him to further explore the sonic universe free of commercial constraints.
The Garden of Arborea is the latest in soundcloud.com/misledconvoy’s Black Mountain Transmissions atmospheric dub series, recorded live in quadrophonic sound before being meticulously refined in the studio for stereo listening.The Garden of Arborea was the theme for this year’s Luma Light Festival in Queenstown, for which Mike, as the musical director, composed a series of immersive surround soundscapes for different zones and light installations. Following the festival, Misled Convoy was invited to perform at Nano Festival, for which he weaved all the Luma soundscapes into a continuous, multi-track collage and played that live on a quadrophonic system. Recordings of this performance, along with all the control data, were then taken into the studio, where they were shaped into a stereo composition. The Garden of Arborea evolves organically, growing and shifting like the natural world that inspired it, with atmospheres unfurling slowly, punctuated by rhythmic accents and deep bass drops. Black Mountain Transmissions perfectly complements Misled Convoy's Translations remix series, allowing him to further explore the sonic universe free of commercial constraints.
The Garden of Arborea is the latest in soundcloud.com/misledconvoy’s Black Mountain Transmissions atmospheric dub series, recorded live in quadrophonic sound before being meticulously refined in the studio for stereo listening.The Garden of Arborea was the theme for this year’s Luma Light Festival in Queenstown, for which Mike, as the musical director, composed a series of immersive surround soundscapes for different zones and light installations. Following the festival, Misled Convoy was invited to perform at Nano Festival, for which he weaved all the Luma soundscapes into a continuous, multi-track collage and played that live on a quadrophonic system. Recordings of this performance, along with all the control data, were then taken into the studio, where they were shaped into a stereo composition. The Garden of Arborea evolves organically, growing and shifting like the natural world that inspired it, with atmospheres unfurling slowly, punctuated by rhythmic accents and deep bass drops. Black Mountain Transmissions perfectly complements Misled Convoy's Translations remix series, allowing him to further explore the sonic universe free of commercial constraints.
The Garden of Arborea is the latest in soundcloud.com/misledconvoy’s Black Mountain Transmissions atmospheric dub series, recorded live in quadrophonic sound before being meticulously refined in the studio for stereo listening.The Garden of Arborea was the theme for this year’s Luma Light Festival in Queenstown, for which Mike, as the musical director, composed a series of immersive surround soundscapes for different zones and light installations. Following the festival, Misled Convoy was invited to perform at Nano Festival, for which he weaved all the Luma soundscapes into a continuous, multi-track collage and played that live on a quadrophonic system. Recordings of this performance, along with all the control data, were then taken into the studio, where they were shaped into a stereo composition. The Garden of Arborea evolves organically, growing and shifting like the natural world that inspired it, with atmospheres unfurling slowly, punctuated by rhythmic accents and deep bass drops. Black Mountain Transmissions perfectly complements Misled Convoy's Translations remix series, allowing him to further explore the sonic universe free of commercial constraints.
For the third installment in his remix series, soundcloud.com/subsetdubs cast his ears globally, enlisting the talents of soundcloud.com/davidharrow, soundcloud.com/robhenry, soundcloud.com/tormaindub, soundcloud.com/suddenreverb, and soundcloud.com/mcthfg, who reside respectively in America, England, Mexico, Germany, and South Korea.The remixes are equally as wide-ranging, encompassing the full range of the bass music spectrum: Rob Bong's drum & bass take on Journey to Tayrona, Tor.Ma In Dub's psychedelic steppers version of Aximal, David Harrow's spaced-out trip down Whipbird Dub lane, mcthfg's downbeat groove of Advanced Fizziks, and Sudden Reverb's rolling dub of Dialectic, featuring additional live bass and guitar."I couldn't be happier with the latest edition to the series. It's great to hear where this amazing set of remixers have taken these tracks, with such a wide variety of sounds and approaches to my originals, exploring tangents I would never have thought to explore myself."
They say you should never meet your heroes, but for Mike Hodgson of soundcloud.com/pitchblacknz, meeting the legendary Adrian Sherwood has been a transformative experience, leading to creative collaborations that have benefited both of them.Nearly 30 years after first being mesmerized by soundcloud.com/on-u-sound-records’s releases, a cheeky bit of radio ripping serendipitously led to Mike helping Pats Dokter, the label’s official archivist, with his work restoring master tapes, and eventually to him creating visual content for Adrian’s live shows.A while after this collaboration began, Adrian offered to remix some of Mike’s music, either by his solo project soundcloud.com/MisledConvoy or his work with soundcloud.com/paddyfree as Pitch Black, and it’s four cuts by the latter that grace this heavyweight platter.From the dreamy dub of Transient Transmission to the rolling rhythms of A Doubtful Sound, Pitch Black’s originals have been re-arranged and dubbed to $%># in Adrian’s signature style, with fluid melodies, pounding basslines and vocal samples awash in a wall of effects.Trumpets by David “Ital Horns” Fullwood bookend the release, haunting in the first track and celebratory in the last, while Doug Wimbish (Tackhead) added an extra bassline to the heaving version of 1000 Mile Drift, which also features the voice of the iconic Lee “Scratch” Perry.Reflecting on the collaboration, Mike Hodgson says, “the whole experience has been slightly unreal, from working on Adrian’s videos to being in the OnU studio and watching him dub-mixing the tracks I’ve made with Paddy, something I could never have imagined happening!”The cover of Echoes of the Night is based upon an original artwork by long-time Pitch Black collaborator (and fellow OnU afficianado) Hamish Macaulay, while the vinyl has been pressed using a 100% recycled compound known as eco-mix, making each record totally unique as the colours change across the pressing run (most appear to be green-ish).
They say you should never meet your heroes, but for Mike Hodgson of soundcloud.com/pitchblacknz, meeting the legendary Adrian Sherwood has been a transformative experience, leading to creative collaborations that have benefited both of them.Nearly 30 years after first being mesmerized by soundcloud.com/on-u-sound-records’s releases, a cheeky bit of radio ripping serendipitously led to Mike helping Pats Dokter, the label’s official archivist, with his work restoring master tapes, and eventually to him creating visual content for Adrian’s live shows.A while after this collaboration began, Adrian offered to remix some of Mike’s music, either by his solo project soundcloud.com/MisledConvoy or his work with soundcloud.com/paddyfree as Pitch Black, and it’s four cuts by the latter that grace this heavyweight platter.From the dreamy dub of Transient Transmission to the rolling rhythms of A Doubtful Sound, Pitch Black’s originals have been re-arranged and dubbed to $%># in Adrian’s signature style, with fluid melodies, pounding basslines and vocal samples awash in a wall of effects.Trumpets by David “Ital Horns” Fullwood bookend the release, haunting in the first track and celebratory in the last, while Doug Wimbish (Tackhead) added an extra bassline to the heaving version of 1000 Mile Drift, which also features the voice of the iconic Lee “Scratch” Perry.Reflecting on the collaboration, Mike Hodgson says, “the whole experience has been slightly unreal, from working on Adrian’s videos to being in the OnU studio and watching him dub-mixing the tracks I’ve made with Paddy, something I could never have imagined happening!”The cover of Echoes of the Night is based upon an original artwork by long-time Pitch Black collaborator (and fellow OnU afficianado) Hamish Macaulay, while the vinyl has been pressed using a 100% recycled compound known as eco-mix, making each record totally unique as the colours change across the pressing run (most appear to be green-ish).
Black Mountain Transmissions is a new series from soundcloud.com/misledconvoy which focuses on long-form atmospheric dubs, recorded in a single key and with a consistent BPM.Invited to perform in the After Dark tent at New Zealand’s Splore Festival, Mike designed a spatial quadrophonic show that was specifically intended for horizontal listening. Shortly afterwards he played at Super Sentient ambient festival, which gave him the opportunity to further develop the soundscapes. Super Sentient is a distillation of those two quadrophonic shows into a single stereo work, finessing the energy of the live experience with the precision of the studio. Awash with cinematic flourishes, swooping synths snarl and soar over militant rhythms while melodies float on cavernous soundbeds before dissolving in to space.Black Mountain Transmissions looks set to perfectly compliment Misled Convoy's Translations remix series, allowing him to further explore the sonic universe free of constraints.
Black Mountain Transmissions is a new series from soundcloud.com/misledconvoy which focuses on long-form atmospheric dubs, recorded in a single key and with a consistent BPM.Invited to perform in the After Dark tent at New Zealand’s Splore Festival, Mike designed a spatial quadrophonic show that was specifically intended for horizontal listening. Shortly afterwards he played at Super Sentient ambient festival, which gave him the opportunity to further develop the soundscapes. Super Sentient is a distillation of those two quadrophonic shows into a single stereo work, finessing the energy of the live experience with the precision of the studio. Awash with cinematic flourishes, swooping synths snarl and soar over militant rhythms while melodies float on cavernous soundbeds before dissolving in to space.Black Mountain Transmissions looks set to perfectly compliment Misled Convoy's Translations remix series, allowing him to further explore the sonic universe free of constraints.
Black Mountain Transmissions is a new series from soundcloud.com/misledconvoy which focuses on long-form atmospheric dubs, recorded in a single key and with a consistent BPM. Inspired by the intricate patterns found within a microwave circuit board, the project will feature ever evolving tracks that journey through the depths of industrial dub, infused with pulsating basslines, shimmering melodies and uplifting tonal moments. The first instalment in the series is the nearly hour-long SCP 682, whose twisted breakbeats and squelching synths dissolve into spacious subs and otherworldly sounds. Originally conceived for a live set at the Red Bar in Auckland, SCP 682 took on other dimensions in the studio, absorbing experimental elements as the dub process evolved. Black Mountain Transmissions looks set to perfectly compliment Misled Convoy's Translations remix series, allowing him to further explore the sonic universe free of constraints.
For the second installment in his remix series, soundcloud.com/subsetdubs looked to his native Aotearoa where soundcloud.com/paddyfree, soundcloud.com/misledconvoy (Mike from soundcloud.com/pitchblacknz), soundcloud.com/deepfrieddubband and soundcloud.com/shankaranewzealand, plus the latter's tech alter-ego soundcloud.com/wekatek, answered the call.The results are stunning: Shankara NZ all deep and heavy; Deep Fried Dub on a d'n'b tip; Paddy Free chilled and immersive; Weka Tek stomping to the dancefloor; Misled Convoy spacious and reductive."Having remixed both Pitch Black and Deep Fried Dub in the past, it's great to finally be able to have Paddy, Mike and Ben, and now Shankara NZ and Weka Tek, delve into their sound bags and decode five SUBSET remixes, warping the dub in a New Zealand style".To celebrate the release, SUBSET will be playing at EarthBeat Festival in Aoteraoa, March 21-24.
For the second installment in his remix series, soundcloud.com/subsetdubs looked to his native Aotearoa where soundcloud.com/paddyfree, soundcloud.com/misledconvoy (Mike from soundcloud.com/pitchblacknz), soundcloud.com/deepfrieddubband and soundcloud.com/shankaranewzealand, plus the latter's tech alter-ego soundcloud.com/wekatek, answered the call.The results are stunning: Shankara NZ all deep and heavy; Deep Fried Dub on a d'n'b tip; Paddy Free chilled and immersive; Weka Tek stomping to the dancefloor; Misled Convoy spacious and reductive."Having remixed both Pitch Black and Deep Fried Dub in the past, it's great to finally be able to have Paddy, Mike and Ben, and now Shankara NZ and Weka Tek, delve into their sound bags and decode five SUBSET remixes, warping the dub in a New Zealand style".To celebrate the release, SUBSET will be playing at EarthBeat Festival in Aoteraoa, March 21-24.
For the second installment in his remix series, soundcloud.com/subsetdubs looked to his native Aotearoa where soundcloud.com/paddyfree, soundcloud.com/misledconvoy (Mike from soundcloud.com/pitchblacknz), soundcloud.com/deepfrieddubband and soundcloud.com/shankaranewzealand, plus the latter's tech alter-ego soundcloud.com/wekatek, answered the call.The results are stunning: Shankara NZ all deep and heavy; Deep Fried Dub on a d'n'b tip; Paddy Free chilled and immersive; Weka Tek stomping to the dancefloor; Misled Convoy spacious and reductive."Having remixed both Pitch Black and Deep Fried Dub in the past, it's great to finally be able to have Paddy, Mike and Ben, and now Shankara NZ and Weka Tek, delve into their sound bags and decode five SUBSET remixes, warping the dub in a New Zealand style".To celebrate the release, SUBSET will be playing at EarthBeat Festival in Aoteraoa, March 21-24.
For the second installment in his remix series, soundcloud.com/subsetdubs looked to his native Aotearoa where soundcloud.com/paddyfree, soundcloud.com/misledconvoy (Mike from soundcloud.com/pitchblacknz), soundcloud.com/deepfrieddubband and soundcloud.com/shankaranewzealand, plus the latter's tech alter-ego soundcloud.com/wekatek, answered the call.The results are stunning: Shankara NZ all deep and heavy; Deep Fried Dub on a d'n'b tip; Paddy Free chilled and immersive; Weka Tek stomping to the dancefloor; Misled Convoy spacious and reductive."Having remixed both Pitch Black and Deep Fried Dub in the past, it's great to finally be able to have Paddy, Mike and Ben, and now Shankara NZ and Weka Tek, delve into their sound bags and decode five SUBSET remixes, warping the dub in a New Zealand style".To celebrate the release, SUBSET will be playing at EarthBeat Festival in Aoteraoa, March 21-24.
For the second installment in his remix series, soundcloud.com/subsetdubs looked to his native Aotearoa where soundcloud.com/paddyfree, soundcloud.com/misledconvoy (Mike from soundcloud.com/pitchblacknz), soundcloud.com/deepfrieddubband and soundcloud.com/shankaranewzealand, plus the latter's tech alter-ego soundcloud.com/wekatek, answered the call.The results are stunning: Shankara NZ all deep and heavy; Deep Fried Dub on a d'n'b tip; Paddy Free chilled and immersive; Weka Tek stomping to the dancefloor; Misled Convoy spacious and reductive."Having remixed both Pitch Black and Deep Fried Dub in the past, it's great to finally be able to have Paddy, Mike and Ben, and now Shankara NZ and Weka Tek, delve into their sound bags and decode five SUBSET remixes, warping the dub in a New Zealand style".To celebrate the release, SUBSET will be playing at EarthBeat Festival in Aoteraoa, March 21-24.
soundcloud.com/mcthfg's Holocene EP features three tracks for the forthcoming Anthropocene. The Great Acceleration is centred on the speed at which humans have brought change to our globe - both good and bad - and how we will need to deal with what we have created and lost. The Way We Became was inspired by the lyrics of the song "The Last Trumpet" by Lyrics Born & Lateef: "The way that we became what we became..."From The Beginning deals with how humans see themselves, and what mcthfg feels is how we need to see ourselves - not as races, genders, or people from certain nations, but as humans, who are a part of the universe, not the masters of it. "The Holocene is over... the garden of Eden is no more."
soundcloud.com/mcthfg's Holocene EP features three tracks for the forthcoming Anthropocene. The Great Acceleration is centred on the speed at which humans have brought change to our globe - both good and bad - and how we will need to deal with what we have created and lost. The Way We Became was inspired by the lyrics of the song "The Last Trumpet" by Lyrics Born & Lateef: "The way that we became what we became..."From The Beginning deals with how humans see themselves, and what mcthfg feels is how we need to see ourselves - not as races, genders, or people from certain nations, but as humans, who are a part of the universe, not the masters of it. "The Holocene is over... the garden of Eden is no more."
soundcloud.com/mcthfg's Holocene EP features three tracks for the forthcoming Anthropocene. The Great Acceleration is centred on the speed at which humans have brought change to our globe - both good and bad - and how we will need to deal with what we have created and lost. The Way We Became was inspired by the lyrics of the song "The Last Trumpet" by Lyrics Born & Lateef: "The way that we became what we became..."From The Beginning deals with how humans see themselves, and what mcthfg feels is how we need to see ourselves - not as races, genders, or people from certain nations, but as humans, who are a part of the universe, not the masters of it. "The Holocene is over... the garden of Eden is no more."
Step in to the New Year with a spring in your stride and bass in your face as soundcloud.com/tormaindub revisits Ether from his Solve et Coagula album, adding fire to the original and lyrics, courtesy of Jah My-T, to the Alchemy versions.Ether is taken from Solve et Coagula, which focused on alchemy and transformation, with the elements presented in pairs. Downbeat dubs morph into uptempo steppers, all crafted with the unique blend of roots and psychedelia that are the hallmarks of Mexico-based Tor.Ma in Dub’s production style.
Step in to the New Year with a spring in your stride and bass in your face as soundcloud.com/tormaindub revisits Ether from his Solve et Coagula album, adding fire to the original and lyrics, courtesy of Jah My-T, to the Alchemy versions.Ether is taken from Solve et Coagula, which focused on alchemy and transformation, with the elements presented in pairs. Downbeat dubs morph into uptempo steppers, all crafted with the unique blend of roots and psychedelia that are the hallmarks of Mexico-based Tor.Ma in Dub’s production style.
Step in to the New Year with a spring in your stride and bass in your face as soundcloud.com/tormaindub revisits Ether from his Solve et Coagula album, adding fire to the original and lyrics, courtesy of Jah My-T, to the Alchemy versions.Ether is taken from Solve et Coagula, which focused on alchemy and transformation, with the elements presented in pairs. Downbeat dubs morph into uptempo steppers, all crafted with the unique blend of roots and psychedelia that are the hallmarks of Mexico-based Tor.Ma in Dub’s production style.
soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband team up to deliver Crown, a deep meditation on self-doubt and musical redemption.The release is the first studio collaboration from longtime friends Sam Cumming (Italiks) and Ben Dudding (Deep Fried Dub), with the former providing the rhythm and vocals, and the latter on mixing and melodica duties.With introspective lyrics born in the depths of a Fiordland forest, Crown considers the challenge of facing your inner demons and dealing with insecurity, ably assisted by the healing power of music. The result is a heavy roots cut that will soothe your soul while rattling your ribcage.
soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband team up to deliver Crown, a deep meditation on self-doubt and musical redemption.The release is the first studio collaboration from longtime friends Sam Cumming (Italiks) and Ben Dudding (Deep Fried Dub), with the former providing the rhythm and vocals, and the latter on mixing and melodica duties.With introspective lyrics born in the depths of a Fiordland forest, Crown considers the challenge of facing your inner demons and dealing with insecurity, ably assisted by the healing power of music. The result is a heavy roots cut that will soothe your soul while rattling your ribcage.
Dub maestro soundcloud.com/gaudi drops a new version of ‘Boundary', his collaborative track with soundcloud.com/dreadzone-official and soundcloud.com/earl16.The original was first released on 2022’s 'Dreadzone presents Dubwiser Vol.2' collection, and featured the soulful voice of Earl 16 atop a laidback groove built by Gaudi and soundcloud.com/gregdread.Earlier this year, with a summer ahead full with festival shows, Gaudi decided to give the tune a face-lift, adding a sexy dub-tech flavour to amplify the track’s positive heart and give it more of a dancefloor focus.The resultant version went down a storm at Glastonbury, Rototom Sunsplash and other festivals across Europe, and is now available for your listening pleasure.
The Brisbane bass massive have risen to the challenge of remixing soundcloud.com/subsetdubs with the Recoded EP seamlessly sliding from squelchy subs and downtempo roots to dub techno.Stepping up on remix duties are soundcloud.com/primary_colours_music' soundcloud.com/echoinspectors, Golden Orb's soundcloud.com/integer-dub and a trio of Kingfisha members: soundcloud.com/drewidub, soundcloud.com/nightjah and Echo Dex. They bring their formidable wealth of bass knowledge to SUBSET's hefty catalogue, tackling tracks from EPs released over the last seven years.Drew Id has supercharged "Space Re-Echoed"s shuffle with a gnarly bass, while Nightjah has given the the lilting "Dub Spectrometry" a deep and spacious treatment. Integer (known in D'n'B circles as Operon) locks up "Dub Cell" in a gritty sub-driven groove, Echo Dex drops horns and fruity flavours on the spaceyness of "The Astrogator", while Echo Inspectors double down on "Decoded"'s deep-tech vibes.Recoded is the first collection of SUBSET remixes to be released, and, having been a prolific remixer himself, it's time for him to be on the receiving end of musical reinvention."Recoded's rich sonic tapestry was created by an exceptional roster of local remixers and remixes, bringing together many forms and flavours of dub, and is a release I'm proud to have out there rattling sound systems' bass bins".With its captivating fusion of genres and the unmistakable imprint of Brisbane's bass culture, "Recoded" represents the flourishing state of the city's music scene.
New Zealand-based musician and producer Michael Hodgson is back as soundcloud.com/misledconvoy with the third installment in his Translations series, a kaleidoscope of remixes that defy easy categorisation. Hodgson's deft touch has transformed tracks by left coast legend soundcloud.com/Bluetech, dubmeister soundcloud.com/SUBSETdubs, soundcloud.com/disasteradio's side-hustle Eyeliner, David Asher’s new Dabtronic project, musical renegades 3Head, soundcloud.com/echochambersound’s LQ, Budapest-based soundcloud.com/OhmikRon81 and the enigmatic Xqui.
Hodgson, also known for his work as one half of soundcloud.com/pitchblacknz, brings his prolific and diverse production styles to this latest release, taking each track and infusing it with his unique sonic palette to produce an entirely new listening experience, twisting the familiar into something strange and wonderful. The album showcases a range of genres, from breakbeats to bass music, dub techno to industrial ambience, all seamlessly interwoven with an array of dub effects, delay and reverb.
Translations III’s veritable treasure trove of sonic experimentation is sure to delight fans of the weird and wonderful, the deep and the dubby.
Blurring the boundaries between dub and bass music, for reasons long forgotten, @soundcloud.com/tomcosm's squelchtastic remix of @soundcloud.com/pitchblacknz's Sonic Colonic was never properly released back in the day, an oversight that came to light recently thanks to @soundcloud.com/Globular's Select Cuts #2 compilation.
As the track sounds as great now as it did 14 years ago, we're happy to finally address the omission on the eve of Pitch Black's European tour.
07/07 Ostroda Reggae Festival, Poland 08/07 Give! Festival, UK 09/07 Noisily Festival, UK 13/07 Colours, London 14/07 The Jam Jar, Bristol 15/07 Morgans, Manchester 16/07 Beatherder Festival, UK 21/07 Mephisto, Koblenz 23/07 Seasplash Festival, Croatia 27/07 Urban Spree, Berlin 29/07 Loop, Wien 31/07 Ozora Festival, Hungary 04/08 Ozora Festival, Hungary
Info and tickets > http://www.songkick.com/artists/358829-pitch-black
For the second in our Select Cuts series, we asked soundcloud.com/globular to choose 10 tracks from our back catalogue.This is what he said:"The process of picking my top 10 tunes from Dubmission's incredible back catalogue very quickly brought home just how much I owe this label and all the artists it has supported and curated over the years. Each of these tracks means a huge amount to me and has heavily influenced the direction of my own musical endeavours: the pure sub and mad stereo snare on soundcloud.com/tomcosm's soundcloud.com/pitchblacknz remix was like nothing I'd heard at the time; Smoke Signals is where I discovered soundcloud.com/akashaexperience (and then soundcloud.com/quanta-uk) and I'll never forget hearing their unique take on techy squelching subby dub for the first time. soundcloud.com/internationalobserver came much later for me, but it was love at first listen, moving quickly on to serious obsession. Pitch Black, soundcloud.com/simonposford (Walter Ego..), soundcloud.com/bombayduborchestra.. the stuff of legends. Huge thanks to Dubmission for reaching out. Loadsa love. I hope you enjoy the selection!"
For the second in our Select Cuts series, we asked soundcloud.com/globular to choose 10 tracks from our back catalogue.This is what he said:"The process of picking my top 10 tunes from Dubmission's incredible back catalogue very quickly brought home just how much I owe this label and all the artists it has supported and curated over the years. Each of these tracks means a huge amount to me and has heavily influenced the direction of my own musical endeavours: the pure sub and mad stereo snare on soundcloud.com/tomcosm's soundcloud.com/pitchblacknz remix was like nothing I'd heard at the time; Smoke Signals is where I discovered soundcloud.com/akashaexperience (and then soundcloud.com/quanta-uk) and I'll never forget hearing their unique take on techy squelching subby dub for the first time. soundcloud.com/internationalobserver came much later for me, but it was love at first listen, moving quickly on to serious obsession. Pitch Black, soundcloud.com/simonposford (Walter Ego..), soundcloud.com/bombayduborchestra.. the stuff of legends. Huge thanks to Dubmission for reaching out. Loadsa love. I hope you enjoy the selection!"
The bass-quaking Terra and fierce flipside Terra Dub drop on 7” this May 5th.Terra’s pulsating bassline is complemented by sparse tribal percussion and disembodied vocals, creating a grounded and meditative vibe.Terra Dub is straighter and heavier, with a punchy bass and a relentless steppers rhythm, guaranteed to lively up the dancefloor.Both tracks are taken from the Solve et Coagula album, which focused on alchemy and transformation, with the elements presented in pairs. Downbeat dubs morph into uptempo steppers, all crafted with the unique blend of roots and psychedelia that are the hallmarks of the Mexico-based soundcloud.com/tormaindub’s production style.
Pitch Black’s breakthrough album is finally pressed on vinyl for the first time.Ape to Angel took the momentum of the preceding albums to new levels, with the sound becoming fuller and the bass more driving. The duo tweaked the sounds of club culture around the dub heart of the album, blending sinuous bass lines, simmering rhythms and echoing acidic synths to electrifying effect. They also wrote their first fully vocal song, “Elements Turn”, with veteran singer Sandy Mill, and sampled Estonian satellite transmissions for “Lost in Translation”.Originally unleashed in New Zealand in October 2004 by Kog Transmissions, the album’s infectious rhythms weaved their way round the world, finding fans from Copenhagen to Cape Town, and securing release in North America by the esteemed Waveform label, Europe by Dubmission and Japan by the cult Wakyo imprint.Critically acclaimed, with DJ Mag awarding it five stars, the release of Ape to Angel led to a 42 date tour round the world which included their North American debut. Tracks from the album were also picked up for use in CSI: Miami and HBO¹s True Blood, the latter featuring “Freefall" in a vampire orgy scene - perfect.To create the double-vinyl release, Angus McNaughton re-mastered the original audio files, and Hamish Macaulay adapted the source artwork by Shane Cotton and created a brand new collage for the centrefold using pictures taken at the time. There is also an additional track, Protect The Grain, which was originally only available on the limited edition Flex EP, recorded just before the Ape sessions began.
Straight to the head of all bass warriors and sound system disciples, soundcloud.com/gaudi drops a killer new cut with two versions, both designed for moving and grooving! Shakatak version one is a militant stepper aimed straight at the dancefloor, with version two being all about half-tempo dub. With one foot in the past and one in the future, Gaudi's old school analogue attitude combines with his new school electronic approach to make for one hell of a bass heavy sonic ride!
Solve et Coagula, the immersive new album from soundcloud.com/tormaindub, focuses on alchemy and transformation. Inspired by duality, he presents the elements in pairs, with downbeat dubs morphing into uptempo steppers. All the tunes are crafted with the unique blend of roots and psychedelia that are the hallmarks of Tor.Ma’s production style.
We asked our artists to choose their top ten tracks from our archive.DOWNLOADhttps://selectcuts.bandcamp.com/album/deep-fried-dubSTREAMhttps://open.spotify.com/playlist/4nAXKRruGPedF7QUijQPzrVIEWhttps://youtube.com/playlist?list=PLfg75Dy-SKYdmGJ-tOlfdZWQSKSOLJYEK
SUBSET’s new EP "Call of the Whipbird" builds on his previous fusions of electronica and live instrumentation to great effect.The enchanting opener "Whipbird Dub" features an Australian Eastern Whipbird recorded in misty parkland in Maleny, Queensland, and gave rise to the EP’s title. It is followed by the oft psychedelic "Journey to Tayrona", which relies heavily on live guitar and bass.The atmospheric "Aximal" was the first track completed for the release, and its interplay of effected and mangled synth lines creates a spacious and syrupy vibe, like dancing in a cave full of bubble tea.Originally started in May 2021, the aptly named "Off the Deep End" was a late discovery in a trove of incomplete tracks, and was the last tune completed for the EP. Finally, "Step Function" sees a return to a more straight-forward dub techno feel with flicks and flecks of warped and effected synths creating texture atop a driving kick drum and bassline.Marking a break from SUBSET’s usual photograph-based artwork, the cover was generated by directing a machine-learning algorithm to hint at the illusive nature of the Eastern Whipbird.
For the final instalment in our compilation reissue series, we’re proud to present the 2022 edition of More Bass than Space.We were unable to track all the artists down, and sadly were unable to license the one track we most wanted to re-present, but are glad to make eighty percent of the original collection available.This is what we said at the time:“Three years on from the cult classic, Dubbed on Planet Skunk, the Dubmission crew return at last, taking the bass all over the place with their usual blend of styles, sounds and cultures. More Bass than Space finds an array of artists from many different genres further exploring the boundaries of dub.Some would question whether it could be called dub at all. For Dubmission, dub is the ruler, the guide, the inspiration - dub's arrangements, techniques and basslines can all be heard here, in one way or another. This is music under the influence of dub, not just some digital emulation.Dubmission's blend of blissful beats, twisted roots and psychedelic steppers makes More Bass than Space a welcome addition to any music lovers collection - after all, we all need more serious basslines in our lives.”
With the release of Igni, soundcloud.com/tormaindub drops the first round from his upcoming new album Solve et Coagula, due out Spring 2023. The single features a pair of dubwise cuts, with the title version leaning to the sofa, and the heavyweight Dub version aimed at the dancefloor.
With the release of Igni, soundcloud.com/tormaindub drops the first round from his upcoming new album Solve et Coagula, due out Spring 2023. The single features a pair of dubwise cuts, with the title version leaning to the sofa, and the heavyweight Dub version aimed at the dancefloor.
soundcloud.com/mcthfg's new release To Be Remade We Must Decay features five tracks inspired by the natural cycle and a line from Yeats' "The Second Coming": "Things fall apart; the centre cannot hold".
As mcthfg see it: "We are temporary, we are mortal, our molecules will live until the end of the universe, but we will not. That being said, for me this is a positive thing. We continue, not as people, but as atoms, ideas, inspiration, and hope."
soundcloud.com/mcthfg's new release To Be Remade We Must Decay features five tracks inspired by the natural cycle and a line from Yeats' "The Second Coming": "Things fall apart; the centre cannot hold".
As mcthfg see it: "We are temporary, we are mortal, our molecules will live until the end of the universe, but we will not. That being said, for me this is a positive thing. We continue, not as people, but as atoms, ideas, inspiration, and hope."
soundcloud.com/mcthfg's new release To Be Remade We Must Decay features five tracks inspired by the natural cycle and a line from Yeats' "The Second Coming": "Things fall apart; the centre cannot hold".
As mcthfg see it: "We are temporary, we are mortal, our molecules will live until the end of the universe, but we will not. That being said, for me this is a positive thing. We continue, not as people, but as atoms, ideas, inspiration, and hope."
soundcloud.com/mcthfg's new release To Be Remade We Must Decay features five tracks inspired by the natural cycle and a line from Yeats' "The Second Coming": "Things fall apart; the centre cannot hold".
As mcthfg see it: "We are temporary, we are mortal, our molecules will live until the end of the universe, but we will not. That being said, for me this is a positive thing. We continue, not as people, but as atoms, ideas, inspiration, and hope."
soundcloud.com/mcthfg's new release To Be Remade We Must Decay features five tracks inspired by the natural cycle and a line from Yeats' "The Second Coming": "Things fall apart; the centre cannot hold".
As mcthfg see it: "We are temporary, we are mortal, our molecules will live until the end of the universe, but we will not. That being said, for me this is a positive thing. We continue, not as people, but as atoms, ideas, inspiration, and hope."
Sometime in the early 90’s Mike from Pitch Black worked on a live show by Christchurch reggae band Ras Bonte. Their last song of the night was a cover of Exodus, and Mike had one of those ephemeral moments where the live desk dub mix and the band locked in sync, and the sound just took off.
For years Mike and Paddy have talked about trying to re-create that moment, and have now risen to the challenge. Featuring Sandy Mill on vocals and David Fullwood from Ital Horns on brass, Pitch Black are delighted to present a 21st century version of a classic tune.
In the backs of their minds during the process were the climate migrations we are seeing across the planet and how they echo the original Exodus, and they wanted their new version to reflect this global issue.
Sometime in the early 90’s Mike from Pitch Black worked on a live show by Christchurch reggae band Ras Bonte. Their last song of the night was a cover of Exodus, and Mike had one of those ephemeral moments where the live desk dub mix and the band locked in sync, and the sound just took off.
For years Mike and Paddy have talked about trying to re-create that moment, and have now risen to the challenge. Featuring Sandy Mill on vocals and David Fullwood from Ital Horns on brass, Pitch Black are delighted to present a 21st century version of a classic tune.
In the backs of their minds during the process were the climate migrations we are seeing across the planet and how they echo the original Exodus, and they wanted their new version to reflect this global issue.
Having recently re-connected with some of the artists featured on our first releases, we’re now in a position to re-release a 2022 version of Dubbed on Planet Skunk, featuring 8 out of 10 of the original tracks.
This is an edited version of what we said at the time: the dubmission crew return with another compilation, which rolls its way through dubs drawn from across the musical spectrum. In the dub corner, we have modern roots champion, Alpha & Omega; acid dub pioneers, Zion Train; and bass technicians, V-Neck. In the techno corner, we have trance pioneer Doof; sonic terrorists, Quirk; and the eclectic lunacy of Qualia. From the club corner, the exceptionally cunning Lone Stuntman, and from the punk corner, growling mad Stratfordians, Hedonastik.
As with Mashing Up Creation, we managed to get some pretty amazing press feedback: our “red-eyed trawl through modern computer-based emulations of the original Jamaican blueprint” (DJ magazine) featured “ten Tracks of pure hedonastic pleasure” (Kiss FM) “where the bass is mightier than the keyboard and the FX are awesome” (Music Week). While we liked Muzik’s description, “low-end frequency modulations for the post-club comedown”, we loved Weed World’s: they hailed Dubbed on Planet Skunk as “a stoned selection guaranteed to enhance your high”.
Having recently re-connected with some of the artists featured on our first releases, we’re now in a position to re-release a 2022 version of Dubbed on Planet Skunk, featuring 8 out of 10 of the original tracks.
This is an edited version of what we said at the time: the dubmission crew return with another compilation, which rolls its way through dubs drawn from across the musical spectrum. In the dub corner, we have modern roots champion, Alpha & Omega; acid dub pioneers, Zion Train; and bass technicians, V-Neck. In the techno corner, we have trance pioneer Doof; sonic terrorists, Quirk; and the eclectic lunacy of Qualia. From the club corner, the exceptionally cunning Lone Stuntman, and from the punk corner, growling mad Stratfordians, Hedonastik.
As with Mashing Up Creation, we managed to get some pretty amazing press feedback: our “red-eyed trawl through modern computer-based emulations of the original Jamaican blueprint” (DJ magazine) featured “ten Tracks of pure hedonastic pleasure” (Kiss FM) “where the bass is mightier than the keyboard and the FX are awesome” (Music Week). While we liked Muzik’s description, “low-end frequency modulations for the post-club comedown”, we loved Weed World’s: they hailed Dubbed on Planet Skunk as “a stoned selection guaranteed to enhance your high”.
Having recently re-connected with some of the artists featured on our first releases, we’re now in a position to re-release a 2022 version of Dubbed on Planet Skunk, featuring 8 out of 10 of the original tracks.
This is an edited version of what we said at the time: the dubmission crew return with another compilation, which rolls its way through dubs drawn from across the musical spectrum. In the dub corner, we have modern roots champion, Alpha & Omega; acid dub pioneers, Zion Train; and bass technicians, V-Neck. In the techno corner, we have trance pioneer Doof; sonic terrorists, Quirk; and the eclectic lunacy of Qualia. From the club corner, the exceptionally cunning Lone Stuntman, and from the punk corner, growling mad Stratfordians, Hedonastik.
As with Mashing Up Creation, we managed to get some pretty amazing press feedback: our “red-eyed trawl through modern computer-based emulations of the original Jamaican blueprint” (DJ magazine) featured “ten Tracks of pure hedonastic pleasure” (Kiss FM) “where the bass is mightier than the keyboard and the FX are awesome” (Music Week). While we liked Muzik’s description, “low-end frequency modulations for the post-club comedown”, we loved Weed World’s: they hailed Dubbed on Planet Skunk as “a stoned selection guaranteed to enhance your high”.
Having recently re-connected with some of the artists featured on our first releases, we’re now in a position to re-release a 2022 version of Dubbed on Planet Skunk, featuring 8 out of 10 of the original tracks.
This is an edited version of what we said at the time: the dubmission crew return with another compilation, which rolls its way through dubs drawn from across the musical spectrum. In the dub corner, we have modern roots champion, Alpha & Omega; acid dub pioneers, Zion Train; and bass technicians, V-Neck. In the techno corner, we have trance pioneer Doof; sonic terrorists, Quirk; and the eclectic lunacy of Qualia. From the club corner, the exceptionally cunning Lone Stuntman, and from the punk corner, growling mad Stratfordians, Hedonastik.
As with Mashing Up Creation, we managed to get some pretty amazing press feedback: our “red-eyed trawl through modern computer-based emulations of the original Jamaican blueprint” (DJ magazine) featured “ten Tracks of pure hedonastic pleasure” (Kiss FM) “where the bass is mightier than the keyboard and the FX are awesome” (Music Week). While we liked Muzik’s description, “low-end frequency modulations for the post-club comedown”, we loved Weed World’s: they hailed Dubbed on Planet Skunk as “a stoned selection guaranteed to enhance your high”.
Having recently re-connected with some of the artists featured on our first releases, we’re now in a position to re-release a 2022 version of Dubbed on Planet Skunk, featuring 8 out of 10 of the original tracks.
This is an edited version of what we said at the time: the dubmission crew return with another compilation, which rolls its way through dubs drawn from across the musical spectrum. In the dub corner, we have modern roots champion, Alpha & Omega; acid dub pioneers, Zion Train; and bass technicians, V-Neck. In the techno corner, we have trance pioneer Doof; sonic terrorists, Quirk; and the eclectic lunacy of Qualia. From the club corner, the exceptionally cunning Lone Stuntman, and from the punk corner, growling mad Stratfordians, Hedonastik.
As with Mashing Up Creation, we managed to get some pretty amazing press feedback: our “red-eyed trawl through modern computer-based emulations of the original Jamaican blueprint” (DJ magazine) featured “ten Tracks of pure hedonastic pleasure” (Kiss FM) “where the bass is mightier than the keyboard and the FX are awesome” (Music Week). While we liked Muzik’s description, “low-end frequency modulations for the post-club comedown”, we loved Weed World’s: they hailed Dubbed on Planet Skunk as “a stoned selection guaranteed to enhance your high”.
Having recently re-connected with some of the artists featured on our first releases, we’re now in a position to re-release a 2022 version of Dubbed on Planet Skunk, featuring 8 out of 10 of the original tracks.
This is an edited version of what we said at the time: the dubmission crew return with another compilation, which rolls its way through dubs drawn from across the musical spectrum. In the dub corner, we have modern roots champion, Alpha & Omega; acid dub pioneers, Zion Train; and bass technicians, V-Neck. In the techno corner, we have trance pioneer Doof; sonic terrorists, Quirk; and the eclectic lunacy of Qualia. From the club corner, the exceptionally cunning Lone Stuntman, and from the punk corner, growling mad Stratfordians, Hedonastik.
As with Mashing Up Creation, we managed to get some pretty amazing press feedback: our “red-eyed trawl through modern computer-based emulations of the original Jamaican blueprint” (DJ magazine) featured “ten Tracks of pure hedonastic pleasure” (Kiss FM) “where the bass is mightier than the keyboard and the FX are awesome” (Music Week). While we liked Muzik’s description, “low-end frequency modulations for the post-club comedown”, we loved Weed World’s: they hailed Dubbed on Planet Skunk as “a stoned selection guaranteed to enhance your high”.
Having recently re-connected with some of the artists featured on our first releases, we’re now in a position to re-release a 2022 version of Dubbed on Planet Skunk, featuring 8 out of 10 of the original tracks.
This is an edited version of what we said at the time: the dubmission crew return with another compilation, which rolls its way through dubs drawn from across the musical spectrum. In the dub corner, we have modern roots champion, Alpha & Omega; acid dub pioneers, Zion Train; and bass technicians, V-Neck. In the techno corner, we have trance pioneer Doof; sonic terrorists, Quirk; and the eclectic lunacy of Qualia. From the club corner, the exceptionally cunning Lone Stuntman, and from the punk corner, growling mad Stratfordians, Hedonastik.
As with Mashing Up Creation, we managed to get some pretty amazing press feedback: our “red-eyed trawl through modern computer-based emulations of the original Jamaican blueprint” (DJ magazine) featured “ten Tracks of pure hedonastic pleasure” (Kiss FM) “where the bass is mightier than the keyboard and the FX are awesome” (Music Week). While we liked Muzik’s description, “low-end frequency modulations for the post-club comedown”, we loved Weed World’s: they hailed Dubbed on Planet Skunk as “a stoned selection guaranteed to enhance your high”.
Having recently re-connected with some of the artists featured on our first releases, we’re now in a position to re-release a 2022 version of Dubbed on Planet Skunk, featuring 8 out of 10 of the original tracks.
This is an edited version of what we said at the time: the dubmission crew return with another compilation, which rolls its way through dubs drawn from across the musical spectrum. In the dub corner, we have modern roots champion, Alpha & Omega; acid dub pioneers, Zion Train; and bass technicians, V-Neck. In the techno corner, we have trance pioneer Doof; sonic terrorists, Quirk; and the eclectic lunacy of Qualia. From the club corner, the exceptionally cunning Lone Stuntman, and from the punk corner, growling mad Stratfordians, Hedonastik.
As with Mashing Up Creation, we managed to get some pretty amazing press feedback: our “red-eyed trawl through modern computer-based emulations of the original Jamaican blueprint” (DJ magazine) featured “ten Tracks of pure hedonastic pleasure” (Kiss FM) “where the bass is mightier than the keyboard and the FX are awesome” (Music Week). While we liked Muzik’s description, “low-end frequency modulations for the post-club comedown”, we loved Weed World’s: they hailed Dubbed on Planet Skunk as “a stoned selection guaranteed to enhance your high”.
Having recently re-connected with some of the artists featured on our first ever release, the compilation Mashing Up Creation, which came out on CD in January 1997 (preceded by a 12” sampler in late 1996), we’re now in a position to re-release a 2022 versions of the collection, featuring 8 out of 10 of the original tracks.
As we said at the time, the compilation is a culmination of a variety of artists from trance, techno, jazz, trip-hop and drum‘n’bass coming together. Opening with 100th Monkey’s bittersweet psycho-tropical Backwater Dub and Adephli’s far-out jazz homage Jah Weybridge, the album twists through to the cosmic fractals of Doof. Add the lazy haze of 23’s multi-cultural melange to Etherealites’ traditional roots style, and Mashing Up Creation covers all the avenues that dub has evolved into since the blessed days of Lee Perry, King Tubby and the other grand masters of dub….
Despite being a very loose outfit (it did take us over a year to put together one release), we managed to get some amazing press. Mashing Up Creation was described as “music for the millennium” (DJ Magazine), “an absolute must for chillout collectors” (Essence Magazine) and “un rayon de soleil” (Tr@nsdub@lity), while The Sunday Times (really) hailed it as “a pleasure to have…growling and throbbing away in your life”. Our favourite review, however, and the highest comparison we could ever wish for, was in Sleaze Nation, who accused us of “carrying on where original dub hijackers The Orb left off”.
Obviously it’s all been downhill since then, but we hope you enjoy the tunes as much as we still do.
A sublime selection of dancefloor beats and downtempo dubs from around the globe, Mixes + Mavericks features seven remixes by Pitch Black, two live tracks that couldn’t be more different in nature or tempo, one seriously unorthodox situation (an unauthorised remix of a remix) and a track in between states, all highlighting the breadth of the duo’s sonic palette.
Whereas their previous Rarities + Remixes collection was predominantly rooted in New Zealand, Mixes + Mavericks is undoubtedly a more international affair, with all the remixed artists hailing from the northern hemisphere. Many of the connections are the result of the duo’s touring and festival appearances around the globe: they first met Gaudi at a gig in Japan, Animat and Nick Woolfson (Sounds from the Ground) at The Big Chill festival in the UK, while downtemple duo Desert Dwellers were encountered in the Californian underground.
Other connections were more straightforward: Brighton-based Ink Project (run by Kiwi Jez Lloyd) approached them to remix “The End” and Mexico’s Sudden Reverb was introduced by label-mates Deep Fried Dub. Meanwhile Mike bumped into Radioactive Man’s Keith Tenniswood (of Two Lone Swordsmen fame) while he was getting a 7” record cut.
Uber-producer/Killing Joke bass player Youth features in two very different ways. First up is Pitch Black’s pulsating dub mix of his collaboration with Italian producer Gaudi, from their Astronaut Alchemists album. Then there is his unsolicited remix of epsilon-blue’s 1999 remix of Speech, over which he added bass, beats and blessings. This mash-up lurked for years in the archive under the title of Helmsdub, but only as a corrupted mp3 file. Thankfully a little detective work discovered that, much to everyone’s surprise, it had been released as Speechless (Big Circle Flat Pain Remix) on a 2004 CD compilation. A copy was tracked down, the tune was carefully re-mastered and then correctly named.
Mixes + Mavericks also features two very different live offerings: Notting Pill is a dose of atmospheric moodiness from a rare ambient set at Notting Hill Arts Club in London, held to publicise the upcoming showcase of New Zealand music at Fabric in 2003. The banging G202, meanwhile, was captured by Andre Upston at Rippon Festival in Wanaka, NZ at the turn of the millennium, and later broadcast on Radio New Zealand. It was a track that, despite being a staple of the live show for many years, was never finished, and following software updates and data dumps, the only version that exists is this live recording.
It's a Future Dub is a similarly embryonic track – eventually it became It’s the Future Knocking, from the Filtered Senses album, but here it’s a fascinating hybrid caught midway between creation and completion. Many of the elements of its future self are present, but there is a whole lot more going on, making this a fascinating signpost on a possible road-not-taken.
Beautifully accompanied by Tim Prebble's Cyanotype images, Mixes + Mavericks is a showcase of Pitch Black’s sonic diversity as remixers and maintains the trademark production aesthetic that has won them thousands of fans and filled dancefloors around the globe.
A sublime selection of dancefloor beats and downtempo dubs from around the globe, Mixes + Mavericks features seven remixes by Pitch Black, two live tracks that couldn’t be more different in nature or tempo, one seriously unorthodox situation (an unauthorised remix of a remix) and a track in between states, all highlighting the breadth of the duo’s sonic palette.
Whereas their previous Rarities + Remixes collection was predominantly rooted in New Zealand, Mixes + Mavericks is undoubtedly a more international affair, with all the remixed artists hailing from the northern hemisphere. Many of the connections are the result of the duo’s touring and festival appearances around the globe: they first met Gaudi at a gig in Japan, Animat and Nick Woolfson (Sounds from the Ground) at The Big Chill festival in the UK, while downtemple duo Desert Dwellers were encountered in the Californian underground.
Other connections were more straightforward: Brighton-based Ink Project (run by Kiwi Jez Lloyd) approached them to remix “The End” and Mexico’s Sudden Reverb was introduced by label-mates Deep Fried Dub. Meanwhile Mike bumped into Radioactive Man’s Keith Tenniswood (of Two Lone Swordsmen fame) while he was getting a 7” record cut.
Uber-producer/Killing Joke bass player Youth features in two very different ways. First up is Pitch Black’s pulsating dub mix of his collaboration with Italian producer Gaudi, from their Astronaut Alchemists album. Then there is his unsolicited remix of epsilon-blue’s 1999 remix of Speech, over which he added bass, beats and blessings. This mash-up lurked for years in the archive under the title of Helmsdub, but only as a corrupted mp3 file. Thankfully a little detective work discovered that, much to everyone’s surprise, it had been released as Speechless (Big Circle Flat Pain Remix) on a 2004 CD compilation. A copy was tracked down, the tune was carefully re-mastered and then correctly named.
Mixes + Mavericks also features two very different live offerings: Notting Pill is a dose of atmospheric moodiness from a rare ambient set at Notting Hill Arts Club in London, held to publicise the upcoming showcase of New Zealand music at Fabric in 2003. The banging G202, meanwhile, was captured by Andre Upston at Rippon Festival in Wanaka, NZ at the turn of the millennium, and later broadcast on Radio New Zealand. It was a track that, despite being a staple of the live show for many years, was never finished, and following software updates and data dumps, the only version that exists is this live recording.
It's a Future Dub is a similarly embryonic track – eventually it became It’s the Future Knocking, from the Filtered Senses album, but here it’s a fascinating hybrid caught midway between creation and completion. Many of the elements of its future self are present, but there is a whole lot more going on, making this a fascinating signpost on a possible road-not-taken.
Beautifully accompanied by Tim Prebble's Cyanotype images, Mixes + Mavericks is a showcase of Pitch Black’s sonic diversity as remixers and maintains the trademark production aesthetic that has won them thousands of fans and filled dancefloors around the globe.
A sublime selection of dancefloor beats and downtempo dubs from around the globe, Mixes + Mavericks features seven remixes by Pitch Black, two live tracks that couldn’t be more different in nature or tempo, one seriously unorthodox situation (an unauthorised remix of a remix) and a track in between states, all highlighting the breadth of the duo’s sonic palette.
Whereas their previous Rarities + Remixes collection was predominantly rooted in New Zealand, Mixes + Mavericks is undoubtedly a more international affair, with all the remixed artists hailing from the northern hemisphere. Many of the connections are the result of the duo’s touring and festival appearances around the globe: they first met Gaudi at a gig in Japan, Animat and Nick Woolfson (Sounds from the Ground) at The Big Chill festival in the UK, while downtemple duo Desert Dwellers were encountered in the Californian underground.
Other connections were more straightforward: Brighton-based Ink Project (run by Kiwi Jez Lloyd) approached them to remix “The End” and Mexico’s Sudden Reverb was introduced by label-mates Deep Fried Dub. Meanwhile Mike bumped into Radioactive Man’s Keith Tenniswood (of Two Lone Swordsmen fame) while he was getting a 7” record cut.
Uber-producer/Killing Joke bass player Youth features in two very different ways. First up is Pitch Black’s pulsating dub mix of his collaboration with Italian producer Gaudi, from their Astronaut Alchemists album. Then there is his unsolicited remix of epsilon-blue’s 1999 remix of Speech, over which he added bass, beats and blessings. This mash-up lurked for years in the archive under the title of Helmsdub, but only as a corrupted mp3 file. Thankfully a little detective work discovered that, much to everyone’s surprise, it had been released as Speechless (Big Circle Flat Pain Remix) on a 2004 CD compilation. A copy was tracked down, the tune was carefully re-mastered and then correctly named.
Mixes + Mavericks also features two very different live offerings: Notting Pill is a dose of atmospheric moodiness from a rare ambient set at Notting Hill Arts Club in London, held to publicise the upcoming showcase of New Zealand music at Fabric in 2003. The banging G202, meanwhile, was captured by Andre Upston at Rippon Festival in Wanaka, NZ at the turn of the millennium, and later broadcast on Radio New Zealand. It was a track that, despite being a staple of the live show for many years, was never finished, and following software updates and data dumps, the only version that exists is this live recording.
It's a Future Dub is a similarly embryonic track – eventually it became It’s the Future Knocking, from the Filtered Senses album, but here it’s a fascinating hybrid caught midway between creation and completion. Many of the elements of its future self are present, but there is a whole lot more going on, making this a fascinating signpost on a possible road-not-taken.
Beautifully accompanied by Tim Prebble's Cyanotype images, Mixes + Mavericks is a showcase of Pitch Black’s sonic diversity as remixers and maintains the trademark production aesthetic that has won them thousands of fans and filled dancefloors around the globe.
A sublime selection of dancefloor beats and downtempo dubs from around the globe, Mixes + Mavericks features seven remixes by Pitch Black, two live tracks that couldn’t be more different in nature or tempo, one seriously unorthodox situation (an unauthorised remix of a remix) and a track in between states, all highlighting the breadth of the duo’s sonic palette.
Whereas their previous Rarities + Remixes collection was predominantly rooted in New Zealand, Mixes + Mavericks is undoubtedly a more international affair, with all the remixed artists hailing from the northern hemisphere. Many of the connections are the result of the duo’s touring and festival appearances around the globe: they first met Gaudi at a gig in Japan, Animat and Nick Woolfson (Sounds from the Ground) at The Big Chill festival in the UK, while downtemple duo Desert Dwellers were encountered in the Californian underground.
Other connections were more straightforward: Brighton-based Ink Project (run by Kiwi Jez Lloyd) approached them to remix “The End” and Mexico’s Sudden Reverb was introduced by label-mates Deep Fried Dub. Meanwhile Mike bumped into Radioactive Man’s Keith Tenniswood (of Two Lone Swordsmen fame) while he was getting a 7” record cut.
Uber-producer/Killing Joke bass player Youth features in two very different ways. First up is Pitch Black’s pulsating dub mix of his collaboration with Italian producer Gaudi, from their Astronaut Alchemists album. Then there is his unsolicited remix of epsilon-blue’s 1999 remix of Speech, over which he added bass, beats and blessings. This mash-up lurked for years in the archive under the title of Helmsdub, but only as a corrupted mp3 file. Thankfully a little detective work discovered that, much to everyone’s surprise, it had been released as Speechless (Big Circle Flat Pain Remix) on a 2004 CD compilation. A copy was tracked down, the tune was carefully re-mastered and then correctly named.
Mixes + Mavericks also features two very different live offerings: Notting Pill is a dose of atmospheric moodiness from a rare ambient set at Notting Hill Arts Club in London, held to publicise the upcoming showcase of New Zealand music at Fabric in 2003. The banging G202, meanwhile, was captured by Andre Upston at Rippon Festival in Wanaka, NZ at the turn of the millennium, and later broadcast on Radio New Zealand. It was a track that, despite being a staple of the live show for many years, was never finished, and following software updates and data dumps, the only version that exists is this live recording.
It's a Future Dub is a similarly embryonic track – eventually it became It’s the Future Knocking, from the Filtered Senses album, but here it’s a fascinating hybrid caught midway between creation and completion. Many of the elements of its future self are present, but there is a whole lot more going on, making this a fascinating signpost on a possible road-not-taken.
Beautifully accompanied by Tim Prebble's Cyanotype images, Mixes + Mavericks is a showcase of Pitch Black’s sonic diversity as remixers and maintains the trademark production aesthetic that has won them thousands of fans and filled dancefloors around the globe.
A sublime selection of dancefloor beats and downtempo dubs from around the globe, Mixes + Mavericks features seven remixes by Pitch Black, two live tracks that couldn’t be more different in nature or tempo, one seriously unorthodox situation (an unauthorised remix of a remix) and a track in between states, all highlighting the breadth of the duo’s sonic palette.
Whereas their previous Rarities + Remixes collection was predominantly rooted in New Zealand, Mixes + Mavericks is undoubtedly a more international affair, with all the remixed artists hailing from the northern hemisphere. Many of the connections are the result of the duo’s touring and festival appearances around the globe: they first met Gaudi at a gig in Japan, Animat and Nick Woolfson (Sounds from the Ground) at The Big Chill festival in the UK, while downtemple duo Desert Dwellers were encountered in the Californian underground.
Other connections were more straightforward: Brighton-based Ink Project (run by Kiwi Jez Lloyd) approached them to remix “The End” and Mexico’s Sudden Reverb was introduced by label-mates Deep Fried Dub. Meanwhile Mike bumped into Radioactive Man’s Keith Tenniswood (of Two Lone Swordsmen fame) while he was getting a 7” record cut.
Uber-producer/Killing Joke bass player Youth features in two very different ways. First up is Pitch Black’s pulsating dub mix of his collaboration with Italian producer Gaudi, from their Astronaut Alchemists album. Then there is his unsolicited remix of epsilon-blue’s 1999 remix of Speech, over which he added bass, beats and blessings. This mash-up lurked for years in the archive under the title of Helmsdub, but only as a corrupted mp3 file. Thankfully a little detective work discovered that, much to everyone’s surprise, it had been released as Speechless (Big Circle Flat Pain Remix) on a 2004 CD compilation. A copy was tracked down, the tune was carefully re-mastered and then correctly named.
Mixes + Mavericks also features two very different live offerings: Notting Pill is a dose of atmospheric moodiness from a rare ambient set at Notting Hill Arts Club in London, held to publicise the upcoming showcase of New Zealand music at Fabric in 2003. The banging G202, meanwhile, was captured by Andre Upston at Rippon Festival in Wanaka, NZ at the turn of the millennium, and later broadcast on Radio New Zealand. It was a track that, despite being a staple of the live show for many years, was never finished, and following software updates and data dumps, the only version that exists is this live recording.
It's a Future Dub is a similarly embryonic track – eventually it became It’s the Future Knocking, from the Filtered Senses album, but here it’s a fascinating hybrid caught midway between creation and completion. Many of the elements of its future self are present, but there is a whole lot more going on, making this a fascinating signpost on a possible road-not-taken.
Beautifully accompanied by Tim Prebble's Cyanotype images, Mixes + Mavericks is a showcase of Pitch Black’s sonic diversity as remixers and maintains the trademark production aesthetic that has won them thousands of fans and filled dancefloors around the globe.
A sublime selection of dancefloor beats and downtempo dubs from around the globe, Mixes + Mavericks features seven remixes by Pitch Black, two live tracks that couldn’t be more different in nature or tempo, one seriously unorthodox situation (an unauthorised remix of a remix) and a track in between states, all highlighting the breadth of the duo’s sonic palette.
Whereas their previous Rarities + Remixes collection was predominantly rooted in New Zealand, Mixes + Mavericks is undoubtedly a more international affair, with all the remixed artists hailing from the northern hemisphere. Many of the connections are the result of the duo’s touring and festival appearances around the globe: they first met Gaudi at a gig in Japan, Animat and Nick Woolfson (Sounds from the Ground) at The Big Chill festival in the UK, while downtemple duo Desert Dwellers were encountered in the Californian underground.
Other connections were more straightforward: Brighton-based Ink Project (run by Kiwi Jez Lloyd) approached them to remix “The End” and Mexico’s Sudden Reverb was introduced by label-mates Deep Fried Dub. Meanwhile Mike bumped into Radioactive Man’s Keith Tenniswood (of Two Lone Swordsmen fame) while he was getting a 7” record cut.
Uber-producer/Killing Joke bass player Youth features in two very different ways. First up is Pitch Black’s pulsating dub mix of his collaboration with Italian producer Gaudi, from their Astronaut Alchemists album. Then there is his unsolicited remix of epsilon-blue’s 1999 remix of Speech, over which he added bass, beats and blessings. This mash-up lurked for years in the archive under the title of Helmsdub, but only as a corrupted mp3 file. Thankfully a little detective work discovered that, much to everyone’s surprise, it had been released as Speechless (Big Circle Flat Pain Remix) on a 2004 CD compilation. A copy was tracked down, the tune was carefully re-mastered and then correctly named.
Mixes + Mavericks also features two very different live offerings: Notting Pill is a dose of atmospheric moodiness from a rare ambient set at Notting Hill Arts Club in London, held to publicise the upcoming showcase of New Zealand music at Fabric in 2003. The banging G202, meanwhile, was captured by Andre Upston at Rippon Festival in Wanaka, NZ at the turn of the millennium, and later broadcast on Radio New Zealand. It was a track that, despite being a staple of the live show for many years, was never finished, and following software updates and data dumps, the only version that exists is this live recording.
It's a Future Dub is a similarly embryonic track – eventually it became It’s the Future Knocking, from the Filtered Senses album, but here it’s a fascinating hybrid caught midway between creation and completion. Many of the elements of its future self are present, but there is a whole lot more going on, making this a fascinating signpost on a possible road-not-taken.
Beautifully accompanied by Tim Prebble's Cyanotype images, Mixes + Mavericks is a showcase of Pitch Black’s sonic diversity as remixers and maintains the trademark production aesthetic that has won them thousands of fans and filled dancefloors around the globe.
A sublime selection of dancefloor beats and downtempo dubs from around the globe, Mixes + Mavericks features seven remixes by Pitch Black, two live tracks that couldn’t be more different in nature or tempo, one seriously unorthodox situation (an unauthorised remix of a remix) and a track in between states, all highlighting the breadth of the duo’s sonic palette.
Whereas their previous Rarities + Remixes collection was predominantly rooted in New Zealand, Mixes + Mavericks is undoubtedly a more international affair, with all the remixed artists hailing from the northern hemisphere. Many of the connections are the result of the duo’s touring and festival appearances around the globe: they first met Gaudi at a gig in Japan, Animat and Nick Woolfson (Sounds from the Ground) at The Big Chill festival in the UK, while downtemple duo Desert Dwellers were encountered in the Californian underground.
Other connections were more straightforward: Brighton-based Ink Project (run by Kiwi Jez Lloyd) approached them to remix “The End” and Mexico’s Sudden Reverb was introduced by label-mates Deep Fried Dub. Meanwhile Mike bumped into Radioactive Man’s Keith Tenniswood (of Two Lone Swordsmen fame) while he was getting a 7” record cut.
Uber-producer/Killing Joke bass player Youth features in two very different ways. First up is Pitch Black’s pulsating dub mix of his collaboration with Italian producer Gaudi, from their Astronaut Alchemists album. Then there is his unsolicited remix of epsilon-blue’s 1999 remix of Speech, over which he added bass, beats and blessings. This mash-up lurked for years in the archive under the title of Helmsdub, but only as a corrupted mp3 file. Thankfully a little detective work discovered that, much to everyone’s surprise, it had been released as Speechless (Big Circle Flat Pain Remix) on a 2004 CD compilation. A copy was tracked down, the tune was carefully re-mastered and then correctly named.
Mixes + Mavericks also features two very different live offerings: Notting Pill is a dose of atmospheric moodiness from a rare ambient set at Notting Hill Arts Club in London, held to publicise the upcoming showcase of New Zealand music at Fabric in 2003. The banging G202, meanwhile, was captured by Andre Upston at Rippon Festival in Wanaka, NZ at the turn of the millennium, and later broadcast on Radio New Zealand. It was a track that, despite being a staple of the live show for many years, was never finished, and following software updates and data dumps, the only version that exists is this live recording.
It's a Future Dub is a similarly embryonic track – eventually it became It’s the Future Knocking, from the Filtered Senses album, but here it’s a fascinating hybrid caught midway between creation and completion. Many of the elements of its future self are present, but there is a whole lot more going on, making this a fascinating signpost on a possible road-not-taken.
Beautifully accompanied by Tim Prebble's Cyanotype images, Mixes + Mavericks is a showcase of Pitch Black’s sonic diversity as remixers and maintains the trademark production aesthetic that has won them thousands of fans and filled dancefloors around the globe.
A sublime selection of dancefloor beats and downtempo dubs from around the globe, Mixes + Mavericks features seven remixes by Pitch Black, two live tracks that couldn’t be more different in nature or tempo, one seriously unorthodox situation (an unauthorised remix of a remix) and a track in between states, all highlighting the breadth of the duo’s sonic palette.
Whereas their previous Rarities + Remixes collection was predominantly rooted in New Zealand, Mixes + Mavericks is undoubtedly a more international affair, with all the remixed artists hailing from the northern hemisphere. Many of the connections are the result of the duo’s touring and festival appearances around the globe: they first met Gaudi at a gig in Japan, Animat and Nick Woolfson (Sounds from the Ground) at The Big Chill festival in the UK, while downtemple duo Desert Dwellers were encountered in the Californian underground.
Other connections were more straightforward: Brighton-based Ink Project (run by Kiwi Jez Lloyd) approached them to remix “The End” and Mexico’s Sudden Reverb was introduced by label-mates Deep Fried Dub. Meanwhile Mike bumped into Radioactive Man’s Keith Tenniswood (of Two Lone Swordsmen fame) while he was getting a 7” record cut.
Uber-producer/Killing Joke bass player Youth features in two very different ways. First up is Pitch Black’s pulsating dub mix of his collaboration with Italian producer Gaudi, from their Astronaut Alchemists album. Then there is his unsolicited remix of epsilon-blue’s 1999 remix of Speech, over which he added bass, beats and blessings. This mash-up lurked for years in the archive under the title of Helmsdub, but only as a corrupted mp3 file. Thankfully a little detective work discovered that, much to everyone’s surprise, it had been released as Speechless (Big Circle Flat Pain Remix) on a 2004 CD compilation. A copy was tracked down, the tune was carefully re-mastered and then correctly named.
Mixes + Mavericks also features two very different live offerings: Notting Pill is a dose of atmospheric moodiness from a rare ambient set at Notting Hill Arts Club in London, held to publicise the upcoming showcase of New Zealand music at Fabric in 2003. The banging G202, meanwhile, was captured by Andre Upston at Rippon Festival in Wanaka, NZ at the turn of the millennium, and later broadcast on Radio New Zealand. It was a track that, despite being a staple of the live show for many years, was never finished, and following software updates and data dumps, the only version that exists is this live recording.
It's a Future Dub is a similarly embryonic track – eventually it became It’s the Future Knocking, from the Filtered Senses album, but here it’s a fascinating hybrid caught midway between creation and completion. Many of the elements of its future self are present, but there is a whole lot more going on, making this a fascinating signpost on a possible road-not-taken.
Beautifully accompanied by Tim Prebble's Cyanotype images, Mixes + Mavericks is a showcase of Pitch Black’s sonic diversity as remixers and maintains the trademark production aesthetic that has won them thousands of fans and filled dancefloors around the globe.
A sublime selection of dancefloor beats and downtempo dubs from around the globe, Mixes + Mavericks features seven remixes by Pitch Black, two live tracks that couldn’t be more different in nature or tempo, one seriously unorthodox situation (an unauthorised remix of a remix) and a track in between states, all highlighting the breadth of the duo’s sonic palette.
Whereas their previous Rarities + Remixes collection was predominantly rooted in New Zealand, Mixes + Mavericks is undoubtedly a more international affair, with all the remixed artists hailing from the northern hemisphere. Many of the connections are the result of the duo’s touring and festival appearances around the globe: they first met Gaudi at a gig in Japan, Animat and Nick Woolfson (Sounds from the Ground) at The Big Chill festival in the UK, while downtemple duo Desert Dwellers were encountered in the Californian underground.
Other connections were more straightforward: Brighton-based Ink Project (run by Kiwi Jez Lloyd) approached them to remix “The End” and Mexico’s Sudden Reverb was introduced by label-mates Deep Fried Dub. Meanwhile Mike bumped into Radioactive Man’s Keith Tenniswood (of Two Lone Swordsmen fame) while he was getting a 7” record cut.
Uber-producer/Killing Joke bass player Youth features in two very different ways. First up is Pitch Black’s pulsating dub mix of his collaboration with Italian producer Gaudi, from their Astronaut Alchemists album. Then there is his unsolicited remix of epsilon-blue’s 1999 remix of Speech, over which he added bass, beats and blessings. This mash-up lurked for years in the archive under the title of Helmsdub, but only as a corrupted mp3 file. Thankfully a little detective work discovered that, much to everyone’s surprise, it had been released as Speechless (Big Circle Flat Pain Remix) on a 2004 CD compilation. A copy was tracked down, the tune was carefully re-mastered and then correctly named.
Mixes + Mavericks also features two very different live offerings: Notting Pill is a dose of atmospheric moodiness from a rare ambient set at Notting Hill Arts Club in London, held to publicise the upcoming showcase of New Zealand music at Fabric in 2003. The banging G202, meanwhile, was captured by Andre Upston at Rippon Festival in Wanaka, NZ at the turn of the millennium, and later broadcast on Radio New Zealand. It was a track that, despite being a staple of the live show for many years, was never finished, and following software updates and data dumps, the only version that exists is this live recording.
It's a Future Dub is a similarly embryonic track – eventually it became It’s the Future Knocking, from the Filtered Senses album, but here it’s a fascinating hybrid caught midway between creation and completion. Many of the elements of its future self are present, but there is a whole lot more going on, making this a fascinating signpost on a possible road-not-taken.
Beautifully accompanied by Tim Prebble's Cyanotype images, Mixes + Mavericks is a showcase of Pitch Black’s sonic diversity as remixers and maintains the trademark production aesthetic that has won them thousands of fans and filled dancefloors around the globe.
A sublime selection of dancefloor beats and downtempo dubs from around the globe, Mixes + Mavericks features seven remixes by Pitch Black, two live tracks that couldn’t be more different in nature or tempo, one seriously unorthodox situation (an unauthorised remix of a remix) and a track in between states, all highlighting the breadth of the duo’s sonic palette.
Whereas their previous Rarities + Remixes collection was predominantly rooted in New Zealand, Mixes + Mavericks is undoubtedly a more international affair, with all the remixed artists hailing from the northern hemisphere. Many of the connections are the result of the duo’s touring and festival appearances around the globe: they first met Gaudi at a gig in Japan, Animat and Nick Woolfson (Sounds from the Ground) at The Big Chill festival in the UK, while downtemple duo Desert Dwellers were encountered in the Californian underground.
Other connections were more straightforward: Brighton-based Ink Project (run by Kiwi Jez Lloyd) approached them to remix “The End” and Mexico’s Sudden Reverb was introduced by label-mates Deep Fried Dub. Meanwhile Mike bumped into Radioactive Man’s Keith Tenniswood (of Two Lone Swordsmen fame) while he was getting a 7” record cut.
Uber-producer/Killing Joke bass player Youth features in two very different ways. First up is Pitch Black’s pulsating dub mix of his collaboration with Italian producer Gaudi, from their Astronaut Alchemists album. Then there is his unsolicited remix of epsilon-blue’s 1999 remix of Speech, over which he added bass, beats and blessings. This mash-up lurked for years in the archive under the title of Helmsdub, but only as a corrupted mp3 file. Thankfully a little detective work discovered that, much to everyone’s surprise, it had been released as Speechless (Big Circle Flat Pain Remix) on a 2004 CD compilation. A copy was tracked down, the tune was carefully re-mastered and then correctly named.
Mixes + Mavericks also features two very different live offerings: Notting Pill is a dose of atmospheric moodiness from a rare ambient set at Notting Hill Arts Club in London, held to publicise the upcoming showcase of New Zealand music at Fabric in 2003. The banging G202, meanwhile, was captured by Andre Upston at Rippon Festival in Wanaka, NZ at the turn of the millennium, and later broadcast on Radio New Zealand. It was a track that, despite being a staple of the live show for many years, was never finished, and following software updates and data dumps, the only version that exists is this live recording.
It's a Future Dub is a similarly embryonic track – eventually it became It’s the Future Knocking, from the Filtered Senses album, but here it’s a fascinating hybrid caught midway between creation and completion. Many of the elements of its future self are present, but there is a whole lot more going on, making this a fascinating signpost on a possible road-not-taken.
Beautifully accompanied by Tim Prebble's Cyanotype images, Mixes + Mavericks is a showcase of Pitch Black’s sonic diversity as remixers and maintains the trademark production aesthetic that has won them thousands of fans and filled dancefloors around the globe.
A sublime selection of dancefloor beats and downtempo dubs from around the globe, Mixes + Mavericks features seven remixes by Pitch Black, two live tracks that couldn’t be more different in nature or tempo, one seriously unorthodox situation (an unauthorised remix of a remix) and a track in between states, all highlighting the breadth of the duo’s sonic palette.
Whereas their previous Rarities + Remixes collection was predominantly rooted in New Zealand, Mixes + Mavericks is undoubtedly a more international affair, with all the remixed artists hailing from the northern hemisphere. Many of the connections are the result of the duo’s touring and festival appearances around the globe: they first met Gaudi at a gig in Japan, Animat and Nick Woolfson (Sounds from the Ground) at The Big Chill festival in the UK, while downtemple duo Desert Dwellers were encountered in the Californian underground.
Other connections were more straightforward: Brighton-based Ink Project (run by Kiwi Jez Lloyd) approached them to remix “The End” and Mexico’s Sudden Reverb was introduced by label-mates Deep Fried Dub. Meanwhile Mike bumped into Radioactive Man’s Keith Tenniswood (of Two Lone Swordsmen fame) while he was getting a 7” record cut.
Uber-producer/Killing Joke bass player Youth features in two very different ways. First up is Pitch Black’s pulsating dub mix of his collaboration with Italian producer Gaudi, from their Astronaut Alchemists album. Then there is his unsolicited remix of epsilon-blue’s 1999 remix of Speech, over which he added bass, beats and blessings. This mash-up lurked for years in the archive under the title of Helmsdub, but only as a corrupted mp3 file. Thankfully a little detective work discovered that, much to everyone’s surprise, it had been released as Speechless (Big Circle Flat Pain Remix) on a 2004 CD compilation. A copy was tracked down, the tune was carefully re-mastered and then correctly named.
Mixes + Mavericks also features two very different live offerings: Notting Pill is a dose of atmospheric moodiness from a rare ambient set at Notting Hill Arts Club in London, held to publicise the upcoming showcase of New Zealand music at Fabric in 2003. The banging G202, meanwhile, was captured by Andre Upston at Rippon Festival in Wanaka, NZ at the turn of the millennium, and later broadcast on Radio New Zealand. It was a track that, despite being a staple of the live show for many years, was never finished, and following software updates and data dumps, the only version that exists is this live recording.
It's a Future Dub is a similarly embryonic track – eventually it became It’s the Future Knocking, from the Filtered Senses album, but here it’s a fascinating hybrid caught midway between creation and completion. Many of the elements of its future self are present, but there is a whole lot more going on, making this a fascinating signpost on a possible road-not-taken.
Beautifully accompanied by Tim Prebble's Cyanotype images, Mixes + Mavericks is a showcase of Pitch Black’s sonic diversity as remixers and maintains the trademark production aesthetic that has won them thousands of fans and filled dancefloors around the globe.
soundcloud.com/subsetdubs returns with the Aperture EP, which blends live instrumentation with electronic and dub sensibilities.
The upbeat opener Duende Revisited, recorded live at the Brisbane Meanjin Reggae Festival, revolves around horns from an earlier tune, dropped atop a gnarly bass squelch. The moody I Am Earthbound is awash with richly effected layers of guitar and bass, while the dub-techno inspired Habitat is enlivened by melodica. The title track's shuffling dub groove perfectly leads in to the closing Solutions of Synthesis, a deep exploration of the origins of life.
As in photography, the Aperture EP is many-structured, filtering light and sound, and focussing to a point of many colours, moods and emotions.
soundcloud.com/subsetdubs returns with the Aperture EP, which blends live instrumentation with electronic and dub sensibilities.
The upbeat opener Duende Revisited, recorded live at the Brisbane Meanjin Reggae Festival, revolves around horns from an earlier tune, dropped atop a gnarly bass squelch. The moody I Am Earthbound is awash with richly effected layers of guitar and bass, while the dub-techno inspired Habitat is enlivened by melodica. The title track's shuffling dub groove perfectly leads in to the closing Solutions of Synthesis, a deep exploration of the origins of life.
As in photography, the Aperture EP is many-structured, filtering light and sound, and focussing to a point of many colours, moods and emotions.
soundcloud.com/subsetdubs returns with the Aperture EP, which blends live instrumentation with electronic and dub sensibilities.
The upbeat opener Duende Revisited, recorded live at the Brisbane Meanjin Reggae Festival, revolves around horns from an earlier tune, dropped atop a gnarly bass squelch. The moody I Am Earthbound is awash with richly effected layers of guitar and bass, while the dub-techno inspired Habitat is enlivened by melodica. The title track's shuffling dub groove perfectly leads in to the closing Solutions of Synthesis, a deep exploration of the origins of life.
As in photography, the Aperture EP is many-structured, filtering light and sound, and focussing to a point of many colours, moods and emotions.
soundcloud.com/subsetdubs returns with the Aperture EP, which blends live instrumentation with electronic and dub sensibilities.
The upbeat opener Duende Revisited, recorded live at the Brisbane Meanjin Reggae Festival, revolves around horns from an earlier tune, dropped atop a gnarly bass squelch. The moody I Am Earthbound is awash with richly effected layers of guitar and bass, while the dub-techno inspired Habitat is enlivened by melodica. The title track's shuffling dub groove perfectly leads in to the closing Solutions of Synthesis, a deep exploration of the origins of life.
As in photography, the Aperture EP is many-structured, filtering light and sound, and focussing to a point of many colours, moods and emotions.
soundcloud.com/subsetdubs returns with the Aperture EP, which blends live instrumentation with electronic and dub sensibilities.
The upbeat opener Duende Revisited, recorded live at the Brisbane Meanjin Reggae Festival, revolves around horns from an earlier tune, dropped atop a gnarly bass squelch. The moody I Am Earthbound is awash with richly effected layers of guitar and bass, while the dub-techno inspired Habitat is enlivened by melodica. The title track's shuffling dub groove perfectly leads in to the closing Solutions of Synthesis, a deep exploration of the origins of life.
As in photography, the Aperture EP is many-structured, filtering light and sound, and focussing to a point of many colours, moods and emotions.
Sudden Reverb returns with another subversive groove, drenched in dub and delay. His original is complemented by Pitch Black's uptempo breaks remix and SUBSET's wonky downtempo dub.
Sudden Reverb returns with another subversive groove, drenched in dub and delay. His original is complemented by Pitch Black's uptempo breaks remix and SUBSET's wonky downtempo dub.
Sudden Reverb returns with another subversive groove, drenched in dub and delay. His original is complemented by Pitch Black's uptempo breaks remix and SUBSET's wonky downtempo dub.
Hailed as "being like a space age cosmic Specials and being in a rave at 3am" (thanks, Chris Hawkins, BBC Radio 6 Music) soundcloud.com/misledconvoy & soundcloud.com/katfive’s Apply the Pressure found rave reviews and worldwide airplay on its release in January 2021.
"A futuristic sonic gem" (Get In Her Ears) that “resonates like the missing link between two vibrating hallucinations, Massive Attack‘s Teardrop and Leftfield‘s Original" (Turn Up The Volume) , Apply the Pressure’s bass heavy soundscape, haunting brass, and words of change was a clarion call from the people of the planet seeking a new direction.
Now the prophecy lives on as a diverse crew of artists from around the globe weigh in with their versions. Berlin’s legendary soundcloud.com/southlondonhifi takes us back to the future with their retro breakbeat bass cut, while Oregon’s soundcloud.com/bodiedubs drops heavy sub frequencies on his dub mix. British electronic composer Xqui’s synthtastic soundtrack nestles up to New Zealander soundcloud.com/lilyunsub’s relentless energy, while fellow Kiwi soundcloud.com/modulehq’s cheeky little number brings this EP to an optimistic close.
Hailed as "being like a space age cosmic Specials and being in a rave at 3am" (thanks, Chris Hawkins, BBC Radio 6 Music) soundcloud.com/misledconvoy & soundcloud.com/katfive’s Apply the Pressure found rave reviews and worldwide airplay on its release in January 2021.
"A futuristic sonic gem" (Get In Her Ears) that “resonates like the missing link between two vibrating hallucinations, Massive Attack‘s Teardrop and Leftfield‘s Original" (Turn Up The Volume) , Apply the Pressure’s bass heavy soundscape, haunting brass, and words of change was a clarion call from the people of the planet seeking a new direction.
Now the prophecy lives on as a diverse crew of artists from around the globe weigh in with their versions. Berlin’s legendary soundcloud.com/southlondonhifi takes us back to the future with their retro breakbeat bass cut, while Oregon’s soundcloud.com/bodiedubs drops heavy sub frequencies on his dub mix. British electronic composer Xqui’s synthtastic soundtrack nestles up to New Zealander soundcloud.com/lilyunsub’s relentless energy, while fellow Kiwi soundcloud.com/modulehq’s cheeky little number brings this EP to an optimistic close.
Hailed as "being like a space age cosmic Specials and being in a rave at 3am" (thanks, Chris Hawkins, BBC Radio 6 Music) soundcloud.com/misledconvoy & soundcloud.com/katfive’s Apply the Pressure found rave reviews and worldwide airplay on its release in January 2021.
"A futuristic sonic gem" (Get In Her Ears) that “resonates like the missing link between two vibrating hallucinations, Massive Attack‘s Teardrop and Leftfield‘s Original" (Turn Up The Volume) , Apply the Pressure’s bass heavy soundscape, haunting brass, and words of change was a clarion call from the people of the planet seeking a new direction.
Now the prophecy lives on as a diverse crew of artists from around the globe weigh in with their versions. Berlin’s legendary soundcloud.com/southlondonhifi takes us back to the future with their retro breakbeat bass cut, while Oregon’s soundcloud.com/bodiedubs drops heavy sub frequencies on his dub mix. British electronic composer Xqui’s synthtastic soundtrack nestles up to New Zealander soundcloud.com/lilyunsub’s relentless energy, while fellow Kiwi soundcloud.com/modulehq’s cheeky little number brings this EP to an optimistic close.
Hailed as "being like a space age cosmic Specials and being in a rave at 3am" (thanks, Chris Hawkins, BBC Radio 6 Music) soundcloud.com/misledconvoy & soundcloud.com/katfive’s Apply the Pressure found rave reviews and worldwide airplay on its release in January 2021.
"A futuristic sonic gem" (Get In Her Ears) that “resonates like the missing link between two vibrating hallucinations, Massive Attack‘s Teardrop and Leftfield‘s Original" (Turn Up The Volume) , Apply the Pressure’s bass heavy soundscape, haunting brass, and words of change was a clarion call from the people of the planet seeking a new direction.
Now the prophecy lives on as a diverse crew of artists from around the globe weigh in with their versions. Berlin’s legendary soundcloud.com/southlondonhifi takes us back to the future with their retro breakbeat bass cut, while Oregon’s soundcloud.com/bodiedubs drops heavy sub frequencies on his dub mix. British electronic composer Xqui’s synthtastic soundtrack nestles up to New Zealander soundcloud.com/lilyunsub’s relentless energy, while fellow Kiwi soundcloud.com/modulehq’s cheeky little number brings this EP to an optimistic close.
Hailed as "being like a space age cosmic Specials and being in a rave at 3am" (thanks, Chris Hawkins, BBC Radio 6 Music) soundcloud.com/misledconvoy & soundcloud.com/katfive’s Apply the Pressure found rave reviews and worldwide airplay on its release in January 2021.
"A futuristic sonic gem" (Get In Her Ears) that “resonates like the missing link between two vibrating hallucinations, Massive Attack‘s Teardrop and Leftfield‘s Original" (Turn Up The Volume) , Apply the Pressure’s bass heavy soundscape, haunting brass, and words of change was a clarion call from the people of the planet seeking a new direction.
Now the prophecy lives on as a diverse crew of artists from around the globe weigh in with their versions. Berlin’s legendary soundcloud.com/southlondonhifi takes us back to the future with their retro breakbeat bass cut, while Oregon’s soundcloud.com/bodiedubs drops heavy sub frequencies on his dub mix. British electronic composer Xqui’s synthtastic soundtrack nestles up to New Zealander soundcloud.com/lilyunsub’s relentless energy, while fellow Kiwi soundcloud.com/modulehq’s cheeky little number brings this EP to an optimistic close.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
The first single from the second volume in Gaudi's Sub Signals series is a deep-dub version of Groove Armada's "Oh Tweak to Me", which is available to download or stream from Bandcamp https://bit.ly/3iKqMvv Spotify https://spoti.fi/3agBBAQ Apple https://apple.co/3lkva62
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Pre-order from https://gaudimusic.bandcamp.com/album/sub-signals-vol-2 https://music.apple.com/gb/album/sub-signals-vol-2-dj-mix/1587831272 https://www.amazon.co.uk/Sub-Signals-Vol-2-Gaudi/dp/B09GW149LG/
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer soundcloud.com/gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, Sub Signals Vol.2 intricately combines analogue elements with digital grooves to stunning effect.
Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Bill Laswell’s Dubadelic and more.
15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for. As the project developed, it became like a soundtrack for a non-existent black and white film that allows the listener to make their own movie based on the soundscape, frequencies and emotions within the sound-bed I designed.”
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.
Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.
SK Simeon & Deep Fried Dub are back with “We Will Make It”. Carrying on from “Stay Strong”, “We Will Make It” amps up the old school vibes, with Deep Fried Dub’s digital dancehall and rub-a-dub riddims underpinning SK Simeon’s energetic ragamuffin vocal stylings.
The autobiographical “Waliwo Abakaaba” (sung in a mix of Lugandan (SK’s native tongue) & English) opens the release, with its poignant lyrics telling a story of loss and greed. “If you Happy” delivers a more uplifting vibe, delivering a message of positivity in the face of adversity.
The blazing “Ready for Dem” riddim sets the scene for a powerful vocal workout showcasing SK’s signature style that’s sure to get the dancefloor skanking. Finally, “I Will Make It” rounds things off with sends a clear message to the doubters who try to bring you down - that self-belief and positive action will always be victorious.
SK Simeon & Deep Fried Dub are back with “We Will Make It”. Carrying on from “Stay Strong”, “We Will Make It” amps up the old school vibes, with Deep Fried Dub’s digital dancehall and rub-a-dub riddims underpinning SK Simeon’s energetic ragamuffin vocal stylings.
The autobiographical “Waliwo Abakaaba” (sung in a mix of Lugandan (SK’s native tongue) & English) opens the release, with its poignant lyrics telling a story of loss and greed. “If you Happy” delivers a more uplifting vibe, delivering a message of positivity in the face of adversity.
The blazing “Ready for Dem” riddim sets the scene for a powerful vocal workout showcasing SK’s signature style that’s sure to get the dancefloor skanking. Finally, “I Will Make It” rounds things off with sends a clear message to the doubters who try to bring you down - that self-belief and positive action will always be victorious.
SK Simeon & Deep Fried Dub are back with “We Will Make It”. Carrying on from “Stay Strong”, “We Will Make It” amps up the old school vibes, with Deep Fried Dub’s digital dancehall and rub-a-dub riddims underpinning SK Simeon’s energetic ragamuffin vocal stylings.
The autobiographical “Waliwo Abakaaba” (sung in a mix of Lugandan (SK’s native tongue) & English) opens the release, with its poignant lyrics telling a story of loss and greed. “If you Happy” delivers a more uplifting vibe, delivering a message of positivity in the face of adversity.
The blazing “Ready for Dem” riddim sets the scene for a powerful vocal workout showcasing SK’s signature style that’s sure to get the dancefloor skanking. Finally, “I Will Make It” rounds things off with sends a clear message to the doubters who try to bring you down - that self-belief and positive action will always be victorious.
SK Simeon & Deep Fried Dub are back with “We Will Make It”. Carrying on from “Stay Strong”, “We Will Make It” amps up the old school vibes, with Deep Fried Dub’s digital dancehall and rub-a-dub riddims underpinning SK Simeon’s energetic ragamuffin vocal stylings.
The autobiographical “Waliwo Abakaaba” (sung in a mix of Lugandan (SK’s native tongue) & English) opens the release, with its poignant lyrics telling a story of loss and greed. “If you Happy” delivers a more uplifting vibe, delivering a message of positivity in the face of adversity.
The blazing “Ready for Dem” riddim sets the scene for a powerful vocal workout showcasing SK’s signature style that’s sure to get the dancefloor skanking. Finally, “I Will Make It” rounds things off with sends a clear message to the doubters who try to bring you down - that self-belief and positive action will always be victorious.
SK Simeon & Deep Fried Dub are back with “We Will Make It”. Carrying on from “Stay Strong”, “We Will Make It” amps up the old school vibes, with Deep Fried Dub’s digital dancehall and rub-a-dub riddims underpinning SK Simeon’s energetic ragamuffin vocal stylings.
The autobiographical “Waliwo Abakaaba” (sung in a mix of Lugandan (SK’s native tongue) & English) opens the release, with its poignant lyrics telling a story of loss and greed. “If you Happy” delivers a more uplifting vibe, delivering a message of positivity in the face of adversity.
The blazing “Ready for Dem” riddim sets the scene for a powerful vocal workout showcasing SK’s signature style that’s sure to get the dancefloor skanking. Finally, “I Will Make It” rounds things off with sends a clear message to the doubters who try to bring you down - that self-belief and positive action will always be victorious.
SK Simeon & Deep Fried Dub are back with “We Will Make It”. Carrying on from “Stay Strong”, “We Will Make It” amps up the old school vibes, with Deep Fried Dub’s digital dancehall and rub-a-dub riddims underpinning SK Simeon’s energetic ragamuffin vocal stylings.
The autobiographical “Waliwo Abakaaba” (sung in a mix of Lugandan (SK’s native tongue) & English) opens the release, with its poignant lyrics telling a story of loss and greed. “If you Happy” delivers a more uplifting vibe, delivering a message of positivity in the face of adversity.
The blazing “Ready for Dem” riddim sets the scene for a powerful vocal workout showcasing SK’s signature style that’s sure to get the dancefloor skanking. Finally, “I Will Make It” rounds things off with sends a clear message to the doubters who try to bring you down - that self-belief and positive action will always be victorious.
SK Simeon & Deep Fried Dub are back with “We Will Make It”. Carrying on from “Stay Strong”, “We Will Make It” amps up the old school vibes, with Deep Fried Dub’s digital dancehall and rub-a-dub riddims underpinning SK Simeon’s energetic ragamuffin vocal stylings.
The autobiographical “Waliwo Abakaaba” (sung in a mix of Lugandan (SK’s native tongue) & English) opens the release, with its poignant lyrics telling a story of loss and greed. “If you Happy” delivers a more uplifting vibe, delivering a message of positivity in the face of adversity.
The blazing “Ready for Dem” riddim sets the scene for a powerful vocal workout showcasing SK’s signature style that’s sure to get the dancefloor skanking. Finally, “I Will Make It” rounds things off with sends a clear message to the doubters who try to bring you down - that self-belief and positive action will always be victorious.
SK Simeon & Deep Fried Dub are back with “We Will Make It”. Carrying on from “Stay Strong”, “We Will Make It” amps up the old school vibes, with Deep Fried Dub’s digital dancehall and rub-a-dub riddims underpinning SK Simeon’s energetic ragamuffin vocal stylings.
The autobiographical “Waliwo Abakaaba” (sung in a mix of Lugandan (SK’s native tongue) & English) opens the release, with its poignant lyrics telling a story of loss and greed. “If you Happy” delivers a more uplifting vibe, delivering a message of positivity in the face of adversity.
The blazing “Ready for Dem” riddim sets the scene for a powerful vocal workout showcasing SK’s signature style that’s sure to get the dancefloor skanking. Finally, “I Will Make It” rounds things off with sends a clear message to the doubters who try to bring you down - that self-belief and positive action will always be victorious.
Whatever Machinery We Carry Inside Us, soundcloud.com/mcthfg's new EP, is inspired by a line from the Iain M. Banks book "Use of Weapons". For Chris, science fiction and dub are natural allies, as both seem to come from the future whilst looking back at the past. Plus, as he sees it, "good music, and good fiction, cause us to see many sides, many angles, and to understand that the truth of a matter is often far more complex than the surface view we casually observe."
The EP finds him further developing his style crafting intricate electronica full of woozy melodies, crunchy beats and pulsating bass. The mysteriously numbered tracks confound genres, but, if pushed, 2544 could be described as mutant lounge at it's finest, like Thievery Corporation on mushrooms. 21122, on the other hand, is designed to test that your subs are still functioning!
Whatever Machinery We Carry Inside Us, soundcloud.com/mcthfg's new EP, is inspired by a line from the Iain M. Banks book "Use of Weapons". For Chris, science fiction and dub are natural allies, as both seem to come from the future whilst looking back at the past. Plus, as he sees it, "good music, and good fiction, cause us to see many sides, many angles, and to understand that the truth of a matter is often far more complex than the surface view we casually observe."
The EP finds him further developing his style crafting intricate electronica full of woozy melodies, crunchy beats and pulsating bass. The mysteriously numbered tracks confound genres, but, if pushed, 2544 could be described as mutant lounge at it's finest, like Thievery Corporation on mushrooms. 21122, on the other hand, is designed to test that your subs are still functioning!
Whatever Machinery We Carry Inside Us, soundcloud.com/mcthfg's new EP, is inspired by a line from the Iain M. Banks book "Use of Weapons". For Chris, science fiction and dub are natural allies, as both seem to come from the future whilst looking back at the past. Plus, as he sees it, "good music, and good fiction, cause us to see many sides, many angles, and to understand that the truth of a matter is often far more complex than the surface view we casually observe."
The EP finds him further developing his style crafting intricate electronica full of woozy melodies, crunchy beats and pulsating bass. The mysteriously numbered tracks confound genres, but, if pushed, 2544 could be described as mutant lounge at it's finest, like Thievery Corporation on mushrooms. 21122, on the other hand, is designed to test that your subs are still functioning!
Whatever Machinery We Carry Inside Us, soundcloud.com/mcthfg's new EP, is inspired by a line from the Iain M. Banks book "Use of Weapons". For Chris, science fiction and dub are natural allies, as both seem to come from the future whilst looking back at the past. Plus, as he sees it, "good music, and good fiction, cause us to see many sides, many angles, and to understand that the truth of a matter is often far more complex than the surface view we casually observe."
The EP finds him further developing his style crafting intricate electronica full of woozy melodies, crunchy beats and pulsating bass. The mysteriously numbered tracks confound genres, but, if pushed, 2544 could be described as mutant lounge at it's finest, like Thievery Corporation on mushrooms. 21122, on the other hand, is designed to test that your subs are still functioning!
Whatever Machinery We Carry Inside Us, soundcloud.com/mcthfg's new EP, is inspired by a line from the Iain M. Banks book "Use of Weapons". For Chris, science fiction and dub are natural allies, as both seem to come from the future whilst looking back at the past. Plus, as he sees it, "good music, and good fiction, cause us to see many sides, many angles, and to understand that the truth of a matter is often far more complex than the surface view we casually observe."
The EP finds him further developing his style crafting intricate electronica full of woozy melodies, crunchy beats and pulsating bass. The mysteriously numbered tracks confound genres, but, if pushed, 2544 could be described as mutant lounge at it's finest, like Thievery Corporation on mushrooms. 21122, on the other hand, is designed to test that your subs are still functioning!
soundcloud.com/shankaranewzealand follow up “Dawn Chorus” with “System Echoes”, a looser and more varied selection of tracks that temper their wide musical influences to their natural surroundings.
The general idea behind the EP was to organically capture some of the vibes that have inspired the duo over the years – growing up in the Christchurch area (AKA the bass capital of New Zealand) meant that jungle, drum & bass, halftime and dub sound-tracked their nights out.
“Cicada” finds them condensing a 20 minute live jam with Finn Kelscher on a hot summers day into a pulsating, dub drenched groove. Elsewhere, “After Thought” rolls through dancehall and downtempo en route to a junglistic finale, a vibe teased at on the triumphant one-take “Cycle”. As the name suggests, “Deep Fried Shankara” is what happens when the duo dipped into Deep Fried Dub’s Melbourne studio, while the epic “Run Away” naturally morphed from its dancehall origins to a drum and bass belter, courtesy of some heavy basslines and layers of live dubbed out guitar.
As with “Dawn Chorus”, field recordings made in the dense rainforests of the west coast are weaved into the tunes, accentuating the life-affirming positive vibes at the heart of the EP.
soundcloud.com/shankaranewzealand follow up “Dawn Chorus” with “System Echoes”, a looser and more varied selection of tracks that temper their wide musical influences to their natural surroundings.
The general idea behind the EP was to organically capture some of the vibes that have inspired the duo over the years – growing up in the Christchurch area (AKA the bass capital of New Zealand) meant that jungle, drum & bass, halftime and dub sound-tracked their nights out.
“Cicada” finds them condensing a 20 minute live jam with Finn Kelscher on a hot summers day into a pulsating, dub drenched groove. Elsewhere, “After Thought” rolls through dancehall and downtempo en route to a junglistic finale, a vibe teased at on the triumphant one-take “Cycle”. As the name suggests, “Deep Fried Shankara” is what happens when the duo dipped into Deep Fried Dub’s Melbourne studio, while the epic “Run Away” naturally morphed from its dancehall origins to a drum and bass belter, courtesy of some heavy basslines and layers of live dubbed out guitar.
As with “Dawn Chorus”, field recordings made in the dense rainforests of the west coast are weaved into the tunes, accentuating the life-affirming positive vibes at the heart of the EP.
soundcloud.com/shankaranewzealand follow up “Dawn Chorus” with “System Echoes”, a looser and more varied selection of tracks that temper their wide musical influences to their natural surroundings.
The general idea behind the EP was to organically capture some of the vibes that have inspired the duo over the years – growing up in the Christchurch area (AKA the bass capital of New Zealand) meant that jungle, drum & bass, halftime and dub sound-tracked their nights out.
“Cicada” finds them condensing a 20 minute live jam with Finn Kelscher on a hot summers day into a pulsating, dub drenched groove. Elsewhere, “After Thought” rolls through dancehall and downtempo en route to a junglistic finale, a vibe teased at on the triumphant one-take “Cycle”. As the name suggests, “Deep Fried Shankara” is what happens when the duo dipped into Deep Fried Dub’s Melbourne studio, while the epic “Run Away” naturally morphed from its dancehall origins to a drum and bass belter, courtesy of some heavy basslines and layers of live dubbed out guitar.
As with “Dawn Chorus”, field recordings made in the dense rainforests of the west coast are weaved into the tunes, accentuating the life-affirming positive vibes at the heart of the EP.
soundcloud.com/shankaranewzealand follow up “Dawn Chorus” with “System Echoes”, a looser and more varied selection of tracks that temper their wide musical influences to their natural surroundings.
The general idea behind the EP was to organically capture some of the vibes that have inspired the duo over the years – growing up in the Christchurch area (AKA the bass capital of New Zealand) meant that jungle, drum & bass, halftime and dub sound-tracked their nights out.
“Cicada” finds them condensing a 20 minute live jam with Finn Kelscher on a hot summers day into a pulsating, dub drenched groove. Elsewhere, “After Thought” rolls through dancehall and downtempo en route to a junglistic finale, a vibe teased at on the triumphant one-take “Cycle”. As the name suggests, “Deep Fried Shankara” is what happens when the duo dipped into Deep Fried Dub’s Melbourne studio, while the epic “Run Away” naturally morphed from its dancehall origins to a drum and bass belter, courtesy of some heavy basslines and layers of live dubbed out guitar.
As with “Dawn Chorus”, field recordings made in the dense rainforests of the west coast are weaved into the tunes, accentuating the life-affirming positive vibes at the heart of the EP.
soundcloud.com/shankaranewzealand follow up “Dawn Chorus” with “System Echoes”, a looser and more varied selection of tracks that temper their wide musical influences to their natural surroundings.
The general idea behind the EP was to organically capture some of the vibes that have inspired the duo over the years – growing up in the Christchurch area (AKA the bass capital of New Zealand) meant that jungle, drum & bass, halftime and dub sound-tracked their nights out.
“Cicada” finds them condensing a 20 minute live jam with Finn Kelscher on a hot summers day into a pulsating, dub drenched groove. Elsewhere, “After Thought” rolls through dancehall and downtempo en route to a junglistic finale, a vibe teased at on the triumphant one-take “Cycle”. As the name suggests, “Deep Fried Shankara” is what happens when the duo dipped into Deep Fried Dub’s Melbourne studio, while the epic “Run Away” naturally morphed from its dancehall origins to a drum and bass belter, courtesy of some heavy basslines and layers of live dubbed out guitar.
As with “Dawn Chorus”, field recordings made in the dense rainforests of the west coast are weaved into the tunes, accentuating the life-affirming positive vibes at the heart of the EP.
Deep Fried Dub and SK Simeon return with Waliwo Abakaaba, a heartfelt warning about funeral phoneys.
Based on SK's own experiences, and sung in his native Lugandan, Waliwo Abakaaba berates those who attend funerals for appearance's sake and who exploit people's grief to enrich themselves, not caring about the destruction or lives they leave behind.
Deep Fried Dub and SK Simeon return with Waliwo Abakaaba, a heartfelt warning about funeral phoneys.
Based on SK's own experiences, and sung in his native Lugandan, Waliwo Abakaaba berates those who attend funerals for appearance's sake and who exploit people's grief to enrich themselves, not caring about the destruction or lives they leave behind.
The third release in the Zoonotic series, Bat finds International Observer on sprightly form. The five tunes consider freedom, love and the future of monarchy, all in a dubwise fashion, of course!
The third release in the Zoonotic series, Bat finds International Observer on sprightly form. The five tunes consider freedom, love and the future of monarchy, all in a dubwise fashion, of course!
The third release in the Zoonotic series, Bat finds International Observer on sprightly form. The five tunes consider freedom, love and the future of monarchy, all in a dubwise fashion, of course!
The third release in the Zoonotic series, Bat finds International Observer on sprightly form. The five tunes consider freedom, love and the future of monarchy, all in a dubwise fashion, of course!
The third release in the Zoonotic series, Bat finds International Observer on sprightly form. The five tunes consider freedom, love and the future of monarchy, all in a dubwise fashion, of course!
Pitch Black’s Futureproof, a landmark in New Zealand electronica, finally gets a vinyl release 23 years after it first came out.
The album distilled two years of relentless touring of New Zealand into a sweeping colossus full of epic soundscapes and rumbling basslines, pounding rhythms and mind-bending effects, showcasing Pitch Black’s dubwise styles to full, bass-bin busting effect.
Futureproof’s mix of dub, delay and devastation was received to critical and commercial acclaim, rising to the top of the New Zealand electronic charts, and was followed by a sold-out tour of New Zealand alongside Salmonella Dub.
The album’s sophisticated mix of dub and dance set a benchmark by which future New Zealand electronica releases would be measured, and has gone on to find fans around the globe. True to its name, Futureproof sounds as timeless and fresh today as it did in 1998.
To celebrate the 23rd anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release. Hamish Macaulay has also adapted the original artwork, creating a brand new collage for the centerfold out of pictures taken at the time.
Pitch Black’s Futureproof, a landmark in New Zealand electronica, finally gets a vinyl release 23 years after it first came out.
The album distilled two years of relentless touring of New Zealand into a sweeping colossus full of epic soundscapes and rumbling basslines, pounding rhythms and mind-bending effects, showcasing Pitch Black’s dubwise styles to full, bass-bin busting effect.
Futureproof’s mix of dub, delay and devastation was received to critical and commercial acclaim, rising to the top of the New Zealand electronic charts, and was followed by a sold-out tour of New Zealand alongside Salmonella Dub.
The album’s sophisticated mix of dub and dance set a benchmark by which future New Zealand electronica releases would be measured, and has gone on to find fans around the globe. True to its name, Futureproof sounds as timeless and fresh today as it did in 1998.
To celebrate the 23rd anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release. Hamish Macaulay has also adapted the original artwork, creating a brand new collage for the centerfold out of pictures taken at the time.
Pitch Black’s Futureproof, a landmark in New Zealand electronica, finally gets a vinyl release 23 years after it first came out.
The album distilled two years of relentless touring of New Zealand into a sweeping colossus full of epic soundscapes and rumbling basslines, pounding rhythms and mind-bending effects, showcasing Pitch Black’s dubwise styles to full, bass-bin busting effect.
Futureproof’s mix of dub, delay and devastation was received to critical and commercial acclaim, rising to the top of the New Zealand electronic charts, and was followed by a sold-out tour of New Zealand alongside Salmonella Dub.
The album’s sophisticated mix of dub and dance set a benchmark by which future New Zealand electronica releases would be measured, and has gone on to find fans around the globe. True to its name, Futureproof sounds as timeless and fresh today as it did in 1998.
To celebrate the 23rd anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release. Hamish Macaulay has also adapted the original artwork, creating a brand new collage for the centerfold out of pictures taken at the time.
Pitch Black’s Futureproof, a landmark in New Zealand electronica, finally gets a vinyl release 23 years after it first came out.
The album distilled two years of relentless touring of New Zealand into a sweeping colossus full of epic soundscapes and rumbling basslines, pounding rhythms and mind-bending effects, showcasing Pitch Black’s dubwise styles to full, bass-bin busting effect.
Futureproof’s mix of dub, delay and devastation was received to critical and commercial acclaim, rising to the top of the New Zealand electronic charts, and was followed by a sold-out tour of New Zealand alongside Salmonella Dub.
The album’s sophisticated mix of dub and dance set a benchmark by which future New Zealand electronica releases would be measured, and has gone on to find fans around the globe. True to its name, Futureproof sounds as timeless and fresh today as it did in 1998.
To celebrate the 23rd anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release. Hamish Macaulay has also adapted the original artwork, creating a brand new collage for the centerfold out of pictures taken at the time.
Pitch Black’s Futureproof, a landmark in New Zealand electronica, finally gets a vinyl release 23 years after it first came out.
The album distilled two years of relentless touring of New Zealand into a sweeping colossus full of epic soundscapes and rumbling basslines, pounding rhythms and mind-bending effects, showcasing Pitch Black’s dubwise styles to full, bass-bin busting effect.
Futureproof’s mix of dub, delay and devastation was received to critical and commercial acclaim, rising to the top of the New Zealand electronic charts, and was followed by a sold-out tour of New Zealand alongside Salmonella Dub.
The album’s sophisticated mix of dub and dance set a benchmark by which future New Zealand electronica releases would be measured, and has gone on to find fans around the globe. True to its name, Futureproof sounds as timeless and fresh today as it did in 1998.
To celebrate the 23rd anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release. Hamish Macaulay has also adapted the original artwork, creating a brand new collage for the centerfold out of pictures taken at the time.
Pitch Black’s Futureproof, a landmark in New Zealand electronica, finally gets a vinyl release 23 years after it first came out.
The album distilled two years of relentless touring of New Zealand into a sweeping colossus full of epic soundscapes and rumbling basslines, pounding rhythms and mind-bending effects, showcasing Pitch Black’s dubwise styles to full, bass-bin busting effect.
Futureproof’s mix of dub, delay and devastation was received to critical and commercial acclaim, rising to the top of the New Zealand electronic charts, and was followed by a sold-out tour of New Zealand alongside Salmonella Dub.
The album’s sophisticated mix of dub and dance set a benchmark by which future New Zealand electronica releases would be measured, and has gone on to find fans around the globe. True to its name, Futureproof sounds as timeless and fresh today as it did in 1998.
To celebrate the 23rd anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release. Hamish Macaulay has also adapted the original artwork, creating a brand new collage for the centerfold out of pictures taken at the time.
Pitch Black’s Futureproof, a landmark in New Zealand electronica, finally gets a vinyl release 23 years after it first came out.
The album distilled two years of relentless touring of New Zealand into a sweeping colossus full of epic soundscapes and rumbling basslines, pounding rhythms and mind-bending effects, showcasing Pitch Black’s dubwise styles to full, bass-bin busting effect.
Futureproof’s mix of dub, delay and devastation was received to critical and commercial acclaim, rising to the top of the New Zealand electronic charts, and was followed by a sold-out tour of New Zealand alongside Salmonella Dub.
The album’s sophisticated mix of dub and dance set a benchmark by which future New Zealand electronica releases would be measured, and has gone on to find fans around the globe. True to its name, Futureproof sounds as timeless and fresh today as it did in 1998.
To celebrate the 23rd anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release. Hamish Macaulay has also adapted the original artwork, creating a brand new collage for the centerfold out of pictures taken at the time.
Pitch Black’s Futureproof, a landmark in New Zealand electronica, finally gets a vinyl release 23 years after it first came out.
The album distilled two years of relentless touring of New Zealand into a sweeping colossus full of epic soundscapes and rumbling basslines, pounding rhythms and mind-bending effects, showcasing Pitch Black’s dubwise styles to full, bass-bin busting effect.
Futureproof’s mix of dub, delay and devastation was received to critical and commercial acclaim, rising to the top of the New Zealand electronic charts, and was followed by a sold-out tour of New Zealand alongside Salmonella Dub.
The album’s sophisticated mix of dub and dance set a benchmark by which future New Zealand electronica releases would be measured, and has gone on to find fans around the globe. True to its name, Futureproof sounds as timeless and fresh today as it did in 1998.
To celebrate the 23rd anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release. Hamish Macaulay has also adapted the original artwork, creating a brand new collage for the centerfold out of pictures taken at the time.
Nearly one year has passed since soundcloud.com/tormaindub’s "Among Aliens and Gods"album was released. Four singles were spawned from it, each matched with a remix.
Not content with just those four, Tor.Ma tasked other dubhead amigos around the globe to work on the remaining tracks, with the result being the remix collection, "The Lost Chapters", with versions by soundcloud.com/jedidiahmx, soundcloud.com/vlastur, soundcloud.com/ishdub, soundcloud.com/continuumchill, soundcloud.com/mexican-stepper-1, soundcloud.com/bungalodub, soundcloud.com/paddyfree and soundcloud.com/seb-taylor-kaya-project.
Nearly one year has passed since soundcloud.com/tormaindub’s "Among Aliens and Gods"album was released. Four singles were spawned from it, each matched with a remix.
Not content with just those four, Tor.Ma tasked other dubhead amigos around the globe to work on the remaining tracks, with the result being the remix collection, "The Lost Chapters", with versions by soundcloud.com/jedidiahmx, soundcloud.com/vlastur, soundcloud.com/ishdub, soundcloud.com/continuumchill, soundcloud.com/mexican-stepper-1, soundcloud.com/bungalodub, soundcloud.com/paddyfree and soundcloud.com/seb-taylor-kaya-project.
Nearly one year has passed since soundcloud.com/tormaindub’s "Among Aliens and Gods"album was released. Four singles were spawned from it, each matched with a remix.
Not content with just those four, Tor.Ma tasked other dubhead amigos around the globe to work on the remaining tracks, with the result being the remix collection, "The Lost Chapters", with versions by soundcloud.com/jedidiahmx, soundcloud.com/vlastur, soundcloud.com/ishdub, soundcloud.com/continuumchill, soundcloud.com/mexican-stepper-1, soundcloud.com/bungalodub, soundcloud.com/paddyfree and soundcloud.com/seb-taylor-kaya-project.
Nearly one year has passed since soundcloud.com/tormaindub’s "Among Aliens and Gods"album was released. Four singles were spawned from it, each matched with a remix.
Not content with just those four, Tor.Ma tasked other dubhead amigos around the globe to work on the remaining tracks, with the result being the remix collection, "The Lost Chapters", with versions by soundcloud.com/jedidiahmx, soundcloud.com/vlastur, soundcloud.com/ishdub, soundcloud.com/continuumchill, soundcloud.com/mexican-stepper-1, soundcloud.com/bungalodub, soundcloud.com/paddyfree and soundcloud.com/seb-taylor-kaya-project.
Nearly one year has passed since soundcloud.com/tormaindub’s "Among Aliens and Gods"album was released. Four singles were spawned from it, each matched with a remix.
Not content with just those four, Tor.Ma tasked other dubhead amigos around the globe to work on the remaining tracks, with the result being the remix collection, "The Lost Chapters", with versions by soundcloud.com/jedidiahmx, soundcloud.com/vlastur, soundcloud.com/ishdub, soundcloud.com/continuumchill, soundcloud.com/mexican-stepper-1, soundcloud.com/bungalodub, soundcloud.com/paddyfree and soundcloud.com/seb-taylor-kaya-project.
Nearly one year has passed since soundcloud.com/tormaindub’s "Among Aliens and Gods"album was released. Four singles were spawned from it, each matched with a remix.
Not content with just those four, Tor.Ma tasked other dubhead amigos around the globe to work on the remaining tracks, with the result being the remix collection, "The Lost Chapters", with versions by soundcloud.com/jedidiahmx, soundcloud.com/vlastur, soundcloud.com/ishdub, soundcloud.com/continuumchill, soundcloud.com/mexican-stepper-1, soundcloud.com/bungalodub, soundcloud.com/paddyfree and soundcloud.com/seb-taylor-kaya-project.
Nearly one year has passed since soundcloud.com/tormaindub’s "Among Aliens and Gods"album was released. Four singles were spawned from it, each matched with a remix.
Not content with just those four, Tor.Ma tasked other dubhead amigos around the globe to work on the remaining tracks, with the result being the remix collection, "The Lost Chapters", with versions by soundcloud.com/jedidiahmx, soundcloud.com/vlastur, soundcloud.com/ishdub, soundcloud.com/continuumchill, soundcloud.com/mexican-stepper-1, soundcloud.com/bungalodub, soundcloud.com/paddyfree and soundcloud.com/seb-taylor-kaya-project.
Nearly one year has passed since soundcloud.com/tormaindub’s "Among Aliens and Gods"album was released. Four singles were spawned from it, each matched with a remix.
Not content with just those four, Tor.Ma tasked other dubhead amigos around the globe to work on the remaining tracks, with the result being the remix collection, "The Lost Chapters", with versions by soundcloud.com/jedidiahmx, soundcloud.com/vlastur, soundcloud.com/ishdub, soundcloud.com/continuumchill, soundcloud.com/mexican-stepper-1, soundcloud.com/bungalodub, soundcloud.com/paddyfree and soundcloud.com/seb-taylor-kaya-project.
Nearly one year has passed since soundcloud.com/tormaindub’s "Among Aliens and Gods"album was released. Four singles were spawned from it, each matched with a remix.
Not content with just those four, Tor.Ma tasked other dubhead amigos around the globe to work on the remaining tracks, with the result being the remix collection, "The Lost Chapters", with versions by soundcloud.com/jedidiahmx, soundcloud.com/vlastur, soundcloud.com/ishdub, soundcloud.com/continuumchill, soundcloud.com/mexican-stepper-1, soundcloud.com/bungalodub, soundcloud.com/paddyfree and soundcloud.com/seb-taylor-kaya-project.
Hot on the heels of Apply the Pressure, his collaboration with Kat Five, Misled Convoy brings you Translations II, a collection of his remixes drawn from a wide geographical and musical net: breakbeat pioneer FreQ Nasty; Auckland based singer and songwriter Sandy Mill; old school Kiwi producer The Nomad; downtempo duo Deep Fried Dub; Weston and Frizzell’s art project Cardboard&Computers Michael’s collaboration with Paddy Free, Pitch Black, and East London duo Feral Five.
Also featured is his remix, with the assistance of audio maverick Uncle Fester on Acid, of Dub Syndicate's cover of Lloyd Parks’ “Mafia”, featuring the late Bim Sherman on vocals. Michael and Fester created their version using samples culled from DATs of the original recording sessions at The Manor studio in Oxford, which the duo had been archiving for On-U Sound.
For years Misled Convoy has made syrupy bass-heavy, predominantly instrumental dub tracks, but Translations II is awash with vocals. “I’ve spent the last year tucked away in my studio, hearing nothing but the haunting and powerful voices of Kat Five, Bim Sherman, Srikala, Luminahdi and others flowing around my studio, creating a connection to the wider world. Bring on the layrnx!”
As you might expect from a Misled Convoy release, the collection traverses a wide variety of genres, from electro house to dub techno, industrial ambience to broken beats, all now awash in a sea of dub effects, delay and reverb in his distinctive style. Some of the remixes simply re-present a new way to access and appreciate the original track, sometimes they produce completely different songs completely reimagined.
“I really love taking other people’s melodies and ideas and working them into completely new tracks with my production process. Because there is already a body of work, and the challenge is not having the original concept, but in the how I re-imagine that track into a new work, a new sound, a new state.
Hot on the heels of Apply the Pressure, his collaboration with Kat Five, Misled Convoy brings you Translations II, a collection of his remixes drawn from a wide geographical and musical net: breakbeat pioneer FreQ Nasty; Auckland based singer and songwriter Sandy Mill; old school Kiwi producer The Nomad; downtempo duo Deep Fried Dub; Weston and Frizzell’s art project Cardboard&Computers Michael’s collaboration with Paddy Free, Pitch Black, and East London duo Feral Five.
Also featured is his remix, with the assistance of audio maverick Uncle Fester on Acid, of Dub Syndicate's cover of Lloyd Parks’ “Mafia”, featuring the late Bim Sherman on vocals. Michael and Fester created their version using samples culled from DATs of the original recording sessions at The Manor studio in Oxford, which the duo had been archiving for On-U Sound.
For years Misled Convoy has made syrupy bass-heavy, predominantly instrumental dub tracks, but Translations II is awash with vocals. “I’ve spent the last year tucked away in my studio, hearing nothing but the haunting and powerful voices of Kat Five, Bim Sherman, Srikala, Luminahdi and others flowing around my studio, creating a connection to the wider world. Bring on the layrnx!”
As you might expect from a Misled Convoy release, the collection traverses a wide variety of genres, from electro house to dub techno, industrial ambience to broken beats, all now awash in a sea of dub effects, delay and reverb in his distinctive style. Some of the remixes simply re-present a new way to access and appreciate the original track, sometimes they produce completely different songs completely reimagined.
“I really love taking other people’s melodies and ideas and working them into completely new tracks with my production process. Because there is already a body of work, and the challenge is not having the original concept, but in the how I re-imagine that track into a new work, a new sound, a new state.
In Dub II is the second collection of Paddy Free remixes of artists from his native Aotearoa/New Zealand, Australia and Mexico. This edition features elements of drum’n’bass and trance alongside his usual copacetic fusion of ancient tradition and contemporary dub production, creating a full-spectrum journey from the very up to the very chill.
One of the pioneers of New Zealand electronica as half of multi-media duo Pitch Black with Mike Hodgson, Paddy Free also has a prolific career as a producer/engineer/remixer (Salmonella Dub, Crowded House, Oceania, Moana & The Tribe), composer for contemporary dance (Atamira, Mau, Black Grace), Ableton Live beta-tester and lecturer, as well as a solo career under his own name.
Since his last collection of remixes, In Dub, dropped in 2016, Paddy has kept busy with Pitch Black, releasing two albums and touring Europe and Aotearoa. On top of that he’s produced and co-written Moana & the Tribe’s album Rima with another album on the way.
His remixes of Kingfisha, Native Soul Project, Tor.Ma in Dub, Deep Fried Dub, Max Maxwell and Nga Tae find him in fine form, bringing uptempo influences to sit alongside his dub styles. Some tracks transport your body to the dancefloor, others invoke deep meditation, with all displaying Paddy's lush production aesthetic that repays repeated listening.
Hot on the heels of Apply the Pressure, his collaboration with Kat Five, Misled Convoy brings you Translations II, a collection of his remixes drawn from a wide geographical and musical net: breakbeat pioneer FreQ Nasty; Auckland based singer and songwriter Sandy Mill; old school Kiwi producer The Nomad; downtempo duo Deep Fried Dub; Weston and Frizzell’s art project Cardboard&Computers Michael’s collaboration with Paddy Free, Pitch Black, and East London duo Feral Five.
Also featured is his remix, with the assistance of audio maverick Uncle Fester on Acid, of Dub Syndicate's cover of Lloyd Parks’ “Mafia”, featuring the late Bim Sherman on vocals. Michael and Fester created their version using samples culled from DATs of the original recording sessions at The Manor studio in Oxford, which the duo had been archiving for On-U Sound.
For years Misled Convoy has made syrupy bass-heavy, predominantly instrumental dub tracks, but Translations II is awash with vocals. “I’ve spent the last year tucked away in my studio, hearing nothing but the haunting and powerful voices of Kat Five, Bim Sherman, Srikala, Luminahdi and others flowing around my studio, creating a connection to the wider world. Bring on the layrnx!”
As you might expect from a Misled Convoy release, the collection traverses a wide variety of genres, from electro house to dub techno, industrial ambience to broken beats, all now awash in a sea of dub effects, delay and reverb in his distinctive style. Some of the remixes simply re-present a new way to access and appreciate the original track, sometimes they produce completely different songs completely reimagined.
“I really love taking other people’s melodies and ideas and working them into completely new tracks with my production process. Because there is already a body of work, and the challenge is not having the original concept, but in the how I re-imagine that track into a new work, a new sound, a new state.
Hot on the heels of Apply the Pressure, his collaboration with Kat Five, Misled Convoy brings you Translations II, a collection of his remixes drawn from a wide geographical and musical net: breakbeat pioneer FreQ Nasty; Auckland based singer and songwriter Sandy Mill; old school Kiwi producer The Nomad; downtempo duo Deep Fried Dub; Weston and Frizzell’s art project Cardboard&Computers Michael’s collaboration with Paddy Free, Pitch Black, and East London duo Feral Five.
Also featured is his remix, with the assistance of audio maverick Uncle Fester on Acid, of Dub Syndicate's cover of Lloyd Parks’ “Mafia”, featuring the late Bim Sherman on vocals. Michael and Fester created their version using samples culled from DATs of the original recording sessions at The Manor studio in Oxford, which the duo had been archiving for On-U Sound.
For years Misled Convoy has made syrupy bass-heavy, predominantly instrumental dub tracks, but Translations II is awash with vocals. “I’ve spent the last year tucked away in my studio, hearing nothing but the haunting and powerful voices of Kat Five, Bim Sherman, Srikala, Luminahdi and others flowing around my studio, creating a connection to the wider world. Bring on the layrnx!”
As you might expect from a Misled Convoy release, the collection traverses a wide variety of genres, from electro house to dub techno, industrial ambience to broken beats, all now awash in a sea of dub effects, delay and reverb in his distinctive style. Some of the remixes simply re-present a new way to access and appreciate the original track, sometimes they produce completely different songs completely reimagined.
“I really love taking other people’s melodies and ideas and working them into completely new tracks with my production process. Because there is already a body of work, and the challenge is not having the original concept, but in the how I re-imagine that track into a new work, a new sound, a new state.
In Dub II is the second collection of Paddy Free remixes of artists from his native Aotearoa/New Zealand, Australia and Mexico. This edition features elements of drum’n’bass and trance alongside his usual copacetic fusion of ancient tradition and contemporary dub production, creating a full-spectrum journey from the very up to the very chill.
One of the pioneers of New Zealand electronica as half of multi-media duo Pitch Black with Mike Hodgson, Paddy Free also has a prolific career as a producer/engineer/remixer (Salmonella Dub, Crowded House, Oceania, Moana & The Tribe), composer for contemporary dance (Atamira, Mau, Black Grace), Ableton Live beta-tester and lecturer, as well as a solo career under his own name.
Since his last collection of remixes, In Dub, dropped in 2016, Paddy has kept busy with Pitch Black, releasing two albums and touring Europe and Aotearoa. On top of that he’s produced and co-written Moana & the Tribe’s album Rima with another album on the way.
His remixes of Kingfisha, Native Soul Project, Tor.Ma in Dub, Deep Fried Dub, Max Maxwell and Nga Tae find him in fine form, bringing uptempo influences to sit alongside his dub styles. Some tracks transport your body to the dancefloor, others invoke deep meditation, with all displaying Paddy's lush production aesthetic that repays repeated listening.
In Dub II is the second collection of Paddy Free remixes of artists from his native Aotearoa/New Zealand, Australia and Mexico. This edition features elements of drum’n’bass and trance alongside his usual copacetic fusion of ancient tradition and contemporary dub production, creating a full-spectrum journey from the very up to the very chill.
One of the pioneers of New Zealand electronica as half of multi-media duo Pitch Black with Mike Hodgson, Paddy Free also has a prolific career as a producer/engineer/remixer (Salmonella Dub, Crowded House, Oceania, Moana & The Tribe), composer for contemporary dance (Atamira, Mau, Black Grace), Ableton Live beta-tester and lecturer, as well as a solo career under his own name.
Since his last collection of remixes, In Dub, dropped in 2016, Paddy has kept busy with Pitch Black, releasing two albums and touring Europe and Aotearoa. On top of that he’s produced and co-written Moana & the Tribe’s album Rima with another album on the way.
His remixes of Kingfisha, Native Soul Project, Tor.Ma in Dub, Deep Fried Dub, Max Maxwell and Nga Tae find him in fine form, bringing uptempo influences to sit alongside his dub styles. Some tracks transport your body to the dancefloor, others invoke deep meditation, with all displaying Paddy's lush production aesthetic that repays repeated listening.
In Dub II is the second collection of Paddy Free remixes of artists from his native Aotearoa/New Zealand, Australia and Mexico. This edition features elements of drum’n’bass and trance alongside his usual copacetic fusion of ancient tradition and contemporary dub production, creating a full-spectrum journey from the very up to the very chill.
One of the pioneers of New Zealand electronica as half of multi-media duo Pitch Black with Mike Hodgson, Paddy Free also has a prolific career as a producer/engineer/remixer (Salmonella Dub, Crowded House, Oceania, Moana & The Tribe), composer for contemporary dance (Atamira, Mau, Black Grace), Ableton Live beta-tester and lecturer, as well as a solo career under his own name.
Since his last collection of remixes, In Dub, dropped in 2016, Paddy has kept busy with Pitch Black, releasing two albums and touring Europe and Aotearoa. On top of that he’s produced and co-written Moana & the Tribe’s album Rima with another album on the way.
His remixes of Kingfisha, Native Soul Project, Tor.Ma in Dub, Deep Fried Dub, Max Maxwell and Nga Tae find him in fine form, bringing uptempo influences to sit alongside his dub styles. Some tracks transport your body to the dancefloor, others invoke deep meditation, with all displaying Paddy's lush production aesthetic that repays repeated listening.
In Dub II is the second collection of Paddy Free remixes of artists from his native Aotearoa/New Zealand, Australia and Mexico. This edition features elements of drum’n’bass and trance alongside his usual copacetic fusion of ancient tradition and contemporary dub production, creating a full-spectrum journey from the very up to the very chill.
One of the pioneers of New Zealand electronica as half of multi-media duo Pitch Black with Mike Hodgson, Paddy Free also has a prolific career as a producer/engineer/remixer (Salmonella Dub, Crowded House, Oceania, Moana & The Tribe), composer for contemporary dance (Atamira, Mau, Black Grace), Ableton Live beta-tester and lecturer, as well as a solo career under his own name.
Since his last collection of remixes, In Dub, dropped in 2016, Paddy has kept busy with Pitch Black, releasing two albums and touring Europe and Aotearoa. On top of that he’s produced and co-written Moana & the Tribe’s album Rima with another album on the way.
His remixes of Kingfisha, Native Soul Project, Tor.Ma in Dub, Deep Fried Dub, Max Maxwell and Nga Tae find him in fine form, bringing uptempo influences to sit alongside his dub styles. Some tracks transport your body to the dancefloor, others invoke deep meditation, with all displaying Paddy's lush production aesthetic that repays repeated listening.
Hot on the heels of Apply the Pressure, his collaboration with Kat Five, Misled Convoy brings you Translations II, a collection of his remixes drawn from a wide geographical and musical net: breakbeat pioneer FreQ Nasty; Auckland based singer and songwriter Sandy Mill; old school Kiwi producer The Nomad; downtempo duo Deep Fried Dub; Weston and Frizzell’s art project Cardboard&Computers Michael’s collaboration with Paddy Free, Pitch Black, and East London duo Feral Five.
Also featured is his remix, with the assistance of audio maverick Uncle Fester on Acid, of Dub Syndicate's cover of Lloyd Parks’ “Mafia”, featuring the late Bim Sherman on vocals. Michael and Fester created their version using samples culled from DATs of the original recording sessions at The Manor studio in Oxford, which the duo had been archiving for On-U Sound.
For years Misled Convoy has made syrupy bass-heavy, predominantly instrumental dub tracks, but Translations II is awash with vocals. “I’ve spent the last year tucked away in my studio, hearing nothing but the haunting and powerful voices of Kat Five, Bim Sherman, Srikala, Luminahdi and others flowing around my studio, creating a connection to the wider world. Bring on the layrnx!”
As you might expect from a Misled Convoy release, the collection traverses a wide variety of genres, from electro house to dub techno, industrial ambience to broken beats, all now awash in a sea of dub effects, delay and reverb in his distinctive style. Some of the remixes simply re-present a new way to access and appreciate the original track, sometimes they produce completely different songs completely reimagined.
“I really love taking other people’s melodies and ideas and working them into completely new tracks with my production process. Because there is already a body of work, and the challenge is not having the original concept, but in the how I re-imagine that track into a new work, a new sound, a new state.
In Dub II is the second collection of Paddy Free remixes of artists from his native Aotearoa/New Zealand, Australia and Mexico. This edition features elements of drum’n’bass and trance alongside his usual copacetic fusion of ancient tradition and contemporary dub production, creating a full-spectrum journey from the very up to the very chill.
One of the pioneers of New Zealand electronica as half of multi-media duo Pitch Black with Mike Hodgson, Paddy Free also has a prolific career as a producer/engineer/remixer (Salmonella Dub, Crowded House, Oceania, Moana & The Tribe), composer for contemporary dance (Atamira, Mau, Black Grace), Ableton Live beta-tester and lecturer, as well as a solo career under his own name.
Since his last collection of remixes, In Dub, dropped in 2016, Paddy has kept busy with Pitch Black, releasing two albums and touring Europe and Aotearoa. On top of that he’s produced and co-written Moana & the Tribe’s album Rima with another album on the way.
His remixes of Kingfisha, Native Soul Project, Tor.Ma in Dub, Deep Fried Dub, Max Maxwell and Nga Tae find him in fine form, bringing uptempo influences to sit alongside his dub styles. Some tracks transport your body to the dancefloor, others invoke deep meditation, with all displaying Paddy's lush production aesthetic that repays repeated listening.
Hot on the heels of Apply the Pressure, his collaboration with Kat Five, Misled Convoy brings you Translations II, a collection of his remixes drawn from a wide geographical and musical net: breakbeat pioneer FreQ Nasty; Auckland based singer and songwriter Sandy Mill; old school Kiwi producer The Nomad; downtempo duo Deep Fried Dub; Weston and Frizzell’s art project Cardboard&Computers Michael’s collaboration with Paddy Free, Pitch Black, and East London duo Feral Five.
Also featured is his remix, with the assistance of audio maverick Uncle Fester on Acid, of Dub Syndicate's cover of Lloyd Parks’ “Mafia”, featuring the late Bim Sherman on vocals. Michael and Fester created their version using samples culled from DATs of the original recording sessions at The Manor studio in Oxford, which the duo had been archiving for On-U Sound.
For years Misled Convoy has made syrupy bass-heavy, predominantly instrumental dub tracks, but Translations II is awash with vocals. “I’ve spent the last year tucked away in my studio, hearing nothing but the haunting and powerful voices of Kat Five, Bim Sherman, Srikala, Luminahdi and others flowing around my studio, creating a connection to the wider world. Bring on the layrnx!”
As you might expect from a Misled Convoy release, the collection traverses a wide variety of genres, from electro house to dub techno, industrial ambience to broken beats, all now awash in a sea of dub effects, delay and reverb in his distinctive style. Some of the remixes simply re-present a new way to access and appreciate the original track, sometimes they produce completely different songs completely reimagined.
“I really love taking other people’s melodies and ideas and working them into completely new tracks with my production process. Because there is already a body of work, and the challenge is not having the original concept, but in the how I re-imagine that track into a new work, a new sound, a new state.
Hot on the heels of Apply the Pressure, his collaboration with Kat Five, Misled Convoy brings you Translations II, a collection of his remixes drawn from a wide geographical and musical net: breakbeat pioneer FreQ Nasty; Auckland based singer and songwriter Sandy Mill; old school Kiwi producer The Nomad; downtempo duo Deep Fried Dub; Weston and Frizzell’s art project Cardboard&Computers Michael’s collaboration with Paddy Free, Pitch Black, and East London duo Feral Five.
Also featured is his remix, with the assistance of audio maverick Uncle Fester on Acid, of Dub Syndicate's cover of Lloyd Parks’ “Mafia”, featuring the late Bim Sherman on vocals. Michael and Fester created their version using samples culled from DATs of the original recording sessions at The Manor studio in Oxford, which the duo had been archiving for On-U Sound.
For years Misled Convoy has made syrupy bass-heavy, predominantly instrumental dub tracks, but Translations II is awash with vocals. “I’ve spent the last year tucked away in my studio, hearing nothing but the haunting and powerful voices of Kat Five, Bim Sherman, Srikala, Luminahdi and others flowing around my studio, creating a connection to the wider world. Bring on the layrnx!”
As you might expect from a Misled Convoy release, the collection traverses a wide variety of genres, from electro house to dub techno, industrial ambience to broken beats, all now awash in a sea of dub effects, delay and reverb in his distinctive style. Some of the remixes simply re-present a new way to access and appreciate the original track, sometimes they produce completely different songs completely reimagined.
“I really love taking other people’s melodies and ideas and working them into completely new tracks with my production process. Because there is already a body of work, and the challenge is not having the original concept, but in the how I re-imagine that track into a new work, a new sound, a new state.
Hot on the heels of Apply the Pressure, his collaboration with Kat Five, Misled Convoy brings you Translations II, a collection of his remixes drawn from a wide geographical and musical net: breakbeat pioneer FreQ Nasty; Auckland based singer and songwriter Sandy Mill; old school Kiwi producer The Nomad; downtempo duo Deep Fried Dub; Weston and Frizzell’s art project Cardboard&Computers Michael’s collaboration with Paddy Free, Pitch Black, and East London duo Feral Five.
Also featured is his remix, with the assistance of audio maverick Uncle Fester on Acid, of Dub Syndicate's cover of Lloyd Parks’ “Mafia”, featuring the late Bim Sherman on vocals. Michael and Fester created their version using samples culled from DATs of the original recording sessions at The Manor studio in Oxford, which the duo had been archiving for On-U Sound.
For years Misled Convoy has made syrupy bass-heavy, predominantly instrumental dub tracks, but Translations II is awash with vocals. “I’ve spent the last year tucked away in my studio, hearing nothing but the haunting and powerful voices of Kat Five, Bim Sherman, Srikala, Luminahdi and others flowing around my studio, creating a connection to the wider world. Bring on the layrnx!”
As you might expect from a Misled Convoy release, the collection traverses a wide variety of genres, from electro house to dub techno, industrial ambience to broken beats, all now awash in a sea of dub effects, delay and reverb in his distinctive style. Some of the remixes simply re-present a new way to access and appreciate the original track, sometimes they produce completely different songs completely reimagined.
“I really love taking other people’s melodies and ideas and working them into completely new tracks with my production process. Because there is already a body of work, and the challenge is not having the original concept, but in the how I re-imagine that track into a new work, a new sound, a new state.
In Dub II is the second collection of Paddy Free remixes of artists from his native Aotearoa/New Zealand, Australia and Mexico. This edition features elements of drum’n’bass and trance alongside his usual copacetic fusion of ancient tradition and contemporary dub production, creating a full-spectrum journey from the very up to the very chill.
One of the pioneers of New Zealand electronica as half of multi-media duo Pitch Black with Mike Hodgson, Paddy Free also has a prolific career as a producer/engineer/remixer (Salmonella Dub, Crowded House, Oceania, Moana & The Tribe), composer for contemporary dance (Atamira, Mau, Black Grace), Ableton Live beta-tester and lecturer, as well as a solo career under his own name.
Since his last collection of remixes, In Dub, dropped in 2016, Paddy has kept busy with Pitch Black, releasing two albums and touring Europe and Aotearoa. On top of that he’s produced and co-written Moana & the Tribe’s album Rima with another album on the way.
His remixes of Kingfisha, Native Soul Project, Tor.Ma in Dub, Deep Fried Dub, Max Maxwell and Nga Tae find him in fine form, bringing uptempo influences to sit alongside his dub styles. Some tracks transport your body to the dancefloor, others invoke deep meditation, with all displaying Paddy's lush production aesthetic that repays repeated listening.
In Dub II is the second collection of Paddy Free remixes of artists from his native Aotearoa/New Zealand, Australia and Mexico. This edition features elements of drum’n’bass and trance alongside his usual copacetic fusion of ancient tradition and contemporary dub production, creating a full-spectrum journey from the very up to the very chill.
One of the pioneers of New Zealand electronica as half of multi-media duo Pitch Black with Mike Hodgson, Paddy Free also has a prolific career as a producer/engineer/remixer (Salmonella Dub, Crowded House, Oceania, Moana & The Tribe), composer for contemporary dance (Atamira, Mau, Black Grace), Ableton Live beta-tester and lecturer, as well as a solo career under his own name.
Since his last collection of remixes, In Dub, dropped in 2016, Paddy has kept busy with Pitch Black, releasing two albums and touring Europe and Aotearoa. On top of that he’s produced and co-written Moana & the Tribe’s album Rima with another album on the way.
His remixes of Kingfisha, Native Soul Project, Tor.Ma in Dub, Deep Fried Dub, Max Maxwell and Nga Tae find him in fine form, bringing uptempo influences to sit alongside his dub styles. Some tracks transport your body to the dancefloor, others invoke deep meditation, with all displaying Paddy's lush production aesthetic that repays repeated listening.
Mink is the second installment of International Observer's Zoonotic series, following on from Pangolin. Over five tracks, the Observer ponders on life, nature and isolation, accompanied by languid beats, jaunty melodies and dub basslines.
Mink is the second installment of International Observer's Zoonotic series, following on from Pangolin. Over five tracks, the Observer ponders on life, nature and isolation, accompanied by languid beats, jaunty melodies and dub basslines.
Mink is the second installment of International Observer's Zoonotic series, following on from Pangolin. Over five tracks, the Observer ponders on life, nature and isolation, accompanied by languid beats, jaunty melodies and dub basslines.
Mink is the second installment of International Observer's Zoonotic series, following on from Pangolin. Over five tracks, the Observer ponders on life, nature and isolation, accompanied by languid beats, jaunty melodies and dub basslines.
Mink is the second installment of International Observer's Zoonotic series, following on from Pangolin. Over five tracks, the Observer ponders on life, nature and isolation, accompanied by languid beats, jaunty melodies and dub basslines.
soundcloud.com/mcthfg and soundcloud.com/Supercozi unite to cover one of their favourite Floyd songs, finding strength and hope in its powerful and positive message, 50 years after it was first released.
Both artists took heart from the waves of bravery and community spirit in 2020, especially the fight back against racism and fascism. For Supercozi, Fearless “embodies the spirit of 2020” as “its lyrics and melody are still so connecting with our era”. For mcthfg, the “song has always looked forward, and while we must deal with, and correct the errors of the past, we can only do that by going forward.”
Reflecting their usual styles, Supercozi created a slinky cosmopolitan mix, while mcthfg opted for a bass heavy dubwise reduction. The duo’s quite different mixes are complemented by soundcloud.com/animat's head-nodding downbeat version.
soundcloud.com/mcthfg and soundcloud.com/Supercozi unite to cover one of their favourite Floyd songs, finding strength and hope in its powerful and positive message, 50 years after it was first released.
Both artists took heart from the waves of bravery and community spirit in 2020, especially the fight back against racism and fascism. For Supercozi, Fearless “embodies the spirit of 2020” as “its lyrics and melody are still so connecting with our era”. For mcthfg, the “song has always looked forward, and while we must deal with, and correct the errors of the past, we can only do that by going forward.”
Reflecting their usual styles, Supercozi created a slinky cosmopolitan mix, while mcthfg opted for a bass heavy dubwise reduction. The duo’s quite different mixes are complemented by soundcloud.com/animat's head-nodding downbeat version.
soundcloud.com/mcthfg and soundcloud.com/Supercozi unite to cover one of their favourite Floyd songs, finding strength and hope in its powerful and positive message, 50 years after it was first released.
Both artists took heart from the waves of bravery and community spirit in 2020, especially the fight back against racism and fascism. For Supercozi, Fearless “embodies the spirit of 2020” as “its lyrics and melody are still so connecting with our era”. For mcthfg, the “song has always looked forward, and while we must deal with, and correct the errors of the past, we can only do that by going forward.”
Reflecting their usual styles, Supercozi created a slinky cosmopolitan mix, while mcthfg opted for a bass heavy dubwise reduction. The duo’s quite different mixes are complemented by soundcloud.com/animat's head-nodding downbeat version.
Ready for change?
So are soundcloud.com/misledconvoy and soundcloud.com/kat-five in their latest release, “Apply the Pressure”.
The future has never sounded so poised on the cusp of positive transformation as soundcloud.com/kat-five prophesies thoughts and words of change over Misled Convoy's bass heavy soundscape, inviting us to apply the pressure and “tip the world back round rightly”.
Inspired by the echoes of a conversation found on a Soviet-era spying device bought at a boot sale in East London, but with no idea of its origin or timeline, Michael Hodgson AKA Misled Convoy decided to create a track and invited Kat Five, of soundcloud.com/feralfive fame, to join the narrative.
With Kat delivering vocals, synths and guitar, Michael reached back to his New Zealand roots and invited Greig Bainbridge to drop a bassline, which arrived driving and futuristic. Dave Fullwood, from the Ital Horns, provided a haunting brass accompaniment, trumpeting in a new dawn.
Finally visual artist collective kennardphillipps provided an arresting image that represents the state of a planet barely coping with its human inhabitants.
Apply the Pressure is a clarion call from the people of the planet seeking a new direction.
“Out of the darkness The new light comes”
Ready for change?
So are soundcloud.com/misledconvoy and soundcloud.com/kat-five in their latest release, “Apply the Pressure”.
The future has never sounded so poised on the cusp of positive transformation as soundcloud.com/kat-five prophesies thoughts and words of change over Misled Convoy's bass heavy soundscape, inviting us to apply the pressure and “tip the world back round rightly”.
Inspired by the echoes of a conversation found on a Soviet-era spying device bought at a boot sale in East London, but with no idea of its origin or timeline, Michael Hodgson AKA Misled Convoy decided to create a track and invited Kat Five, of soundcloud.com/feralfive fame, to join the narrative.
With Kat delivering vocals, synths and guitar, Michael reached back to his New Zealand roots and invited Greig Bainbridge to drop a bassline, which arrived driving and futuristic. Dave Fullwood, from the Ital Horns, provided a haunting brass accompaniment, trumpeting in a new dawn.
Finally visual artist collective kennardphillipps provided an arresting image that represents the state of a planet barely coping with its human inhabitants.
Apply the Pressure is a clarion call from the people of the planet seeking a new direction.
“Out of the darkness The new light comes”
This Christmas day, soundcloud.com/pitchblacknz release the final single from their acclaimed "Third Light" album, the closing track “Did You Get the Message”.
Initially inspired by the activities of Extinction Rebellion, but carrying new weight in the wake of the pandemic, the questioning message to society is enhanced by an eerie melody and dislocating sound effects.
Colorado's soundcloud.com/erothyme douses the original in layers of homebrewed extra-sultry sweetsauce to create a midtempo groovegasm, while Wellingtonian soundcloud.com/Zukebeats channels the duo's hope for a more harmonious future into a drum and bass banger.
This Christmas day, soundcloud.com/pitchblacknz release the final single from their acclaimed "Third Light" album, the closing track “Did You Get the Message”.
Initially inspired by the activities of Extinction Rebellion, but carrying new weight in the wake of the pandemic, the questioning message to society is enhanced by an eerie melody and dislocating sound effects.
Colorado's soundcloud.com/erothyme douses the original in layers of homebrewed extra-sultry sweetsauce to create a midtempo groovegasm, while Wellingtonian soundcloud.com/Zukebeats channels the duo's hope for a more harmonious future into a drum and bass banger.
This Christmas day, soundcloud.com/pitchblacknz release the final single from their acclaimed "Third Light" album, the closing track “Did You Get the Message”.
Initially inspired by the activities of Extinction Rebellion, but carrying new weight in the wake of the pandemic, the questioning message to society is enhanced by an eerie melody and dislocating sound effects.
Colorado's soundcloud.com/erothyme douses the original in layers of homebrewed extra-sultry sweetsauce to create a midtempo groovegasm, while Wellingtonian soundcloud.com/Zukebeats channels the duo's hope for a more harmonious future into a drum and bass banger.
Dread Code features five dubscapes, full of heavy bass and psychedelic effects, with Drew Id firmly at the controls. Inspired by the UK steppers scene and Australia's outdoor bass culture, the EP celebrates roots music and the influence it has on digital culture, community and music.
Using live dub techniques in the studio to build up rhythm and bass structures, and an arsenal of hardware synths and toys to create unique textures and melodies, Dread Code takes Drew Id's sonic storytelling to the next level. Pushing a more uptempo sound and a positive vibe for these troubled times, the EP brings us together at the outdoor dancehall to celebrate our connection to one another and the planet.
Dread Code features five dubscapes, full of heavy bass and psychedelic effects, with Drew Id firmly at the controls. Inspired by the UK steppers scene and Australia's outdoor bass culture, the EP celebrates roots music and the influence it has on digital culture, community and music.
Using live dub techniques in the studio to build up rhythm and bass structures, and an arsenal of hardware synths and toys to create unique textures and melodies, Dread Code takes Drew Id's sonic storytelling to the next level. Pushing a more uptempo sound and a positive vibe for these troubled times, the EP brings us together at the outdoor dancehall to celebrate our connection to one another and the planet.
Dread Code features five dubscapes, full of heavy bass and psychedelic effects, with Drew Id firmly at the controls. Inspired by the UK steppers scene and Australia's outdoor bass culture, the EP celebrates roots music and the influence it has on digital culture, community and music.
Using live dub techniques in the studio to build up rhythm and bass structures, and an arsenal of hardware synths and toys to create unique textures and melodies, Dread Code takes Drew Id's sonic storytelling to the next level. Pushing a more uptempo sound and a positive vibe for these troubled times, the EP brings us together at the outdoor dancehall to celebrate our connection to one another and the planet.
Dread Code features five dubscapes, full of heavy bass and psychedelic effects, with Drew Id firmly at the controls. Inspired by the UK steppers scene and Australia's outdoor bass culture, the EP celebrates roots music and the influence it has on digital culture, community and music.
Using live dub techniques in the studio to build up rhythm and bass structures, and an arsenal of hardware synths and toys to create unique textures and melodies, Dread Code takes Drew Id's sonic storytelling to the next level. Pushing a more uptempo sound and a positive vibe for these troubled times, the EP brings us together at the outdoor dancehall to celebrate our connection to one another and the planet.
Dread Code features five dubscapes, full of heavy bass and psychedelic effects, with Drew Id firmly at the controls. Inspired by the UK steppers scene and Australia's outdoor bass culture, the EP celebrates roots music and the influence it has on digital culture, community and music.
Using live dub techniques in the studio to build up rhythm and bass structures, and an arsenal of hardware synths and toys to create unique textures and melodies, Dread Code takes Drew Id's sonic storytelling to the next level. Pushing a more uptempo sound and a positive vibe for these troubled times, the EP brings us together at the outdoor dancehall to celebrate our connection to one another and the planet.
Music for poets, artists, dreamers, and dancers, Parallel Pathways pioneers new realms in exploratory dub experimentations, fuelled and driven by the bass groove. Kalpataru Tree's interpretations of mystery are immersed in imagination, creating a space to dream, parallel to this existence, offering pathways to freedom.
Music for poets, artists, dreamers, and dancers, Parallel Pathways pioneers new realms in exploratory dub experimentations, fuelled and driven by the bass groove. Kalpataru Tree's interpretations of mystery are immersed in imagination, creating a space to dream, parallel to this existence, offering pathways to freedom.
Music for poets, artists, dreamers, and dancers, Parallel Pathways pioneers new realms in exploratory dub experimentations, fuelled and driven by the bass groove. Kalpataru Tree's interpretations of mystery are immersed in imagination, creating a space to dream, parallel to this existence, offering pathways to freedom.
Music for poets, artists, dreamers, and dancers, Parallel Pathways pioneers new realms in exploratory dub experimentations, fuelled and driven by the bass groove. Kalpataru Tree's interpretations of mystery are immersed in imagination, creating a space to dream, parallel to this existence, offering pathways to freedom.
Music for poets, artists, dreamers, and dancers, Parallel Pathways pioneers new realms in exploratory dub experimentations, fuelled and driven by the bass groove. Kalpataru Tree's interpretations of mystery are immersed in imagination, creating a space to dream, parallel to this existence, offering pathways to freedom.
Music for poets, artists, dreamers, and dancers, Parallel Pathways pioneers new realms in exploratory dub experimentations, fuelled and driven by the bass groove. Kalpataru Tree's interpretations of mystery are immersed in imagination, creating a space to dream, parallel to this existence, offering pathways to freedom.
Gaudi follows up his critically acclaimed album “100 Years of Theremin (The Dub Chapter)” with a cover of Lee Perry's classic 'Bird in Hand' production.
Recorded on the 'Happy Roots' riddim, 'Bird in Hand' was Sam Carty's take on Naushad Ali's Hindi love song, 'Milte Hi Ankhen'. Here it’s re-titled ’Theremin In Hand’, with Gaudi playing the vocal line on the theremin, while Colin Edwin (of Porcupine Tree) plays bass and Horseman drums.
The track was originally going to be on the “100 Years” album, but a conversation with Adrian Sherwood while the duo were working together on Lee Perry’s “Rainford” album led them to the conclusion that it would be better to release it later as a single.
On the flip is a brand new Gaudi original, ’Theremin Memoir', which finds him channeling Serge Gainsbourg and Ennio Morricone in his homage to their 60’s and 70’s films. Colin Edwin again plays bass, with all other instruments are played by Gaudi.
Both tracks represent a continuation of the themes developed on the “100 Years” album, with Gaudi’s theremin riding the riddims in the same way that Augustus Pablo did with his melodica. The instrument’s other worldliness proves to be a perfect fit with reggae’s earthy roots, allowing the melodies to glide and float in harmony. Bandcamp called it a “match made in heaven”, Electronic Sound a “true triumph” and Culture Dub an “unlikely but undeniably successful union”.
'Theremin in Hand/Theremin Memoir' is the perfect accompaniment to '100 Years of Theremin (The Dub Chapter)', furthering Gaudi's tribute to Leon Theremin and his amazing instrument on its centenary. Available on limited edition 7'' vinyl or to download and stream from https://smarturl.it/theremininhand
Gaudi follows up his critically acclaimed album “100 Years of Theremin (The Dub Chapter)” with a cover of Lee Perry's classic 'Bird in Hand' production.
Recorded on the 'Happy Roots' riddim, 'Bird in Hand' was Sam Carty's take on Naushad Ali's Hindi love song, 'Milte Hi Ankhen'. Here it’s re-titled ’Theremin In Hand’, with Gaudi playing the vocal line on the theremin, while Colin Edwin (of Porcupine Tree) plays bass and Horseman drums.
The track was originally going to be on the “100 Years” album, but a conversation with Adrian Sherwood while the duo were working together on Lee Perry’s “Rainford” album led them to the conclusion that it would be better to release it later as a single.
On the flip is a brand new Gaudi original, ’Theremin Memoir', which finds him channeling Serge Gainsbourg and Ennio Morricone in his homage to their 60’s and 70’s films. Colin Edwin again plays bass, with all other instruments are played by Gaudi.
Both tracks represent a continuation of the themes developed on the “100 Years” album, with Gaudi’s theremin riding the riddims in the same way that Augustus Pablo did with his melodica. The instrument’s other worldliness proves to be a perfect fit with reggae’s earthy roots, allowing the melodies to glide and float in harmony. Bandcamp called it a “match made in heaven”, Electronic Sound a “true triumph” and Culture Dub an “unlikely but undeniably successful union”.
'Theremin in Hand/Theremin Memoir' is the perfect accompaniment to '100 Years of Theremin (The Dub Chapter)', furthering Gaudi's tribute to Leon Theremin and his amazing instrument on its centenary. Available on limited edition 7'' vinyl or to download and stream from https://smarturl.it/theremininhand
Sonic Artifact is an electronic odyssey with a thematic structure, a love song to the infinite cosmos wrapped inside a paean to deep space. Crafted by the Helsinki based soundcloud.com/dreadlocktales over a five year period with the help of the lauded throat singer and Igil player soundcloud.com/mikkoheikinpoika, Sonic Artifact’s journey into outer bass takes us from the ancient past to the near future and beyond.
Influenced as much by psychedelic and stoner rock as by dub reggae and the blues, It was the founder of Dreadlock Tales, Kimmo Tyni, who had the idea to make a continuous 35 minute song with a thematic structure that ended up being an exploration of ambient, drone, dub and techno, and he invited throat singer Mikko Heikinpoika to help.
The album was crafted first by creating a soundbed with Moog, electric Tanpura, sequenced synthesizers and field recordings from the forest. Tuvan throat singing, Igil and Melodica were added, and downtuned guitar was recorded through a massive tube amplifier and cabinet to create the drones at the end of the track. Finally Kimmo added traditional Finnish instrument the Kantele, and the track was finished.
The result is an electronic epic that warps time and bass on the artists' mystical mission to outer space.
Sonic Artifact is an electronic odyssey with a thematic structure, a love song to the infinite cosmos wrapped inside a paean to deep space. Crafted by the Helsinki based soundcloud.com/dreadlocktales over a five year period with the help of the lauded throat singer and Igil player soundcloud.com/mikkoheikinpoika, Sonic Artifact’s journey into outer bass takes us from the ancient past to the near future and beyond.
Influenced as much by psychedelic and stoner rock as by dub reggae and the blues, It was the founder of Dreadlock Tales, Kimmo Tyni, who had the idea to make a continuous 35 minute song with a thematic structure that ended up being an exploration of ambient, drone, dub and techno, and he invited throat singer Mikko Heikinpoika to help.
The album was crafted first by creating a soundbed with Moog, electric Tanpura, sequenced synthesizers and field recordings from the forest. Tuvan throat singing, Igil and Melodica were added, and downtuned guitar was recorded through a massive tube amplifier and cabinet to create the drones at the end of the track. Finally Kimmo added traditional Finnish instrument the Kantele, and the track was finished.
The result is an electronic epic that warps time and bass on the artists' mystical mission to outer space.
Sonic Artifact is an electronic odyssey with a thematic structure, a love song to the infinite cosmos wrapped inside a paean to deep space. Crafted by the Helsinki based soundcloud.com/dreadlocktales over a five year period with the help of the lauded throat singer and Igil player soundcloud.com/mikkoheikinpoika, Sonic Artifact’s journey into outer bass takes us from the ancient past to the near future and beyond.
Influenced as much by psychedelic and stoner rock as by dub reggae and the blues, It was the founder of Dreadlock Tales, Kimmo Tyni, who had the idea to make a continuous 35 minute song with a thematic structure that ended up being an exploration of ambient, drone, dub and techno, and he invited throat singer Mikko Heikinpoika to help.
The album was crafted first by creating a soundbed with Moog, electric Tanpura, sequenced synthesizers and field recordings from the forest. Tuvan throat singing, Igil and Melodica were added, and downtuned guitar was recorded through a massive tube amplifier and cabinet to create the drones at the end of the track. Finally Kimmo added traditional Finnish instrument the Kantele, and the track was finished.
The result is an electronic epic that warps time and bass on the artists' mystical mission to outer space.
Sonic Artifact is an electronic odyssey with a thematic structure, a love song to the infinite cosmos wrapped inside a paean to deep space. Crafted by the Helsinki based soundcloud.com/dreadlocktales over a five year period with the help of the lauded throat singer and Igil player soundcloud.com/mikkoheikinpoika, Sonic Artifact’s journey into outer bass takes us from the ancient past to the near future and beyond.
Influenced as much by psychedelic and stoner rock as by dub reggae and the blues, It was the founder of Dreadlock Tales, Kimmo Tyni, who had the idea to make a continuous 35 minute song with a thematic structure that ended up being an exploration of ambient, drone, dub and techno, and he invited throat singer Mikko Heikinpoika to help.
The album was crafted first by creating a soundbed with Moog, electric Tanpura, sequenced synthesizers and field recordings from the forest. Tuvan throat singing, Igil and Melodica were added, and downtuned guitar was recorded through a massive tube amplifier and cabinet to create the drones at the end of the track. Finally Kimmo added traditional Finnish instrument the Kantele, and the track was finished.
The result is an electronic epic that warps time and bass on the artists' mystical mission to outer space.
Sonic Artifact is an electronic odyssey with a thematic structure, a love song to the infinite cosmos wrapped inside a paean to deep space. Crafted by the Helsinki based soundcloud.com/dreadlocktales over a five year period with the help of the lauded throat singer and Igil player soundcloud.com/mikkoheikinpoika, Sonic Artifact’s journey into outer bass takes us from the ancient past to the near future and beyond.
Influenced as much by psychedelic and stoner rock as by dub reggae and the blues, It was the founder of Dreadlock Tales, Kimmo Tyni, who had the idea to make a continuous 35 minute song with a thematic structure that ended up being an exploration of ambient, drone, dub and techno, and he invited throat singer Mikko Heikinpoika to help.
The album was crafted first by creating a soundbed with Moog, electric Tanpura, sequenced synthesizers and field recordings from the forest. Tuvan throat singing, Igil and Melodica were added, and downtuned guitar was recorded through a massive tube amplifier and cabinet to create the drones at the end of the track. Finally Kimmo added traditional Finnish instrument the Kantele, and the track was finished.
The result is an electronic epic that warps time and bass on the artists' mystical mission to outer space.
“Immigrant Songs” is a meditation on movement: how different people and things travel, integrate, break apart, and re-form in new groups; how movement and immigration can be both difficult and rewarding; and finally how immigration can add to each and every culture in our world.
In part this is influenced by mcthfg’s own migration to South Korea in 2009, and in part by the consideration of those who have few choices or opportunities about where they live. As a result, at times the tracks are joyful and full of wonder, and at others darker and broodier, with these emotions reflected in the different time signatures and instrumentation used.
As mcthfg sees it, “Music is an opportunity to share and mix cultures, and for me it helps build a connection between my old homeland and the new. I consider myself extremely lucky in that I’ve been able to meet people from all over the world through music, and I’ve been able to get a glimpse of other ways of living outside my own. I hope that feeling comes across in my music.”
“Immigrant Songs” is a meditation on movement: how different people and things travel, integrate, break apart, and re-form in new groups; how movement and immigration can be both difficult and rewarding; and finally how immigration can add to each and every culture in our world.
In part this is influenced by mcthfg’s own migration to South Korea in 2009, and in part by the consideration of those who have few choices or opportunities about where they live. As a result, at times the tracks are joyful and full of wonder, and at others darker and broodier, with these emotions reflected in the different time signatures and instrumentation used.
As mcthfg sees it, “Music is an opportunity to share and mix cultures, and for me it helps build a connection between my old homeland and the new. I consider myself extremely lucky in that I’ve been able to meet people from all over the world through music, and I’ve been able to get a glimpse of other ways of living outside my own. I hope that feeling comes across in my music.”
“Immigrant Songs” is a meditation on movement: how different people and things travel, integrate, break apart, and re-form in new groups; how movement and immigration can be both difficult and rewarding; and finally how immigration can add to each and every culture in our world.
In part this is influenced by mcthfg’s own migration to South Korea in 2009, and in part by the consideration of those who have few choices or opportunities about where they live. As a result, at times the tracks are joyful and full of wonder, and at others darker and broodier, with these emotions reflected in the different time signatures and instrumentation used.
As mcthfg sees it, “Music is an opportunity to share and mix cultures, and for me it helps build a connection between my old homeland and the new. I consider myself extremely lucky in that I’ve been able to meet people from all over the world through music, and I’ve been able to get a glimpse of other ways of living outside my own. I hope that feeling comes across in my music.”
“Immigrant Songs” is a meditation on movement: how different people and things travel, integrate, break apart, and re-form in new groups; how movement and immigration can be both difficult and rewarding; and finally how immigration can add to each and every culture in our world.
In part this is influenced by mcthfg’s own migration to South Korea in 2009, and in part by the consideration of those who have few choices or opportunities about where they live. As a result, at times the tracks are joyful and full of wonder, and at others darker and broodier, with these emotions reflected in the different time signatures and instrumentation used.
As mcthfg sees it, “Music is an opportunity to share and mix cultures, and for me it helps build a connection between my old homeland and the new. I consider myself extremely lucky in that I’ve been able to meet people from all over the world through music, and I’ve been able to get a glimpse of other ways of living outside my own. I hope that feeling comes across in my music.”
“Immigrant Songs” is a meditation on movement: how different people and things travel, integrate, break apart, and re-form in new groups; how movement and immigration can be both difficult and rewarding; and finally how immigration can add to each and every culture in our world.
In part this is influenced by mcthfg’s own migration to South Korea in 2009, and in part by the consideration of those who have few choices or opportunities about where they live. As a result, at times the tracks are joyful and full of wonder, and at others darker and broodier, with these emotions reflected in the different time signatures and instrumentation used.
As mcthfg sees it, “Music is an opportunity to share and mix cultures, and for me it helps build a connection between my old homeland and the new. I consider myself extremely lucky in that I’ve been able to meet people from all over the world through music, and I’ve been able to get a glimpse of other ways of living outside my own. I hope that feeling comes across in my music.”
'The Dream of Lucy' is the final single from Tor.Ma in Dub's recent "Among Aliens and Gods" album, and was inspired by his wife’s dreams and wishes for their new child.
On the track he takes trance into the realms of dub, creating a psychedelic maelstrom, with sounds and images flying all over the place.
On the flip, Paddy Free from Pitch Black dials down the tempo, accentuates the good vibrations and provides a suitably rootical rub of the original.
'The Dream of Lucy' is the final single from Tor.Ma in Dub's recent "Among Aliens and Gods" album, and was inspired by his wife’s dreams and wishes for their new child.
On the track he takes trance into the realms of dub, creating a psychedelic maelstrom, with sounds and images flying all over the place.
On the flip, Paddy Free from Pitch Black dials down the tempo, accentuates the good vibrations and provides a suitably rootical rub of the original.
To celebrate 100 years of the Theremin, super producer Gaudi and friends have created an album of Theremin infused dub.
Developed in 1920 by Russian physicist Léon Theremin, the Theremin is an electronic device which works with magnetic fields and consists of one metal antenna controlled without physical contact. Predominantly a fairly niche instrument, it has featured in several styles of music since its creation, from classical works to sci-fi movie soundtracks, pop and rock.
Gaudi was supported in this tribute by five of the world's top dub producers - Mad Professor, Adrian Sherwood, Scientist, Dennis Bovell and Prince Fatty. All hugely respected individuals who have been representing the best of international dub production for the last 50 years, they have provided the riddims that underpin Gaudi's Theremin playing on this astonishing project.
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. In his 30 year career he has worked with legends of the reggae and electronic music worlds including Steel Pulse, Lee "Scratch" Perry, Michael Rose, Horace Andy, Michael Franti, Zion Train, Maxi Priest, The Beat, Sizzla, Dub Pistols, Hollie Cook, Dub FX, Youth, The Orb, Simple Minds, Nusrat Fateh Ali Khan, Deep Forest, Trentemøller and Lamb.
As a Theremin player for over 25 years, Gaudi has often combined his passion for the instrument and for reggae music, playing it on several of his albums, but until now he has never dedicated an entire release to it. Known and lauded for putting his "dub-take" on many musical genres, '100 Years of Theremin (The Dub Chapter)' is Gaudi's brainchild.
Listening to this blissful out-of-body-experience of an album, where roots reggae meets the enigmatic and ethereal sounds of sci-fi, is a deep and pensive experience. Haunting and mellifluous melodies meets earthy, bassy grooves in an unlikely yet undeniably successful union.
To celebrate 100 years of the Theremin, super producer Gaudi and friends have created an album of Theremin infused dub.
Developed in 1920 by Russian physicist Léon Theremin, the Theremin is an electronic device which works with magnetic fields and consists of one metal antenna controlled without physical contact. Predominantly a fairly niche instrument, it has featured in several styles of music since its creation, from classical works to sci-fi movie soundtracks, pop and rock.
Gaudi was supported in this tribute by five of the world's top dub producers - Mad Professor, Adrian Sherwood, Scientist, Dennis Bovell and Prince Fatty. All hugely respected individuals who have been representing the best of international dub production for the last 50 years, they have provided the riddims that underpin Gaudi's Theremin playing on this astonishing project.
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. In his 30 year career he has worked with legends of the reggae and electronic music worlds including Steel Pulse, Lee "Scratch" Perry, Michael Rose, Horace Andy, Michael Franti, Zion Train, Maxi Priest, The Beat, Sizzla, Dub Pistols, Hollie Cook, Dub FX, Youth, The Orb, Simple Minds, Nusrat Fateh Ali Khan, Deep Forest, Trentemøller and Lamb.
As a Theremin player for over 25 years, Gaudi has often combined his passion for the instrument and for reggae music, playing it on several of his albums, but until now he has never dedicated an entire release to it. Known and lauded for putting his "dub-take" on many musical genres, '100 Years of Theremin (The Dub Chapter)' is Gaudi's brainchild.
Listening to this blissful out-of-body-experience of an album, where roots reggae meets the enigmatic and ethereal sounds of sci-fi, is a deep and pensive experience. Haunting and mellifluous melodies meets earthy, bassy grooves in an unlikely yet undeniably successful union.
To celebrate 100 years of the Theremin, super producer Gaudi and friends have created an album of Theremin infused dub.
Developed in 1920 by Russian physicist Léon Theremin, the Theremin is an electronic device which works with magnetic fields and consists of one metal antenna controlled without physical contact. Predominantly a fairly niche instrument, it has featured in several styles of music since its creation, from classical works to sci-fi movie soundtracks, pop and rock.
Gaudi was supported in this tribute by five of the world's top dub producers - Mad Professor, Adrian Sherwood, Scientist, Dennis Bovell and Prince Fatty. All hugely respected individuals who have been representing the best of international dub production for the last 50 years, they have provided the riddims that underpin Gaudi's Theremin playing on this astonishing project.
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. In his 30 year career he has worked with legends of the reggae and electronic music worlds including Steel Pulse, Lee "Scratch" Perry, Michael Rose, Horace Andy, Michael Franti, Zion Train, Maxi Priest, The Beat, Sizzla, Dub Pistols, Hollie Cook, Dub FX, Youth, The Orb, Simple Minds, Nusrat Fateh Ali Khan, Deep Forest, Trentemøller and Lamb.
As a Theremin player for over 25 years, Gaudi has often combined his passion for the instrument and for reggae music, playing it on several of his albums, but until now he has never dedicated an entire release to it. Known and lauded for putting his "dub-take" on many musical genres, '100 Years of Theremin (The Dub Chapter)' is Gaudi's brainchild.
Listening to this blissful out-of-body-experience of an album, where roots reggae meets the enigmatic and ethereal sounds of sci-fi, is a deep and pensive experience. Haunting and mellifluous melodies meets earthy, bassy grooves in an unlikely yet undeniably successful union.
To celebrate 100 years of the Theremin, super producer Gaudi and friends have created an album of Theremin infused dub.
Developed in 1920 by Russian physicist Léon Theremin, the Theremin is an electronic device which works with magnetic fields and consists of one metal antenna controlled without physical contact. Predominantly a fairly niche instrument, it has featured in several styles of music since its creation, from classical works to sci-fi movie soundtracks, pop and rock.
Gaudi was supported in this tribute by five of the world's top dub producers - Mad Professor, Adrian Sherwood, Scientist, Dennis Bovell and Prince Fatty. All hugely respected individuals who have been representing the best of international dub production for the last 50 years, they have provided the riddims that underpin Gaudi's Theremin playing on this astonishing project.
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. In his 30 year career he has worked with legends of the reggae and electronic music worlds including Steel Pulse, Lee "Scratch" Perry, Michael Rose, Horace Andy, Michael Franti, Zion Train, Maxi Priest, The Beat, Sizzla, Dub Pistols, Hollie Cook, Dub FX, Youth, The Orb, Simple Minds, Nusrat Fateh Ali Khan, Deep Forest, Trentemøller and Lamb.
As a Theremin player for over 25 years, Gaudi has often combined his passion for the instrument and for reggae music, playing it on several of his albums, but until now he has never dedicated an entire release to it. Known and lauded for putting his "dub-take" on many musical genres, '100 Years of Theremin (The Dub Chapter)' is Gaudi's brainchild.
Listening to this blissful out-of-body-experience of an album, where roots reggae meets the enigmatic and ethereal sounds of sci-fi, is a deep and pensive experience. Haunting and mellifluous melodies meets earthy, bassy grooves in an unlikely yet undeniably successful union.
To celebrate 100 years of the Theremin, super producer Gaudi and friends have created an album of Theremin infused dub.
Developed in 1920 by Russian physicist Léon Theremin, the Theremin is an electronic device which works with magnetic fields and consists of one metal antenna controlled without physical contact. Predominantly a fairly niche instrument, it has featured in several styles of music since its creation, from classical works to sci-fi movie soundtracks, pop and rock.
Gaudi was supported in this tribute by five of the world's top dub producers - Mad Professor, Adrian Sherwood, Scientist, Dennis Bovell and Prince Fatty. All hugely respected individuals who have been representing the best of international dub production for the last 50 years, they have provided the riddims that underpin Gaudi's Theremin playing on this astonishing project.
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. In his 30 year career he has worked with legends of the reggae and electronic music worlds including Steel Pulse, Lee "Scratch" Perry, Michael Rose, Horace Andy, Michael Franti, Zion Train, Maxi Priest, The Beat, Sizzla, Dub Pistols, Hollie Cook, Dub FX, Youth, The Orb, Simple Minds, Nusrat Fateh Ali Khan, Deep Forest, Trentemøller and Lamb.
As a Theremin player for over 25 years, Gaudi has often combined his passion for the instrument and for reggae music, playing it on several of his albums, but until now he has never dedicated an entire release to it. Known and lauded for putting his "dub-take" on many musical genres, '100 Years of Theremin (The Dub Chapter)' is Gaudi's brainchild.
Listening to this blissful out-of-body-experience of an album, where roots reggae meets the enigmatic and ethereal sounds of sci-fi, is a deep and pensive experience. Haunting and mellifluous melodies meets earthy, bassy grooves in an unlikely yet undeniably successful union.
soundcloud.com/subsetdubs’s new EP finds him incorporating live instrumentation into his usual blend of four parts dub, one part deep house, equal parts minimal and techno. Scattered across the 5 tracks you'll find acoustic and electric guitar, horns, acoustic drums, mandolin and bass guitar, along with a healthy dose of reverb and filtering delays.
The result is a life affirming infusion of organic electronica and deep grooves, reminiscent of sunny afternoons and summer festivals.
soundcloud.com/subsetdubs’s new EP finds him incorporating live instrumentation into his usual blend of four parts dub, one part deep house, equal parts minimal and techno. Scattered across the 5 tracks you'll find acoustic and electric guitar, horns, acoustic drums, mandolin and bass guitar, along with a healthy dose of reverb and filtering delays.
The result is a life affirming infusion of organic electronica and deep grooves, reminiscent of sunny afternoons and summer festivals.
soundcloud.com/subsetdubs’s new EP finds him incorporating live instrumentation into his usual blend of four parts dub, one part deep house, equal parts minimal and techno. Scattered across the 5 tracks you'll find acoustic and electric guitar, horns, acoustic drums, mandolin and bass guitar, along with a healthy dose of reverb and filtering delays.
The result is a life affirming infusion of organic electronica and deep grooves, reminiscent of sunny afternoons and summer festivals.
To celebrate 100 years of the Theremin, super producer Gaudi and friends have created an album of Theremin infused dub.
Developed in 1920 by Russian physicist Léon Theremin, the Theremin is an electronic device which works with magnetic fields and consists of one metal antenna controlled without physical contact. Predominantly a fairly niche instrument, it has featured in several styles of music since its creation, from classical works to sci-fi movie soundtracks, pop and rock.
Gaudi was supported in this tribute by five of the world's top dub producers - Mad Professor, Adrian Sherwood, Scientist, Dennis Bovell and Prince Fatty. All hugely respected individuals who have been representing the best of international dub production for the last 50 years, they have provided the riddims that underpin Gaudi's Theremin playing on this astonishing project.
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. In his 30 year career he has worked with legends of the reggae and electronic music worlds including Steel Pulse, Lee "Scratch" Perry, Michael Rose, Horace Andy, Michael Franti, Zion Train, Maxi Priest, The Beat, Sizzla, Dub Pistols, Hollie Cook, Dub FX, Youth, The Orb, Simple Minds, Nusrat Fateh Ali Khan, Deep Forest, Trentemøller and Lamb.
As a Theremin player for over 25 years, Gaudi has often combined his passion for the instrument and for reggae music, playing it on several of his albums, but until now he has never dedicated an entire release to it. Known and lauded for putting his "dub-take" on many musical genres, '100 Years of Theremin (The Dub Chapter)' is Gaudi's brainchild.
Listening to this blissful out-of-body-experience of an album, where roots reggae meets the enigmatic and ethereal sounds of sci-fi, is a deep and pensive experience. Haunting and mellifluous melodies meets earthy, bassy grooves in an unlikely yet undeniably successful union.
To celebrate 100 years of the Theremin, super producer Gaudi and friends have created an album of Theremin infused dub.
Developed in 1920 by Russian physicist Léon Theremin, the Theremin is an electronic device which works with magnetic fields and consists of one metal antenna controlled without physical contact. Predominantly a fairly niche instrument, it has featured in several styles of music since its creation, from classical works to sci-fi movie soundtracks, pop and rock.
Gaudi was supported in this tribute by five of the world's top dub producers - Mad Professor, Adrian Sherwood, Scientist, Dennis Bovell and Prince Fatty. All hugely respected individuals who have been representing the best of international dub production for the last 50 years, they have provided the riddims that underpin Gaudi's Theremin playing on this astonishing project.
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. In his 30 year career he has worked with legends of the reggae and electronic music worlds including Steel Pulse, Lee "Scratch" Perry, Michael Rose, Horace Andy, Michael Franti, Zion Train, Maxi Priest, The Beat, Sizzla, Dub Pistols, Hollie Cook, Dub FX, Youth, The Orb, Simple Minds, Nusrat Fateh Ali Khan, Deep Forest, Trentemøller and Lamb.
As a Theremin player for over 25 years, Gaudi has often combined his passion for the instrument and for reggae music, playing it on several of his albums, but until now he has never dedicated an entire release to it. Known and lauded for putting his "dub-take" on many musical genres, '100 Years of Theremin (The Dub Chapter)' is Gaudi's brainchild.
Listening to this blissful out-of-body-experience of an album, where roots reggae meets the enigmatic and ethereal sounds of sci-fi, is a deep and pensive experience. Haunting and mellifluous melodies meets earthy, bassy grooves in an unlikely yet undeniably successful union.
To celebrate 100 years of the Theremin, super producer Gaudi and friends have created an album of Theremin infused dub.
Developed in 1920 by Russian physicist Léon Theremin, the Theremin is an electronic device which works with magnetic fields and consists of one metal antenna controlled without physical contact. Predominantly a fairly niche instrument, it has featured in several styles of music since its creation, from classical works to sci-fi movie soundtracks, pop and rock.
Gaudi was supported in this tribute by five of the world's top dub producers - Mad Professor, Adrian Sherwood, Scientist, Dennis Bovell and Prince Fatty. All hugely respected individuals who have been representing the best of international dub production for the last 50 years, they have provided the riddims that underpin Gaudi's Theremin playing on this astonishing project.
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. In his 30 year career he has worked with legends of the reggae and electronic music worlds including Steel Pulse, Lee "Scratch" Perry, Michael Rose, Horace Andy, Michael Franti, Zion Train, Maxi Priest, The Beat, Sizzla, Dub Pistols, Hollie Cook, Dub FX, Youth, The Orb, Simple Minds, Nusrat Fateh Ali Khan, Deep Forest, Trentemøller and Lamb.
As a Theremin player for over 25 years, Gaudi has often combined his passion for the instrument and for reggae music, playing it on several of his albums, but until now he has never dedicated an entire release to it. Known and lauded for putting his "dub-take" on many musical genres, '100 Years of Theremin (The Dub Chapter)' is Gaudi's brainchild.
Listening to this blissful out-of-body-experience of an album, where roots reggae meets the enigmatic and ethereal sounds of sci-fi, is a deep and pensive experience. Haunting and mellifluous melodies meets earthy, bassy grooves in an unlikely yet undeniably successful union.
To celebrate 100 years of the Theremin, super producer Gaudi and friends have created an album of Theremin infused dub.
Developed in 1920 by Russian physicist Léon Theremin, the Theremin is an electronic device which works with magnetic fields and consists of one metal antenna controlled without physical contact. Predominantly a fairly niche instrument, it has featured in several styles of music since its creation, from classical works to sci-fi movie soundtracks, pop and rock.
Gaudi was supported in this tribute by five of the world's top dub producers - Mad Professor, Adrian Sherwood, Scientist, Dennis Bovell and Prince Fatty. All hugely respected individuals who have been representing the best of international dub production for the last 50 years, they have provided the riddims that underpin Gaudi's Theremin playing on this astonishing project.
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. In his 30 year career he has worked with legends of the reggae and electronic music worlds including Steel Pulse, Lee "Scratch" Perry, Michael Rose, Horace Andy, Michael Franti, Zion Train, Maxi Priest, The Beat, Sizzla, Dub Pistols, Hollie Cook, Dub FX, Youth, The Orb, Simple Minds, Nusrat Fateh Ali Khan, Deep Forest, Trentemøller and Lamb.
As a Theremin player for over 25 years, Gaudi has often combined his passion for the instrument and for reggae music, playing it on several of his albums, but until now he has never dedicated an entire release to it. Known and lauded for putting his "dub-take" on many musical genres, '100 Years of Theremin (The Dub Chapter)' is Gaudi's brainchild.
Listening to this blissful out-of-body-experience of an album, where roots reggae meets the enigmatic and ethereal sounds of sci-fi, is a deep and pensive experience. Haunting and mellifluous melodies meets earthy, bassy grooves in an unlikely yet undeniably successful union.
To celebrate 100 years of the Theremin, super producer Gaudi and friends have created an album of Theremin infused dub.
Developed in 1920 by Russian physicist Léon Theremin, the Theremin is an electronic device which works with magnetic fields and consists of one metal antenna controlled without physical contact. Predominantly a fairly niche instrument, it has featured in several styles of music since its creation, from classical works to sci-fi movie soundtracks, pop and rock.
Gaudi was supported in this tribute by five of the world's top dub producers - Mad Professor, Adrian Sherwood, Scientist, Dennis Bovell and Prince Fatty. All hugely respected individuals who have been representing the best of international dub production for the last 50 years, they have provided the riddims that underpin Gaudi's Theremin playing on this astonishing project.
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. In his 30 year career he has worked with legends of the reggae and electronic music worlds including Steel Pulse, Lee "Scratch" Perry, Michael Rose, Horace Andy, Michael Franti, Zion Train, Maxi Priest, The Beat, Sizzla, Dub Pistols, Hollie Cook, Dub FX, Youth, The Orb, Simple Minds, Nusrat Fateh Ali Khan, Deep Forest, Trentemøller and Lamb.
As a Theremin player for over 25 years, Gaudi has often combined his passion for the instrument and for reggae music, playing it on several of his albums, but until now he has never dedicated an entire release to it. Known and lauded for putting his "dub-take" on many musical genres, '100 Years of Theremin (The Dub Chapter)' is Gaudi's brainchild.
Listening to this blissful out-of-body-experience of an album, where roots reggae meets the enigmatic and ethereal sounds of sci-fi, is a deep and pensive experience. Haunting and mellifluous melodies meets earthy, bassy grooves in an unlikely yet undeniably successful union.
soundcloud.com/subsetdubs’s new EP finds him incorporating live instrumentation into his usual blend of four parts dub, one part deep house, equal parts minimal and techno. Scattered across the 5 tracks you'll find acoustic and electric guitar, horns, acoustic drums, mandolin and bass guitar, along with a healthy dose of reverb and filtering delays.
The result is a life affirming infusion of organic electronica and deep grooves, reminiscent of sunny afternoons and summer festivals.
To celebrate 100 years of the Theremin, super producer Gaudi and friends have created an album of Theremin infused dub.
Developed in 1920 by Russian physicist Léon Theremin, the Theremin is an electronic device which works with magnetic fields and consists of one metal antenna controlled without physical contact. Predominantly a fairly niche instrument, it has featured in several styles of music since its creation, from classical works to sci-fi movie soundtracks, pop and rock.
Gaudi was supported in this tribute by five of the world's top dub producers - Mad Professor, Adrian Sherwood, Scientist, Dennis Bovell and Prince Fatty. All hugely respected individuals who have been representing the best of international dub production for the last 50 years, they have provided the riddims that underpin Gaudi's Theremin playing on this astonishing project.
As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. In his 30 year career he has worked with legends of the reggae and electronic music worlds including Steel Pulse, Lee "Scratch" Perry, Michael Rose, Horace Andy, Michael Franti, Zion Train, Maxi Priest, The Beat, Sizzla, Dub Pistols, Hollie Cook, Dub FX, Youth, The Orb, Simple Minds, Nusrat Fateh Ali Khan, Deep Forest, Trentemøller and Lamb.
As a Theremin player for over 25 years, Gaudi has often combined his passion for the instrument and for reggae music, playing it on several of his albums, but until now he has never dedicated an entire release to it. Known and lauded for putting his "dub-take" on many musical genres, '100 Years of Theremin (The Dub Chapter)' is Gaudi's brainchild.
Listening to this blissful out-of-body-experience of an album, where roots reggae meets the enigmatic and ethereal sounds of sci-fi, is a deep and pensive experience. Haunting and mellifluous melodies meets earthy, bassy grooves in an unlikely yet undeniably successful union.
Pitch Black’s landmark album is finally pressed on vinyl.
First released in 2000, “Electronomicon” showed Pitch Black developing their deep dubby sound further by creating long and involved song structures that traverse a range of sonic experiences. The resultant album journeys from organic ambience and layered soundscapes to skanking keyboards, cutting acid riffs and thumping rhythmic grooves, with dub being the glue that holds it all together.
“Electronomicon” reached 28 in the New Zealand album charts and led to a sell-out 30-date tour of New Zealand and Australia. It has since gone on to become one of the duo’s most popular albums, regularly finding new fans around the world.
To celebrate the 20th anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release.
Pitch Black’s landmark album is finally pressed on vinyl.
First released in 2000, “Electronomicon” showed Pitch Black developing their deep dubby sound further by creating long and involved song structures that traverse a range of sonic experiences. The resultant album journeys from organic ambience and layered soundscapes to skanking keyboards, cutting acid riffs and thumping rhythmic grooves, with dub being the glue that holds it all together.
“Electronomicon” reached 28 in the New Zealand album charts and led to a sell-out 30-date tour of New Zealand and Australia. It has since gone on to become one of the duo’s most popular albums, regularly finding new fans around the world.
To celebrate the 20th anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release.
Pitch Black’s landmark album is finally pressed on vinyl.
First released in 2000, “Electronomicon” showed Pitch Black developing their deep dubby sound further by creating long and involved song structures that traverse a range of sonic experiences. The resultant album journeys from organic ambience and layered soundscapes to skanking keyboards, cutting acid riffs and thumping rhythmic grooves, with dub being the glue that holds it all together.
“Electronomicon” reached 28 in the New Zealand album charts and led to a sell-out 30-date tour of New Zealand and Australia. It has since gone on to become one of the duo’s most popular albums, regularly finding new fans around the world.
To celebrate the 20th anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release.
Pitch Black’s landmark album is finally pressed on vinyl.
First released in 2000, “Electronomicon” showed Pitch Black developing their deep dubby sound further by creating long and involved song structures that traverse a range of sonic experiences. The resultant album journeys from organic ambience and layered soundscapes to skanking keyboards, cutting acid riffs and thumping rhythmic grooves, with dub being the glue that holds it all together.
“Electronomicon” reached 28 in the New Zealand album charts and led to a sell-out 30-date tour of New Zealand and Australia. It has since gone on to become one of the duo’s most popular albums, regularly finding new fans around the world.
To celebrate the 20th anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release.
Pitch Black’s landmark album is finally pressed on vinyl.
First released in 2000, “Electronomicon” showed Pitch Black developing their deep dubby sound further by creating long and involved song structures that traverse a range of sonic experiences. The resultant album journeys from organic ambience and layered soundscapes to skanking keyboards, cutting acid riffs and thumping rhythmic grooves, with dub being the glue that holds it all together.
“Electronomicon” reached 28 in the New Zealand album charts and led to a sell-out 30-date tour of New Zealand and Australia. It has since gone on to become one of the duo’s most popular albums, regularly finding new fans around the world.
To celebrate the 20th anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release.
Pitch Black’s landmark album is finally pressed on vinyl.
First released in 2000, “Electronomicon” showed Pitch Black developing their deep dubby sound further by creating long and involved song structures that traverse a range of sonic experiences. The resultant album journeys from organic ambience and layered soundscapes to skanking keyboards, cutting acid riffs and thumping rhythmic grooves, with dub being the glue that holds it all together.
“Electronomicon” reached 28 in the New Zealand album charts and led to a sell-out 30-date tour of New Zealand and Australia. It has since gone on to become one of the duo’s most popular albums, regularly finding new fans around the world.
To celebrate the 20th anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release.
Pitch Black’s landmark album is finally pressed on vinyl.
First released in 2000, “Electronomicon” showed Pitch Black developing their deep dubby sound further by creating long and involved song structures that traverse a range of sonic experiences. The resultant album journeys from organic ambience and layered soundscapes to skanking keyboards, cutting acid riffs and thumping rhythmic grooves, with dub being the glue that holds it all together.
“Electronomicon” reached 28 in the New Zealand album charts and led to a sell-out 30-date tour of New Zealand and Australia. It has since gone on to become one of the duo’s most popular albums, regularly finding new fans around the world.
To celebrate the 20th anniversary of the release, the band dug out the original audio files and Angus McNaughton has re-mastered them for this vinyl release.
‘Sound Tlakotli’ is the first single from the debut album by Sudden Reverb, the new alias of Mexico-born composer, producer and DJ Fernando Perez Gomez, previously known for his Nahuatl Sound System and Nahuatl Jaguar projects.
A subversive slice of propulsive dub, fuelled by spicy horns and a cheeky guitar riff, ‘Sound Tlakotli’ fuses dub production with techno beats to stunning effect.
The original is supported by a handful of stellar remixers, Meeting by Chance, Deadbeat and The Three Wise Mexicans: Rainforest, Tor.ma in Dub and Mexican Stepper. Each bring with them their own style, from smoky downtempo to smooth drum and bass, steppers to spacious bass scapes.
Look out for the album on Aztek Electronic Music.
‘Sound Tlakotli’ is the first single from the debut album by Sudden Reverb, the new alias of Mexico-born composer, producer and DJ Fernando Perez Gomez, previously known for his Nahuatl Sound System and Nahuatl Jaguar projects.
A subversive slice of propulsive dub, fuelled by spicy horns and a cheeky guitar riff, ‘Sound Tlakotli’ fuses dub production with techno beats to stunning effect.
The original is supported by a handful of stellar remixers, Meeting by Chance, Deadbeat and The Three Wise Mexicans: Rainforest, Tor.ma in Dub and Mexican Stepper. Each bring with them their own style, from smoky downtempo to smooth drum and bass, steppers to spacious bass scapes.
Look out for the album on Aztek Electronic Music.
‘Sound Tlakotli’ is the first single from the debut album by Sudden Reverb, the new alias of Mexico-born composer, producer and DJ Fernando Perez Gomez, previously known for his Nahuatl Sound System and Nahuatl Jaguar projects.
A subversive slice of propulsive dub, fuelled by spicy horns and a cheeky guitar riff, ‘Sound Tlakotli’ fuses dub production with techno beats to stunning effect.
The original is supported by a handful of stellar remixers, Meeting by Chance, Deadbeat and The Three Wise Mexicans: Rainforest, Tor.ma in Dub and Mexican Stepper. Each bring with them their own style, from smoky downtempo to smooth drum and bass, steppers to spacious bass scapes.
Look out for the album on Aztek Electronic Music.
‘Sound Tlakotli’ is the first single from the debut album by Sudden Reverb, the new alias of Mexico-born composer, producer and DJ Fernando Perez Gomez, previously known for his Nahuatl Sound System and Nahuatl Jaguar projects.
A subversive slice of propulsive dub, fuelled by spicy horns and a cheeky guitar riff, ‘Sound Tlakotli’ fuses dub production with techno beats to stunning effect.
The original is supported by a handful of stellar remixers, Meeting by Chance, Deadbeat and The Three Wise Mexicans: Rainforest, Tor.ma in Dub and Mexican Stepper. Each bring with them their own style, from smoky downtempo to smooth drum and bass, steppers to spacious bass scapes.
Look out for the album on Aztek Electronic Music.
‘Sound Tlakotli’ is the first single from the debut album by Sudden Reverb, the new alias of Mexico-born composer, producer and DJ Fernando Perez Gomez, previously known for his Nahuatl Sound System and Nahuatl Jaguar projects.
A subversive slice of propulsive dub, fuelled by spicy horns and a cheeky guitar riff, ‘Sound Tlakotli’ fuses dub production with techno beats to stunning effect.
The original is supported by a handful of stellar remixers, Meeting by Chance, Deadbeat and The Three Wise Mexicans: Rainforest, Tor.ma in Dub and Mexican Stepper. Each bring with them their own style, from smoky downtempo to smooth drum and bass, steppers to spacious bass scapes.
Look out for the album on Aztek Electronic Music.
‘Sound Tlakotli’ is the first single from the debut album by Sudden Reverb, the new alias of Mexico-born composer, producer and DJ Fernando Perez Gomez, previously known for his Nahuatl Sound System and Nahuatl Jaguar projects.
A subversive slice of propulsive dub, fuelled by spicy horns and a cheeky guitar riff, ‘Sound Tlakotli’ fuses dub production with techno beats to stunning effect.
The original is supported by a handful of stellar remixers, Meeting by Chance, Deadbeat and The Three Wise Mexicans: Rainforest, Tor.ma in Dub and Mexican Stepper. Each bring with them their own style, from smoky downtempo to smooth drum and bass, steppers to spacious bass scapes.
Look out for the album on Aztek Electronic Music.
Five fresh dubs from the Observer studio, inspired by recent events, Lauren Drescher's Zoonotic print series and our rapacious approach to the natural world.
Five fresh dubs from the Observer studio, inspired by recent events, Lauren Drescher's Zoonotic print series and our rapacious approach to the natural world.
Five fresh dubs from the Observer studio, inspired by recent events, Lauren Drescher's Zoonotic print series and our rapacious approach to the natural world.
Five fresh dubs from the Observer studio, inspired by recent events, Lauren Drescher's Zoonotic print series and our rapacious approach to the natural world.
Five fresh dubs from the Observer studio, inspired by recent events, Lauren Drescher's Zoonotic print series and our rapacious approach to the natural world.
New Zealand’s soundcloud.com/deepfrieddubband and soundcloud.com/isaac-chambers-music go head to head with more than a little help from the sweet vocals of soundcloud.com/dubprincess.
Our story begins 4 years ago, when Isaac and Dub Princess remixed Deep Fried’s tune “Kryptology” in a dub house meets roots vocal fashion. Following an appearance on a Buddha Bar compilation, their remix has now amassed over 2 million streams and over 20 million views.
Earlier this year, Deep Fried decided to return the favour and refried Isaac and Dub Princess’s 'Back to My Roots', adding their own special dubwise flavours to the easy skanking original.
Rootsology features both collaborations as well as bonus dub versions, with the original remix being remastered to 2020 standards by Beau Thomas.
New Zealand’s soundcloud.com/deepfrieddubband and soundcloud.com/isaac-chambers-music go head to head with more than a little help from the sweet vocals of soundcloud.com/dubprincess.
Our story begins 4 years ago, when Isaac and Dub Princess remixed Deep Fried’s tune “Kryptology” in a dub house meets roots vocal fashion. Following an appearance on a Buddha Bar compilation, their remix has now amassed over 2 million streams and over 20 million views.
Earlier this year, Deep Fried decided to return the favour and refried Isaac and Dub Princess’s 'Back to My Roots', adding their own special dubwise flavours to the easy skanking original.
Rootsology features both collaborations as well as bonus dub versions, with the original remix being remastered to 2020 standards by Beau Thomas.
New Zealand’s soundcloud.com/deepfrieddubband and soundcloud.com/isaac-chambers-music go head to head with more than a little help from the sweet vocals of soundcloud.com/dubprincess.
Our story begins 4 years ago, when Isaac and Dub Princess remixed Deep Fried’s tune “Kryptology” in a dub house meets roots vocal fashion. Following an appearance on a Buddha Bar compilation, their remix has now amassed over 2 million streams and over 20 million views.
Earlier this year, Deep Fried decided to return the favour and refried Isaac and Dub Princess’s 'Back to My Roots', adding their own special dubwise flavours to the easy skanking original.
Rootsology features both collaborations as well as bonus dub versions, with the original remix being remastered to 2020 standards by Beau Thomas.
New Zealand’s soundcloud.com/deepfrieddubband and soundcloud.com/isaac-chambers-music go head to head with more than a little help from the sweet vocals of soundcloud.com/dubprincess.
Our story begins 4 years ago, when Isaac and Dub Princess remixed Deep Fried’s tune “Kryptology” in a dub house meets roots vocal fashion. Following an appearance on a Buddha Bar compilation, their remix has now amassed over 2 million streams and over 20 million views.
Earlier this year, Deep Fried decided to return the favour and refried Isaac and Dub Princess’s 'Back to My Roots', adding their own special dubwise flavours to the easy skanking original.
Rootsology features both collaborations as well as bonus dub versions, with the original remix being remastered to 2020 standards by Beau Thomas.
For his second album on Dubmission, 'Among Aliens and Gods,' Tor.Ma in Dub has added experiences from his life to the various musical styles he has developed over the years, creating a biography of bass that incorporates his love of sci-fi movies and the books of H.P. Lovecraft, the recent birth of his daughter, and a spectrum of other powerful life experiences.
The resulting compositions blend the hypnotic rhythms of global dub with the twisted atmospheres of psychedelic electronica to create a funky, bass-driven interpretation of 21st-century dub music. Broken apart and reshuffled into new and exotic arrangements based on its unmistakable dub roots, 'Among Aliens and Gods’ is a life-affirming adventure into bass that is in one moment revelrous and in the next a deeply meditative experience.
Come aboard, but come prepared — there is no turning back once this kaleidoscopic journey begins!
For his second album on Dubmission, 'Among Aliens and Gods,' Tor.Ma in Dub has added experiences from his life to the various musical styles he has developed over the years, creating a biography of bass that incorporates his love of sci-fi movies and the books of H.P. Lovecraft, the recent birth of his daughter, and a spectrum of other powerful life experiences.
The resulting compositions blend the hypnotic rhythms of global dub with the twisted atmospheres of psychedelic electronica to create a funky, bass-driven interpretation of 21st-century dub music. Broken apart and reshuffled into new and exotic arrangements based on its unmistakable dub roots, 'Among Aliens and Gods’ is a life-affirming adventure into bass that is in one moment revelrous and in the next a deeply meditative experience.
Come aboard, but come prepared — there is no turning back once this kaleidoscopic journey begins!
For his second album on Dubmission, 'Among Aliens and Gods,' Tor.Ma in Dub has added experiences from his life to the various musical styles he has developed over the years, creating a biography of bass that incorporates his love of sci-fi movies and the books of H.P. Lovecraft, the recent birth of his daughter, and a spectrum of other powerful life experiences.
The resulting compositions blend the hypnotic rhythms of global dub with the twisted atmospheres of psychedelic electronica to create a funky, bass-driven interpretation of 21st-century dub music. Broken apart and reshuffled into new and exotic arrangements based on its unmistakable dub roots, 'Among Aliens and Gods’ is a life-affirming adventure into bass that is in one moment revelrous and in the next a deeply meditative experience.
Come aboard, but come prepared — there is no turning back once this kaleidoscopic journey begins!
For his second album on Dubmission, 'Among Aliens and Gods,' Tor.Ma in Dub has added experiences from his life to the various musical styles he has developed over the years, creating a biography of bass that incorporates his love of sci-fi movies and the books of H.P. Lovecraft, the recent birth of his daughter, and a spectrum of other powerful life experiences.
The resulting compositions blend the hypnotic rhythms of global dub with the twisted atmospheres of psychedelic electronica to create a funky, bass-driven interpretation of 21st-century dub music. Broken apart and reshuffled into new and exotic arrangements based on its unmistakable dub roots, 'Among Aliens and Gods’ is a life-affirming adventure into bass that is in one moment revelrous and in the next a deeply meditative experience.
Come aboard, but come prepared — there is no turning back once this kaleidoscopic journey begins!
For his second album on Dubmission, 'Among Aliens and Gods,' Tor.Ma in Dub has added experiences from his life to the various musical styles he has developed over the years, creating a biography of bass that incorporates his love of sci-fi movies and the books of H.P. Lovecraft, the recent birth of his daughter, and a spectrum of other powerful life experiences.
The resulting compositions blend the hypnotic rhythms of global dub with the twisted atmospheres of psychedelic electronica to create a funky, bass-driven interpretation of 21st-century dub music. Broken apart and reshuffled into new and exotic arrangements based on its unmistakable dub roots, 'Among Aliens and Gods’ is a life-affirming adventure into bass that is in one moment revelrous and in the next a deeply meditative experience.
Come aboard, but come prepared — there is no turning back once this kaleidoscopic journey begins!
For his second album on Dubmission, 'Among Aliens and Gods,' Tor.Ma in Dub has added experiences from his life to the various musical styles he has developed over the years, creating a biography of bass that incorporates his love of sci-fi movies and the books of H.P. Lovecraft, the recent birth of his daughter, and a spectrum of other powerful life experiences.
The resulting compositions blend the hypnotic rhythms of global dub with the twisted atmospheres of psychedelic electronica to create a funky, bass-driven interpretation of 21st-century dub music. Broken apart and reshuffled into new and exotic arrangements based on its unmistakable dub roots, 'Among Aliens and Gods’ is a life-affirming adventure into bass that is in one moment revelrous and in the next a deeply meditative experience.
Come aboard, but come prepared — there is no turning back once this kaleidoscopic journey begins!
For his second album on Dubmission, 'Among Aliens and Gods,' Tor.Ma in Dub has added experiences from his life to the various musical styles he has developed over the years, creating a biography of bass that incorporates his love of sci-fi movies and the books of H.P. Lovecraft, the recent birth of his daughter, and a spectrum of other powerful life experiences.
The resulting compositions blend the hypnotic rhythms of global dub with the twisted atmospheres of psychedelic electronica to create a funky, bass-driven interpretation of 21st-century dub music. Broken apart and reshuffled into new and exotic arrangements based on its unmistakable dub roots, 'Among Aliens and Gods’ is a life-affirming adventure into bass that is in one moment revelrous and in the next a deeply meditative experience.
Come aboard, but come prepared — there is no turning back once this kaleidoscopic journey begins!
For his second album on Dubmission, 'Among Aliens and Gods,' Tor.Ma in Dub has added experiences from his life to the various musical styles he has developed over the years, creating a biography of bass that incorporates his love of sci-fi movies and the books of H.P. Lovecraft, the recent birth of his daughter, and a spectrum of other powerful life experiences.
The resulting compositions blend the hypnotic rhythms of global dub with the twisted atmospheres of psychedelic electronica to create a funky, bass-driven interpretation of 21st-century dub music. Broken apart and reshuffled into new and exotic arrangements based on its unmistakable dub roots, 'Among Aliens and Gods’ is a life-affirming adventure into bass that is in one moment revelrous and in the next a deeply meditative experience.
Come aboard, but come prepared — there is no turning back once this kaleidoscopic journey begins!
For his second album on Dubmission, 'Among Aliens and Gods,' Tor.Ma in Dub has added experiences from his life to the various musical styles he has developed over the years, creating a biography of bass that incorporates his love of sci-fi movies and the books of H.P. Lovecraft, the recent birth of his daughter, and a spectrum of other powerful life experiences.
The resulting compositions blend the hypnotic rhythms of global dub with the twisted atmospheres of psychedelic electronica to create a funky, bass-driven interpretation of 21st-century dub music. Broken apart and reshuffled into new and exotic arrangements based on its unmistakable dub roots, 'Among Aliens and Gods’ is a life-affirming adventure into bass that is in one moment revelrous and in the next a deeply meditative experience.
Come aboard, but come prepared — there is no turning back once this kaleidoscopic journey begins!
For his second album on Dubmission, 'Among Aliens and Gods,' Tor.Ma in Dub has added experiences from his life to the various musical styles he has developed over the years, creating a biography of bass that incorporates his love of sci-fi movies and the books of H.P. Lovecraft, the recent birth of his daughter, and a spectrum of other powerful life experiences.
The resulting compositions blend the hypnotic rhythms of global dub with the twisted atmospheres of psychedelic electronica to create a funky, bass-driven interpretation of 21st-century dub music. Broken apart and reshuffled into new and exotic arrangements based on its unmistakable dub roots, 'Among Aliens and Gods’ is a life-affirming adventure into bass that is in one moment revelrous and in the next a deeply meditative experience.
Come aboard, but come prepared — there is no turning back once this kaleidoscopic journey begins!
Pitch Black follow up their “Third Light” album with a companion selection of remixes entitled “The Light Within”. Reflecting the duo’s international status, their remixers hail from across the globe, and given the heavyweight source material it should be no surprise that the tunes span the bass music spectrum. The resultant ten-track collection is playful, spiritual and sensory, with upbeat tempos and slithering effects woven deep into the rhythmic pulses and dark undercurrents of Pitch Black’s original tracks.
Bookended by uptempo versions of “Daylight Wasting” from International Observer and Berlin bassheads qnp, “The Light Within” features contemporary bass cuts from Portland’s Bodie and Christchurch’s Akcept, downtempo grooves by Argentinian dubsalon and South Korean mcthfg, dancefloor dubs from Mexico’s Tor.Ma in Dub and Brisbanite SUBSET, as well as drum and bass by Wellingtonian Zuke and the legendary UK producer and founder of OnU Records, Adrian Sherwood.
Contemplative but cheerful, either way, as “A Doubtful Sound” states, ‘The rhythm IS gonna get ya!’
Pitch Black follow up their “Third Light” album with a companion selection of remixes entitled “The Light Within”. Reflecting the duo’s international status, their remixers hail from across the globe, and given the heavyweight source material it should be no surprise that the tunes span the bass music spectrum. The resultant ten-track collection is playful, spiritual and sensory, with upbeat tempos and slithering effects woven deep into the rhythmic pulses and dark undercurrents of Pitch Black’s original tracks.
Bookended by uptempo versions of “Daylight Wasting” from International Observer and Berlin bassheads qnp, “The Light Within” features contemporary bass cuts from Portland’s Bodie and Christchurch’s Akcept, downtempo grooves by Argentinian dubsalon and South Korean mcthfg, dancefloor dubs from Mexico’s Tor.Ma in Dub and Brisbanite SUBSET, as well as drum and bass by Wellingtonian Zuke and the legendary UK producer and founder of OnU Records, Adrian Sherwood.
Contemplative but cheerful, either way, as “A Doubtful Sound” states, ‘The rhythm IS gonna get ya!’
Pitch Black follow up their “Third Light” album with a companion selection of remixes entitled “The Light Within”. Reflecting the duo’s international status, their remixers hail from across the globe, and given the heavyweight source material it should be no surprise that the tunes span the bass music spectrum. The resultant ten-track collection is playful, spiritual and sensory, with upbeat tempos and slithering effects woven deep into the rhythmic pulses and dark undercurrents of Pitch Black’s original tracks.
Bookended by uptempo versions of “Daylight Wasting” from International Observer and Berlin bassheads qnp, “The Light Within” features contemporary bass cuts from Portland’s Bodie and Christchurch’s Akcept, downtempo grooves by Argentinian dubsalon and South Korean mcthfg, dancefloor dubs from Mexico’s Tor.Ma in Dub and Brisbanite SUBSET, as well as drum and bass by Wellingtonian Zuke and the legendary UK producer and founder of OnU Records, Adrian Sherwood.
Contemplative but cheerful, either way, as “A Doubtful Sound” states, ‘The rhythm IS gonna get ya!’
Pitch Black follow up their “Third Light” album with a companion selection of remixes entitled “The Light Within”. Reflecting the duo’s international status, their remixers hail from across the globe, and given the heavyweight source material it should be no surprise that the tunes span the bass music spectrum. The resultant ten-track collection is playful, spiritual and sensory, with upbeat tempos and slithering effects woven deep into the rhythmic pulses and dark undercurrents of Pitch Black’s original tracks.
Bookended by uptempo versions of “Daylight Wasting” from International Observer and Berlin bassheads qnp, “The Light Within” features contemporary bass cuts from Portland’s Bodie and Christchurch’s Akcept, downtempo grooves by Argentinian dubsalon and South Korean mcthfg, dancefloor dubs from Mexico’s Tor.Ma in Dub and Brisbanite SUBSET, as well as drum and bass by Wellingtonian Zuke and the legendary UK producer and founder of OnU Records, Adrian Sherwood.
Contemplative but cheerful, either way, as “A Doubtful Sound” states, ‘The rhythm IS gonna get ya!’
Pitch Black follow up their “Third Light” album with a companion selection of remixes entitled “The Light Within”. Reflecting the duo’s international status, their remixers hail from across the globe, and given the heavyweight source material it should be no surprise that the tunes span the bass music spectrum. The resultant ten-track collection is playful, spiritual and sensory, with upbeat tempos and slithering effects woven deep into the rhythmic pulses and dark undercurrents of Pitch Black’s original tracks.
Bookended by uptempo versions of “Daylight Wasting” from International Observer and Berlin bassheads qnp, “The Light Within” features contemporary bass cuts from Portland’s Bodie and Christchurch’s Akcept, downtempo grooves by Argentinian dubsalon and South Korean mcthfg, dancefloor dubs from Mexico’s Tor.Ma in Dub and Brisbanite SUBSET, as well as drum and bass by Wellingtonian Zuke and the legendary UK producer and founder of OnU Records, Adrian Sherwood.
Contemplative but cheerful, either way, as “A Doubtful Sound” states, ‘The rhythm IS gonna get ya!’
Pitch Black follow up their “Third Light” album with a companion selection of remixes entitled “The Light Within”. Reflecting the duo’s international status, their remixers hail from across the globe, and given the heavyweight source material it should be no surprise that the tunes span the bass music spectrum. The resultant ten-track collection is playful, spiritual and sensory, with upbeat tempos and slithering effects woven deep into the rhythmic pulses and dark undercurrents of Pitch Black’s original tracks.
Bookended by uptempo versions of “Daylight Wasting” from International Observer and Berlin bassheads qnp, “The Light Within” features contemporary bass cuts from Portland’s Bodie and Christchurch’s Akcept, downtempo grooves by Argentinian dubsalon and South Korean mcthfg, dancefloor dubs from Mexico’s Tor.Ma in Dub and Brisbanite SUBSET, as well as drum and bass by Wellingtonian Zuke and the legendary UK producer and founder of OnU Records, Adrian Sherwood.
Contemplative but cheerful, either way, as “A Doubtful Sound” states, ‘The rhythm IS gonna get ya!’
Pitch Black follow up their “Third Light” album with a companion selection of remixes entitled “The Light Within”. Reflecting the duo’s international status, their remixers hail from across the globe, and given the heavyweight source material it should be no surprise that the tunes span the bass music spectrum. The resultant ten-track collection is playful, spiritual and sensory, with upbeat tempos and slithering effects woven deep into the rhythmic pulses and dark undercurrents of Pitch Black’s original tracks.
Bookended by uptempo versions of “Daylight Wasting” from International Observer and Berlin bassheads qnp, “The Light Within” features contemporary bass cuts from Portland’s Bodie and Christchurch’s Akcept, downtempo grooves by Argentinian dubsalon and South Korean mcthfg, dancefloor dubs from Mexico’s Tor.Ma in Dub and Brisbanite SUBSET, as well as drum and bass by Wellingtonian Zuke and the legendary UK producer and founder of OnU Records, Adrian Sherwood.
Contemplative but cheerful, either way, as “A Doubtful Sound” states, ‘The rhythm IS gonna get ya!’
Pitch Black follow up their “Third Light” album with a companion selection of remixes entitled “The Light Within”. Reflecting the duo’s international status, their remixers hail from across the globe, and given the heavyweight source material it should be no surprise that the tunes span the bass music spectrum. The resultant ten-track collection is playful, spiritual and sensory, with upbeat tempos and slithering effects woven deep into the rhythmic pulses and dark undercurrents of Pitch Black’s original tracks.
Bookended by uptempo versions of “Daylight Wasting” from International Observer and Berlin bassheads qnp, “The Light Within” features contemporary bass cuts from Portland’s Bodie and Christchurch’s Akcept, downtempo grooves by Argentinian dubsalon and South Korean mcthfg, dancefloor dubs from Mexico’s Tor.Ma in Dub and Brisbanite SUBSET, as well as drum and bass by Wellingtonian Zuke and the legendary UK producer and founder of OnU Records, Adrian Sherwood.
Contemplative but cheerful, either way, as “A Doubtful Sound” states, ‘The rhythm IS gonna get ya!’
Pitch Black follow up their “Third Light” album with a companion selection of remixes entitled “The Light Within”. Reflecting the duo’s international status, their remixers hail from across the globe, and given the heavyweight source material it should be no surprise that the tunes span the bass music spectrum. The resultant ten-track collection is playful, spiritual and sensory, with upbeat tempos and slithering effects woven deep into the rhythmic pulses and dark undercurrents of Pitch Black’s original tracks.
Bookended by uptempo versions of “Daylight Wasting” from International Observer and Berlin bassheads qnp, “The Light Within” features contemporary bass cuts from Portland’s Bodie and Christchurch’s Akcept, downtempo grooves by Argentinian dubsalon and South Korean mcthfg, dancefloor dubs from Mexico’s Tor.Ma in Dub and Brisbanite SUBSET, as well as drum and bass by Wellingtonian Zuke and the legendary UK producer and founder of OnU Records, Adrian Sherwood.
Contemplative but cheerful, either way, as “A Doubtful Sound” states, ‘The rhythm IS gonna get ya!’
Pitch Black follow up their “Third Light” album with a companion selection of remixes entitled “The Light Within”. Reflecting the duo’s international status, their remixers hail from across the globe, and given the heavyweight source material it should be no surprise that the tunes span the bass music spectrum. The resultant ten-track collection is playful, spiritual and sensory, with upbeat tempos and slithering effects woven deep into the rhythmic pulses and dark undercurrents of Pitch Black’s original tracks.
Bookended by uptempo versions of “Daylight Wasting” from International Observer and Berlin bassheads qnp, “The Light Within” features contemporary bass cuts from Portland’s Bodie and Christchurch’s Akcept, downtempo grooves by Argentinian dubsalon and South Korean mcthfg, dancefloor dubs from Mexico’s Tor.Ma in Dub and Brisbanite SUBSET, as well as drum and bass by Wellingtonian Zuke and the legendary UK producer and founder of OnU Records, Adrian Sherwood.
Contemplative but cheerful, either way, as “A Doubtful Sound” states, ‘The rhythm IS gonna get ya!’
Shankara NZ make their Dubmission debut with “Dawn Chorus”, a five track EP inspired by the sights, sounds and vibes of their surroundings on Banks Peninsula, New Zealand.
While they may be better known for their involvement, along with the likes of Desert Dwellers and Grouch, in the downtemple scene, dub is, and always has been, the glue that binds Brendan and Elijah together: the back and forth of the skank and the deep rhymes of the basslines are the underlying backdrop of their musical minds.
“Dawn Chorus” begins with the hypnotic bassline and plucked guitar of “43.6 South”, which is followed by “Tui”, featuring the lyrical stylings of esp Mc. “Weka” is charged by a righteous horn section, synthesised dub lasers and a heavy step, leading smoothly into the dub daydream of “In Ya Mind”, again featuring the liquid vocals of esp Mc. Finally comes “No Worries”, a relaxing reggae-ish welcome to the sun.
The five tracks were recorded spontaneously in the Shankara NZ studio, with all except “In Ya Mind” featuring the basslines of the legendary bass machine Finn Kelcher. If you listen closely, you can hear the sounds of Tuis, Bellbirds and other native New Zealand birds in the background, underlying the tunes, representing the natural world that inspires and nurtures the duo.
Shankara NZ make their Dubmission debut with “Dawn Chorus”, a five track EP inspired by the sights, sounds and vibes of their surroundings on Banks Peninsula, New Zealand.
While they may be better known for their involvement, along with the likes of Desert Dwellers and Grouch, in the downtemple scene, dub is, and always has been, the glue that binds Brendan and Elijah together: the back and forth of the skank and the deep rhymes of the basslines are the underlying backdrop of their musical minds.
“Dawn Chorus” begins with the hypnotic bassline and plucked guitar of “43.6 South”, which is followed by “Tui”, featuring the lyrical stylings of esp Mc. “Weka” is charged by a righteous horn section, synthesised dub lasers and a heavy step, leading smoothly into the dub daydream of “In Ya Mind”, again featuring the liquid vocals of esp Mc. Finally comes “No Worries”, a relaxing reggae-ish welcome to the sun.
The five tracks were recorded spontaneously in the Shankara NZ studio, with all except “In Ya Mind” featuring the basslines of the legendary bass machine Finn Kelcher. If you listen closely, you can hear the sounds of Tuis, Bellbirds and other native New Zealand birds in the background, underlying the tunes, representing the natural world that inspires and nurtures the duo.
Shankara NZ make their Dubmission debut with “Dawn Chorus”, a five track EP inspired by the sights, sounds and vibes of their surroundings on Banks Peninsula, New Zealand.
While they may be better known for their involvement, along with the likes of Desert Dwellers and Grouch, in the downtemple scene, dub is, and always has been, the glue that binds Brendan and Elijah together: the back and forth of the skank and the deep rhymes of the basslines are the underlying backdrop of their musical minds.
“Dawn Chorus” begins with the hypnotic bassline and plucked guitar of “43.6 South”, which is followed by “Tui”, featuring the lyrical stylings of esp Mc. “Weka” is charged by a righteous horn section, synthesised dub lasers and a heavy step, leading smoothly into the dub daydream of “In Ya Mind”, again featuring the liquid vocals of esp Mc. Finally comes “No Worries”, a relaxing reggae-ish welcome to the sun.
The five tracks were recorded spontaneously in the Shankara NZ studio, with all except “In Ya Mind” featuring the basslines of the legendary bass machine Finn Kelcher. If you listen closely, you can hear the sounds of Tuis, Bellbirds and other native New Zealand birds in the background, underlying the tunes, representing the natural world that inspires and nurtures the duo.
Shankara NZ make their Dubmission debut with “Dawn Chorus”, a five track EP inspired by the sights, sounds and vibes of their surroundings on Banks Peninsula, New Zealand.
While they may be better known for their involvement, along with the likes of Desert Dwellers and Grouch, in the downtemple scene, dub is, and always has been, the glue that binds Brendan and Elijah together: the back and forth of the skank and the deep rhymes of the basslines are the underlying backdrop of their musical minds.
“Dawn Chorus” begins with the hypnotic bassline and plucked guitar of “43.6 South”, which is followed by “Tui”, featuring the lyrical stylings of esp Mc. “Weka” is charged by a righteous horn section, synthesised dub lasers and a heavy step, leading smoothly into the dub daydream of “In Ya Mind”, again featuring the liquid vocals of esp Mc. Finally comes “No Worries”, a relaxing reggae-ish welcome to the sun.
The five tracks were recorded spontaneously in the Shankara NZ studio, with all except “In Ya Mind” featuring the basslines of the legendary bass machine Finn Kelcher. If you listen closely, you can hear the sounds of Tuis, Bellbirds and other native New Zealand birds in the background, underlying the tunes, representing the natural world that inspires and nurtures the duo.
Shankara NZ make their Dubmission debut with “Dawn Chorus”, a five track EP inspired by the sights, sounds and vibes of their surroundings on Banks Peninsula, New Zealand.
While they may be better known for their involvement, along with the likes of Desert Dwellers and Grouch, in the downtemple scene, dub is, and always has been, the glue that binds Brendan and Elijah together: the back and forth of the skank and the deep rhymes of the basslines are the underlying backdrop of their musical minds.
“Dawn Chorus” begins with the hypnotic bassline and plucked guitar of “43.6 South”, which is followed by “Tui”, featuring the lyrical stylings of esp Mc. “Weka” is charged by a righteous horn section, synthesised dub lasers and a heavy step, leading smoothly into the dub daydream of “In Ya Mind”, again featuring the liquid vocals of esp Mc. Finally comes “No Worries”, a relaxing reggae-ish welcome to the sun.
The five tracks were recorded spontaneously in the Shankara NZ studio, with all except “In Ya Mind” featuring the basslines of the legendary bass machine Finn Kelcher. If you listen closely, you can hear the sounds of Tuis, Bellbirds and other native New Zealand birds in the background, underlying the tunes, representing the natural world that inspires and nurtures the duo.
Mexican Space Pirate, Tor.Ma in Dub keeps up the excitement for his forthcoming new album by dropping another new track. Unashamedly pro marijuana, “The Lighting” is an invitation to explore the altered states and deep meditation induced by the holy herb, providing guidance to a conscious mind.
The original is superbly complemented by chillmeister Continuum’s laidback hammock worthy dub.
Mexican Space Pirate, Tor.Ma in Dub keeps up the excitement for his forthcoming new album by dropping another new track. Unashamedly pro marijuana, “The Lighting” is an invitation to explore the altered states and deep meditation induced by the holy herb, providing guidance to a conscious mind.
The original is superbly complemented by chillmeister Continuum’s laidback hammock worthy dub.
In 2019, Dubmission released the Uncle's deconstruction & re-conception of New Zealand electrodub wizards Pitch Black's album “Filtered Senses”. In the 2nd instalment of his Aural Assault Astronaut series, Fester has mutilated Misled Convoy's "Sixteen Sunsets" album into something that is way beyond the concept of remix and dub. Brace yourself for a psychedelic frequency feast where nothing is at seems, everything has it's place, there's a place for everything... and anything can happen.
By leaving the safe circle of the ON-U Sound family, Pats Dokter's schizophrenic alter ego Uncle Fester on Acid skyrockets into a parallel universe of octopolar brainwave transmission. Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', his Aural Assault Astronaut series is dedicated to remixing not just one track, but every single track on a whole album, from beginning to end. His mixture of heavy industrialized beats, deep basslines and multilayered swirling effects add a whole new dimension to a truly unique mix of downtempo, dub, electronica, ambience and noise.
In 2019, Dubmission released the Uncle's deconstruction & re-conception of New Zealand electrodub wizards Pitch Black's album “Filtered Senses”. In the 2nd instalment of his Aural Assault Astronaut series, Fester has mutilated Misled Convoy's "Sixteen Sunsets" album into something that is way beyond the concept of remix and dub. Brace yourself for a psychedelic frequency feast where nothing is at seems, everything has it's place, there's a place for everything... and anything can happen.
By leaving the safe circle of the ON-U Sound family, Pats Dokter's schizophrenic alter ego Uncle Fester on Acid skyrockets into a parallel universe of octopolar brainwave transmission. Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', his Aural Assault Astronaut series is dedicated to remixing not just one track, but every single track on a whole album, from beginning to end. His mixture of heavy industrialized beats, deep basslines and multilayered swirling effects add a whole new dimension to a truly unique mix of downtempo, dub, electronica, ambience and noise.
In 2019, Dubmission released the Uncle's deconstruction & re-conception of New Zealand electrodub wizards Pitch Black's album “Filtered Senses”. In the 2nd instalment of his Aural Assault Astronaut series, Fester has mutilated Misled Convoy's "Sixteen Sunsets" album into something that is way beyond the concept of remix and dub. Brace yourself for a psychedelic frequency feast where nothing is at seems, everything has it's place, there's a place for everything... and anything can happen.
By leaving the safe circle of the ON-U Sound family, Pats Dokter's schizophrenic alter ego Uncle Fester on Acid skyrockets into a parallel universe of octopolar brainwave transmission. Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', his Aural Assault Astronaut series is dedicated to remixing not just one track, but every single track on a whole album, from beginning to end. His mixture of heavy industrialized beats, deep basslines and multilayered swirling effects add a whole new dimension to a truly unique mix of downtempo, dub, electronica, ambience and noise.
In 2019, Dubmission released the Uncle's deconstruction & re-conception of New Zealand electrodub wizards Pitch Black's album “Filtered Senses”. In the 2nd instalment of his Aural Assault Astronaut series, Fester has mutilated Misled Convoy's "Sixteen Sunsets" album into something that is way beyond the concept of remix and dub. Brace yourself for a psychedelic frequency feast where nothing is at seems, everything has it's place, there's a place for everything... and anything can happen.
By leaving the safe circle of the ON-U Sound family, Pats Dokter's schizophrenic alter ego Uncle Fester on Acid skyrockets into a parallel universe of octopolar brainwave transmission. Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', his Aural Assault Astronaut series is dedicated to remixing not just one track, but every single track on a whole album, from beginning to end. His mixture of heavy industrialized beats, deep basslines and multilayered swirling effects add a whole new dimension to a truly unique mix of downtempo, dub, electronica, ambience and noise.
In 2019, Dubmission released the Uncle's deconstruction & re-conception of New Zealand electrodub wizards Pitch Black's album “Filtered Senses”. In the 2nd instalment of his Aural Assault Astronaut series, Fester has mutilated Misled Convoy's "Sixteen Sunsets" album into something that is way beyond the concept of remix and dub. Brace yourself for a psychedelic frequency feast where nothing is at seems, everything has it's place, there's a place for everything... and anything can happen.
By leaving the safe circle of the ON-U Sound family, Pats Dokter's schizophrenic alter ego Uncle Fester on Acid skyrockets into a parallel universe of octopolar brainwave transmission. Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', his Aural Assault Astronaut series is dedicated to remixing not just one track, but every single track on a whole album, from beginning to end. His mixture of heavy industrialized beats, deep basslines and multilayered swirling effects add a whole new dimension to a truly unique mix of downtempo, dub, electronica, ambience and noise.
In 2019, Dubmission released the Uncle's deconstruction & re-conception of New Zealand electrodub wizards Pitch Black's album “Filtered Senses”. In the 2nd instalment of his Aural Assault Astronaut series, Fester has mutilated Misled Convoy's "Sixteen Sunsets" album into something that is way beyond the concept of remix and dub. Brace yourself for a psychedelic frequency feast where nothing is at seems, everything has it's place, there's a place for everything... and anything can happen.
By leaving the safe circle of the ON-U Sound family, Pats Dokter's schizophrenic alter ego Uncle Fester on Acid skyrockets into a parallel universe of octopolar brainwave transmission. Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', his Aural Assault Astronaut series is dedicated to remixing not just one track, but every single track on a whole album, from beginning to end. His mixture of heavy industrialized beats, deep basslines and multilayered swirling effects add a whole new dimension to a truly unique mix of downtempo, dub, electronica, ambience and noise.
In 2019, Dubmission released the Uncle's deconstruction & re-conception of New Zealand electrodub wizards Pitch Black's album “Filtered Senses”. In the 2nd instalment of his Aural Assault Astronaut series, Fester has mutilated Misled Convoy's "Sixteen Sunsets" album into something that is way beyond the concept of remix and dub. Brace yourself for a psychedelic frequency feast where nothing is at seems, everything has it's place, there's a place for everything... and anything can happen.
By leaving the safe circle of the ON-U Sound family, Pats Dokter's schizophrenic alter ego Uncle Fester on Acid skyrockets into a parallel universe of octopolar brainwave transmission. Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', his Aural Assault Astronaut series is dedicated to remixing not just one track, but every single track on a whole album, from beginning to end. His mixture of heavy industrialized beats, deep basslines and multilayered swirling effects add a whole new dimension to a truly unique mix of downtempo, dub, electronica, ambience and noise.
In 2019, Dubmission released the Uncle's deconstruction & re-conception of New Zealand electrodub wizards Pitch Black's album “Filtered Senses”. In the 2nd instalment of his Aural Assault Astronaut series, Fester has mutilated Misled Convoy's "Sixteen Sunsets" album into something that is way beyond the concept of remix and dub. Brace yourself for a psychedelic frequency feast where nothing is at seems, everything has it's place, there's a place for everything... and anything can happen.
By leaving the safe circle of the ON-U Sound family, Pats Dokter's schizophrenic alter ego Uncle Fester on Acid skyrockets into a parallel universe of octopolar brainwave transmission. Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', his Aural Assault Astronaut series is dedicated to remixing not just one track, but every single track on a whole album, from beginning to end. His mixture of heavy industrialized beats, deep basslines and multilayered swirling effects add a whole new dimension to a truly unique mix of downtempo, dub, electronica, ambience and noise.
In 2019, Dubmission released the Uncle's deconstruction & re-conception of New Zealand electrodub wizards Pitch Black's album “Filtered Senses”. In the 2nd instalment of his Aural Assault Astronaut series, Fester has mutilated Misled Convoy's "Sixteen Sunsets" album into something that is way beyond the concept of remix and dub. Brace yourself for a psychedelic frequency feast where nothing is at seems, everything has it's place, there's a place for everything... and anything can happen.
By leaving the safe circle of the ON-U Sound family, Pats Dokter's schizophrenic alter ego Uncle Fester on Acid skyrockets into a parallel universe of octopolar brainwave transmission. Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', his Aural Assault Astronaut series is dedicated to remixing not just one track, but every single track on a whole album, from beginning to end. His mixture of heavy industrialized beats, deep basslines and multilayered swirling effects add a whole new dimension to a truly unique mix of downtempo, dub, electronica, ambience and noise.
Ahead of the release of "Twilight 32", maverick Dutch producer Uncle Fester on Acid's re-arrangement of the "Sixteen Sunsets" album, Misled Convoy drops two dub mixes of the title track, one by the Uncle himself, the other by UK dub legend Adrian Sherwood.
Ahead of the release of "Twilight 32", maverick Dutch producer Uncle Fester on Acid's re-arrangement of the "Sixteen Sunsets" album, Misled Convoy drops two dub mixes of the title track, one by the Uncle himself, the other by UK dub legend Adrian Sherwood.
DJ set by Dubmission's head honcho Crazy Baldhead in The Dome at soundcloud.com/ozora-festival in 2019, 6am til 9am
1 soundcloud.com/MisledConvoy - Lost Radio (Orion Transmission) 2 soundcloud.com/kuangprogram - November, March (Time is Falling Apart Dub) 3 soundcloud.com/PitchBlacknz x Uncle Fester on Acid - Spreading Noises 4 soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix) 5 soundcloud.com/PitchBlacknz - Empty Spaces Missing Units (Module Remix) 6 soundcloud.com/PaddyFree - Lali 7 soundcloud.com/WarpTechnique - Make Animals Happy 8 soundcloud.com/etherealites - Theme Dub 9 soundcloud.com/etherealites - Dub Theme 10 soundcloud.com/SUBSETdubs - Duende 11 soundcloud.com/InternationalObserver - House Of The Rising Dub 12 David Harrow - Sofa Kings 13 Bill and Ben - 8 hand Dub 14 Green Monitor - Down by the River 15 soundcloud.com/ThirdEarAudio - Jamaican Robot 16 Dubsalon - Space Warrior 17 Baked Boanz - Tomato Sleuth 18 Scubba vs soundcloud.com/yechidahliveact - Beyond The Illusion Of Life 19 soundcloud.com/the-red-eyes - Arms over Jordan (soundcloud.com/DeepFriedDubband Remix) 20 soundcloud.com/TorMainDub - Revelation 21 soundcloud.com/ThirdEarAudio - Kalahari Dub 22 soundcloud.com/ERSsound - Supersonico 23 soundcloud.com/MisledConvoy - I Am Full of 40 Thousand Holes 24 soundcloud.com/PitchBlacknz - One Ton Skank 25 soundcloud.com/DeepFriedDubband - Kryptology (soundcloud.com/isaac-chambers-music Remix feat soundcloud.com/dubprincess) 26 soundcloud.com/Animatmusic - Chicken and Egg 27 soundcloud.com/kalpataru-tree - Conversations with Plants 28 The Laya Project - A New Day (soundcloud.com/PitchBlacknz Remix) 29 Stress Assassin - Blueprint 30 soundcloud.com/InternationalObserver - Popcorn Slavery 31 Singers & Players vs Assassin - OnU SoundsWarped
Six years after "Lostwithiel", the fabulously fungal Akasha Experience make a very welcome return. Featuring three exclusive new tracks plus two that snuck out on Shanti Planti compilations, "Twilight" carries on where they left off, traversing the worlds of glitch, dub and psy.
Six years after "Lostwithiel", the fabulously fungal Akasha Experience make a very welcome return. Featuring three exclusive new tracks plus two that snuck out on Shanti Planti compilations, "Twilight" carries on where they left off, traversing the worlds of glitch, dub and psy.
Six years after "Lostwithiel", the fabulously fungal Akasha Experience make a very welcome return. Featuring three exclusive new tracks plus two that snuck out on Shanti Planti compilations, "Twilight" carries on where they left off, traversing the worlds of glitch, dub and psy.
Six years after "Lostwithiel", the fabulously fungal Akasha Experience make a very welcome return. Featuring three exclusive new tracks plus two that snuck out on Shanti Planti compilations, "Twilight" carries on where they left off, traversing the worlds of glitch, dub and psy.
Six years after "Lostwithiel", the fabulously fungal Akasha Experience make a very welcome return. Featuring three exclusive new tracks plus two that snuck out on Shanti Planti compilations, "Twilight" carries on where they left off, traversing the worlds of glitch, dub and psy.
The third instalment of Deep Fried Dub's popular Refried series is an all Kiwi affair with Ben & Ben remixing five of their fellow New Zealanders in their imitable dubwise fashion.
First up is a sunny slice of Southern Hemisphere goodness as they follow the success of their last collaboration with Isaac Chambers and Dub Princess, the multi-million streaming remix of ‘Kryptology’, by refrying their 'Back to my Roots' track, adding their own special dubwise flavours to the easy skanking original.
They then add fire to the beats of “It’s the Future Knocking” by electron dub herders Pitch Black, rinsing out the downbeat original, taken from their “Filtered Senses” album, in an old school drum and bass style.
Next it’s International Observer’s turn: despite spending over 20 years at the coal face of dub, very few artists have remixed the Observer, and Deep Fried Dub make the most of the opportunity, stepping up “Woman Will Rule the World” into a pulsating, bass driven groove.
Their remix of SUBSET’s “Dub Cell” couldn’t be more different, being an almost discofied 8-bit 80’s throwback, complete with vocoded vocals and Faltermeyer-esque synths.
Finally they tackle one of the biggest reggae bands in New Zealand, The Black Seeds, taking their track “Everybody Knows”, featuring the sweet vocals of Daniel Weetman, for a deep dub infused house workout.
The third instalment of Deep Fried Dub's popular Refried series is an all Kiwi affair with Ben & Ben remixing five of their fellow New Zealanders in their imitable dubwise fashion.
First up is a sunny slice of Southern Hemisphere goodness as they follow the success of their last collaboration with Isaac Chambers and Dub Princess, the multi-million streaming remix of ‘Kryptology’, by refrying their 'Back to my Roots' track, adding their own special dubwise flavours to the easy skanking original.
They then add fire to the beats of “It’s the Future Knocking” by electron dub herders Pitch Black, rinsing out the downbeat original, taken from their “Filtered Senses” album, in an old school drum and bass style.
Next it’s International Observer’s turn: despite spending over 20 years at the coal face of dub, very few artists have remixed the Observer, and Deep Fried Dub make the most of the opportunity, stepping up “Woman Will Rule the World” into a pulsating, bass driven groove.
Their remix of SUBSET’s “Dub Cell” couldn’t be more different, being an almost discofied 8-bit 80’s throwback, complete with vocoded vocals and Faltermeyer-esque synths.
Finally they tackle one of the biggest reggae bands in New Zealand, The Black Seeds, taking their track “Everybody Knows”, featuring the sweet vocals of Daniel Weetman, for a deep dub infused house workout.
The third instalment of Deep Fried Dub's popular Refried series is an all Kiwi affair with Ben & Ben remixing five of their fellow New Zealanders in their imitable dubwise fashion.
First up is a sunny slice of Southern Hemisphere goodness as they follow the success of their last collaboration with Isaac Chambers and Dub Princess, the multi-million streaming remix of ‘Kryptology’, by refrying their 'Back to my Roots' track, adding their own special dubwise flavours to the easy skanking original.
They then add fire to the beats of “It’s the Future Knocking” by electron dub herders Pitch Black, rinsing out the downbeat original, taken from their “Filtered Senses” album, in an old school drum and bass style.
Next it’s International Observer’s turn: despite spending over 20 years at the coal face of dub, very few artists have remixed the Observer, and Deep Fried Dub make the most of the opportunity, stepping up “Woman Will Rule the World” into a pulsating, bass driven groove.
Their remix of SUBSET’s “Dub Cell” couldn’t be more different, being an almost discofied 8-bit 80’s throwback, complete with vocoded vocals and Faltermeyer-esque synths.
Finally they tackle one of the biggest reggae bands in New Zealand, The Black Seeds, taking their track “Everybody Knows”, featuring the sweet vocals of Daniel Weetman, for a deep dub infused house workout.
The third instalment of Deep Fried Dub's popular Refried series is an all Kiwi affair with Ben & Ben remixing five of their fellow New Zealanders in their imitable dubwise fashion.
First up is a sunny slice of Southern Hemisphere goodness as they follow the success of their last collaboration with Isaac Chambers and Dub Princess, the multi-million streaming remix of ‘Kryptology’, by refrying their 'Back to my Roots' track, adding their own special dubwise flavours to the easy skanking original.
They then add fire to the beats of “It’s the Future Knocking” by electron dub herders Pitch Black, rinsing out the downbeat original, taken from their “Filtered Senses” album, in an old school drum and bass style.
Next it’s International Observer’s turn: despite spending over 20 years at the coal face of dub, very few artists have remixed the Observer, and Deep Fried Dub make the most of the opportunity, stepping up “Woman Will Rule the World” into a pulsating, bass driven groove.
Their remix of SUBSET’s “Dub Cell” couldn’t be more different, being an almost discofied 8-bit 80’s throwback, complete with vocoded vocals and Faltermeyer-esque synths.
Finally they tackle one of the biggest reggae bands in New Zealand, The Black Seeds, taking their track “Everybody Knows”, featuring the sweet vocals of Daniel Weetman, for a deep dub infused house workout.
The third instalment of Deep Fried Dub's popular Refried series is an all Kiwi affair with Ben & Ben remixing five of their fellow New Zealanders in their imitable dubwise fashion.
First up is a sunny slice of Southern Hemisphere goodness as they follow the success of their last collaboration with Isaac Chambers and Dub Princess, the multi-million streaming remix of ‘Kryptology’, by refrying their 'Back to my Roots' track, adding their own special dubwise flavours to the easy skanking original.
They then add fire to the beats of “It’s the Future Knocking” by electron dub herders Pitch Black, rinsing out the downbeat original, taken from their “Filtered Senses” album, in an old school drum and bass style.
Next it’s International Observer’s turn: despite spending over 20 years at the coal face of dub, very few artists have remixed the Observer, and Deep Fried Dub make the most of the opportunity, stepping up “Woman Will Rule the World” into a pulsating, bass driven groove.
Their remix of SUBSET’s “Dub Cell” couldn’t be more different, being an almost discofied 8-bit 80’s throwback, complete with vocoded vocals and Faltermeyer-esque synths.
Finally they tackle one of the biggest reggae bands in New Zealand, The Black Seeds, taking their track “Everybody Knows”, featuring the sweet vocals of Daniel Weetman, for a deep dub infused house workout.
The second single from Mexican Space Pirate, Tor.Ma in Dub, is a suitably dubwise meditation on Rastafari, complemented by a fruity IshDub remix.
The second single from Mexican Space Pirate, Tor.Ma in Dub, is a suitably dubwise meditation on Rastafari, complemented by a fruity IshDub remix.
To celebrate their upcoming shows, Pitch Black present the third single from their new album, the title track "Third Light", complete with a couple of bass heavy remixes.
The original track finds the duo dropping down in tempo, bringing their warm bass to the fore while circling and wrapping the listener in a dark and wet space created by a rhythmic pastiche of male voices and dripping trippy effects.
Joining them on remix duties this time are soundcloud.com/bodiedubs from Portland (who Mike discovered researching for his monthly radio show) with a liquid bass version and the legendary UK producer Adrian Sherwood with a live dub mix.
To celebrate their upcoming shows, Pitch Black present the third single from their new album, the title track "Third Light", complete with a couple of bass heavy remixes.
The original track finds the duo dropping down in tempo, bringing their warm bass to the fore while circling and wrapping the listener in a dark and wet space created by a rhythmic pastiche of male voices and dripping trippy effects.
Joining them on remix duties this time are soundcloud.com/bodiedubs from Portland (who Mike discovered researching for his monthly radio show) with a liquid bass version and the legendary UK producer Adrian Sherwood with a live dub mix.
To celebrate their upcoming shows, Pitch Black present the third single from their new album, the title track "Third Light", complete with a couple of bass heavy remixes.
The original track finds the duo dropping down in tempo, bringing their warm bass to the fore while circling and wrapping the listener in a dark and wet space created by a rhythmic pastiche of male voices and dripping trippy effects.
Joining them on remix duties this time are soundcloud.com/bodiedubs from Portland (who Mike discovered researching for his monthly radio show) with a liquid bass version and the legendary UK producer Adrian Sherwood with a live dub mix.
Continuum returns to Dubmission with a trio of retro futurist gems. Dark and velvety, with depth and complexity, all three tracks are eerily reminiscent of late 90's/early 00's chillout, yet at the same time could only have been produced now.
The title track, with it's Cure-ish guitar line and arpeggiating synths, was co-written with Mas Nalgan (AKA Sam Langan), and references the ideal state of mind where the creative process is effortless and almost unconscious.
Navacerrada, named after the mountain range in Spain where Continuum's family have a home, is an easy skanking number, while Gravity Fold is the darkest and most minimal of the three, with a sparse and techy opening that leads on to a musically uplifting ending provided by the chimes of a hang drum. The cheesy vocal sample is Continuum shamelessly channelling Eat Static, one of his all time biggest influences.
The warmth and emotional resonance of all three tracks makes the Flowstate EP the perfect tonic for the start of the year.
Continuum returns to Dubmission with a trio of retro futurist gems. Dark and velvety, with depth and complexity, all three tracks are eerily reminiscent of late 90's/early 00's chillout, yet at the same time could only have been produced now.
The title track, with it's Cure-ish guitar line and arpeggiating synths, was co-written with Mas Nalgan (AKA Sam Langan), and references the ideal state of mind where the creative process is effortless and almost unconscious.
Navacerrada, named after the mountain range in Spain where Continuum's family have a home, is an easy skanking number, while Gravity Fold is the darkest and most minimal of the three, with a sparse and techy opening that leads on to a musically uplifting ending provided by the chimes of a hang drum. The cheesy vocal sample is Continuum shamelessly channelling Eat Static, one of his all time biggest influences.
The warmth and emotional resonance of all three tracks makes the Flowstate EP the perfect tonic for the start of the year.
Continuum returns to Dubmission with a trio of retro futurist gems. Dark and velvety, with depth and complexity, all three tracks are eerily reminiscent of late 90's/early 00's chillout, yet at the same time could only have been produced now.
The title track, with it's Cure-ish guitar line and arpeggiating synths, was co-written with Mas Nalgan (AKA Sam Langan), and references the ideal state of mind where the creative process is effortless and almost unconscious.
Navacerrada, named after the mountain range in Spain where Continuum's family have a home, is an easy skanking number, while Gravity Fold is the darkest and most minimal of the three, with a sparse and techy opening that leads on to a musically uplifting ending provided by the chimes of a hang drum. The cheesy vocal sample is Continuum shamelessly channelling Eat Static, one of his all time biggest influences.
The warmth and emotional resonance of all three tracks makes the Flow State EP the perfect tonic for the start of the year.
The space pirate returns with a killer psy-stepper track fresh from his forthcoming album, "Among Aliens And Gods"
"The Colour from Space" is powered by a gnarly bassline, with added sci-fi sound effects, psychedelic flourishes and rave-ish stabs, all atop a steppers riddim. Honed by years of playing out live, the track is designed with the dancefloor firmly in mind. "I wanted to tell a story, by mixing different styles and influences from movies, books and several music genres to take the listener's imagination out of this world"
On the flip, Jedidiah takes the pace down a notch, remaking the track into a bass drenched downtempo dream probably best listened to horizontally.
The space pirate returns with a killer psy-stepper track fresh from his forthcoming album, "Among Aliens And Gods"
"The Colour from Space" is powered by a gnarly bassline, with added sci-fi sound effects, psychedelic flourishes and rave-ish stabs, all atop a steppers riddim. Honed by years of playing out live, the track is designed with the dancefloor firmly in mind. "I wanted to tell a story, by mixing different styles and influences from movies, books and several music genres to take the listener's imagination out of this world"
On the flip, Jedidiah takes the pace down a notch, remaking the track into a bass drenched downtempo dream probably best listened to horizontally.
For the second installment in his new series, our man in Changwon, thecunningly titled mcthfg, has focused on some of the women creating alternative music in South Korea. There is a growing underground scene in the country, especially in Seoul, with lots of female artists and DJs setting the standard for what's new and interesting.
For the first track, he contacted Itta, one third of the band Tennger, whose music can be dreamy, aggressive, and beautiful, all at the same time. Her track, "Only", is just her voice and effects, and was originally released on cassette. mcthfg’s remix is a celebration of the original – slowly building to a crescendo with arpeggios and organs.
The second track is by TheSojuQueen, who produces and sings, as well as creates visual art. Her original, "The Pond", features a great ukulele riff and haunting vocals. The remix is slow, with phased sounds that hints at depths below.
Finally the third track is by Yetsuby, a true original, who produces everything from ambient to grooving electronica to experimental weirdness. Her "Dolphin Song" is an ambient piece with minimal rhythm and bass. mcthfg’s version weaves deep bass and echoes into a treatment of Yetsuby’s vocal.
'Korean Dub' is a new series in which mcthfg digs deep into his adopted country's underground music scene and rewires his selections with his own unique take on electronica. Volume One featured remixes of Tennger, mdbrkn and Kuang Program.
For the second installment in his new series, our man in Changwon, thecunningly titled mcthfg, has focused on some of the women creating alternative music in South Korea. There is a growing underground scene in the country, especially in Seoul, with lots of female artists and DJs setting the standard for what's new and interesting.
For the first track, he contacted Itta, one third of the band Tennger, whose music can be dreamy, aggressive, and beautiful, all at the same time. Her track, "Only", is just her voice and effects, and was originally released on cassette. mcthfg’s remix is a celebration of the original – slowly building to a crescendo with arpeggios and organs.
The second track is by TheSojuQueen, who produces and sings, as well as creates visual art. Her original, "The Pond", features a great ukulele riff and haunting vocals. The remix is slow, with phased sounds that hints at depths below.
Finally the third track is by Yetsuby, a true original, who produces everything from ambient to grooving electronica to experimental weirdness. Her "Dolphin Song" is an ambient piece with minimal rhythm and bass. mcthfg’s version weaves deep bass and echoes into a treatment of Yetsuby’s vocal.
'Korean Dub' is a new series in which mcthfg digs deep into his adopted country's underground music scene and rewires his selections with his own unique take on electronica. Volume One featured remixes of Tennger, mdbrkn and Kuang Program.
For the second installment in his new series, our man in Changwon, thecunningly titled mcthfg, has focused on some of the women creating alternative music in South Korea. There is a growing underground scene in the country, especially in Seoul, with lots of female artists and DJs setting the standard for what's new and interesting.
For the first track, he contacted Itta, one third of the band Tennger, whose music can be dreamy, aggressive, and beautiful, all at the same time. Her track, "Only", is just her voice and effects, and was originally released on cassette. mcthfg’s remix is a celebration of the original – slowly building to a crescendo with arpeggios and organs.
The second track is by TheSojuQueen, who produces and sings, as well as creates visual art. Her original, "The Pond", features a great ukulele riff and haunting vocals. The remix is slow, with phased sounds that hints at depths below.
Finally the third track is by Yetsuby, a true original, who produces everything from ambient to grooving electronica to experimental weirdness. Her "Dolphin Song" is an ambient piece with minimal rhythm and bass. mcthfg’s version weaves deep bass and echoes into a treatment of Yetsuby’s vocal.
'Korean Dub' is a new series in which mcthfg digs deep into his adopted country's underground music scene and rewires his selections with his own unique take on electronica. Volume One featured remixes of Tennger, mdbrkn and Kuang Program.
Beamed up from the ashes of Braintheft comes qnp, a bleep heavy excursion into outer bass. Call it post-dubstep, minimal techno or whatever you like, their debut EP 'Quiet Riot' is guaranteed to wobble your bottom end, tickle your feet and enliven your mind.
Beamed up from the ashes of Braintheft comes qnp, a bleep heavy excursion into outer bass. Call it post-dubstep, minimal techno or whatever you like, their debut EP 'Quiet Riot' is guaranteed to wobble your bottom end, tickle your feet and enliven your mind.
Beamed up from the ashes of Braintheft comes qnp, a bleep heavy excursion into outer bass. Call it post-dubstep, minimal techno or whatever you like, their debut EP 'Quiet Riot' is guaranteed to wobble your bottom end, tickle your feet and enliven your mind.
Beamed up from the ashes of Braintheft comes qnp, a bleep heavy excursion into outer bass. Call it post-dubstep, minimal techno or whatever you like, their debut EP 'Quiet Riot' is guaranteed to wobble your bottom end, tickle your feet and enliven your mind.
Beamed up from the ashes of Braintheft comes qnp, a bleep heavy excursion into outer bass. Call it post-dubstep, minimal techno or whatever you like, their debut EP 'Quiet Riot' is guaranteed to wobble your bottom end, tickle your feet and enliven your mind.
“One Ton Skank”, the second single off “Third Light”, is classic Pitch Black, seamlessly fusing ambient, dub and techno into over eight minutes of joy. It is both reminiscent of their early Futureproof work and yet still sounding unmistakeably from now.
Named after an early hours conversation with Christchurch musician Winston Campbell about the heaviness of a riff he was playing, the track, built on a stonking steppers riddim, progresses with an uplifting, forward motion, full of warmth and optimism, as the dubby skank builds naturally into a techno cacophony.
The remixes have come from around the globe: from Mexico, space pirate Tor.Ma in Dub doubles down on the steppers tip to create a killer dancefloor vibe and from South London, 8-bit rudeboy Robot Riddims presents a cheeky ska meets dubstep re-rub.
“One Ton Skank”, the second single off “Third Light”, is classic Pitch Black, seamlessly fusing ambient, dub and techno into over eight minutes of joy. It is both reminiscent of their early Futureproof work and yet still sounding unmistakeably from now.
Named after an early hours conversation with Christchurch musician Winston Campbell about the heaviness of a riff he was playing, the track, built on a stonking steppers riddim, progresses with an uplifting, forward motion, full of warmth and optimism, as the dubby skank builds naturally into a techno cacophony.
The remixes have come from around the globe: from Mexico, space pirate Tor.Ma in Dub doubles down on the steppers tip to create a killer dancefloor vibe and from South London, 8-bit rudeboy Robot Riddims presents a cheeky ska meets dubstep re-rub.
“One Ton Skank”, the second single off “Third Light”, is classic Pitch Black, seamlessly fusing ambient, dub and techno into over eight minutes of joy. It is both reminiscent of their early Futureproof work and yet still sounding unmistakeably from now.
Named after an early hours conversation with Christchurch musician Winston Campbell about the heaviness of a riff he was playing, the track, built on a stonking steppers riddim, progresses with an uplifting, forward motion, full of warmth and optimism, as the dubby skank builds naturally into a techno cacophony.
The remixes have come from around the globe: from Mexico, space pirate Tor.Ma in Dub doubles down on the steppers tip to create a killer dancefloor vibe and from South London, 8-bit rudeboy Robot Riddims presents a cheeky ska meets dubstep re-rub.
Brisbane basshead SUBSET returns to Dubmission with eleven tracks baked to his secret recipe: four parts dub, one part deep house, equal parts minimal and techno, dusted with an organic blend of evolving atmospheres and live filtering delays and then twice chilled for added grooveability. Serve fresh in the Sunday sun or deep on a dance-wood floor.
Brisbane basshead SUBSET returns to Dubmission with eleven tracks baked to his secret recipe: four parts dub, one part deep house, equal parts minimal and techno, dusted with an organic blend of evolving atmospheres and live filtering delays and then twice chilled for added grooveability. Serve fresh in the Sunday sun or deep on a dance-wood floor.
Brisbane basshead SUBSET returns to Dubmission with eleven tracks baked to his secret recipe: four parts dub, one part deep house, equal parts minimal and techno, dusted with an organic blend of evolving atmospheres and live filtering delays and then twice chilled for added grooveability. Serve fresh in the Sunday sun or deep on a dance-wood floor.
Brisbane basshead SUBSET returns to Dubmission with eleven tracks baked to his secret recipe: four parts dub, one part deep house, equal parts minimal and techno, dusted with an organic blend of evolving atmospheres and live filtering delays and then twice chilled for added grooveability. Serve fresh in the Sunday sun or deep on a dance-wood floor.
Brisbane basshead SUBSET returns to Dubmission with eleven tracks baked to his secret recipe: four parts dub, one part deep house, equal parts minimal and techno, dusted with an organic blend of evolving atmospheres and live filtering delays and then twice chilled for added grooveability. Serve fresh in the Sunday sun or deep on a dance-wood floor.
Brisbane basshead SUBSET returns to Dubmission with eleven tracks baked to his secret recipe: four parts dub, one part deep house, equal parts minimal and techno, dusted with an organic blend of evolving atmospheres and live filtering delays and then twice chilled for added grooveability. Serve fresh in the Sunday sun or deep on a dance-wood floor.
Brisbane basshead SUBSET returns to Dubmission with eleven tracks baked to his secret recipe: four parts dub, one part deep house, equal parts minimal and techno, dusted with an organic blend of evolving atmospheres and live filtering delays and then twice chilled for added grooveability. Serve fresh in the Sunday sun or deep on a dance-wood floor.
Brisbane basshead SUBSET returns to Dubmission with eleven tracks baked to his secret recipe: four parts dub, one part deep house, equal parts minimal and techno, dusted with an organic blend of evolving atmospheres and live filtering delays and then twice chilled for added grooveability. Serve fresh in the Sunday sun or deep on a dance-wood floor.
Brisbane basshead SUBSET returns to Dubmission with eleven tracks baked to his secret recipe: four parts dub, one part deep house, equal parts minimal and techno, dusted with an organic blend of evolving atmospheres and live filtering delays and then twice chilled for added grooveability. Serve fresh in the Sunday sun or deep on a dance-wood floor.
Brisbane basshead SUBSET returns to Dubmission with eleven tracks baked to his secret recipe: four parts dub, one part deep house, equal parts minimal and techno, dusted with an organic blend of evolving atmospheres and live filtering delays and then twice chilled for added grooveability. Serve fresh in the Sunday sun or deep on a dance-wood floor.
Brisbane basshead SUBSET returns to Dubmission with eleven tracks baked to his secret recipe: four parts dub, one part deep house, equal parts minimal and techno, dusted with an organic blend of evolving atmospheres and live filtering delays and then twice chilled for added grooveability. Serve fresh in the Sunday sun or deep on a dance-wood floor.
Pioneering electronic duo Pitch Black drop their sixth studio album, “Third Light”, on 13th September 2019.
Their two-decade career of fusing different musical styles is in full effect across the eight track release. Dub, downbeat, techno, drum’n’bass and cinematic ambience are all ingredients in an echo-drenched odyssey that moves the heart and mind and body, as Pitch Black’s distinctive sonic signature of deep analogue dub combines with beats ranging from slinky to slamming and vocals spanning enigmatic to emphatic.
As the album shifts between dance floor and brain food, it reflects on a world similarly in transition between two states. On the one hand, the planet faces depleting resources and a looming climate emergency; on the other, capitalism and consumerism are marching blindly onwards. As a result of this conundrum, there are many contemplative moments on the album, most notably with the world’s extinction echoing in the ambience of the final track “Did You Get the Message”.
Despite prevaricating between pessimism and optimism, “Third Light” is far from a depressing record. After all, Pitch Black are far from technological luddites, and just as their futuristic beats strive for a progressive future, so they hope for a more harmonious tomorrow.
Pioneering electronic duo Pitch Black drop their sixth studio album, “Third Light”, on 13th September 2019.
Their two-decade career of fusing different musical styles is in full effect across the eight track release. Dub, downbeat, techno, drum’n’bass and cinematic ambience are all ingredients in an echo-drenched odyssey that moves the heart and mind and body, as Pitch Black’s distinctive sonic signature of deep analogue dub combines with beats ranging from slinky to slamming and vocals spanning enigmatic to emphatic.
As the album shifts between dance floor and brain food, it reflects on a world similarly in transition between two states. On the one hand, the planet faces depleting resources and a looming climate emergency; on the other, capitalism and consumerism are marching blindly onwards. As a result of this conundrum, there are many contemplative moments on the album, most notably with the world’s extinction echoing in the ambience of the final track “Did You Get the Message”.
Despite prevaricating between pessimism and optimism, “Third Light” is far from a depressing record. After all, Pitch Black are far from technological luddites, and just as their futuristic beats strive for a progressive future, so they hope for a more harmonious tomorrow.
Pioneering electronic duo Pitch Black drop their sixth studio album, “Third Light”, on 13th September 2019.
Their two-decade career of fusing different musical styles is in full effect across the eight track release. Dub, downbeat, techno, drum’n’bass and cinematic ambience are all ingredients in an echo-drenched odyssey that moves the heart and mind and body, as Pitch Black’s distinctive sonic signature of deep analogue dub combines with beats ranging from slinky to slamming and vocals spanning enigmatic to emphatic.
As the album shifts between dance floor and brain food, it reflects on a world similarly in transition between two states. On the one hand, the planet faces depleting resources and a looming climate emergency; on the other, capitalism and consumerism are marching blindly onwards. As a result of this conundrum, there are many contemplative moments on the album, most notably with the world’s extinction echoing in the ambience of the final track “Did You Get the Message”.
Despite prevaricating between pessimism and optimism, “Third Light” is far from a depressing record. After all, Pitch Black are far from technological luddites, and just as their futuristic beats strive for a progressive future, so they hope for a more harmonious tomorrow.
Pioneering electronic duo Pitch Black drop their sixth studio album, “Third Light”, on 13th September 2019.
Their two-decade career of fusing different musical styles is in full effect across the eight track release. Dub, downbeat, techno, drum’n’bass and cinematic ambience are all ingredients in an echo-drenched odyssey that moves the heart and mind and body, as Pitch Black’s distinctive sonic signature of deep analogue dub combines with beats ranging from slinky to slamming and vocals spanning enigmatic to emphatic.
As the album shifts between dance floor and brain food, it reflects on a world similarly in transition between two states. On the one hand, the planet faces depleting resources and a looming climate emergency; on the other, capitalism and consumerism are marching blindly onwards. As a result of this conundrum, there are many contemplative moments on the album, most notably with the world’s extinction echoing in the ambience of the final track “Did You Get the Message”.
Despite prevaricating between pessimism and optimism, “Third Light” is far from a depressing record. After all, Pitch Black are far from technological luddites, and just as their futuristic beats strive for a progressive future, so they hope for a more harmonious tomorrow.
Pioneering electronic duo Pitch Black drop their sixth studio album, “Third Light”, on 13th September 2019.
Their two-decade career of fusing different musical styles is in full effect across the eight track release. Dub, downbeat, techno, drum’n’bass and cinematic ambience are all ingredients in an echo-drenched odyssey that moves the heart and mind and body, as Pitch Black’s distinctive sonic signature of deep analogue dub combines with beats ranging from slinky to slamming and vocals spanning enigmatic to emphatic.
As the album shifts between dance floor and brain food, it reflects on a world similarly in transition between two states. On the one hand, the planet faces depleting resources and a looming climate emergency; on the other, capitalism and consumerism are marching blindly onwards. As a result of this conundrum, there are many contemplative moments on the album, most notably with the world’s extinction echoing in the ambience of the final track “Did You Get the Message”.
Despite prevaricating between pessimism and optimism, “Third Light” is far from a depressing record. After all, Pitch Black are far from technological luddites, and just as their futuristic beats strive for a progressive future, so they hope for a more harmonious tomorrow.
Pioneering electronic duo Pitch Black drop their sixth studio album, “Third Light”, on 13th September 2019.
Their two-decade career of fusing different musical styles is in full effect across the eight track release. Dub, downbeat, techno, drum’n’bass and cinematic ambience are all ingredients in an echo-drenched odyssey that moves the heart and mind and body, as Pitch Black’s distinctive sonic signature of deep analogue dub combines with beats ranging from slinky to slamming and vocals spanning enigmatic to emphatic.
As the album shifts between dance floor and brain food, it reflects on a world similarly in transition between two states. On the one hand, the planet faces depleting resources and a looming climate emergency; on the other, capitalism and consumerism are marching blindly onwards. As a result of this conundrum, there are many contemplative moments on the album, most notably with the world’s extinction echoing in the ambience of the final track “Did You Get the Message”.
Despite prevaricating between pessimism and optimism, “Third Light” is far from a depressing record. After all, Pitch Black are far from technological luddites, and just as their futuristic beats strive for a progressive future, so they hope for a more harmonious tomorrow.
Pioneering electronic duo Pitch Black drop their sixth studio album, “Third Light”, on 13th September 2019.
Their two-decade career of fusing different musical styles is in full effect across the eight track release. Dub, downbeat, techno, drum’n’bass and cinematic ambience are all ingredients in an echo-drenched odyssey that moves the heart and mind and body, as Pitch Black’s distinctive sonic signature of deep analogue dub combines with beats ranging from slinky to slamming and vocals spanning enigmatic to emphatic.
As the album shifts between dance floor and brain food, it reflects on a world similarly in transition between two states. On the one hand, the planet faces depleting resources and a looming climate emergency; on the other, capitalism and consumerism are marching blindly onwards. As a result of this conundrum, there are many contemplative moments on the album, most notably with the world’s extinction echoing in the ambience of the final track “Did You Get the Message”.
Despite prevaricating between pessimism and optimism, “Third Light” is far from a depressing record. After all, Pitch Black are far from technological luddites, and just as their futuristic beats strive for a progressive future, so they hope for a more harmonious tomorrow.
Pioneering electronic duo Pitch Black drop their sixth studio album, “Third Light”, on 13th September 2019.
Their two-decade career of fusing different musical styles is in full effect across the eight track release. Dub, downbeat, techno, drum’n’bass and cinematic ambience are all ingredients in an echo-drenched odyssey that moves the heart and mind and body, as Pitch Black’s distinctive sonic signature of deep analogue dub combines with beats ranging from slinky to slamming and vocals spanning enigmatic to emphatic.
As the album shifts between dance floor and brain food, it reflects on a world similarly in transition between two states. On the one hand, the planet faces depleting resources and a looming climate emergency; on the other, capitalism and consumerism are marching blindly onwards. As a result of this conundrum, there are many contemplative moments on the album, most notably with the world’s extinction echoing in the ambience of the final track “Did You Get the Message”.
Despite prevaricating between pessimism and optimism, “Third Light” is far from a depressing record. After all, Pitch Black are far from technological luddites, and just as their futuristic beats strive for a progressive future, so they hope for a more harmonious tomorrow.
For his Dubmission debut, soundcloud.com/ishdub has created nine downtempo gems that mix cutting edge production with live instrumentation, all underpinned with hearty basslines.
For his Dubmission debut, soundcloud.com/ishdub has created nine downtempo gems that mix cutting edge production with live instrumentation, all underpinned with hearty basslines.
For his Dubmission debut, soundcloud.com/ishdub has created nine downtempo gems that mix cutting edge production with live instrumentation, all underpinned with hearty basslines.
For his Dubmission debut, soundcloud.com/ishdub has created nine downtempo gems that mix cutting edge production with live instrumentation, all underpinned with hearty basslines.
For his Dubmission debut, soundcloud.com/ishdub has created nine downtempo gems that mix cutting edge production with live instrumentation, all underpinned with hearty basslines.
For his Dubmission debut, soundcloud.com/ishdub has created nine downtempo gems that mix cutting edge production with live instrumentation, all underpinned with hearty basslines.
For his Dubmission debut, soundcloud.com/ishdub has created nine downtempo gems that mix cutting edge production with live instrumentation, all underpinned with hearty basslines.
For his Dubmission debut, soundcloud.com/ishdub has created nine downtempo gems that mix cutting edge production with live instrumentation, all underpinned with hearty basslines.
For his Dubmission debut, soundcloud.com/ishdub has created nine downtempo gems that mix cutting edge production with live instrumentation, all underpinned with hearty basslines.
“Artificial Intolerance”, the first single from Pitch Black’s forthcoming album “Third Light”, finds the boys in a playful but questioning mood. The former is evident in the belting bass and bleep heavy breaks that make up the track, the latter in the samples about possible bias in the creation of artificial intelligence code.
“Numerous studies have highlighted that the majority of AI coders are Caucasian and male, and just as many have pointed out the problems that facial recognition programs have in processing people of colour. Then there are concerns about the growing quality of deepfakes and the creeping influence over our viewing and listening habits by recommendation system algorithms” says Mike.
“Paddy and I are far from luddites – we just like to keep an eye on developments, stay aware of the issues and question the alleged perfection of technological systems. After all, there are amazing developments happening in the area of neural networks, for example, where a teenager, Brittany Wenger, can create a "Global Neural Network Cloud Service for Breast Cancer” on her laptop in her bedroom.”
Stepping up on remix duties are two fellow Kiwis, Akcept and SUBSET, both of whom have made regular appearances on Pitch Black’s monthly radio show. Akcept has been making a name for himself in bass circles thanks to his signature blend of dub, roots and heavyweight dread, while SUBSET has been building fans for his deep dub techno sound.
“Artificial Intolerance”, the first single from Pitch Black’s forthcoming album “Third Light”, finds the boys in a playful but questioning mood. The former is evident in the belting bass and bleep heavy breaks that make up the track, the latter in the samples about possible bias in the creation of artificial intelligence code.
“Numerous studies have highlighted that the majority of AI coders are Caucasian and male, and just as many have pointed out the problems that facial recognition programs have in processing people of colour. Then there are concerns about the growing quality of deepfakes and the creeping influence over our viewing and listening habits by recommendation system algorithms” says Mike.
“Paddy and I are far from luddites – we just like to keep an eye on developments, stay aware of the issues and question the alleged perfection of technological systems. After all, there are amazing developments happening in the area of neural networks, for example, where a teenager, Brittany Wenger, can create a "Global Neural Network Cloud Service for Breast Cancer” on her laptop in her bedroom.”
Stepping up on remix duties are two fellow Kiwis, Akcept and SUBSET, both of whom have made regular appearances on Pitch Black’s monthly radio show. Akcept has been making a name for himself in bass circles thanks to his signature blend of dub, roots and heavyweight dread, while SUBSET has been building fans for his deep dub techno sound.
“Artificial Intolerance”, the first single from Pitch Black’s forthcoming album “Third Light”, finds the boys in a playful but questioning mood. The former is evident in the belting bass and bleep heavy breaks that make up the track, the latter in the samples about possible bias in the creation of artificial intelligence code.
“Numerous studies have highlighted that the majority of AI coders are Caucasian and male, and just as many have pointed out the problems that facial recognition programs have in processing people of colour. Then there are concerns about the growing quality of deepfakes and the creeping influence over our viewing and listening habits by recommendation system algorithms” says Mike.
“Paddy and I are far from luddites – we just like to keep an eye on developments, stay aware of the issues and question the alleged perfection of technological systems. After all, there are amazing developments happening in the area of neural networks, for example, where a teenager, Brittany Wenger, can create a "Global Neural Network Cloud Service for Breast Cancer” on her laptop in her bedroom.”
Stepping up on remix duties are two fellow Kiwis, Akcept and SUBSET, both of whom have made regular appearances on Pitch Black’s monthly radio show. Akcept has been making a name for himself in bass circles thanks to his signature blend of dub, roots and heavyweight dread, while SUBSET has been building fans for his deep dub techno sound.
Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', the maverick Dutch producer Uncle Fester on Acid took it upon himself to dismantle soundcloud.com/pitchblacknz's 'Filtered Senses' album and rebuild it from scratch. Not one track, but every track on the album, from beginning to end.
The result is a truly psychedelic adventure where reality as you know it (in this case Pitch Black's original album) is totally flipped and tripped. The album feels like an interpretation of Pitch Black from another universe - Uncle Fester's universe that is. At times, the tracks are totally different and unrecognizable; at others, strangely familiar and close to the original.
Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', the maverick Dutch producer Uncle Fester on Acid took it upon himself to dismantle soundcloud.com/pitchblacknz's 'Filtered Senses' album and rebuild it from scratch. Not one track, but every track on the album, from beginning to end.
The result is a truly psychedelic adventure where reality as you know it (in this case Pitch Black's original album) is totally flipped and tripped. The album feels like an interpretation of Pitch Black from another universe - Uncle Fester's universe that is. At times, the tracks are totally different and unrecognizable; at others, strangely familiar and close to the original.
Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', the maverick Dutch producer Uncle Fester on Acid took it upon himself to dismantle soundcloud.com/pitchblacknz's 'Filtered Senses' album and rebuild it from scratch. Not one track, but every track on the album, from beginning to end.
The result is a truly psychedelic adventure where reality as you know it (in this case Pitch Black's original album) is totally flipped and tripped. The album feels like an interpretation of Pitch Black from another universe - Uncle Fester's universe that is. At times, the tracks are totally different and unrecognizable; at others, strangely familiar and close to the original.
Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', the maverick Dutch producer Uncle Fester on Acid took it upon himself to dismantle soundcloud.com/pitchblacknz's 'Filtered Senses' album and rebuild it from scratch. Not one track, but every track on the album, from beginning to end.
The result is a truly psychedelic adventure where reality as you know it (in this case Pitch Black's original album) is totally flipped and tripped. The album feels like an interpretation of Pitch Black from another universe - Uncle Fester's universe that is. At times, the tracks are totally different and unrecognizable; at others, strangely familiar and close to the original.
Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', the maverick Dutch producer Uncle Fester on Acid took it upon himself to dismantle soundcloud.com/pitchblacknz's 'Filtered Senses' album and rebuild it from scratch. Not one track, but every track on the album, from beginning to end.
The result is a truly psychedelic adventure where reality as you know it (in this case Pitch Black's original album) is totally flipped and tripped. The album feels like an interpretation of Pitch Black from another universe - Uncle Fester's universe that is. At times, the tracks are totally different and unrecognizable; at others, strangely familiar and close to the original.
Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', the maverick Dutch producer Uncle Fester on Acid took it upon himself to dismantle soundcloud.com/pitchblacknz's 'Filtered Senses' album and rebuild it from scratch. Not one track, but every track on the album, from beginning to end.
The result is a truly psychedelic adventure where reality as you know it (in this case Pitch Black's original album) is totally flipped and tripped. The album feels like an interpretation of Pitch Black from another universe - Uncle Fester's universe that is. At times, the tracks are totally different and unrecognizable; at others, strangely familiar and close to the original.
Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', the maverick Dutch producer Uncle Fester on Acid took it upon himself to dismantle soundcloud.com/pitchblacknz's 'Filtered Senses' album and rebuild it from scratch. Not one track, but every track on the album, from beginning to end.
The result is a truly psychedelic adventure where reality as you know it (in this case Pitch Black's original album) is totally flipped and tripped. The album feels like an interpretation of Pitch Black from another universe - Uncle Fester's universe that is. At times, the tracks are totally different and unrecognizable; at others, strangely familiar and close to the original.
Inspired by the Mad Professor’s interpretation of Massive Attack's 'Protection' and Adrian Sherwood’s version of Primal Scream’s 'Echo Dek', the maverick Dutch producer Uncle Fester on Acid took it upon himself to dismantle soundcloud.com/pitchblacknz's 'Filtered Senses' album and rebuild it from scratch. Not one track, but every track on the album, from beginning to end.
The result is a truly psychedelic adventure where reality as you know it (in this case Pitch Black's original album) is totally flipped and tripped. The album feels like an interpretation of Pitch Black from another universe - Uncle Fester's universe that is. At times, the tracks are totally different and unrecognizable; at others, strangely familiar and close to the original.
The Warrior returns .....
2019 sees Dubsalon revist his 2011 classic, the space age stepper "Space Warrior" with a little help from Tor.Ma in Dub, Tara Putra and Buds Kru.
Without much fanfare or fuss, maverick producer David Harrow has been dropping dubs under his OICHO guise for over a decade now. Working at a prodigious rate, some years he’s put out two releases, other years as many as five.
Clearly deserving of a larger audience, for “Dub Journeys, Volume 1: OICHO”, Dubmission dug deep and cherry picked their favourite tracks from the original sessions. Some were then completely rerecorded, others slightly reworked, with all of them remastered to create the first part of a new series showcasing his work.
David has a rich history in the dub world. More recently he has produced Kiwi band Salmonella Dub, but back in the 90’s he was embedded in Adrian Sherwood’s OnU world, and during that time worked on Lee “Scratch” Perry’s “From My Secret Laboratory” album as well releases by Dub Syndicate, Gary Clail and the Barmy Army.
The legacy of time spent on African Head Charge’s “Songs of Praise” can be heard in percussive tracks like Arrowrooted, Sofa Kings and Battle System. As he puts it: “Percussion is the first instrument, the foundation on which we build, that has never changed. I try to take myself back to … the Nyahbinghi drum circles in Dalston.”
“Dub Journeys, Volume 1: OICHO” offers a brief, bass heavy glimpse into the musical mind of David Harrow – roll on Volume 2.
Without much fanfare or fuss, maverick producer David Harrow has been dropping dubs under his OICHO guise for over a decade now. Working at a prodigious rate, some years he’s put out two releases, other years as many as five.
Clearly deserving of a larger audience, for “Dub Journeys, Volume 1: OICHO”, Dubmission dug deep and cherry picked their favourite tracks from the original sessions. Some were then completely rerecorded, others slightly reworked, with all of them remastered to create the first part of a new series showcasing his work.
David has a rich history in the dub world. More recently he has produced Kiwi band Salmonella Dub, but back in the 90’s he was embedded in Adrian Sherwood’s OnU world, and during that time worked on Lee “Scratch” Perry’s “From My Secret Laboratory” album as well releases by Dub Syndicate, Gary Clail and the Barmy Army.
The legacy of time spent on African Head Charge’s “Songs of Praise” can be heard in percussive tracks like Arrowrooted, Sofa Kings and Battle System. As he puts it: “Percussion is the first instrument, the foundation on which we build, that has never changed. I try to take myself back to … the Nyahbinghi drum circles in Dalston.”
“Dub Journeys, Volume 1: OICHO” offers a brief, bass heavy glimpse into the musical mind of David Harrow – roll on Volume 2.
Without much fanfare or fuss, maverick producer David Harrow has been dropping dubs under his OICHO guise for over a decade now. Working at a prodigious rate, some years he’s put out two releases, other years as many as five.
Clearly deserving of a larger audience, for “Dub Journeys, Volume 1: OICHO”, Dubmission dug deep and cherry picked their favourite tracks from the original sessions. Some were then completely rerecorded, others slightly reworked, with all of them remastered to create the first part of a new series showcasing his work.
David has a rich history in the dub world. More recently he has produced Kiwi band Salmonella Dub, but back in the 90’s he was embedded in Adrian Sherwood’s OnU world, and during that time worked on Lee “Scratch” Perry’s “From My Secret Laboratory” album as well releases by Dub Syndicate, Gary Clail and the Barmy Army.
The legacy of time spent on African Head Charge’s “Songs of Praise” can be heard in percussive tracks like Arrowrooted, Sofa Kings and Battle System. As he puts it: “Percussion is the first instrument, the foundation on which we build, that has never changed. I try to take myself back to … the Nyahbinghi drum circles in Dalston.”
“Dub Journeys, Volume 1: OICHO” offers a brief, bass heavy glimpse into the musical mind of David Harrow – roll on Volume 2.
Without much fanfare or fuss, maverick producer David Harrow has been dropping dubs under his OICHO guise for over a decade now. Working at a prodigious rate, some years he’s put out two releases, other years as many as five.
Clearly deserving of a larger audience, for “Dub Journeys, Volume 1: OICHO”, Dubmission dug deep and cherry picked their favourite tracks from the original sessions. Some were then completely rerecorded, others slightly reworked, with all of them remastered to create the first part of a new series showcasing his work.
David has a rich history in the dub world. More recently he has produced Kiwi band Salmonella Dub, but back in the 90’s he was embedded in Adrian Sherwood’s OnU world, and during that time worked on Lee “Scratch” Perry’s “From My Secret Laboratory” album as well releases by Dub Syndicate, Gary Clail and the Barmy Army.
The legacy of time spent on African Head Charge’s “Songs of Praise” can be heard in percussive tracks like Arrowrooted, Sofa Kings and Battle System. As he puts it: “Percussion is the first instrument, the foundation on which we build, that has never changed. I try to take myself back to … the Nyahbinghi drum circles in Dalston.”
“Dub Journeys, Volume 1: OICHO” offers a brief, bass heavy glimpse into the musical mind of David Harrow – roll on Volume 2.
The Warrior returns .....
2019 sees Dubsalon revist his 2011 classic, the space age stepper "Space Warrior" with a little help from Tor.Ma in Dub, Tara Putra and Buds Kru.
Without much fanfare or fuss, maverick producer David Harrow has been dropping dubs under his OICHO guise for over a decade now. Working at a prodigious rate, some years he’s put out two releases, other years as many as five.
Clearly deserving of a larger audience, for “Dub Journeys, Volume 1: OICHO”, Dubmission dug deep and cherry picked their favourite tracks from the original sessions. Some were then completely rerecorded, others slightly reworked, with all of them remastered to create the first part of a new series showcasing his work.
David has a rich history in the dub world. More recently he has produced Kiwi band Salmonella Dub, but back in the 90’s he was embedded in Adrian Sherwood’s OnU world, and during that time worked on Lee “Scratch” Perry’s “From My Secret Laboratory” album as well releases by Dub Syndicate, Gary Clail and the Barmy Army.
The legacy of time spent on African Head Charge’s “Songs of Praise” can be heard in percussive tracks like Arrowrooted, Sofa Kings and Battle System. As he puts it: “Percussion is the first instrument, the foundation on which we build, that has never changed. I try to take myself back to … the Nyahbinghi drum circles in Dalston.”
“Dub Journeys, Volume 1: OICHO” offers a brief, bass heavy glimpse into the musical mind of David Harrow – roll on Volume 2.
Without much fanfare or fuss, maverick producer David Harrow has been dropping dubs under his OICHO guise for over a decade now. Working at a prodigious rate, some years he’s put out two releases, other years as many as five.
Clearly deserving of a larger audience, for “Dub Journeys, Volume 1: OICHO”, Dubmission dug deep and cherry picked their favourite tracks from the original sessions. Some were then completely rerecorded, others slightly reworked, with all of them remastered to create the first part of a new series showcasing his work.
David has a rich history in the dub world. More recently he has produced Kiwi band Salmonella Dub, but back in the 90’s he was embedded in Adrian Sherwood’s OnU world, and during that time worked on Lee “Scratch” Perry’s “From My Secret Laboratory” album as well releases by Dub Syndicate, Gary Clail and the Barmy Army.
The legacy of time spent on African Head Charge’s “Songs of Praise” can be heard in percussive tracks like Arrowrooted, Sofa Kings and Battle System. As he puts it: “Percussion is the first instrument, the foundation on which we build, that has never changed. I try to take myself back to … the Nyahbinghi drum circles in Dalston.”
“Dub Journeys, Volume 1: OICHO” offers a brief, bass heavy glimpse into the musical mind of David Harrow – roll on Volume 2.
Without much fanfare or fuss, maverick producer David Harrow has been dropping dubs under his OICHO guise for over a decade now. Working at a prodigious rate, some years he’s put out two releases, other years as many as five.
Clearly deserving of a larger audience, for “Dub Journeys, Volume 1: OICHO”, Dubmission dug deep and cherry picked their favourite tracks from the original sessions. Some were then completely rerecorded, others slightly reworked, with all of them remastered to create the first part of a new series showcasing his work.
David has a rich history in the dub world. More recently he has produced Kiwi band Salmonella Dub, but back in the 90’s he was embedded in Adrian Sherwood’s OnU world, and during that time worked on Lee “Scratch” Perry’s “From My Secret Laboratory” album as well releases by Dub Syndicate, Gary Clail and the Barmy Army.
The legacy of time spent on African Head Charge’s “Songs of Praise” can be heard in percussive tracks like Arrowrooted, Sofa Kings and Battle System. As he puts it: “Percussion is the first instrument, the foundation on which we build, that has never changed. I try to take myself back to … the Nyahbinghi drum circles in Dalston.”
“Dub Journeys, Volume 1: OICHO” offers a brief, bass heavy glimpse into the musical mind of David Harrow – roll on Volume 2.
The Warrior returns .....
2019 sees Dubsalon revist his 2011 classic, the space age stepper "Space Warrior" with a little help from Tor.Ma in Dub, Tara Putra and Buds Kru.
The Warrior returns .....
2019 sees Dubsalon revist his 2011 classic, the space age stepper "Space Warrior" with a little help from Tor.Ma in Dub, Tara Putra and Buds Kru.
Without much fanfare or fuss, maverick producer David Harrow has been dropping dubs under his OICHO guise for over a decade now. Working at a prodigious rate, some years he’s put out two releases, other years as many as five.
Clearly deserving of a larger audience, for “Dub Journeys, Volume 1: OICHO”, Dubmission dug deep and cherry picked their favourite tracks from the original sessions. Some were then completely rerecorded, others slightly reworked, with all of them remastered to create the first part of a new series showcasing his work.
David has a rich history in the dub world. More recently he has produced Kiwi band Salmonella Dub, but back in the 90’s he was embedded in Adrian Sherwood’s OnU world, and during that time worked on Lee “Scratch” Perry’s “From My Secret Laboratory” album as well releases by Dub Syndicate, Gary Clail and the Barmy Army.
The legacy of time spent on African Head Charge’s “Songs of Praise” can be heard in percussive tracks like Arrowrooted, Sofa Kings and Battle System. As he puts it: “Percussion is the first instrument, the foundation on which we build, that has never changed. I try to take myself back to … the Nyahbinghi drum circles in Dalston.”
“Dub Journeys, Volume 1: OICHO” offers a brief, bass heavy glimpse into the musical mind of David Harrow – roll on Volume 2.
Without much fanfare or fuss, maverick producer David Harrow has been dropping dubs under his OICHO guise for over a decade now. Working at a prodigious rate, some years he’s put out two releases, other years as many as five.
Clearly deserving of a larger audience, for “Dub Journeys, Volume 1: OICHO”, Dubmission dug deep and cherry picked their favourite tracks from the original sessions. Some were then completely rerecorded, others slightly reworked, with all of them remastered to create the first part of a new series showcasing his work.
David has a rich history in the dub world. More recently he has produced Kiwi band Salmonella Dub, but back in the 90’s he was embedded in Adrian Sherwood’s OnU world, and during that time worked on Lee “Scratch” Perry’s “From My Secret Laboratory” album as well releases by Dub Syndicate, Gary Clail and the Barmy Army.
The legacy of time spent on African Head Charge’s “Songs of Praise” can be heard in percussive tracks like Arrowrooted, Sofa Kings and Battle System. As he puts it: “Percussion is the first instrument, the foundation on which we build, that has never changed. I try to take myself back to … the Nyahbinghi drum circles in Dalston.”
“Dub Journeys, Volume 1: OICHO” offers a brief, bass heavy glimpse into the musical mind of David Harrow – roll on Volume 2.
The Warrior returns .....
2019 sees Dubsalon revist his 2011 classic, the space age stepper "Space Warrior" with a little help from Tor.Ma in Dub, Tara Putra and Buds Kru.
Without much fanfare or fuss, maverick producer David Harrow has been dropping dubs under his OICHO guise for over a decade now. Working at a prodigious rate, some years he’s put out two releases, other years as many as five.
Clearly deserving of a larger audience, for “Dub Journeys, Volume 1: OICHO”, Dubmission dug deep and cherry picked their favourite tracks from the original sessions. Some were then completely rerecorded, others slightly reworked, with all of them remastered to create the first part of a new series showcasing his work.
David has a rich history in the dub world. More recently he has produced Kiwi band Salmonella Dub, but back in the 90’s he was embedded in Adrian Sherwood’s OnU world, and during that time worked on Lee “Scratch” Perry’s “From My Secret Laboratory” album as well releases by Dub Syndicate, Gary Clail and the Barmy Army.
The legacy of time spent on African Head Charge’s “Songs of Praise” can be heard in percussive tracks like Arrowrooted, Sofa Kings and Battle System. As he puts it: “Percussion is the first instrument, the foundation on which we build, that has never changed. I try to take myself back to … the Nyahbinghi drum circles in Dalston.”
“Dub Journeys, Volume 1: OICHO” offers a brief, bass heavy glimpse into the musical mind of David Harrow – roll on Volume 2.
mcthfg's latest release for Dubmission, "When You Awake", draws on an unlikely trio of sources. A track by the band "The Band" inspired the title, while N.K Jemisin's "Broken Earth" series and Yoon Ha Lee's "Machineries of Empire" inspired the vibe.
The dystopian sci-fi influences can be heard throughout, but sadly there's not a drop of stoned country rock! Instead "When You Awake" continues on from previous releases, featuring five tracks of intricately crafted electronica, where woozy melodies weave their way round crunchy breaks and dub basslines.
If this is the future, we like it .....
mcthfg's latest release for Dubmission, "When You Awake", draws on an unlikely trio of sources. A track by the band "The Band" inspired the title, while N.K Jemisin's "Broken Earth" series and Yoon Ha Lee's "Machineries of Empire" inspired the vibe.
The dystopian sci-fi influences can be heard throughout, but sadly there's not a drop of stoned country rock! Instead "When You Awake" continues on from previous releases, featuring five tracks of intricately crafted electronica, where woozy melodies weave their way round crunchy breaks and dub basslines.
If this is the future, we like it .....
mcthfg's latest release for Dubmission, "When You Awake", draws on an unlikely trio of sources. A track by the band "The Band" inspired the title, while N.K Jemisin's "Broken Earth" series and Yoon Ha Lee's "Machineries of Empire" inspired the vibe.
The dystopian sci-fi influences can be heard throughout, but sadly there's not a drop of stoned country rock! Instead "When You Awake" continues on from previous releases, featuring five tracks of intricately crafted electronica, where woozy melodies weave their way round crunchy breaks and dub basslines.
If this is the future, we like it .....
mcthfg's latest release for Dubmission, "When You Awake", draws on an unlikely trio of sources. A track by the band "The Band" inspired the title, while N.K Jemisin's "Broken Earth" series and Yoon Ha Lee's "Machineries of Empire" inspired the vibe.
The dystopian sci-fi influences can be heard throughout, but sadly there's not a drop of stoned country rock! Instead "When You Awake" continues on from previous releases, featuring five tracks of intricately crafted electronica, where woozy melodies weave their way round crunchy breaks and dub basslines.
If this is the future, we like it .....
Somewhere between waking life and the dream world, between the digital grids and mycelial webs, where the information of consciousness stored deep within the earth sprouts upwards into being, fractals of space and time dance as form, color, and sound. We swim in these Rhythmic Fractals of Earths Imagination, stretching from the deepest past through the present into the future as the living intelligence of Nature.
With this newest release, Kalpataru Tree weaves eight sonic tapestries of sound together into journeys of imagination to get lost in. A suitable soundtrack for dreamers, artists, wanderers, mystics, visionaries, engineers, designers, lovers, and magicians.
Rooted in ambient sensibilities, but transcending genre into limitless ecstatic flights of inspiration, guitar and bass riffs weave into driving arpeggiated synth and carry us upward into into uncharted ineffable expression. In devotion and service to the mystery that all life shares.
Somewhere between waking life and the dream world, between the digital grids and mycelial webs, where the information of consciousness stored deep within the earth sprouts upwards into being, fractals of space and time dance as form, color, and sound. We swim in these Rhythmic Fractals of Earths Imagination, stretching from the deepest past through the present into the future as the living intelligence of Nature.
With this newest release, Kalpataru Tree weaves eight sonic tapestries of sound together into journeys of imagination to get lost in. A suitable soundtrack for dreamers, artists, wanderers, mystics, visionaries, engineers, designers, lovers, and magicians.
Rooted in ambient sensibilities, but transcending genre into limitless ecstatic flights of inspiration, guitar and bass riffs weave into driving arpeggiated synth and carry us upward into into uncharted ineffable expression. In devotion and service to the mystery that all life shares.
Somewhere between waking life and the dream world, between the digital grids and mycelial webs, where the information of consciousness stored deep within the earth sprouts upwards into being, fractals of space and time dance as form, color, and sound. We swim in these Rhythmic Fractals of Earths Imagination, stretching from the deepest past through the present into the future as the living intelligence of Nature.
With this newest release, Kalpataru Tree weaves eight sonic tapestries of sound together into journeys of imagination to get lost in. A suitable soundtrack for dreamers, artists, wanderers, mystics, visionaries, engineers, designers, lovers, and magicians.
Rooted in ambient sensibilities, but transcending genre into limitless ecstatic flights of inspiration, guitar and bass riffs weave into driving arpeggiated synth and carry us upward into into uncharted ineffable expression. In devotion and service to the mystery that all life shares.
Somewhere between waking life and the dream world, between the digital grids and mycelial webs, where the information of consciousness stored deep within the earth sprouts upwards into being, fractals of space and time dance as form, color, and sound. We swim in these Rhythmic Fractals of Earths Imagination, stretching from the deepest past through the present into the future as the living intelligence of Nature.
With this newest release, Kalpataru Tree weaves eight sonic tapestries of sound together into journeys of imagination to get lost in. A suitable soundtrack for dreamers, artists, wanderers, mystics, visionaries, engineers, designers, lovers, and magicians.
Rooted in ambient sensibilities, but transcending genre into limitless ecstatic flights of inspiration, guitar and bass riffs weave into driving arpeggiated synth and carry us upward into into uncharted ineffable expression. In devotion and service to the mystery that all life shares.
Somewhere between waking life and the dream world, between the digital grids and mycelial webs, where the information of consciousness stored deep within the earth sprouts upwards into being, fractals of space and time dance as form, color, and sound. We swim in these Rhythmic Fractals of Earths Imagination, stretching from the deepest past through the present into the future as the living intelligence of Nature.
With this newest release, Kalpataru Tree weaves eight sonic tapestries of sound together into journeys of imagination to get lost in. A suitable soundtrack for dreamers, artists, wanderers, mystics, visionaries, engineers, designers, lovers, and magicians.
Rooted in ambient sensibilities, but transcending genre into limitless ecstatic flights of inspiration, guitar and bass riffs weave into driving arpeggiated synth and carry us upward into into uncharted ineffable expression. In devotion and service to the mystery that all life shares.
Somewhere between waking life and the dream world, between the digital grids and mycelial webs, where the information of consciousness stored deep within the earth sprouts upwards into being, fractals of space and time dance as form, color, and sound. We swim in these Rhythmic Fractals of Earths Imagination, stretching from the deepest past through the present into the future as the living intelligence of Nature.
With this newest release, Kalpataru Tree weaves eight sonic tapestries of sound together into journeys of imagination to get lost in. A suitable soundtrack for dreamers, artists, wanderers, mystics, visionaries, engineers, designers, lovers, and magicians.
Rooted in ambient sensibilities, but transcending genre into limitless ecstatic flights of inspiration, guitar and bass riffs weave into driving arpeggiated synth and carry us upward into into uncharted ineffable expression. In devotion and service to the mystery that all life shares.
Somewhere between waking life and the dream world, between the digital grids and mycelial webs, where the information of consciousness stored deep within the earth sprouts upwards into being, fractals of space and time dance as form, color, and sound. We swim in these Rhythmic Fractals of Earths Imagination, stretching from the deepest past through the present into the future as the living intelligence of Nature.
With this newest release, Kalpataru Tree weaves eight sonic tapestries of sound together into journeys of imagination to get lost in. A suitable soundtrack for dreamers, artists, wanderers, mystics, visionaries, engineers, designers, lovers, and magicians.
Rooted in ambient sensibilities, but transcending genre into limitless ecstatic flights of inspiration, guitar and bass riffs weave into driving arpeggiated synth and carry us upward into into uncharted ineffable expression. In devotion and service to the mystery that all life shares.
Somewhere between waking life and the dream world, between the digital grids and mycelial webs, where the information of consciousness stored deep within the earth sprouts upwards into being, fractals of space and time dance as form, color, and sound. We swim in these Rhythmic Fractals of Earths Imagination, stretching from the deepest past through the present into the future as the living intelligence of Nature.
With this newest release, Kalpataru Tree weaves eight sonic tapestries of sound together into journeys of imagination to get lost in. A suitable soundtrack for dreamers, artists, wanderers, mystics, visionaries, engineers, designers, lovers, and magicians.
Rooted in ambient sensibilities, but transcending genre into limitless ecstatic flights of inspiration, guitar and bass riffs weave into driving arpeggiated synth and carry us upward into into uncharted ineffable expression. In devotion and service to the mystery that all life shares.
Misled Convoy is back with the sublime new album “Sixteen Sunsets”, alive with sonic ideas and influenced by the multitude of sounds he's gathered as he travels the world. ‘Found sounds’ recorded in Iceland, Sweden, Turkey, Italy, Croatia, Spain, Greece, England and Austria have been woven together into delicate yet sophisticated pastiches, layered and twisted with beats and melody, leaving the listener to sense the world around. The cicadas of a Greek island, the automated voice of a Stockholm bus, rubber on cobblestones at a Roman roundabout, the unusual chug of a narrowboat on a London canal – all are drenched in effects and underpinned with Hodgson’s signature dub and bass.
Five out of the nine tracks feature the emotional harmonies and melodies of young songwriter Ines Dunn. As an established music producer wanting to support and encourage women in the industry, Hodgson has spent time with Ines to show her a different approach to music making. His investment has been repaid in spades, as Dunn’s simple touches on the album have added powerful melodic punches in all the right places.
Nowhere is this more evident than in the opening track "Blind Light", with samples referencing the last Misled Convoy album "Tickling the Dragon’s Tail". Dunn tickles the keyboard while Hodgson weaves the industrial sounds of a plastic bottle making machine.
The beats and layers grow over the three following tracks until we come to the fifth track, "I am Full of a Thousand Holes", one of the standouts on the new album. In the hands of most modern dance producers, the monstrous bass riff that underpins the track would be rinsed and repeated, ad nauseam, with all the subtlety of a sledgehammer. In Hodgson's hands, it slips and slides through the melody, ducking and weaving around the beat, and then, just as the tune reaches its peaks, he drops everything and reduces the track to trails of sound. A dancefloor killer in every sense!
Trails of sound are how Hodgson’s music making often begins. After finding a Russian language vowel sounds 7” box set in a charity store, Hodgson researched which nations had sent astronauts to the International Space Station (ISS). The 7'' became the vocal bed for the title track "Sixteen Sunsets", which was then augmented with vowel sounds from the other nations who have also inhabited the ISS. The title is inspired by the phenomenon that, every day, due to orbiting the Earth every 90 minutes, the residents of the ISS witness 16 sunrises and 16 sunsets. To complete the concept visually, Hodgson has worked with artist Hamish Macaulay, who also designed his previous two albums.
From the top of the album to the last note an hour later, this is a non-stop sonic journey around our planet from the streets of a metropolis to the mountain tops and valleys where the insects being to hum in the morning sun. It is a journey where the frequencies provide a twisted commentary on our 21st century world, melding organic, industrial, dub and electronica into one beautiful album.
Recommended listening requirements: eye patch, cushion, surround sound and big bass.
Misled Convoy is back with the sublime new album “Sixteen Sunsets”, alive with sonic ideas and influenced by the multitude of sounds he's gathered as he travels the world. ‘Found sounds’ recorded in Iceland, Sweden, Turkey, Italy, Croatia, Spain, Greece, England and Austria have been woven together into delicate yet sophisticated pastiches, layered and twisted with beats and melody, leaving the listener to sense the world around. The cicadas of a Greek island, the automated voice of a Stockholm bus, rubber on cobblestones at a Roman roundabout, the unusual chug of a narrowboat on a London canal – all are drenched in effects and underpinned with Hodgson’s signature dub and bass.
Five out of the nine tracks feature the emotional harmonies and melodies of young songwriter Ines Dunn. As an established music producer wanting to support and encourage women in the industry, Hodgson has spent time with Ines to show her a different approach to music making. His investment has been repaid in spades, as Dunn’s simple touches on the album have added powerful melodic punches in all the right places.
Nowhere is this more evident than in the opening track "Blind Light", with samples referencing the last Misled Convoy album "Tickling the Dragon’s Tail". Dunn tickles the keyboard while Hodgson weaves the industrial sounds of a plastic bottle making machine.
The beats and layers grow over the three following tracks until we come to the fifth track, "I am Full of a Thousand Holes", one of the standouts on the new album. In the hands of most modern dance producers, the monstrous bass riff that underpins the track would be rinsed and repeated, ad nauseam, with all the subtlety of a sledgehammer. In Hodgson's hands, it slips and slides through the melody, ducking and weaving around the beat, and then, just as the tune reaches its peaks, he drops everything and reduces the track to trails of sound. A dancefloor killer in every sense!
Trails of sound are how Hodgson’s music making often begins. After finding a Russian language vowel sounds 7” box set in a charity store, Hodgson researched which nations had sent astronauts to the International Space Station (ISS). The 7'' became the vocal bed for the title track "Sixteen Sunsets", which was then augmented with vowel sounds from the other nations who have also inhabited the ISS. The title is inspired by the phenomenon that, every day, due to orbiting the Earth every 90 minutes, the residents of the ISS witness 16 sunrises and 16 sunsets. To complete the concept visually, Hodgson has worked with artist Hamish Macaulay, who also designed his previous two albums.
From the top of the album to the last note an hour later, this is a non-stop sonic journey around our planet from the streets of a metropolis to the mountain tops and valleys where the insects being to hum in the morning sun. It is a journey where the frequencies provide a twisted commentary on our 21st century world, melding organic, industrial, dub and electronica into one beautiful album.
Recommended listening requirements: eye patch, cushion, surround sound and big bass.
Misled Convoy is back with the sublime new album “Sixteen Sunsets”, alive with sonic ideas and influenced by the multitude of sounds he's gathered as he travels the world. ‘Found sounds’ recorded in Iceland, Sweden, Turkey, Italy, Croatia, Spain, Greece, England and Austria have been woven together into delicate yet sophisticated pastiches, layered and twisted with beats and melody, leaving the listener to sense the world around. The cicadas of a Greek island, the automated voice of a Stockholm bus, rubber on cobblestones at a Roman roundabout, the unusual chug of a narrowboat on a London canal – all are drenched in effects and underpinned with Hodgson’s signature dub and bass.
Five out of the nine tracks feature the emotional harmonies and melodies of young songwriter Ines Dunn. As an established music producer wanting to support and encourage women in the industry, Hodgson has spent time with Ines to show her a different approach to music making. His investment has been repaid in spades, as Dunn’s simple touches on the album have added powerful melodic punches in all the right places.
Nowhere is this more evident than in the opening track "Blind Light", with samples referencing the last Misled Convoy album "Tickling the Dragon’s Tail". Dunn tickles the keyboard while Hodgson weaves the industrial sounds of a plastic bottle making machine.
The beats and layers grow over the three following tracks until we come to the fifth track, "I am Full of a Thousand Holes", one of the standouts on the new album. In the hands of most modern dance producers, the monstrous bass riff that underpins the track would be rinsed and repeated, ad nauseam, with all the subtlety of a sledgehammer. In Hodgson's hands, it slips and slides through the melody, ducking and weaving around the beat, and then, just as the tune reaches its peaks, he drops everything and reduces the track to trails of sound. A dancefloor killer in every sense!
Trails of sound are how Hodgson’s music making often begins. After finding a Russian language vowel sounds 7” box set in a charity store, Hodgson researched which nations had sent astronauts to the International Space Station (ISS). The 7'' became the vocal bed for the title track "Sixteen Sunsets", which was then augmented with vowel sounds from the other nations who have also inhabited the ISS. The title is inspired by the phenomenon that, every day, due to orbiting the Earth every 90 minutes, the residents of the ISS witness 16 sunrises and 16 sunsets. To complete the concept visually, Hodgson has worked with artist Hamish Macaulay, who also designed his previous two albums.
From the top of the album to the last note an hour later, this is a non-stop sonic journey around our planet from the streets of a metropolis to the mountain tops and valleys where the insects being to hum in the morning sun. It is a journey where the frequencies provide a twisted commentary on our 21st century world, melding organic, industrial, dub and electronica into one beautiful album.
Recommended listening requirements: eye patch, cushion, surround sound and big bass.
Misled Convoy is back with the sublime new album “Sixteen Sunsets”, alive with sonic ideas and influenced by the multitude of sounds he's gathered as he travels the world. ‘Found sounds’ recorded in Iceland, Sweden, Turkey, Italy, Croatia, Spain, Greece, England and Austria have been woven together into delicate yet sophisticated pastiches, layered and twisted with beats and melody, leaving the listener to sense the world around. The cicadas of a Greek island, the automated voice of a Stockholm bus, rubber on cobblestones at a Roman roundabout, the unusual chug of a narrowboat on a London canal – all are drenched in effects and underpinned with Hodgson’s signature dub and bass.
Five out of the nine tracks feature the emotional harmonies and melodies of young songwriter Ines Dunn. As an established music producer wanting to support and encourage women in the industry, Hodgson has spent time with Ines to show her a different approach to music making. His investment has been repaid in spades, as Dunn’s simple touches on the album have added powerful melodic punches in all the right places.
Nowhere is this more evident than in the opening track "Blind Light", with samples referencing the last Misled Convoy album "Tickling the Dragon’s Tail". Dunn tickles the keyboard while Hodgson weaves the industrial sounds of a plastic bottle making machine.
The beats and layers grow over the three following tracks until we come to the fifth track, "I am Full of a Thousand Holes", one of the standouts on the new album. In the hands of most modern dance producers, the monstrous bass riff that underpins the track would be rinsed and repeated, ad nauseam, with all the subtlety of a sledgehammer. In Hodgson's hands, it slips and slides through the melody, ducking and weaving around the beat, and then, just as the tune reaches its peaks, he drops everything and reduces the track to trails of sound. A dancefloor killer in every sense!
Trails of sound are how Hodgson’s music making often begins. After finding a Russian language vowel sounds 7” box set in a charity store, Hodgson researched which nations had sent astronauts to the International Space Station (ISS). The 7'' became the vocal bed for the title track "Sixteen Sunsets", which was then augmented with vowel sounds from the other nations who have also inhabited the ISS. The title is inspired by the phenomenon that, every day, due to orbiting the Earth every 90 minutes, the residents of the ISS witness 16 sunrises and 16 sunsets. To complete the concept visually, Hodgson has worked with artist Hamish Macaulay, who also designed his previous two albums.
From the top of the album to the last note an hour later, this is a non-stop sonic journey around our planet from the streets of a metropolis to the mountain tops and valleys where the insects being to hum in the morning sun. It is a journey where the frequencies provide a twisted commentary on our 21st century world, melding organic, industrial, dub and electronica into one beautiful album.
Recommended listening requirements: eye patch, cushion, surround sound and big bass.
Misled Convoy is back with the sublime new album “Sixteen Sunsets”, alive with sonic ideas and influenced by the multitude of sounds he's gathered as he travels the world. ‘Found sounds’ recorded in Iceland, Sweden, Turkey, Italy, Croatia, Spain, Greece, England and Austria have been woven together into delicate yet sophisticated pastiches, layered and twisted with beats and melody, leaving the listener to sense the world around. The cicadas of a Greek island, the automated voice of a Stockholm bus, rubber on cobblestones at a Roman roundabout, the unusual chug of a narrowboat on a London canal – all are drenched in effects and underpinned with Hodgson’s signature dub and bass.
Five out of the nine tracks feature the emotional harmonies and melodies of young songwriter Ines Dunn. As an established music producer wanting to support and encourage women in the industry, Hodgson has spent time with Ines to show her a different approach to music making. His investment has been repaid in spades, as Dunn’s simple touches on the album have added powerful melodic punches in all the right places.
Nowhere is this more evident than in the opening track "Blind Light", with samples referencing the last Misled Convoy album "Tickling the Dragon’s Tail". Dunn tickles the keyboard while Hodgson weaves the industrial sounds of a plastic bottle making machine.
The beats and layers grow over the three following tracks until we come to the fifth track, "I am Full of a Thousand Holes", one of the standouts on the new album. In the hands of most modern dance producers, the monstrous bass riff that underpins the track would be rinsed and repeated, ad nauseam, with all the subtlety of a sledgehammer. In Hodgson's hands, it slips and slides through the melody, ducking and weaving around the beat, and then, just as the tune reaches its peaks, he drops everything and reduces the track to trails of sound. A dancefloor killer in every sense!
Trails of sound are how Hodgson’s music making often begins. After finding a Russian language vowel sounds 7” box set in a charity store, Hodgson researched which nations had sent astronauts to the International Space Station (ISS). The 7'' became the vocal bed for the title track "Sixteen Sunsets", which was then augmented with vowel sounds from the other nations who have also inhabited the ISS. The title is inspired by the phenomenon that, every day, due to orbiting the Earth every 90 minutes, the residents of the ISS witness 16 sunrises and 16 sunsets. To complete the concept visually, Hodgson has worked with artist Hamish Macaulay, who also designed his previous two albums.
From the top of the album to the last note an hour later, this is a non-stop sonic journey around our planet from the streets of a metropolis to the mountain tops and valleys where the insects being to hum in the morning sun. It is a journey where the frequencies provide a twisted commentary on our 21st century world, melding organic, industrial, dub and electronica into one beautiful album.
Recommended listening requirements: eye patch, cushion, surround sound and big bass.
Misled Convoy is back with the sublime new album “Sixteen Sunsets”, alive with sonic ideas and influenced by the multitude of sounds he's gathered as he travels the world. ‘Found sounds’ recorded in Iceland, Sweden, Turkey, Italy, Croatia, Spain, Greece, England and Austria have been woven together into delicate yet sophisticated pastiches, layered and twisted with beats and melody, leaving the listener to sense the world around. The cicadas of a Greek island, the automated voice of a Stockholm bus, rubber on cobblestones at a Roman roundabout, the unusual chug of a narrowboat on a London canal – all are drenched in effects and underpinned with Hodgson’s signature dub and bass.
Five out of the nine tracks feature the emotional harmonies and melodies of young songwriter Ines Dunn. As an established music producer wanting to support and encourage women in the industry, Hodgson has spent time with Ines to show her a different approach to music making. His investment has been repaid in spades, as Dunn’s simple touches on the album have added powerful melodic punches in all the right places.
Nowhere is this more evident than in the opening track "Blind Light", with samples referencing the last Misled Convoy album "Tickling the Dragon’s Tail". Dunn tickles the keyboard while Hodgson weaves the industrial sounds of a plastic bottle making machine.
The beats and layers grow over the three following tracks until we come to the fifth track, "I am Full of a Thousand Holes", one of the standouts on the new album. In the hands of most modern dance producers, the monstrous bass riff that underpins the track would be rinsed and repeated, ad nauseam, with all the subtlety of a sledgehammer. In Hodgson's hands, it slips and slides through the melody, ducking and weaving around the beat, and then, just as the tune reaches its peaks, he drops everything and reduces the track to trails of sound. A dancefloor killer in every sense!
Trails of sound are how Hodgson’s music making often begins. After finding a Russian language vowel sounds 7” box set in a charity store, Hodgson researched which nations had sent astronauts to the International Space Station (ISS). The 7'' became the vocal bed for the title track "Sixteen Sunsets", which was then augmented with vowel sounds from the other nations who have also inhabited the ISS. The title is inspired by the phenomenon that, every day, due to orbiting the Earth every 90 minutes, the residents of the ISS witness 16 sunrises and 16 sunsets. To complete the concept visually, Hodgson has worked with artist Hamish Macaulay, who also designed his previous two albums.
From the top of the album to the last note an hour later, this is a non-stop sonic journey around our planet from the streets of a metropolis to the mountain tops and valleys where the insects being to hum in the morning sun. It is a journey where the frequencies provide a twisted commentary on our 21st century world, melding organic, industrial, dub and electronica into one beautiful album.
Recommended listening requirements: eye patch, cushion, surround sound and big bass.
Misled Convoy is back with the sublime new album “Sixteen Sunsets”, alive with sonic ideas and influenced by the multitude of sounds he's gathered as he travels the world. ‘Found sounds’ recorded in Iceland, Sweden, Turkey, Italy, Croatia, Spain, Greece, England and Austria have been woven together into delicate yet sophisticated pastiches, layered and twisted with beats and melody, leaving the listener to sense the world around. The cicadas of a Greek island, the automated voice of a Stockholm bus, rubber on cobblestones at a Roman roundabout, the unusual chug of a narrowboat on a London canal – all are drenched in effects and underpinned with Hodgson’s signature dub and bass.
Five out of the nine tracks feature the emotional harmonies and melodies of young songwriter Ines Dunn. As an established music producer wanting to support and encourage women in the industry, Hodgson has spent time with Ines to show her a different approach to music making. His investment has been repaid in spades, as Dunn’s simple touches on the album have added powerful melodic punches in all the right places.
Nowhere is this more evident than in the opening track "Blind Light", with samples referencing the last Misled Convoy album "Tickling the Dragon’s Tail". Dunn tickles the keyboard while Hodgson weaves the industrial sounds of a plastic bottle making machine.
The beats and layers grow over the three following tracks until we come to the fifth track, "I am Full of a Thousand Holes", one of the standouts on the new album. In the hands of most modern dance producers, the monstrous bass riff that underpins the track would be rinsed and repeated, ad nauseam, with all the subtlety of a sledgehammer. In Hodgson's hands, it slips and slides through the melody, ducking and weaving around the beat, and then, just as the tune reaches its peaks, he drops everything and reduces the track to trails of sound. A dancefloor killer in every sense!
Trails of sound are how Hodgson’s music making often begins. After finding a Russian language vowel sounds 7” box set in a charity store, Hodgson researched which nations had sent astronauts to the International Space Station (ISS). The 7'' became the vocal bed for the title track "Sixteen Sunsets", which was then augmented with vowel sounds from the other nations who have also inhabited the ISS. The title is inspired by the phenomenon that, every day, due to orbiting the Earth every 90 minutes, the residents of the ISS witness 16 sunrises and 16 sunsets. To complete the concept visually, Hodgson has worked with artist Hamish Macaulay, who also designed his previous two albums.
From the top of the album to the last note an hour later, this is a non-stop sonic journey around our planet from the streets of a metropolis to the mountain tops and valleys where the insects being to hum in the morning sun. It is a journey where the frequencies provide a twisted commentary on our 21st century world, melding organic, industrial, dub and electronica into one beautiful album.
Recommended listening requirements: eye patch, cushion, surround sound and big bass.
Misled Convoy is back with the sublime new album “Sixteen Sunsets”, alive with sonic ideas and influenced by the multitude of sounds he's gathered as he travels the world. ‘Found sounds’ recorded in Iceland, Sweden, Turkey, Italy, Croatia, Spain, Greece, England and Austria have been woven together into delicate yet sophisticated pastiches, layered and twisted with beats and melody, leaving the listener to sense the world around. The cicadas of a Greek island, the automated voice of a Stockholm bus, rubber on cobblestones at a Roman roundabout, the unusual chug of a narrowboat on a London canal – all are drenched in effects and underpinned with Hodgson’s signature dub and bass.
Five out of the nine tracks feature the emotional harmonies and melodies of young songwriter Ines Dunn. As an established music producer wanting to support and encourage women in the industry, Hodgson has spent time with Ines to show her a different approach to music making. His investment has been repaid in spades, as Dunn’s simple touches on the album have added powerful melodic punches in all the right places.
Nowhere is this more evident than in the opening track "Blind Light", with samples referencing the last Misled Convoy album "Tickling the Dragon’s Tail". Dunn tickles the keyboard while Hodgson weaves the industrial sounds of a plastic bottle making machine.
The beats and layers grow over the three following tracks until we come to the fifth track, "I am Full of a Thousand Holes", one of the standouts on the new album. In the hands of most modern dance producers, the monstrous bass riff that underpins the track would be rinsed and repeated, ad nauseam, with all the subtlety of a sledgehammer. In Hodgson's hands, it slips and slides through the melody, ducking and weaving around the beat, and then, just as the tune reaches its peaks, he drops everything and reduces the track to trails of sound. A dancefloor killer in every sense!
Trails of sound are how Hodgson’s music making often begins. After finding a Russian language vowel sounds 7” box set in a charity store, Hodgson researched which nations had sent astronauts to the International Space Station (ISS). The 7'' became the vocal bed for the title track "Sixteen Sunsets", which was then augmented with vowel sounds from the other nations who have also inhabited the ISS. The title is inspired by the phenomenon that, every day, due to orbiting the Earth every 90 minutes, the residents of the ISS witness 16 sunrises and 16 sunsets. To complete the concept visually, Hodgson has worked with artist Hamish Macaulay, who also designed his previous two albums.
From the top of the album to the last note an hour later, this is a non-stop sonic journey around our planet from the streets of a metropolis to the mountain tops and valleys where the insects being to hum in the morning sun. It is a journey where the frequencies provide a twisted commentary on our 21st century world, melding organic, industrial, dub and electronica into one beautiful album.
Recommended listening requirements: eye patch, cushion, surround sound and big bass.
Misled Convoy is back with the sublime new album “Sixteen Sunsets”, alive with sonic ideas and influenced by the multitude of sounds he's gathered as he travels the world. ‘Found sounds’ recorded in Iceland, Sweden, Turkey, Italy, Croatia, Spain, Greece, England and Austria have been woven together into delicate yet sophisticated pastiches, layered and twisted with beats and melody, leaving the listener to sense the world around. The cicadas of a Greek island, the automated voice of a Stockholm bus, rubber on cobblestones at a Roman roundabout, the unusual chug of a narrowboat on a London canal – all are drenched in effects and underpinned with Hodgson’s signature dub and bass.
Five out of the nine tracks feature the emotional harmonies and melodies of young songwriter Ines Dunn. As an established music producer wanting to support and encourage women in the industry, Hodgson has spent time with Ines to show her a different approach to music making. His investment has been repaid in spades, as Dunn’s simple touches on the album have added powerful melodic punches in all the right places.
Nowhere is this more evident than in the opening track "Blind Light", with samples referencing the last Misled Convoy album "Tickling the Dragon’s Tail". Dunn tickles the keyboard while Hodgson weaves the industrial sounds of a plastic bottle making machine.
The beats and layers grow over the three following tracks until we come to the fifth track, "I am Full of a Thousand Holes", one of the standouts on the new album. In the hands of most modern dance producers, the monstrous bass riff that underpins the track would be rinsed and repeated, ad nauseam, with all the subtlety of a sledgehammer. In Hodgson's hands, it slips and slides through the melody, ducking and weaving around the beat, and then, just as the tune reaches its peaks, he drops everything and reduces the track to trails of sound. A dancefloor killer in every sense!
Trails of sound are how Hodgson’s music making often begins. After finding a Russian language vowel sounds 7” box set in a charity store, Hodgson researched which nations had sent astronauts to the International Space Station (ISS). The 7'' became the vocal bed for the title track "Sixteen Sunsets", which was then augmented with vowel sounds from the other nations who have also inhabited the ISS. The title is inspired by the phenomenon that, every day, due to orbiting the Earth every 90 minutes, the residents of the ISS witness 16 sunrises and 16 sunsets. To complete the concept visually, Hodgson has worked with artist Hamish Macaulay, who also designed his previous two albums.
From the top of the album to the last note an hour later, this is a non-stop sonic journey around our planet from the streets of a metropolis to the mountain tops and valleys where the insects being to hum in the morning sun. It is a journey where the frequencies provide a twisted commentary on our 21st century world, melding organic, industrial, dub and electronica into one beautiful album.
Recommended listening requirements: eye patch, cushion, surround sound and big bass.
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
SUBSET has always given us deep dubs, mainly on a techno tip, to release but for this, his 5th offering on Dubmission, he's drawn from a wider palette of sounds. The techno influence is still there, but the tracks are more rootsy, reminding us of Rhythm and Sound at their finest.
Three stand out for us: Duende is like a Fat Freddy's backing track that's been dubbed and stretched out, Dub Spectronomy is crying out for Tikiman to drop a vocal on top and The Astrogator sounds like he's dissolved one of his previous tunes in a vat of acid.
Potent stuff indeed :-)
SUBSET has always given us deep dubs, mainly on a techno tip, to release but for this, his 5th offering on Dubmission, he's drawn from a wider palette of sounds. The techno influence is still there, but the tracks are more rootsy, reminding us of Rhythm and Sound at their finest.
Three stand out for us: Duende is like a Fat Freddy's backing track that's been dubbed and stretched out, Dub Spectronomy is crying out for Tikiman to drop a vocal on top and The Astrogator sounds like he's dissolved one of his previous tunes in a vat of acid.
Potent stuff indeed :-)
SUBSET has always given us deep dubs, mainly on a techno tip, to release but for this, his 5th offering on Dubmission, he's drawn from a wider palette of sounds. The techno influence is still there, but the tracks are more rootsy, reminding us of Rhythm and Sound at their finest.
Three stand out for us: Duende is like a Fat Freddy's backing track that's been dubbed and stretched out, Dub Spectronomy is crying out for Tikiman to drop a vocal on top and The Astrogator sounds like he's dissolved one of his previous tunes in a vat of acid.
Potent stuff indeed :-)
SUBSET has always given us deep dubs, mainly on a techno tip, to release but for this, his 5th offering on Dubmission, he's drawn from a wider palette of sounds. The techno influence is still there, but the tracks are more rootsy, reminding us of Rhythm and Sound at their finest.
Three stand out for us: Duende is like a Fat Freddy's backing track that's been dubbed and stretched out, Dub Spectronomy is crying out for Tikiman to drop a vocal on top and The Astrogator sounds like he's dissolved one of his previous tunes in a vat of acid.
Potent stuff indeed :-)
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
The release of Free from the Dungeons of Dub heralds the end of a particular chapter in International Observer's runnings.
He was three deep into his sense orientated series of albums (Seen, Heard and Felt) when he was lured back to his previous incarnation as an international pop star. While that has been the Twins fans' pleasure, it has been the dub world's loss, as there has been no significant body of new Observer material for the last 9 years.
It hasn’t been all bad though, as the time out of the dub studio inspired a trawl through the Observer archives where dubs a plenty were found locked away on unmarked discs in the corner of his eyrie.
This mission into the dub vault inspired two series of releases: the first was the collections Touched and Retouched, which focused on the remixes he had done over the last 25 years of acts including platinum selling pop stars like Bic Runga and Stellar*, underground electron herders such as Pitch Black and Banco de Gaia, as well as modern reggae stars The Black Seeds and even his own post-Twins act Babble.
The second series began with a selection of Observer originals that had only been released on CD in New Zealand, followed up with a mix of new tunes and some old ones that had been forgotten in the towering pile of master discs, and then delivered some of the big guns from his live show, honed over the years into bass wobbling weapons.
Free from the Dungeons of Dub is a selection of thirteen tracks from this second series, gilded with the addition of three brand new dubs recorded over the last 18 months, one of which is an exclusive remix of the title track of his brand new pop album, Science Fiction.
Now all the archives have been freed, here's hoping that he can find the time to address the final two senses ……………
We should have known weird stuff would happen when we introduced our two artists known only by initials, but we didn't expect them to go deep into the world of bass conspiracies and extra terrestial harmonies.
We should have known weird stuff would happen when we introduced our two artists known only by initials, but we didn't expect them to go deep into the world of bass conspiracies and extra terrestial harmonies.
We should have known weird stuff would happen when we introduced our two artists known only by initials, but we didn't expect them to go deep into the world of bass conspiracies and extra terrestial harmonies.
We should have known weird stuff would happen when we introduced our two artists known only by initials, but we didn't expect them to go deep into the world of bass conspiracies and extra terrestial harmonies.
We should have known weird stuff would happen when we introduced our two artists known only by initials, but we didn't expect them to go deep into the world of bass conspiracies and extra terrestial harmonies.
Earlier this year Dubsalon made a welcome return with his 3rd full length album 'Riverside Tales'. As the release was Bandcamp only and we liked it so much, we begged to be able to release our favourite cuts via the mainstream platforms, and thankfully he agreed.
The 'Riverside Tales' EP features five dub drenched delights, beginning with the searching dub of 5.13am before moving on to Dub Baba, a 21st century stepper, Dubsalon style . Tablas underpin the blissful Glimpse, while Within is easy skanking psy-fi. Finally, as the name suggests, Shanti River in Dub is Indo-Dub fusion, something we always have time for at Dubmission HQ.
Earlier this year Dubsalon made a welcome return with his 3rd full length album 'Riverside Tales'. As the release was Bandcamp only and we liked it so much, we begged to be able to release our favourite cuts via the mainstream platforms, and thankfully he agreed.
The 'Riverside Tales' EP features five dub drenched delights, beginning with the searching dub of 5.13am before moving on to Dub Baba, a 21st century stepper, Dubsalon style . Tablas underpin the blissful Glimpse, while Within is easy skanking psy-fi. Finally, as the name suggests, Shanti River in Dub is Indo-Dub fusion, something we always have time for at Dubmission HQ.
Earlier this year Dubsalon made a welcome return with his 3rd full length album 'Riverside Tales'. As the release was Bandcamp only and we liked it so much, we begged to be able to release our favourite cuts via the mainstream platforms, and thankfully he agreed.
The 'Riverside Tales' EP features five dub drenched delights, beginning with the searching dub of 5.13am before moving on to Dub Baba, a 21st century stepper, Dubsalon style . Tablas underpin the blissful Glimpse, while Within is easy skanking psy-fi. Finally, as the name suggests, Shanti River in Dub is Indo-Dub fusion, something we always have time for at Dubmission HQ.
Earlier this year Dubsalon made a welcome return with his 3rd full length album 'Riverside Tales'. As the release was Bandcamp only and we liked it so much, we begged to be able to release our favourite cuts via the mainstream platforms, and thankfully he agreed.
The 'Riverside Tales' EP features five dub drenched delights, beginning with the searching dub of 5.13am before moving on to Dub Baba, a 21st century stepper, Dubsalon style . Tablas underpin the blissful Glimpse, while Within is easy skanking psy-fi. Finally, as the name suggests, Shanti River in Dub is Indo-Dub fusion, something we always have time for at Dubmission HQ.
Earlier this year Dubsalon made a welcome return with his 3rd full length album 'Riverside Tales'. As the release was Bandcamp only and we liked it so much, we begged to be able to release our favourite cuts via the mainstream platforms, and thankfully he agreed.
The 'Riverside Tales' EP features five dub drenched delights, beginning with the searching dub of 5.13am before moving on to Dub Baba, a 21st century stepper, Dubsalon style . Tablas underpin the blissful Glimpse, while Within is easy skanking psy-fi. Finally, as the name suggests, Shanti River in Dub is Indo-Dub fusion, something we always have time for at Dubmission HQ.
For the first part of a new series, our man in South Korea, the cunningly titled soundcloud.com/mcthfg, has decided to dig deep into his country's underground music scene and rewire his selections with his own unique take on electronica.
'Korean Dub, Volume One' features remixes of tracks by experimental improvisers soundcloud.com/tengger, soundscaper mdbrkn and indie rockers soundcloud.com/kuangprogram, and is available from http://smarturl.it/koreandub
For the first part of a new series, our man in South Korea, the cunningly titled soundcloud.com/mcthfg, has decided to dig deep into his country's underground music scene and rewire his selections with his own unique take on electronica.
'Korean Dub, Volume One' features remixes of tracks by experimental improvisers soundcloud.com/tengger, soundscaper mdbrkn and indie rockers soundcloud.com/kuangprogram, and is available from http://smarturl.it/koreandub
For the first part of a new series, our man in South Korea, the cunningly titled soundcloud.com/mcthfg, has decided to dig deep into his country's underground music scene and rewire his selections with his own unique take on electronica.
'Korean Dub, Volume One' features remixes of tracks by experimental improvisers soundcloud.com/tengger, soundscaper mdbrkn and indie rockers soundcloud.com/kuangprogram, and is available from http://smarturl.it/koreandub
For our 2nd release of the year, we're very pleased to welcome back Mexican mixologist Tor.Ma in Dub with his 'From Doubt to Light' EP.
We first worked with him 6 years ago, when he submitted 3 tracks to us for 'The Next Mission: Part Two'. We then released his stellar selection of remixes of Mexican psy acts under the title 'Marakames Gathering' back in 2015.
His new EP follows on from where that collection left off, deftly mixing psy styles with steppers riddims to great effect. To top it all off, he has called in some favours from artists across the globe, resulting in three wicked re-rubs by IshDub, Vlastur and Dubsalon.
For our 2nd release of the year, we're very pleased to welcome back Mexican mixologist Tor.Ma in Dub with his 'From Doubt to Light' EP.
We first worked with him 6 years ago, when he submitted 3 tracks to us for 'The Next Mission: Part Two'. We then released his stellar selection of remixes of Mexican psy acts under the title 'Marakames Gathering' back in 2015.
His new EP follows on from where that collection left off, deftly mixing psy styles with steppers riddims to great effect. To top it all off, he has called in some favours from artists across the globe, resulting in three wicked re-rubs by IshDub, Vlastur and Dubsalon.
For our 2nd release of the year, we're very pleased to welcome back Mexican mixologist Tor.Ma in Dub with his 'From Doubt to Light' EP.
We first worked with him 6 years ago, when he submitted 3 tracks to us for 'The Next Mission: Part Two'. We then released his stellar selection of remixes of Mexican psy acts under the title 'Marakames Gathering' back in 2015.
His new EP follows on from where that collection left off, deftly mixing psy styles with steppers riddims to great effect. To top it all off, he has called in some favours from artists across the globe, resulting in three wicked re-rubs by IshDub, Vlastur and Dubsalon.
For our 2nd release of the year, we're very pleased to welcome back Mexican mixologist Tor.Ma in Dub with his 'From Doubt to Light' EP.
We first worked with him 6 years ago, when he submitted 3 tracks to us for 'The Next Mission: Part Two'. We then released his stellar selection of remixes of Mexican psy acts under the title 'Marakames Gathering' back in 2015.
His new EP follows on from where that collection left off, deftly mixing psy styles with steppers riddims to great effect. To top it all off, he has called in some favours from artists across the globe, resulting in three wicked re-rubs by IshDub, Vlastur and Dubsalon.
A chance comment from a mutual friend led to electronica legend soundcloud.com/RadioactiveMan joining soundcloud.com/PitchBlacknz for a show at Oslo in London the other year. After a bit of mutual backslapping regarding the enjoyment of both sets, Keith offered to remix one of the tracks off Pitch Black's 'Filtered Senses' album and Pitch Black offered to remix a track from Radioactive Man's 'Luxury Sky Garden' album.
Radioactive Man finished his remix of 'Circuit Bent' first, and upon hearing his techno version, Pitch Black mashed it up with the original, and played the new hybrid out live on their 20th Anniversary tour.
Pitch Black are proud to announce the release of their 'Magnetospheric Multiscale' mix of 'Sonic Portal'. The remix was developed with their live show in mind (so much so that Mike was making a video for it at the same time as they worked on the track), and they are looking forward to playing it at their New Zealand shows this March.
soundcloud.com/MisledConvoy , AKA Mike from soundcloud.com/PitchBlacknz , was asked to remix a track by art project Cardboard&Computers, AKA NZ graffiti legend Otis Frizell, multi instrumentalist Tom Ludvigson and art maverick Mike Weston, and created not one, but two, quite different mixes for them.
soundcloud.com/MisledConvoy , AKA Mike from soundcloud.com/PitchBlacknz , was asked to remix a track by art project Cardboard&Computers, AKA NZ graffiti legend Otis Frizell, multi instrumentalist Tom Ludvigson and art maverick Mike Weston, and created not one, but two, quite different mixes for them.
soundcloud.com/MisledConvoy , AKA Mike from soundcloud.com/PitchBlacknz , was asked to remix a track by art project Cardboard&Computers, AKA NZ graffiti legend Otis Frizell, multi instrumentalist Tom Ludvigson and art maverick Mike Weston, and created not one, but two, quite different mixes for them.
Pixel Dust, from soundcloud.com/pitchblacknz’s critically acclaimed album Filtered Senses, has been given four radical over-hauls.
The original track starts out in the dubby tech style that Pitch Black excel at, descends briefly into an 80's synth nightmare before becoming a noughties rave track with a serious kick.
Tot Dokkstätter break things right down to a series of super stereo and spacial abstract sounds, before their lush bass envelops you and their pristine cut up electro groove dances over the arrangement. As washes of noise lull you into a false sense of relaxation, an electric guitar/synth hybrid arpeggio tears its way through the mix.
Up at 125 BPM, Bennun and Healey’s Turbo Tuareg mix dispenses deep hypnotic techno beats, massive cavernous and club-filling sounds as an Arabian vocal weaves its way through the melee. The whole club-floor is kept in a minimal groove holding space until the groove finally slams in over the top of the arrangement at over 3 minutes in. For the 4/4 deep tech / tech house / left field house fraternity, it’s a gem and a half.
soundcloud.com/mcthfg present a sound bed of unsettling electronica and skanking synth hits. Before the listener is dropped into their tight and effortless dubtastic groove with sub bass that propels the listener ever onwards through a gallery of tightly produced dub vibes and acid-tinged arpeggios.
Audio maverick soundcloud.com/user-10335594 unleashes an armoury of sonic wizardry for his Alien Kiwi Sheep Liberation Soundtrack reducing the track at one point to a series of abstract noises and sheep bleating! See his track for the full story behind the remix.
Finally, for those folk who prefer their tracks to be voxless, the boys have presented a version of the original without the vocal sample.
The third and possibly the last in the series of the 'Dungeons of Dub' releases, 'Escape' saw our intrepid archiver dig deep into the vaults beneath Observer HQ to uncover these unreleased gems.
Most of them were live stalwarts back in the noughties, and were somehow overlooked for release. They've now been polished off and properly mastered and are set to run free.
The third and possibly the last in the series of the 'Dungeons of Dub' releases, 'Escape' saw our intrepid archiver dig deep into the vaults beneath Observer HQ to uncover these unreleased gems.
Most of them were live stalwarts back in the noughties, and were somehow overlooked for release. They've now been polished off and properly mastered and are set to run free.
The third and possibly the last in the series of the 'Dungeons of Dub' releases, 'Escape' saw our intrepid archiver dig deep into the vaults beneath Observer HQ to uncover these unreleased gems.
Most of them were live stalwarts back in the noughties, and were somehow overlooked for release. They've now been polished off and properly mastered and are set to run free.
The third and possibly the last in the series of the 'Dungeons of Dub' releases, 'Escape' saw our intrepid archiver dig deep into the vaults beneath Observer HQ to uncover these unreleased gems.
Most of them were live stalwarts back in the noughties, and were somehow overlooked for release. They've now been polished off and properly mastered and are set to run free.
The third and possibly the last in the series of the 'Dungeons of Dub' releases, 'Escape' saw our intrepid archiver dig deep into the vaults beneath Observer HQ to uncover these unreleased gems.
Most of them were live stalwarts back in the noughties, and were somehow overlooked for release. They've now been polished off and properly mastered and are set to run free.
It has long been a Pitch Black tradition to follow up their studio offerings with a complementary remix collection. So ‘Futureproof’ was followed by ‘Dub Obscura’, ‘Electronomicon’ by ‘Electric Earth and Other Stories’, ‘Ape to Angel’ by ‘Frequencies Fall’ and ‘Rude Mechanicals’ by ‘Rhythm, Sound & Movement’.
What makes these collections stand out is the depth and breadth of their co-conspirators and the unlikely avenues they take the originals down: Keretta’s math rock mix of ‘Bird Soul’, Tom Cosm epic version of ‘Sonic Colonic’ or Youth’s psychedelic trance take on ‘Melt’ come to mind.
‘Invisible Circuits’ is in a similar league, with collaborators from across the globe and across genres. There are turns from regular remixers dubmeister soundcloud.com/international-observer and minimal's soundcloud.com/simon-flower, techno legend soundcloud.com/radioactiveman, cult American downtemple act soundcloud.com/kaminanda, Rinse & Sub FM regular soundcloud.com/djcrises, Ableton whizzkid soundcloud.com/tomcosm, progressive house's soundcloud.com/tripswitch, Berlin basshead soundcloud.com/beamup, new kids on the block soundcloud.com/digitalplaygroundnz and UK dub royalty, soundcloud.com/alphasteppa.
It has long been a Pitch Black tradition to follow up their studio offerings with a complementary remix collection. So ‘Futureproof’ was followed by ‘Dub Obscura’, ‘Electronomicon’ by ‘Electric Earth and Other Stories’, ‘Ape to Angel’ by ‘Frequencies Fall’ and ‘Rude Mechanicals’ by ‘Rhythm, Sound & Movement’.
What makes these collections stand out is the depth and breadth of their co-conspirators and the unlikely avenues they take the originals down: Keretta’s math rock mix of ‘Bird Soul’, Tom Cosm epic version of ‘Sonic Colonic’ or Youth’s psychedelic trance take on ‘Melt’ come to mind.
‘Invisible Circuits’ is in a similar league, with collaborators from across the globe and across genres. There are turns from regular remixers dubmeister soundcloud.com/international-observer and minimal's soundcloud.com/simon-flower, techno legend soundcloud.com/radioactiveman, cult American downtemple act soundcloud.com/kaminanda, Rinse & Sub FM regular soundcloud.com/djcrises, Ableton whizzkid soundcloud.com/tomcosm, progressive house's soundcloud.com/tripswitch, Berlin basshead soundcloud.com/beamup, new kids on the block soundcloud.com/digitalplaygroundnz and UK dub royalty, soundcloud.com/alphasteppa.
It has long been a Pitch Black tradition to follow up their studio offerings with a complementary remix collection. So ‘Futureproof’ was followed by ‘Dub Obscura’, ‘Electronomicon’ by ‘Electric Earth and Other Stories’, ‘Ape to Angel’ by ‘Frequencies Fall’ and ‘Rude Mechanicals’ by ‘Rhythm, Sound & Movement’.
What makes these collections stand out is the depth and breadth of their co-conspirators and the unlikely avenues they take the originals down: Keretta’s math rock mix of ‘Bird Soul’, Tom Cosm epic version of ‘Sonic Colonic’ or Youth’s psychedelic trance take on ‘Melt’ come to mind.
‘Invisible Circuits’ is in a similar league, with collaborators from across the globe and across genres. There are turns from regular remixers dubmeister soundcloud.com/international-observer and minimal's soundcloud.com/simon-flower, techno legend soundcloud.com/radioactiveman, cult American downtemple act soundcloud.com/kaminanda, Rinse & Sub FM regular soundcloud.com/djcrises, Ableton whizzkid soundcloud.com/tomcosm, progressive house's soundcloud.com/tripswitch, Berlin basshead soundcloud.com/beamup, new kids on the block soundcloud.com/digitalplaygroundnz and UK dub royalty, soundcloud.com/alphasteppa.
It has long been a Pitch Black tradition to follow up their studio offerings with a complementary remix collection. So ‘Futureproof’ was followed by ‘Dub Obscura’, ‘Electronomicon’ by ‘Electric Earth and Other Stories’, ‘Ape to Angel’ by ‘Frequencies Fall’ and ‘Rude Mechanicals’ by ‘Rhythm, Sound & Movement’.
What makes these collections stand out is the depth and breadth of their co-conspirators and the unlikely avenues they take the originals down: Keretta’s math rock mix of ‘Bird Soul’, Tom Cosm epic version of ‘Sonic Colonic’ or Youth’s psychedelic trance take on ‘Melt’ come to mind.
‘Invisible Circuits’ is in a similar league, with collaborators from across the globe and across genres. There are turns from regular remixers dubmeister soundcloud.com/international-observer and minimal's soundcloud.com/simon-flower, techno legend soundcloud.com/radioactiveman, cult American downtemple act soundcloud.com/kaminanda, Rinse & Sub FM regular soundcloud.com/djcrises, Ableton whizzkid soundcloud.com/tomcosm, progressive house's soundcloud.com/tripswitch, Berlin basshead soundcloud.com/beamup, new kids on the block soundcloud.com/digitalplaygroundnz and UK dub royalty, soundcloud.com/alphasteppa.
It has long been a Pitch Black tradition to follow up their studio offerings with a complementary remix collection. So ‘Futureproof’ was followed by ‘Dub Obscura’, ‘Electronomicon’ by ‘Electric Earth and Other Stories’, ‘Ape to Angel’ by ‘Frequencies Fall’ and ‘Rude Mechanicals’ by ‘Rhythm, Sound & Movement’.
What makes these collections stand out is the depth and breadth of their co-conspirators and the unlikely avenues they take the originals down: Keretta’s math rock mix of ‘Bird Soul’, Tom Cosm epic version of ‘Sonic Colonic’ or Youth’s psychedelic trance take on ‘Melt’ come to mind.
‘Invisible Circuits’ is in a similar league, with collaborators from across the globe and across genres. There are turns from regular remixers dubmeister soundcloud.com/international-observer and minimal's soundcloud.com/simon-flower, techno legend soundcloud.com/radioactiveman, cult American downtemple act soundcloud.com/kaminanda, Rinse & Sub FM regular soundcloud.com/djcrises, Ableton whizzkid soundcloud.com/tomcosm, progressive house's soundcloud.com/tripswitch, Berlin basshead soundcloud.com/beamup, new kids on the block soundcloud.com/digitalplaygroundnz and UK dub royalty, soundcloud.com/alphasteppa.
It has long been a Pitch Black tradition to follow up their studio offerings with a complementary remix collection. So ‘Futureproof’ was followed by ‘Dub Obscura’, ‘Electronomicon’ by ‘Electric Earth and Other Stories’, ‘Ape to Angel’ by ‘Frequencies Fall’ and ‘Rude Mechanicals’ by ‘Rhythm, Sound & Movement’.
What makes these collections stand out is the depth and breadth of their co-conspirators and the unlikely avenues they take the originals down: Keretta’s math rock mix of ‘Bird Soul’, Tom Cosm epic version of ‘Sonic Colonic’ or Youth’s psychedelic trance take on ‘Melt’ come to mind.
‘Invisible Circuits’ is in a similar league, with collaborators from across the globe and across genres. There are turns from regular remixers dubmeister soundcloud.com/international-observer and minimal's soundcloud.com/simon-flower, techno legend soundcloud.com/radioactiveman, cult American downtemple act soundcloud.com/kaminanda, Rinse & Sub FM regular soundcloud.com/djcrises, Ableton whizzkid soundcloud.com/tomcosm, progressive house's soundcloud.com/tripswitch, Berlin basshead soundcloud.com/beamup, new kids on the block soundcloud.com/digitalplaygroundnz and UK dub royalty, soundcloud.com/alphasteppa.
It has long been a Pitch Black tradition to follow up their studio offerings with a complementary remix collection. So ‘Futureproof’ was followed by ‘Dub Obscura’, ‘Electronomicon’ by ‘Electric Earth and Other Stories’, ‘Ape to Angel’ by ‘Frequencies Fall’ and ‘Rude Mechanicals’ by ‘Rhythm, Sound & Movement’.
What makes these collections stand out is the depth and breadth of their co-conspirators and the unlikely avenues they take the originals down: Keretta’s math rock mix of ‘Bird Soul’, Tom Cosm epic version of ‘Sonic Colonic’ or Youth’s psychedelic trance take on ‘Melt’ come to mind.
‘Invisible Circuits’ is in a similar league, with collaborators from across the globe and across genres. There are turns from regular remixers dubmeister soundcloud.com/international-observer and minimal's soundcloud.com/simon-flower, techno legend soundcloud.com/radioactiveman, cult American downtemple act soundcloud.com/kaminanda, Rinse & Sub FM regular soundcloud.com/djcrises, Ableton whizzkid soundcloud.com/tomcosm, progressive house's soundcloud.com/tripswitch, Berlin basshead soundcloud.com/beamup, new kids on the block soundcloud.com/digitalplaygroundnz and UK dub royalty, soundcloud.com/alphasteppa.
It has long been a Pitch Black tradition to follow up their studio offerings with a complementary remix collection. So ‘Futureproof’ was followed by ‘Dub Obscura’, ‘Electronomicon’ by ‘Electric Earth and Other Stories’, ‘Ape to Angel’ by ‘Frequencies Fall’ and ‘Rude Mechanicals’ by ‘Rhythm, Sound & Movement’.
What makes these collections stand out is the depth and breadth of their co-conspirators and the unlikely avenues they take the originals down: Keretta’s math rock mix of ‘Bird Soul’, Tom Cosm epic version of ‘Sonic Colonic’ or Youth’s psychedelic trance take on ‘Melt’ come to mind.
‘Invisible Circuits’ is in a similar league, with collaborators from across the globe and across genres. There are turns from regular remixers dubmeister soundcloud.com/international-observer and minimal's soundcloud.com/simon-flower, techno legend soundcloud.com/radioactiveman, cult American downtemple act soundcloud.com/kaminanda, Rinse & Sub FM regular soundcloud.com/djcrises, Ableton whizzkid soundcloud.com/tomcosm, progressive house's soundcloud.com/tripswitch, Berlin basshead soundcloud.com/beamup, new kids on the block soundcloud.com/digitalplaygroundnz and UK dub royalty, soundcloud.com/alphasteppa.
It has long been a Pitch Black tradition to follow up their studio offerings with a complementary remix collection. So ‘Futureproof’ was followed by ‘Dub Obscura’, ‘Electronomicon’ by ‘Electric Earth and Other Stories’, ‘Ape to Angel’ by ‘Frequencies Fall’ and ‘Rude Mechanicals’ by ‘Rhythm, Sound & Movement’.
What makes these collections stand out is the depth and breadth of their co-conspirators and the unlikely avenues they take the originals down: Keretta’s math rock mix of ‘Bird Soul’, Tom Cosm epic version of ‘Sonic Colonic’ or Youth’s psychedelic trance take on ‘Melt’ come to mind.
‘Invisible Circuits’ is in a similar league, with collaborators from across the globe and across genres. There are turns from regular remixers dubmeister soundcloud.com/international-observer and minimal's soundcloud.com/simon-flower, techno legend soundcloud.com/radioactiveman, cult American downtemple act soundcloud.com/kaminanda, Rinse & Sub FM regular soundcloud.com/djcrises, Ableton whizzkid soundcloud.com/tomcosm, progressive house's soundcloud.com/tripswitch, Berlin basshead soundcloud.com/beamup, new kids on the block soundcloud.com/digitalplaygroundnz and UK dub royalty, soundcloud.com/alphasteppa.
It has long been a Pitch Black tradition to follow up their studio offerings with a complementary remix collection. So ‘Futureproof’ was followed by ‘Dub Obscura’, ‘Electronomicon’ by ‘Electric Earth and Other Stories’, ‘Ape to Angel’ by ‘Frequencies Fall’ and ‘Rude Mechanicals’ by ‘Rhythm, Sound & Movement’.
What makes these collections stand out is the depth and breadth of their co-conspirators and the unlikely avenues they take the originals down: Keretta’s math rock mix of ‘Bird Soul’, Tom Cosm epic version of ‘Sonic Colonic’ or Youth’s psychedelic trance take on ‘Melt’ come to mind.
‘Invisible Circuits’ is in a similar league, with collaborators from across the globe and across genres. There are turns from regular remixers dubmeister soundcloud.com/international-observer and minimal's soundcloud.com/simon-flower, techno legend soundcloud.com/radioactiveman, cult American downtemple act soundcloud.com/kaminanda, Rinse & Sub FM regular soundcloud.com/djcrises, Ableton whizzkid soundcloud.com/tomcosm, progressive house's soundcloud.com/tripswitch, Berlin basshead soundcloud.com/beamup, new kids on the block soundcloud.com/digitalplaygroundnz and UK dub royalty, soundcloud.com/alphasteppa.
Our favourite South Korean expat returns with another handful of eclectic electronic noodles
Our favourite South Korean expat returns with another handful of eclectic electronic noodles
Our favourite South Korean expat returns with another handful of eclectic electronic noodles
Our favourite South Korean expat returns with another handful of eclectic electronic noodles
Our favourite South Korean expat returns with another handful of eclectic electronic noodles
We loved soundcloud.com/continuum-2's 'Become Happier' album which came out last year, so jumped at the chance to release this sizzling selection of remixes of, for us anyways, the standout track, 'Rising Slowly'.
Continuum has pulled in artists from across the downtempo spectrum with spectacular results. Spatialize has built a blissful Balearic beat while two7three has captured the moodiness of the original perfectly. soundcloud.com/flexagon-music's synth heavy mix should be in the Blade Runner reboot while /soundcloud.com/oldtoby locks into a midtempo glitchy buzz.
If you haven't heard it already, head over to https://continuum-music.bandcamp.com/
We loved soundcloud.com/continuum-2's 'Become Happier' album which came out last year, so jumped at the chance to release this sizzling selection of remixes of, for us anyways, the standout track, 'Rising Slowly'.
Continuum has pulled in artists from across the downtempo spectrum with spectacular results. Spatialize has built a blissful Balearic beat while two7three has captured the moodiness of the original perfectly. soundcloud.com/flexagon-music's synth heavy mix should be in the Blade Runner reboot while /soundcloud.com/oldtoby locks into a midtempo glitchy buzz.
If you haven't heard it already, head over to https://continuum-music.bandcamp.com/
We loved soundcloud.com/continuum-2's 'Become Happier' album which came out last year, so jumped at the chance to release this sizzling selection of remixes of, for us anyways, the standout track, 'Rising Slowly'.
Continuum has pulled in artists from across the downtempo spectrum with spectacular results. Spatialize has built a blissful Balearic beat while two7three has captured the moodiness of the original perfectly. soundcloud.com/flexagon-music's synth heavy mix should be in the Blade Runner reboot while /soundcloud.com/oldtoby locks into a midtempo glitchy buzz.
If you haven't heard it already, head over to https://continuum-music.bandcamp.com/
We loved soundcloud.com/continuum-2's 'Become Happier' album which came out last year, so jumped at the chance to release this sizzling selection of remixes of, for us anyways, the standout track, 'Rising Slowly'.
Continuum has pulled in artists from across the downtempo spectrum with spectacular results. Spatialize has built a blissful Balearic beat while two7three has captured the moodiness of the original perfectly. soundcloud.com/flexagon-music's synth heavy mix should be in the Blade Runner reboot while /soundcloud.com/oldtoby locks into a midtempo glitchy buzz.
If you haven't heard it already, head over to https://continuum-music.bandcamp.com/
We loved soundcloud.com/continuum-2's 'Become Happier' album which came out last year, so jumped at the chance to release this sizzling selection of remixes of, for us anyways, the standout track, 'Rising Slowly'.
Continuum has pulled in artists from across the downtempo spectrum with spectacular results. Spatialize has built a blissful Balearic beat while two7three has captured the moodiness of the original perfectly. soundcloud.com/flexagon-music's synth heavy mix should be in the Blade Runner reboot while /soundcloud.com/oldtoby locks into a midtempo glitchy buzz.
If you haven't heard it already, head over to https://continuum-music.bandcamp.com/
Normally when a band releases the 4th single from their latest album, the tendency is to glaze over in despair. Thankfully, despite the pretentious title, 'It's The Future Knocking' from Pitch Black is a release that sparks the opposite effect.
Not only is the original a tasty slice of dubwise electronica, but as usual for them, they have pulled in a bevvy of remixers to add breadth and depth to their release. In this case, it's a veritable dubgasm as not one, but three, dub producers step up to rinse the bottom end.
First up is Anglo export slash Kiwi resident International Observer, who brings his light playful touch to the original, while building on top of a deep groove.
Following him is UK dub royalty in the form of Alpha Steppa. The son and nephew of scene stalwarts Alpha and Omega, his UK steppers style mix wobbles you firmly onto the dancefloor.
Finally remix dons Deep Fried Dub add fire to the beats and finish up the EP in an old school drum and bass style.
Following the success of his Dub Forms EP, we're happy to announce another release by Brisbane based SUBSET, yet again featuring 5 slices of deeeeeeeeeeeeeeep dub techno.
Normally when a band releases the 4th single from their latest album, the tendency is to glaze over in despair. Thankfully, despite the pretentious title, 'It's The Future Knocking' from Pitch Black is a release that sparks the opposite effect.
Not only is the original a tasty slice of dubwise electronica, but as usual for them, they have pulled in a bevvy of remixers to add breadth and depth to their release. In this case, it's a veritable dubgasm as not one, but three, dub producers step up to rinse the bottom end.
First up is Anglo export slash Kiwi resident International Observer, who brings his light playful touch to the original, while building on top of a deep groove.
Following him is UK dub royalty in the form of Alpha Steppa. The son and nephew of scene stalwarts Alpha and Omega, his UK steppers style mix wobbles you firmly onto the dancefloor.
Finally remix dons Deep Fried Dub add fire to the beats and finish up the EP in an old school drum and bass style.
Following the success of his Dub Forms EP, we're happy to announce another release by Brisbane based SUBSET, yet again featuring 5 slices of deeeeeeeeeeeeeeep dub techno.
Normally when a band releases the 4th single from their latest album, the tendency is to glaze over in despair. Thankfully, despite the pretentious title, 'It's The Future Knocking' from Pitch Black is a release that sparks the opposite effect.
Not only is the original a tasty slice of dubwise electronica, but as usual for them, they have pulled in a bevvy of remixers to add breadth and depth to their release. In this case, it's a veritable dubgasm as not one, but three, dub producers step up to rinse the bottom end.
First up is Anglo export slash Kiwi resident International Observer, who brings his light playful touch to the original, while building on top of a deep groove.
Following him is UK dub royalty in the form of Alpha Steppa. The son and nephew of scene stalwarts Alpha and Omega, his UK steppers style mix wobbles you firmly onto the dancefloor.
Finally remix dons Deep Fried Dub add fire to the beats and finish up the EP in an old school drum and bass style.
Following the success of his Dub Forms EP, we're happy to announce another release by Brisbane based SUBSET, yet again featuring 5 slices of deeeeeeeeeeeeeeep dub techno.
Following the success of his Dub Forms EP, we're happy to announce another release by Brisbane based SUBSET, yet again featuring 5 slices of deeeeeeeeeeeeeeep dub techno.
Normally when a band releases the 4th single from their latest album, the tendency is to glaze over in despair. Thankfully, despite the pretentious title, 'It's The Future Knocking' from Pitch Black is a release that sparks the opposite effect.
Not only is the original a tasty slice of dubwise electronica, but as usual for them, they have pulled in a bevvy of remixers to add breadth and depth to their release. In this case, it's a veritable dubgasm as not one, but three, dub producers step up to rinse the bottom end.
First up is Anglo export slash Kiwi resident International Observer, who brings his light playful touch to the original, while building on top of a deep groove.
Following him is UK dub royalty in the form of Alpha Steppa. The son and nephew of scene stalwarts Alpha and Omega, his UK steppers style mix wobbles you firmly onto the dancefloor.
Finally remix dons Deep Fried Dub add fire to the beats and finish up the EP in an old school drum and bass style.
Following the success of his Dub Forms EP, we're happy to announce another release by Brisbane based SUBSET, yet again featuring 5 slices of deeeeeeeeeeeeeeep dub techno.
David Harrow, under his soundcloud.com/oicho guise, providing a suitably dubby reduction on the original
Pitch Black are pleased to announce the 2nd single off their latest album ‘Filtered Senses’, the ambient track ‘Without the Trees’.
This time the focus is on one of the remixes due to the way it was created. Their good friend soundcloud.com/tomcosm took it upon himself to remix the track live on twitch.tv. Not only did he stream the whole 30 hour creative process, from beginning to end, with viewers in the chat room being able to comment and participate on the way the track was developing, but he then went on to interview Angus McNaughton from soundcloud.com/auraluxmastering, who mastered it, and soundcloud.com/misledconvoy from the band as well. (You can watch the entire process at http://tinyurl.com/tomcosm)
While Tom was doing his remix publicly, Nelson based tech house producer soundcloud.com/gene-k was also tackling the track, but in the privacy of his studio (although he did recently post a short snippet of his live creative process at www.youtube.com/watch?v=9tsCA80XjOo )
They've bundled them together with the original, and are happy to announce you can pre-order them from Bandcamp from today, with their official release date being 11/11/16.
Of course, Pitch Black aren’t content to release just audio: www.youtube.com/watch?v=q5B92vxBn8o
Pitch Black are pleased to announce the 2nd single off their latest album ‘Filtered Senses’, the ambient track ‘Without the Trees’.
This time the focus is on one of the remixes due to the way it was created. Their good friend soundcloud.com/tomcosm took it upon himself to remix the track live on twitch.tv. Not only did he stream the whole 30 hour creative process, from beginning to end, with viewers in the chat room being able to comment and participate on the way the track was developing, but he then went on to interview Angus McNaughton from soundcloud.com/auraluxmastering, who mastered it, and soundcloud.com/misledconvoy from the band as well. (You can watch the entire process at http://tinyurl.com/tomcosm)
While Tom was doing his remix publicly, Nelson based tech house producer soundcloud.com/gene-k was also tackling the track, but in the privacy of his studio (although he did recently post a short snippet of his live creative process at www.youtube.com/watch?v=9tsCA80XjOo )
They've bundled them together with the original, and are happy to announce you can pre-order them from Bandcamp from today, with their official release date being 11/11/16.
Of course, Pitch Black aren’t content to release just audio: www.youtube.com/watch?v=q5B92vxBn8o
Pitch Black are pleased to announce the 2nd single off their latest album ‘Filtered Senses’, the ambient track ‘Without the Trees’.
This time the focus is on one of the remixes due to the way it was created. Their good friend soundcloud.com/tomcosm took it upon himself to remix the track live on twitch.tv. Not only did he stream the whole 30 hour creative process, from beginning to end, with viewers in the chat room being able to comment and participate on the way the track was developing, but he then went on to interview Angus McNaughton from soundcloud.com/auraluxmastering, who mastered it, and soundcloud.com/misledconvoy from the band as well. (You can watch the entire process at http://tinyurl.com/tomcosm)
While Tom was doing his remix publicly, Nelson based tech house producer soundcloud.com/gene-k was also tackling the track, but in the privacy of his studio (although he did recently post a short snippet of his live creative process at www.youtube.com/watch?v=9tsCA80XjOo )
They've bundled them together with the original, and are happy to announce you can pre-order them from Bandcamp from today, with their official release date being 11/11/16.
Of course, Pitch Black aren’t content to release just audio: www.youtube.com/watch?v=q5B92vxBn8o
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
To celebrate 21 years of dubwise tinkering, Dubmission presents this tasty sampler featuring choice cuts from the last 6 years of releases.
The compilation is only available from http://dubmission.bandcamp.com/ for the tidy sum of £4.20
- Nachur - Fernweh (soundcloud.com/deepfrieddub Refried Remix)
- soundcloud.com/jossie-telch - The Root (Tor.Ma in Dub rmx)
- soundcloud.com/deepfrieddub - Tectonic Dubplate
- OmDub - Event Horizon
- soundcloud.com/pitchblacknz - Filtered Senses
- soundcloud.com/mcthfg - Skin the Color of the Ocean (Part 1)
- soundcloud.com/akashaexperience - Jartishus
- soundcloud.com/yechidahliveact - Embracing The Sun
- soundcloud.com/animat - September Falls
- Holiwater Band - Only a Dream (soundcloud.com/international-observer Dub)
- soundcloud.com/misledconvoy - No Ganja Required
- soundcloud.com/erssound - Supersonico
- soundcloud.com/etherealites - Dub Theme
- soundcloud.com/salmonella-dub - Orbital Dub (The Projector Mix)
- soundcloud.com/deepfrieddub - Kryptology (Meeting By Chance Remix)
- soundcloud.com/tehomas - Don Dada
- soundcloud.com/dreadlocktales - Flower Viewing
- soundcloud.com/dubsalon - Space Warrior
- Nga Tae - Whanau Puhi (soundcloud.com/paddyfree Dub)
- soundcloud.com/fliesandflies - Sufi (soundcloud.com/misledconvoy remix)
- soundcloud.com/deepfrieddub - Submerged (Original Mix)
Celebrating 20 years in the music business, Pitch Black, allegedly the godfathers of New Zealand electronica, are happy to announce the release of their fifth studio album, Filtered Senses.
Since their very first gig at the Gathering music festival on Takaka Hill in 1996, Mike and Paddy have wowed audiences all over the world with their unique genre-bending brand of live electronic music.
The secret to their longevity is that if you’re never in fashion, you’re never go out of fashion! In an age when electronic genres and fads come and go, seemingly monthly, Pitch Black have managed to keep their sonic identity due to the blend of two very different personalities and musical styles: Paddy Free, the manic groove-merchant, and Michael Hodgson, the dark dub-meister.
Both renowned individually as solo artists and producers, with Paddy recently co-writing and producing with Moana & the Tribe and Nga Tae and Mike producing and remixing under his solo artist name, Misled Convoy, they have very different approaches to music which can be summed up as Paddy wants to do it for the crowd, while Mike wants to do it to the crowd.
Their new album saw them adopt a different working method - one they’ve dubbed (pardon the pun) remote-control. With Mike situated in London since 2012 and Paddy temporarily based in New York, Filtered Senses was written by swapping files over the web, with an intensive two week mixing session together in Mike’s studio in Hackney to finish the job.
With the tracks ranging from the ambient wash of “A Great Silence is Spreading” to the stomping foot tapper of “Pixel Dust”, with everything else in between, Filtered Senses could be described as having one foot on the dancefloor, one eye in the cinema and both ears in psychedelic stereo.
Pitch Black regularly collaborate with MC’s and vocalists who bring a different groove and a fresh sound to their tracks. Filtered Senses is no different, with the vocals on the album contributed by Alison Evelyn, a Londoner who Mike met at a vinyl night he runs. Her contemplative and observational words merged beautifully into the Pitch Black sound.
Despite nine years between albums and four years living in different hemispheres, Filtered Senses is instantly recognisable as a Pitch Black album thanks to the unfeasibly large bass and endless delays sprinkled with touches of playfulness amidst the menacing undertones.
Celebrating 20 years in the music business, Pitch Black, allegedly the godfathers of New Zealand electronica, are happy to announce the release of their fifth studio album, Filtered Senses.
Since their very first gig at the Gathering music festival on Takaka Hill in 1996, Mike and Paddy have wowed audiences all over the world with their unique genre-bending brand of live electronic music.
The secret to their longevity is that if you’re never in fashion, you’re never go out of fashion! In an age when electronic genres and fads come and go, seemingly monthly, Pitch Black have managed to keep their sonic identity due to the blend of two very different personalities and musical styles: Paddy Free, the manic groove-merchant, and Michael Hodgson, the dark dub-meister.
Both renowned individually as solo artists and producers, with Paddy recently co-writing and producing with Moana & the Tribe and Nga Tae and Mike producing and remixing under his solo artist name, Misled Convoy, they have very different approaches to music which can be summed up as Paddy wants to do it for the crowd, while Mike wants to do it to the crowd.
Their new album saw them adopt a different working method - one they’ve dubbed (pardon the pun) remote-control. With Mike situated in London since 2012 and Paddy temporarily based in New York, Filtered Senses was written by swapping files over the web, with an intensive two week mixing session together in Mike’s studio in Hackney to finish the job.
With the tracks ranging from the ambient wash of “A Great Silence is Spreading” to the stomping foot tapper of “Pixel Dust”, with everything else in between, Filtered Senses could be described as having one foot on the dancefloor, one eye in the cinema and both ears in psychedelic stereo.
Pitch Black regularly collaborate with MC’s and vocalists who bring a different groove and a fresh sound to their tracks. Filtered Senses is no different, with the vocals on the album contributed by Alison Evelyn, a Londoner who Mike met at a vinyl night he runs. Her contemplative and observational words merged beautifully into the Pitch Black sound.
Despite nine years between albums and four years living in different hemispheres, Filtered Senses is instantly recognisable as a Pitch Black album thanks to the unfeasibly large bass and endless delays sprinkled with touches of playfulness amidst the menacing undertones.
Many thanks to Ian from soundcloud.com/liquid-lounge-1 for creating this preview mix of soundcloud.com/pitchblacknz's new album
Celebrating 20 years in the music business, Pitch Black, allegedly the godfathers of New Zealand electronica, are happy to announce the release of their fifth studio album, Filtered Senses.
Since their very first gig at the Gathering music festival on Takaka Hill in 1996, Mike and Paddy have wowed audiences all over the world with their unique genre-bending brand of live electronic music.
The secret to their longevity is that if you’re never in fashion, you’re never go out of fashion! In an age when electronic genres and fads come and go, seemingly monthly, Pitch Black have managed to keep their sonic identity due to the blend of two very different personalities and musical styles: Paddy Free, the manic groove-merchant, and Michael Hodgson, the dark dub-meister.
Both renowned individually as solo artists and producers, with Paddy recently co-writing and producing with Moana & the Tribe and Nga Tae and Mike producing and remixing under his solo artist name, Misled Convoy, they have very different approaches to music which can be summed up as Paddy wants to do it for the crowd, while Mike wants to do it to the crowd.
Their new album saw them adopt a different working method - one they’ve dubbed (pardon the pun) remote-control. With Mike situated in London since 2012 and Paddy temporarily based in New York, Filtered Senses was written by swapping files over the web, with an intensive two week mixing session together in Mike’s studio in Hackney to finish the job.
With the tracks ranging from the ambient wash of “A Great Silence is Spreading” to the stomping foot tapper of “Pixel Dust”, with everything else in between, Filtered Senses could be described as having one foot on the dancefloor, one eye in the cinema and both ears in psychedelic stereo.
Pitch Black regularly collaborate with MC’s and vocalists who bring a different groove and a fresh sound to their tracks. Filtered Senses is no different, with the vocals on the album contributed by Alison Evelyn, a Londoner who Mike met at a vinyl night he runs. Her contemplative and observational words merged beautifully into the Pitch Black sound.
Despite nine years between albums and four years living in different hemispheres, Filtered Senses is instantly recognisable as a Pitch Black album thanks to the unfeasibly large bass and endless delays sprinkled with touches of playfulness amidst the menacing undertones.
Celebrating 20 years in the music business, Pitch Black, allegedly the godfathers of New Zealand electronica, are happy to announce the release of their fifth studio album, Filtered Senses.
Since their very first gig at the Gathering music festival on Takaka Hill in 1996, Mike and Paddy have wowed audiences all over the world with their unique genre-bending brand of live electronic music.
The secret to their longevity is that if you’re never in fashion, you’re never go out of fashion! In an age when electronic genres and fads come and go, seemingly monthly, Pitch Black have managed to keep their sonic identity due to the blend of two very different personalities and musical styles: Paddy Free, the manic groove-merchant, and Michael Hodgson, the dark dub-meister.
Both renowned individually as solo artists and producers, with Paddy recently co-writing and producing with Moana & the Tribe and Nga Tae and Mike producing and remixing under his solo artist name, Misled Convoy, they have very different approaches to music which can be summed up as Paddy wants to do it for the crowd, while Mike wants to do it to the crowd.
Their new album saw them adopt a different working method - one they’ve dubbed (pardon the pun) remote-control. With Mike situated in London since 2012 and Paddy temporarily based in New York, Filtered Senses was written by swapping files over the web, with an intensive two week mixing session together in Mike’s studio in Hackney to finish the job.
With the tracks ranging from the ambient wash of “A Great Silence is Spreading” to the stomping foot tapper of “Pixel Dust”, with everything else in between, Filtered Senses could be described as having one foot on the dancefloor, one eye in the cinema and both ears in psychedelic stereo.
Pitch Black regularly collaborate with MC’s and vocalists who bring a different groove and a fresh sound to their tracks. Filtered Senses is no different, with the vocals on the album contributed by Alison Evelyn, a Londoner who Mike met at a vinyl night he runs. Her contemplative and observational words merged beautifully into the Pitch Black sound.
Despite nine years between albums and four years living in different hemispheres, Filtered Senses is instantly recognisable as a Pitch Black album thanks to the unfeasibly large bass and endless delays sprinkled with touches of playfulness amidst the menacing undertones.
Celebrating 20 years in the music business, Pitch Black, allegedly the godfathers of New Zealand electronica, are happy to announce the release of their fifth studio album, Filtered Senses.
Since their very first gig at the Gathering music festival on Takaka Hill in 1996, Mike and Paddy have wowed audiences all over the world with their unique genre-bending brand of live electronic music.
The secret to their longevity is that if you’re never in fashion, you’re never go out of fashion! In an age when electronic genres and fads come and go, seemingly monthly, Pitch Black have managed to keep their sonic identity due to the blend of two very different personalities and musical styles: Paddy Free, the manic groove-merchant, and Michael Hodgson, the dark dub-meister.
Both renowned individually as solo artists and producers, with Paddy recently co-writing and producing with Moana & the Tribe and Nga Tae and Mike producing and remixing under his solo artist name, Misled Convoy, they have very different approaches to music which can be summed up as Paddy wants to do it for the crowd, while Mike wants to do it to the crowd.
Their new album saw them adopt a different working method - one they’ve dubbed (pardon the pun) remote-control. With Mike situated in London since 2012 and Paddy temporarily based in New York, Filtered Senses was written by swapping files over the web, with an intensive two week mixing session together in Mike’s studio in Hackney to finish the job.
With the tracks ranging from the ambient wash of “A Great Silence is Spreading” to the stomping foot tapper of “Pixel Dust”, with everything else in between, Filtered Senses could be described as having one foot on the dancefloor, one eye in the cinema and both ears in psychedelic stereo.
Pitch Black regularly collaborate with MC’s and vocalists who bring a different groove and a fresh sound to their tracks. Filtered Senses is no different, with the vocals on the album contributed by Alison Evelyn, a Londoner who Mike met at a vinyl night he runs. Her contemplative and observational words merged beautifully into the Pitch Black sound.
Despite nine years between albums and four years living in different hemispheres, Filtered Senses is instantly recognisable as a Pitch Black album thanks to the unfeasibly large bass and endless delays sprinkled with touches of playfulness amidst the menacing undertones.
Celebrating 20 years in the music business, Pitch Black, allegedly the godfathers of New Zealand electronica, are happy to announce the release of their fifth studio album, Filtered Senses.
Since their very first gig at the Gathering music festival on Takaka Hill in 1996, Mike and Paddy have wowed audiences all over the world with their unique genre-bending brand of live electronic music.
The secret to their longevity is that if you’re never in fashion, you’re never go out of fashion! In an age when electronic genres and fads come and go, seemingly monthly, Pitch Black have managed to keep their sonic identity due to the blend of two very different personalities and musical styles: Paddy Free, the manic groove-merchant, and Michael Hodgson, the dark dub-meister.
Both renowned individually as solo artists and producers, with Paddy recently co-writing and producing with Moana & the Tribe and Nga Tae and Mike producing and remixing under his solo artist name, Misled Convoy, they have very different approaches to music which can be summed up as Paddy wants to do it for the crowd, while Mike wants to do it to the crowd.
Their new album saw them adopt a different working method - one they’ve dubbed (pardon the pun) remote-control. With Mike situated in London since 2012 and Paddy temporarily based in New York, Filtered Senses was written by swapping files over the web, with an intensive two week mixing session together in Mike’s studio in Hackney to finish the job.
With the tracks ranging from the ambient wash of “A Great Silence is Spreading” to the stomping foot tapper of “Pixel Dust”, with everything else in between, Filtered Senses could be described as having one foot on the dancefloor, one eye in the cinema and both ears in psychedelic stereo.
Pitch Black regularly collaborate with MC’s and vocalists who bring a different groove and a fresh sound to their tracks. Filtered Senses is no different, with the vocals on the album contributed by Alison Evelyn, a Londoner who Mike met at a vinyl night he runs. Her contemplative and observational words merged beautifully into the Pitch Black sound.
Despite nine years between albums and four years living in different hemispheres, Filtered Senses is instantly recognisable as a Pitch Black album thanks to the unfeasibly large bass and endless delays sprinkled with touches of playfulness amidst the menacing undertones.
Celebrating 20 years in the music business, Pitch Black, allegedly the godfathers of New Zealand electronica, are happy to announce the release of their fifth studio album, Filtered Senses.
Since their very first gig at the Gathering music festival on Takaka Hill in 1996, Mike and Paddy have wowed audiences all over the world with their unique genre-bending brand of live electronic music.
The secret to their longevity is that if you’re never in fashion, you’re never go out of fashion! In an age when electronic genres and fads come and go, seemingly monthly, Pitch Black have managed to keep their sonic identity due to the blend of two very different personalities and musical styles: Paddy Free, the manic groove-merchant, and Michael Hodgson, the dark dub-meister.
Both renowned individually as solo artists and producers, with Paddy recently co-writing and producing with Moana & the Tribe and Nga Tae and Mike producing and remixing under his solo artist name, Misled Convoy, they have very different approaches to music which can be summed up as Paddy wants to do it for the crowd, while Mike wants to do it to the crowd.
Their new album saw them adopt a different working method - one they’ve dubbed (pardon the pun) remote-control. With Mike situated in London since 2012 and Paddy temporarily based in New York, Filtered Senses was written by swapping files over the web, with an intensive two week mixing session together in Mike’s studio in Hackney to finish the job.
With the tracks ranging from the ambient wash of “A Great Silence is Spreading” to the stomping foot tapper of “Pixel Dust”, with everything else in between, Filtered Senses could be described as having one foot on the dancefloor, one eye in the cinema and both ears in psychedelic stereo.
Pitch Black regularly collaborate with MC’s and vocalists who bring a different groove and a fresh sound to their tracks. Filtered Senses is no different, with the vocals on the album contributed by Alison Evelyn, a Londoner who Mike met at a vinyl night he runs. Her contemplative and observational words merged beautifully into the Pitch Black sound.
Despite nine years between albums and four years living in different hemispheres, Filtered Senses is instantly recognisable as a Pitch Black album thanks to the unfeasibly large bass and endless delays sprinkled with touches of playfulness amidst the menacing undertones.
Celebrating 20 years in the music business, Pitch Black, allegedly the godfathers of New Zealand electronica, are happy to announce the release of their fifth studio album, Filtered Senses.
Since their very first gig at the Gathering music festival on Takaka Hill in 1996, Mike and Paddy have wowed audiences all over the world with their unique genre-bending brand of live electronic music.
The secret to their longevity is that if you’re never in fashion, you’re never go out of fashion! In an age when electronic genres and fads come and go, seemingly monthly, Pitch Black have managed to keep their sonic identity due to the blend of two very different personalities and musical styles: Paddy Free, the manic groove-merchant, and Michael Hodgson, the dark dub-meister.
Both renowned individually as solo artists and producers, with Paddy recently co-writing and producing with Moana & the Tribe and Nga Tae and Mike producing and remixing under his solo artist name, Misled Convoy, they have very different approaches to music which can be summed up as Paddy wants to do it for the crowd, while Mike wants to do it to the crowd.
Their new album saw them adopt a different working method - one they’ve dubbed (pardon the pun) remote-control. With Mike situated in London since 2012 and Paddy temporarily based in New York, Filtered Senses was written by swapping files over the web, with an intensive two week mixing session together in Mike’s studio in Hackney to finish the job.
With the tracks ranging from the ambient wash of “A Great Silence is Spreading” to the stomping foot tapper of “Pixel Dust”, with everything else in between, Filtered Senses could be described as having one foot on the dancefloor, one eye in the cinema and both ears in psychedelic stereo.
Pitch Black regularly collaborate with MC’s and vocalists who bring a different groove and a fresh sound to their tracks. Filtered Senses is no different, with the vocals on the album contributed by Alison Evelyn, a Londoner who Mike met at a vinyl night he runs. Her contemplative and observational words merged beautifully into the Pitch Black sound.
Despite nine years between albums and four years living in different hemispheres, Filtered Senses is instantly recognisable as a Pitch Black album thanks to the unfeasibly large bass and endless delays sprinkled with touches of playfulness amidst the menacing undertones.
Deep Fried Dub - Ivory Towers (International Observer Remix)(preview) by Dubmission Records
Deep Fried Dub - Kryptology (Isaac Chambers Remix feat Dub Princess)(preview) by Dubmission Records
In anticipation of their new studio album, the electronica duo present the first single, ‘Invisible Chatter’, complete with two remixes courtesy of American producer Kaminanda and New Zealand act Digital Playground.
The original track is unmistakably the work of Mike and Paddy and in many ways reflects the natural landscape of their native New Zealand: the bass reverberates through the Southern Alps, the beats skitter like cicadas on a sweltering summer’s afternoon, and the dub pours forth with all the rhythms and textures of the lush native bush and rivers.
Featuring the lyrics and vocals of London local, Alison Evelyn, ‘Invisible Chatter’ explores the duel themes of the world of invisible data and the earth raging against our use of the planet.
The first remix comes courtesy of US producer Kaminanda, who was introduced to Pitch Black by Treavor Moontribe of cult downtemple act Desert Dwellers. The second remix is a stripped out drum & bass retweek by Digital Playground, a new electronic act on the Kiwi music scene.
Taken from 'Translations', a collection of remixes by soundcloud.com/misledconvoy
Available from https://misledconvoy.bandcamp.com/
Original by soundcloud.com/animat https://www.facebook.com/animatmusic/ https://twitter.com/Animatmusic
Remix by Misled Convoy https://www.facebook.com/misledconvoy https://twitter.com/MisledConvoy
Moana & The Tribe - Whole Worlds Watching (Paddy Free Dub)(preview) by Dubmission Records
Taken from 'Translations', a collection of remixes by soundcloud.com/misledconvoy
Available from https://misledconvoy.bandcamp.com/
Original by soundcloud.com/bancodegaia http://www.facebook.com/bancodegaia https://twitter.com/bancodegaia
Remix by Misled Convoy https://www.facebook.com/misledconvoy https://twitter.com/MisledConvoy
Taken from 'Translations', a collection of remixes by soundcloud.com/misledconvoy
Available from https://misledconvoy.bandcamp.com/
Original by soundcloud.com/supercozi feat Reason https://www.facebook.com/supercozi
Remix by Misled Convoy https://www.facebook.com/misledconvoy https://twitter.com/MisledConvoy
Taken from 'Translations', a collection of remixes by soundcloud.com/misledconvoy
Available from https://misledconvoy.bandcamp.com/
Original by The Adults AKA soundcloud.com/jontoogood https://www.facebook.com/theadultsNZ https://twitter.com/JonToogood
Remix by Misled Convoy https://www.facebook.com/misledconvoy https://twitter.com/MisledConvoy
Taken from 'Translations', a collection of remixes by soundcloud.com/misledconvoy
Available from https://misledconvoy.bandcamp.com/
Original by Holotronica AKA soundcloud.com/stuart-warren-hill https://www.facebook.com/holotronica https://twitter.com/stuarthexstatic
Remix by Misled Convoy https://www.facebook.com/misledconvoy https://twitter.com/MisledConvoy
Taken from 'Translations', a collection of remixes by soundcloud.com/misledconvoy
Available from https://misledconvoy.bandcamp.com/
Original by soundcloud.com/feralfive https://www.facebook.com/feralfive https://twitter.com/feralfive
Remix by Misled Convoy https://www.facebook.com/misledconvoy https://twitter.com/MisledConvoy
Taken from 'Translations', a collection of remixes by soundcloud.com/misledconvoy
Available from http://misledconvoy.bandcamp.com/
Misled Convoy - Leap Beneath (ReRub) https://www.facebook.com/misledconvoy https://twitter.com/MisledConvoy
Taken from 'Translations', a collection of remixes by soundcloud.com/misledconvoy
Available from http://misledconvoy.bandcamp.com/
Original track by soundcloud.com/fliesandflies https://www.facebook.com/fliesandflies https://twitter.com/fliesandflies
Remix by Misled Convoy https://www.facebook.com/misledconvoy https://twitter.com/MisledConvoy
Balise is composed following the Balinese Pawukon Calendar over one 210 day cycle, with the beats based on the different 10 week cycles and the sounds representing the types of productivity that fall in the cycles of the calendar.
It was part of a concept of books, smells and soundscapes (this one being about Bali) to be used as stimulation for designers who needed to switch on their creativity while under pressure of a deadline. The idea was to stimulate the senses to allow your ideas to flow.