11/3/2023 0 Comments Discogs dubplate pressureWhilst acetates have been used in the music industry for many years, especially in dance music, dubplates would become a particularly important part of the jungle/ drum and bass scene throughout the 1990s. Throughout the 1980s and 1990s, Music House in North London and JTS Studio in East London would become the two most prominent "cutting houses". John Hassell and his wife ran a recording studio from their suburban house in Barnes, South West London, but would become key to British sound systems and artists such as Dennis Bovell. ![]() In the UK, the earliest place to cut reggae dubplates would also be one of the most unlikely. As such, these would become known as "dubplate specials" often remarking on the prowess of the sound system playing it, in a bid to win the clash. Special and one-off versions would be cut to acetate for competing in a sound clash, utilising vocals specially recorded to namecheck the sound system. The first use of dubplates is commonly attributed to sound engineer King Tubby and reggae sound systems such as Lloyd Coxsone and Killamanjaro. History Dubplate cutting at a cutting house They would later become an important facet of the jungle/ drum and bass, UK garage, grime and dubstep music scenes. Note the second, off-centre hole visible on the right discĪ dubplate is an acetate disc usually of 10 inches diameter, traditionally used by studios to test recordings prior to mastering for the subsequent pressing of a vinyl record, but pioneered by reggae sound systems as a way to play exclusive music. This Wolof phrase for the inside-yard of a home - a meeting-place, an architectural breather - doubles here as a metaphor for inner space on a metaphysical level and Pan Sonic, Muslimgauze, Zoviet France, early Shackleton… all ghost across the threshold.Acetate recording disc 10" dubplates. The duo performed portions of this piece at the opening ceremony of the Dakar Biennial in 2022, at the Grand National Theater, with thirty sabar players from the family of Doudou Ndiaye Rose. The two parts of LABOUR’s Etu Keur Gui engage the same sequence of drum patterns (called bakks) from different perspectives. Both excursions are wide-open, beautiful, epic, and propulsive - the first mix is banging and headlong, the second more syncopated and serpentine - teeming with freshly sublime, funkdafied updates on Jon Hassell’s Fourth World possible musics. Phantasmagorical and efflorescent, Lamin Fofana’s one-two is simply stunning. The music is poised, mindful, tentative but also limber, fleet, and magical. Thrillingly, the two dubs are increasingly deranged.Īdjusting the same wavelengths as her superb Workaround LP, Beatrice Dillon plays spaced-out, abstract synth-work against the bodily physicality of the ancient, shifting mbalax rhythms. Musical co-ordinates are somewhere between classic On-U Sound crew like African Head Charge, The Mothmen, and Creation Rebel, and the experimental funk of the Pop Group and 23 Skidoo, at their funkiest. From the off drummer Valentina Magaletti detonates a hard rain of small bombs, rounds of fire, ticking fuses. The contribution from Holy Tongue is chase-the-devil steppers - thumping, clangorous, reverberating - super-charged with energy and atmosphere. Holy Tongue / Beatrice Dillon / Lamin Fofana / LABOUR Honest Jon's Recordsįour dazzling, extended engagements with mbalax master-drumming.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |