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12"
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SB 10001EP
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"Taking a turn to the left, Mssrs P&S head out of town to where beats are best, albeit backwards. Mining Afro-centric and South American beat traditions, combining them with contemporary studio trickery and dub stylings, our heroes end up not quite where they expected, which of course is normal. The starting point was the bass-heavy nu-sounds coming from Brazil, Argentina, and Africa, with the endpoint expected to be some new and interesting rhythmic material. The A-side starts with a remix by DRM, who typically selects a few elements from the original mix, and weaves an insistent rhythmic slice of dancefloor delicacy. He adds some extra guitar, and then as if from nowhere, some techno-y synth that should sound out-of-place, but doesn't. That is paired with a second remix, from Chancha via Circuito, who radically slows down the original, but uses most of the original elements, plus a few tricks of his own. Auditory cough syrup indeed. The B-side contains three original tracks which are very different in sound and approach. 'Ayayaya' has a long mournful intro that suddenly drops into a mutant funk bass with raucous chant provided by some Pacific Islanders, toss some drunken horn choruses on top, and there you have it. 'Last Drunk at the Party' is built on a bent Afro-funk bass, with African chanting and whistles, air horn melodies, more whistles, and then yet more whistles. 'Bahia Shuffle' takes some tuff Batacuda beats, adds oodles of dubbed out keys, and floats spoken word intros from Middle Eastern 78 recordings for extra flavor."
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12"
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SB 9001EP
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"The Dub Workshop project was conceptualized as a vehicle for producers and musicians to collaborate and explore the rich roots of the performers and producers of the Jamaican tradition as well as the sonic explorations of those inspired by the originators. For us, dub music encompasses both the aural history of stoned trippiness, the cosmic echoes and the insane reverberations, but also the implied process stripping away the song to reveal the structure and carving away material and adding new material to create new from the old. With this in mind, multi-tracked source material was offered to the producers, who used it to create their own works. There was no limitation or expectation. They were free to add and subtract, cut and paste, mold and manipulate, at will. Instructions to the producers were as follows: While we are rabid, foaming-at-the-mouth fans of classic JA dub maestros, we feel that there are bigger lessons to be gleaned from what they have taught us. We are interested in the studio as instrument, the producer as artist, the process as part of the product. We appreciate the sense of space, both physical and temporal, that can be created, and we are fascinated with how sounds can be stripped away to lay bare the structure of a piece and how parts that initially exist to support other parts can be bought into the foreground and exposed for examination. We are not necessarily looking for skanking guitars, snares splashed in reverb, or pianos bouncing on the offbeat, although we love all that, we're looking for you to take the opportunity to explore the gift that some giants on a tiny island gave to all of us as inspiration."
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