...there was the original Dub of course. Sean O'Hagan has written compellingly on dub music (although I can't find the particular article I have in mind online; it was entitled Blood & Fire, The Guardian, 1997), as has David Toop (see 'Replicant: On Dub' in 'Readings in Modern Music' for an excerpt from 'Ocean of Sound'). Toop describes dub as: "urban, rural, tropic, aquatic, lo-tech, mystical" and notes that it "anticipated remix culture" with 'versions', using music as sculptural material rather than 'copyright property' (I even have some versions at home, vinyl 45's bought in Jamaica some years ago). Would King Tubby or Lee Scratch Perry have made the same impact as Dubstep at the recent demonstrations?
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wow, LSP, never really noticed how much echo there was in Dub, well I did, but I never thought about it like I did Burial and co you know and the whole (h)auntological thing...
ReplyDeleteagain, ripping refs straight from mark's piece but http://www.guardian.co.uk/music/2011/aug/12/rap-riots-professor-green-lethal-bizzle-wiley maybe of interest.... oh and when I said bacchic in my last post, I wasn't inferring any rioters were drunk, just the frenzy side of things - I don't like making direct references to the riots, I feel it's not my place and I have no right to presume any sort of reading...
Re-reading the last bit of Mark's article, the cyber-centric stuff, make me ask - is that why music echos so much now? The music world is so spacious and atomized (like Navidson's hallway cavern in Danielewski's House of Leaves - loads of Echo readings into this), there's no solidarity or scene just massive online deserts and commodified oasis' of genetically enhanced nostalgia simulacra??