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CULTCHA Clash Outer National: Global-Community-Radio Broadcasting, Online Marketplace, Digital Zine & Subversive Propagandist Organization.
Combatting the mundanity and commodification of human existence with Art, Music, Comedy, Social-Criticism and the Promotion of Alternatives to Corporate Culture.
These two releases aren't brand new, Nun Gun was released in April of this year, but, due to the vinyl production back-up, the record did no arrive until November. The Pop Group officially came out on October 29, but the vinyl will not be issued until Spring of 2022. Due to my own time restraints and procrastination, I'm afraid that I can't get too in depth on these, However, I wanted to make sure to mention them before the years end.
Over 40 years after the original release of the Post-Punk masterpiece, Y, the band revamped the classic with a live performance as well as a brand new LP of its dub-reconstruction, sonically manipulated by Dennis Bovell, the U.K.'s reggae producer who had mixed the original version.
A crucial, early post-punk release and an outright sonic assault unlike anything heard before or since, In Dub maintains the fierceness of the original and allows Bovell an opportunity to further display his production expertise. The result, a fresh, new companion to Y in the tradition of great Reggae / Dancehall LPs, stripped down to the raw elements of drum and bass for their dub version.
The Pop Group "Words Disobey Me (Dennis Bovell Dub)"
This one is a must-have for old and new fans, alike!
Here is a last minute addition and a release that I would be remiss not to mention. Mark teamed up with visual / recording artist Peter Harris and Lee "Scratch" Perry for "Alpha (Adrian Sherwood Mix)" for eMergency heArts, which is a fundraiser to benefit Jamaica's prestigious Alpha Institute.
Described as Perry's first "Drone Jazz" album, this was probably one of the last projects of his time of physical existence. The repeated message throughout this project is "Life is an experiment."
The legendary, iconic and anomalous artist never shied from experimentation in his seven decades of creating songs, albums, artists, labels and even genres... virtually every type of modern music owes some credit to the Upsetter's innovations to Reggae production, Dub in particular.
"Be faithful. Be pure. Be clean. And listen to your dreams. Listen to your dreams!" the highly conceptualized album acts as a vehicle for the mystic to channel, despite the cryptic nature of much of his past lyrical content, this one is is pretty straight-forward.
"Step In Space"
Musically, a prevalent stark, spacey, ambiance compliments the lyrical obeah. Slow-motion, minimalist rhythms lurk about amidst hypnotic vibrations with sparse elements of brass and percussion creating an intriguing endeavor, through and through. The songs are movements of one cohesive piece that give us the sense that 'Scratch' still has something to share with the world and not even death can hold back the message.
Once again, I've continued my behavior of being a procrastinator. It's a little late to get to this one, been rocking the digital release since August 27 and I received my vinyl copy several weeks ago. This album has already met the ears of many critics, who have responded with resounding approval, so this will really be an act of preaching to the choir in hopes of reaching a few new, lost souls in the process.
The Bug aka Kevin Richard Martin, for the past few decades, has produced some of the top quality dub and dancehall abstractions (if any of his material is considered to be "dubstep" then the emphasis is certainly on Dub, although the description of his sonic output could hardly be fit into the confines of any genre). If you missed it, check out the artist profile CULTCHA Clash Outer-National Artist Profile: Kevin Richard Martin aka The Bug for a discographical, "potted history," as Martin referred to it.
Upon hearing of this album, I assumed that it would live up to it's name. After listening to it, even expecting that, I'm still impressed. Martin has elevated the bar, once again. As an aspiring producer, this is the level of work that I would create if I could, and would definitely feel a major sense of accomplishment for creating.
The teaser tune, which came out a month or so before the album, "Clash," was indicative of the gravity to be expected from this release; sparked by Logan's hardcore lyrical flow, kindled by the producer's dirty-grime-dub-dancehall style which has obviously taken another evolutionary step, on this one, and it's blazing!
The bass is integral, per usual, although the atmospheric elements are ever present. Tempos vary from ambient pulsations to thumping, four to the floor, club-bangers. Something funny, to me, after reading other reviews and articles on The Bug from some 'dance music' writers, 140 BPM has been used as an example of the tempo of a song like "Poison Dart" (from 2008's phenomenal London Zoo on Ninja Tune), which to me, registers at 70 (even when I listen to d'n'b I tend to nod my head in half-time)... there's enough tunes on this LP that could be perceived either way, regardless, the rhythms rock the house.
Equally as important as the amazing soundscape, the diverse array of lyricists give this conceptualized work a sense of urgency and intensity. There's not a single instrumental track on the album, which leaves me hoping for a dub version in the future, but that's just wishful thinking.
Martin encouraged the artists to "write about what vexed them on a daily basis" (The Guardian interview with Kevin Martin, September 1, 2021), to outstanding result. It sounds like the culmination of the combined psyche of humanity in it's entirety after two years of pandemic fueled fear, coupled with environmental catastrophe, economic collapse, a constant barrage of propaganda and misinformation, paranoia inducing surveillance state and a diminishing distinction of what reality even is... and you can feel it in your spine.
The apocalyptic tale is set off by 2019 TS Elliot Prize and 2020 Ondaatje Prize recipient, member of King Midas Sound and frequent collaborator, Roger Robinson. "The Fourth Year,"a dark and dystopian spoken word of an age of total isolation, where robots deliver all of the food, the only human contact is through a screen and non-vaccination is grounds for termination. The pulsing synths and subtle percussive sounds give one the feeling of taking shelter during a heavy rain.
Flow Dan, another regular collaborator of Martin's, returns on three tracks. His London-style, Yardie dialect and rapid-fire spitting shine on all of them. "Pressure" hits hard with relentless, resonant sub as it's heartbeat, animated into life by lyrical fury and filthy synth stabs. A hard hat may be necessary when "Hammer" hits, it may be concussive. "Bomb" is his final appearance on the album and his lyrics, once more, do justice to Martin's unique creations.
My personal favorite is "War" featuring Nazamba. This tune is raw, digital, dub poetry. His gravelly voice brings the mighty Prince Far I to my mind. Lyrically, pure righteous rage flows like lava erupted in the heart of Babylon. "Inna dis ya war... ideological war... and it's a chemical war... and it's a global war... a technological war..." dread times, indeed.
"Vexed" features Moor Mother, who Martin collaborated with on 2019's Wrecked LP by Zonal. Her abstract flow, intense emotion and raw delivery could wreck any track, this one's another banger.
The U.K.'s Grime scene is represented by Manga Saint Hilare, whose "High Rise" and "Bang" remind me why I've been a fan of British MCs since the early nineties, when I searched for Gunshot or Hardnoise 12"s in Arizona record store bins.
Grime is just another branch of the Hip-Hop tree, to me, and one that is well in touch with its West Indian roots. An example of this is Logan, who's second album cut is the defiant, "Fuck Off."
Even the cute, Tik-Tok generation themed, "How Bout Dat," featuring FFSYTHO (For Fucks Sake Y Tho) goes hard as a brick wall, cash it ou'side!
Irah brings the wicked raggamuffin flow to "Demon," riding a relentless, bubbling, maniacal dancehall riddim.
U.K. Dancehall stalwart, one-time Guinness World Record holder for fastest rapper, and occasional The Bug collaborator, Daddy Freddy, is featured on "Ganja Baby," a different mix of which was released by Acid Ragga in 2014. This version is infectious and slightly exotic sounding, with a message that I can get behind.
Roger Robinson closes it out on a somber note, written about the tragic Grenfell Tower Fire (June 14, 2017), that killed 72 people and injured 70 more, "The Missing" conjures images of that day and invokes the panic, pain and peril felt by it's victims. Robinson's delivery is reminiscent of Linton Kwesi Johnson, certainly an evolution of dub poetry aesthetic, poignant and relevant lyrically, coupled with The Bug's out of this world, textural atmosphere of sound, a powerful finale to a fantastic album.
The Bug is a well known name across the globe, but we are sometimes slow to catch on on this side of the Atlantic. Obviously, there is an existing fanbase, amongst which are surely some influential people, as is made evident by the appearance of "Fuck You" featuring Warrior Queen (from 2014's Angels & Devils, on Ninja Tune) at the end of episode 9, season 4 of the hit series, Orange Is The New Black. His recently work will not only hit the hardcore heads, but will bring even more mainstream recognition and commercial success (he's just worked with Trent Reznor on production for the latest Halsey album, If I Can't Have Love, I Want Power).
Let me start this off by apologizing for being such a terrible procrastinator, been sitting on this one for about a month. It was last months entry from the Alternative Tentacles - Vinyl 7" Singles Club (more on that later), and my favorite of the 10, or so, that I've received.
"No More Selfies" is fun, albeit serious, high energy punk rock, not too far off from the output of Jello's previous well known band. A surf / western sounding guitar builds along with the lyrical energy to a thrashing crescendo and back down to accommodate Mr. Biafra's anecdotal evidence of the song's complaint, including incidents, from mild annoyance, to rude and insensitive intrusion, up to and including perceived assault, ending in "whaddaya know... a phone in my face!"
The author of "Where Do You Draw The Line?" thinks that "it's time to make some rules" and I don't think that he's wrong. He really drives it home with his usual, high dosage of comic appeal and strong sense of irony, ultimately with the refrain, "Think of how you'd feel," which doesn't seem to be too extreme of a request, to me. The band is on point and delivers the punch to really drive his words to their full impact potential.
I hate to bring up the past, but it's all of the quirky energy (the kind that incited me to start a hardcore band with my junior high school friends) of Plastic Surgery Disasters(1982 Alternative Tentacles), when that was my most-listened-to LP (the first "hardcore" album to hit my young ears, the summer before 7th grade). It's both amazing and inspirational, to me, that they can record and perform with so much exuberance after doing it for so many years. The build-ups and tempo changes and unconventional song structure is sure to pique the interests of young and old listeners, alike. The 7" single includes insert with lyrics and animation, pressed on clear vinyl with a '40 Years of Anti-Social Media' Alternative Tentacles logo, and the cover graphics are subversive-fun, as to be expected from this lot.
Both of these songs were released, digitally, along with the last J.B.G.S.O.M. LP, Tea Party Revenge Porn, which I haven't purchased yet, but intend to, especially after hearing these tracks.
"Ghost Of Vince Lombardi" is a commentary on the hyper-masculinity, the alpha-male mentality, coupled with extreme competitiveness and crass capitalism, separating "winners" from "losers," in turn forfeiting the soul of our nation and any ability to enact compassion on a communal level. As on the A side, the musicianship leaves nothing to be desired, this one rips! Band members include Jason Willer on drums, metals and vocals, Larry Boothroyd on bass, and Ralph Spight on guitar, keys, vocals (the latter two are founding members of Victims Family). The rhythm is tight, hard an driving, just sparse enough to leave room for Spight's inventive solos. Altogether feels like a natural, fitting, combination for Mr. Biafra's quips and his unique vocal stylings.
This stuff isn't groundbreaking, not that I think that it was recorded with intent to be that, but it's simultaneously thought-provoking and visceral, and ultimately, pretty entertaining. Grab a copy if you can get your hands on one.
Sub-Feature: The Alternative Tentacles Vinyl 7" Singles Club
The 7" single is a cherished artifact and sacred carrier of musical data to be passed along through modern ages. I reminisce of the mid-eighties, perusing through a handed-down Toxic Shock catalog at all of the records that I couldn't afford on my 14 year old budget of zero dollars a week. I was fascinated by the sheer quantity of 7" eps and singles, the records stores that I went to generally focussed on 12"s, but as I started going to shows I would see 7"s available at the merch. tables. There were a few that I had at the time, but looking back at all of the treasures that I missed along the way (and the hefty price tag that accompanies a lot of those original pressings) makes me wish that I had acquired more of them.
Well, bands are still pressing music on these little plastic disks, and Alternative Tentacles, a label that has been alarming parents and provoking independent thought in youths for forty years, has an 'Anti-Social' club just for the type of fetishists who have this kind of vinyl-kink.
So, If you're an individual who happens to enjoy hearing random, eclectic and obscure sounds, and wish to have selections delivered to your mailbox, then join the Alternative Tentacles Vinyl 7" Singles Club and the label will send you a new single every month for a year.
Here is a photo of the entries, thus far.
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Full disclosure, I've never been a huge fan of Sublime, although I have always felt a certain kinship with them in our influences. Rooted in punk and always enthralled by reggae (among other genres, some of which I have yet to explore more than superficially), eventually catching the fever for the flava' of hip-hop and being introduced to dancehall in the late eighties... by the time I heard Sublime, I was spinning, and was way more interested in what Bounty Killer, Junior Reid or KRS-One were putting out. I had my "Old School" joints by Jah Wobble, The Clash or Ruts DC for my punky-reggae cravings, but didn't listen to Sublime much other than when they were played at the record store I happened to be shopping at. Not to say that I wasn't taken aback the first time that I heard what sounded like an indie rock band's homage to one of my favorite MCs while shopping at Tower Records. I never disliked them, they were just pretty far back in my queue of music to purchase.
At the time, I was only vaguely aware of the death of singer, Bradley Nowell in 1996. The retitled, eponymous, third studio LP was originally to be called Killin' It. I had heard several songs from them, at the time, but still wasn't heavily into them.
Over the years, I've made a lot of friends who are fans of the band (even started reconstructing the rhythm track of "The Ballad of Johhny Butt" with my friend Mikey for Artists Anonymous at our Pride Suicide Studio back in 2006, or so). They are often requested when spinning for live reggae shows, by the "hippy" types, and it took me a while to give them a chance, but after listening to their whole albums, I developed respect for them and can definitely understand their appeal.
Forward to 2021, Scientist and Mad Professor, two of the biggest names in the world of dub reggae producers / engineers / mixers, have taken the task of treating a handful of Sublime tunes to some of their own, respective brands of studio wizardry. The six song album is a limited edition Record Store Day 2021 release.
Upon listening, it is clear that the producers put their whole hearts and creative minds into this project. The insert and liner notes by Roberto Angotti (Radio host of Reggae Revolution, which aired in Long Beach and L.A. from 1982-1992), trace the influence of dub and reggae greats, like King Tubby and Sly & Robbie, upon the Long Beach, CA. band; It's an influence that is genuinely brought full circle with this collaboration.
Scientist takes the helm on side A, beginning with their hit, "Caress Me Down (Espanol Dub)." This one is stripped to the core, drum and bass of it's original. The riddim is a bit of a hybrid of the dancehall stalwart, 'Sleng Teng' and the Jamaican classic, 'Cherry Oh Baby' played with the ferocity and raw energy of punk rock and mixed down with the precision and articulate sense of sound structure that Hopeton Overton Brown aka Scientist has been known for since the mid-seventies, when he was a young prodigy and protégé of King Tubby.
The next one, "Garden Grove Dub" combines G-Funk keys with a rendition of the 'Fever' riddim and well-placed Linton Kwesi Johnson scratches. The fusion doesn't sound, at all, contrived, but rather, very organic and is aimed directly towards the hardcore dancehall fan's eardrum(s).
The final selection, dissected, rearranged and manipulated by Scientist is "Santeria Dub", which is one that I have had to play the original of at paid gigs from time to time. I never loved the song but the emotion and joy that it evokes in those who do love it is undeniable. I feel like playing this mostly instrumental version in a club or house-party setting would elicit impromptu karaoke performance on the dance floor from the previously mentioned hippies... which, as a music lover, I think is a pretty beautiful thing. Bradley's vocals politely interrupt the riding instrumental (I like it a lot better that way), briefly towards the end of the tune, a ghostly interjection, traversing dimensions.
Mad Professor is at the mix-board for the three tunes on side B, beginning with "Hong Kong Phooey Subliminal Dub." I'm not too familiar with the original, but I feel as if Neil Fraser aka Mad Professor took a lot of artistic liberty with his side. It begins with a psychedelic sounding, effect-saturated voiced intro, not dissimilar to some of his other works which he's made in his forty-plus years of putting out music. The beat kicks in, a funky, skanking, punk-dub with tempo changes and abundant flange and reverb, which envelope the entire track, instrumental, save for a few vocal phrases, sporadically stabbing into the mix. This one demonstrates the Professor's signature sound, whether mixing Perry Farrell, The Young Gods, or Sublime, he makes the creation his own.
"April 29, 1992 (Miami) Dub," a song about the L.A. riots, and "Pawn Shop Dub" are given the same attention, the raw drum and bass is captured and given room to breathe, nourished to grow, supplemented with effects and vocal drops, the sound is expansive... play this one loud for maximal impact! There is no doubt, I'm feeling it.
Adding to the authenticity is cover art and additional liner notes by Tony McDermott, whose original, animated art-work has graced the covers of Scientist and Mad Professor LPs, as well as numerous Greensleeves Records releases.
It's limited to 6400 copies of the vinyl, so grab yours while you can.
The title track, "Burst Through The Borders," is an inspirational message of universal love engulfing all matter in existence, set to a down-tempo groove drawing on elements of soul, jazz, dub and indie rock. The subtle strings and guitar give the tune a relaxed vibe, overall, and vocalist, Damian Mahoney's lyrics are purely on a positive tip. I would recommend this to fans of Paul Weller, A Certain Ratio or Massive Attack as well as those into alternative music with a touch of hip-hop influence. Not a bad first impression, for me. If a vinyl single were to be pressed, I'd buy it. For now, digitally will have to suffice.
The 'B' side track, "Solid Supposed" is on a different vibe and an even more exciting one, to me. Guest and regular collaborator, Ruth Blake's vocals are an ethereal addition to the big beats and horns, which are reminiscent of some of the vintage 2-Tone Records arrangements. A Portishead influence is apparent on this one, as well.
Check out the video, below.
The band are part of Manchester, U.K.'s Music As Medicine family, who curate community music and art performances. They are also founders of the Single Cell Recordings collective and members of the live improv trio, The Order Of Love. Mahoney and his group have established themselves at home, and with this kind of originality and sound precision, will undoubtedly gain fans worldwide.
The full album is expected to be out this year, if these tunes are any indication, then it should be well worth checking out.
(Thanks to Shauna @ Shameless Promotion for sending this to me.)
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