CULTCHA Clash Outer National Music Review:
The Bug presents - Various Artists - Absent Riddim
(2022 Pressure)
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| The Bug presents - Various Artists - Absent Riddim (2022 Pressure) |
This is a digital only release. I've often neglected non-vinyl releases, in the past; however, there is an environmental cost to record production, as much a we'd love to see a green alternative to the carbon footprint of pressing plants, we're not there yet... not even to mention the current delays in actually pressing records. So, compromise becomes necessary. I never wanted to be dogmatic, anyway.
I read that Kevin Richard Martin (The Bug) described this as the first, non-dancehall / reggae, one rhythm album. The practice is standard within the genre of Dancehall, evolving from the early days of dub, in which the original "riddim," or backing track, was repurposed, remixed and repressed multiple times, resulting in myriads of songs with the same drum & bass-line. Each tune was customized by the studio wizardry of the producer, as well as with further instrumentation, singing or toasting.
It's reported that the first full album to use this technique was Rupie Edwards' Dr. Satan Yamaha LP (1974 Success), on which artists like Shorty The President, Slim Smith, and instrumentalists like Earl "Chinna" Smith and Bongo Herman, personalized the My Conversation riddim with each contributor's individual stylings. By the 80s, this type of LP was commonplace, from JA's up-and-coming crop of raggamuffin deejays and singers.
The Bug's sound has evolved over the years with several phases, and unique sounds, influenced by the drum and bass of dub and dancehall, as well as by the D.I.Y. ethos of punk, all the while. (Check out the CULTCHA Clash Outer National Artist Profile: Kevin Richard Martin / The Bug). Some of his more recent work has minimized all of the block-rocking beats of past works, like London Zoo (2008 Ninja Tune), and stripped the sound down to a raw, aggressive and heavy ambience, oxymoronic as that may sound. The result is stunning.
This latest venture is sort of like that. The "trudging through the mud" pace may not be too noticeable when juxtaposed with the energy of some of the guest artists on these tunes.
The late Nazamba, who's life was cut short due to a heart attack earlier this year, sets things off with "Satan." A righteous vocal performance that blurs the line between dub poetry and dancehall, is starkly contrasted by the next track, "Shamed," on which JK Flesh growls and grunts his verses with the rage and furor of a rabid dog.
A few names that were previously unknown to me come with some pretty impressive work, like HTRK, YL Hooi, Fatboi Sharif and Relly.
"Your Laws Aren't Free" features Jaimie Branch, American composer and musician who passed away last month.
Several prior collaborators with Martin are featured, Roger Robinson's "Please, Please" evokes memories of Robinson's London Zoo contribution, "You & Me." The pair (Martin & Robinson) have amazing chemistry as is made evident by their discography as King Midas Sound.
U.K. rudebwoy Logan kills the riddim with "Judgement Time," lyrically double-timing the down-tempo.
Moor Mother, who worked with Martin and Justin K Broadrick as Zonal, brings the raw, sub-conscious flow on "Fuck With Me."
Dis Fig, whose In Blue LP (2020 Hyperdub), with Martin, displayed their "Tunnel" style of dub-infused, electronic music, makes an appearance on "Too High."
Experimental Hip-Hoppers, Dälek, come with the hard-core on their tune, "Fractured."
My personal favorite version is "King Of The Cage," on which Mark Stewart's vocal stylings intermingle with the spacious groove.
Other standouts are the punk-poetry of "Dead," by Nicholas Bullen, Ethan Lee McCarthy's "Is Death A Dream?" and "What's That Sound?" with Nosaj.
Wrapped up with the instrumental version, all 17 tracks are well worth a listen.
Back to Martin's point about this being the first album of it's kind*... I'm sure that his well of information is more vast than mine, but, to my knowledge, I would have to agree that this is a first, as well as the most eclectic mix of artists on such an album.
* I was corrected by Bug Man, himself, who remembered that there were two or three one-riddim grime releases that were released prior to Absent - respect due.
Much props to The Bug for always innovating, never imitating, and coming with original concepts with each new release. Check it out!
Infinite Felines is CULTCHA Clash Outer National's Animal Activism Project, we care for over 40 feral and domestic cats at our home, we'll be sharing our activities on our new blog, check it out!
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