Sudden division: Dub Will Tear Us Apart ... Again

Once again not a classic one Dub Album in Reggae Offbeat. So not necessarily something for either Dub-Purists. Nevertheless, it is always amazing to hear which acoustic blossoms our small but fine genre Dub so drives.
The two American musicians Brad Truax (bass) and Barry London (keyboards) developed the idea of ​​recording tracks by the British post-punk band Joy Division in a whimsy Dub-Import context. In order to put the project into practice, Oneida percussionist John Colpitts (aka Kid Millions), Chris Millstein on drums and a few additional musicians from the bands “Oneida” and “Home” were brought into the studio. The recordings were made within a day. That was in 2004 and Sudden division sold the EP, with four tracks and a mini edition of 800 copies, exclusively at their live concerts. 15 years later, a reissue with five tracks is added to the Jäh Division: "Dub Will Tear Us Apart ... Again“(Ernest Jenning Record Co.) again made available to the public. In addition to the four already published Joy Division covers, the new edition will be joined by two recordings from the original session plus three from a discarded album. The "isolation Dub", Another Joy Division cover, follows two original compositions (the almost 10-minute band improvisation" Paramount Lobby "and" Sloppy Homework ") and a Desmond Dekker (" Fu Manchu Dub") And a Jackie Mittoo (" Champion Of The Arena Dub“) Cover.

The psychedelic ones created in the shadow of New York's Williamsburg Bridge Dub- Interpretations skilfully span an arc from Manchester, England, to the Jamaican Mixing Desk Wizards, which we know well, to New York.
Jäh Division only stays relatively close to the original on the title track. The melody of "Love Will Tear Us Apart" is so distinctive that it might be familiar even to those who only vaguely know Joy Division. In my opinion, you don't necessarily have to be familiar with the post-punk band Joy Division in order to "Dub Will Tear Us Apart… Again ”. The rest of the tracks reveal a more deconstructivist approach to the Dub-Garment. Tones are stretched to the limit to give the songs an almost elastic, pulsating sound. The album is actually to be seen rather as an independent unit, which takes the music of the Joy Division classics as a starting point for releasing them through the Dub-Wolf to spin. Suddenly Division seemed to like the idea of ​​exploring all possibilities, what Dub has to offer. Exploring what the analog equipment and the studio "dubtechnically ”, Jäh Division and Barry London“ at the controls ”had a lot of fun.
Later elaborates of the Easy Star All-Stars like "Radiodread" and "Dub Side Of The Moon ”or also DubXanne: "Police In Dub“Stayed much closer to the original. Nevertheless, or precisely because of this, "Dub Will Tear Us Apart… Again “a fascinating example of dignified Dub-Art.

Trivia: Jäh Division had to choose the "umlaut version" because there was already a Polish band called Jah Division.

Rating: 4.5 out of 5.

10 responses to "Sudden division: Dub Will Tear Us Apart ... Again "

Thank you for the detailed review and all the background information about the record. I bought the release LP + single last year and was really excited. "Of course" because I like Joy Division, but because it's an all-round successful record that I like to hear. Great album. Thanks to this meeting, find out again ...

Thanks Ras, I appreciate him for such tips dubblog especially. This is another album to my liking. Keep it up!!!

I read the review yesterday but haven't had time to check out the album. The sentence is important in order to better understand what follows.
First of all, I have to say that the DubEffects and spherical "aerosols" really liked. Purely Dubtechnically I have nothing to complain about.
But the basslines here I call - as a reggae spoiled bassline fetishist - simply crappy. These basslines are one of the main reasons I use "white music"
and that includes punk not really being able to respect it. And to underline that again, I'll come back to my first sentence. I really didn't have all the details from the review to hand, because "a lot of time" has passed from yesterday to today. And so I came to the conclusion, quite impartially, that the only bassline (s) that is good here is that of Desmond Dekker “Fu Manchu Dub“Is. And believe it or not, with “Champion Of The Arena Dub“I felt exactly the same way. You could even expose me now and say …… ätschibätsch lemmi, we just screwed you, not a single basic bassline is playing here strictly from Jamaica. The two basslines were or are not familiar to me at all. So I can be completely wrong with saying “strictly from Jamaica”. In that case I would be prepared, -) and would say that if these bass lines actually come from a punk bassist, then the notorious blind chicken has found a grain again. In any case, I find the basslines mentioned as balm for my soul, while the rest of the basslines really just bored me. And if I'm boring you now with my “Manifesto” for basslines, I would have to say you have no right to be bored, because reggae and Dub consists of 99% bassline !!! (Yes, I admit, my enthusiasm for basslines just ran away with me again. As always, I hope that I haven't exaggerated too much and haven't got too close to anyone).

“Listen to the riddim of the drum and the bassline” ASWAD LIVE AND DIRECT… “You know what Live and Direct mean? Mean LIVE AND DIRECT “……………… .. lemmi

Hi lemmi,

you can't even say that I didn't warn you in the first two sentences of my review. ;-)
Really full bass lines are also abundant, unfortunately not the reggae typical for you. Personally, I can and want to live with the circumstance from time to time. If there is then another "Dub-Album “is ... all the better.
Thank you for your - as always - honest answer. I was pretty sure that "Dub Will Tear Us Apart… Again ”definitely won't be your“ Album Of The Year ”. ;-)))

High Ras

Yes, your warning was meant very well, but since you tend to refer to it for my understanding Dub-Sending purists, I didn't feel addressed in the slightest. For me it doesn't necessarily have to come from reggae
but please not from punk. I don't like punk music at all and then no reverb and no echo helps to make it tasty for me.
However, I also have the saying, "an Adrian Sherwood would manage for me that I even find punk good".
But it's nice to see that there are also commentators who see or hear it very differently than I do. And that kind of diversity is the end of the line
the salt (not the hair) in the soup.

"Tune in to the Kings of Sound and Blues a Reggae Music I will never refuse" …………………… ..lemmi

Hi lemmi,

I was also far from seeing you as a "hardcoreDub-Purists “- who you are de facto not - to be pilloried. Anyone who appreciates ON-U Sound and Adrian Sherwood is far from the purist. I agree with you 100%.
The liaison between punk and reggae became more frequent. Even Misty In Roots had punk bands as a suppoting act in the opening act. The Clash have teamed up with reggae greats twice. On their debut album, “Remote Control” was produced by none other than Lee Scratch Perry. Another time it was Michael Campbell (Mikey Dread), with whose help they created the triple LP "Sandinista". In the opposite direction, "Sandinista" has the interest of some punkers in reggae /Dub awakened. So the one conditions the other. But as we have always said: it's all a question of personal taste.

Hehe, the clash!

In the end they managed to do it.
In an interview with Lee Perry, he winked a little,
when the language came about his collaboration with the Clash. If I got it right, he first had to teach The Clash to play together to some extent. They had absolutely no plan from Groove. That seemed to be his opinion and I would 100%
to confirm.
"Thats why I am sitting on my Throne Of Gold" arrogant and aloof
to everything that is not high grade music. In other words

I know this is not OK for everyone (definitely not woman) but me
once again write from gut instinct and I just leave my head out of the way. It's pretty far from my stomach anyway.

If De Niro hadn't had such an unsympathetic role in "The Fan", I would say

I am “THE FAN” ……………. lemmi

Part 2 :

I remember that the punks were interested in reggae, while the Rastas found it very sympathetic.
So maybe the punks were allowed to play in the opening act.
Even today it is traditionally still "good form" for punks to have a real reggae classic in theirs every now and then
Pack playlist. I really don't know if punks are still doing it though
to meet pogo. I actually remember another little "nasty" remark about it. This pogo “dancing” is somehow not exactly in the rhythm of the music, but rather serves to let the excess energy run out uncontrollably.

To all punks who read something here, please don't take me so seriously.

It got me, I'm positively crazy and I don't want to change the slightest thing about that. Because it's just so awesome on cloud nine.

"Talking about togetherness" (what a vocal - Dub from the syndicate! I can flip my lips again, go crazy and lose control completely / Where did my sweatpants go? ) ………………… .. lemmi

There are a lot of scientific treatises why reggae with punk or the other way around. "Pogo" hasn't opened up to me either.

To Perry:
Also taken by punk's socio-political awareness was producer Lee "Scratch" Perry, who, while less than impressed with the Clash's version of a song he had co-written, "Police and Thieves" (1977), was sufficiently excited by the ethos of the band to work with them on the recording of their major label-bashing single, "Complete Control" (1977). It was Perry who explained to Marley how punk's engagement of the still underground reggae style could help promote the music and spread its messages (Gilbert, p.159). By the end of the year reggae's primary performer had penned "Punky Reggae Party" (1977), releasing it as the B-side to "Jamming". On the song Marley proposed "party" unity between the two uprising movements, positioning both reggae and punk against the "boring old farts" of the mainstream music industry. (Iain Ellis, popmatters)

@ lemmi
As you can see, you remembered very well once again. Your range of knowledge is fabulous.

"Inimitable: Dub Spencer & Trance Hill "

I see or hear exactly like that! I don't know the originals (except for London Calling
and it's really not that bad in the original / no, I admit it,
it's very good! …… is he even from The Clash? )

Dub Spencer and Trance Hill definitely make high grade music for me, although I left their debut album in the store. The spark for me first tunneled or jumped over “Live And Direct”. After they "knew" me, they probably thought, ok, we have to improve a bit for the Lemmi ;-) Which they did again and again.

Its Dub Time Now ……………… .. lemmi

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