Oh, I almost dismissed Nocturnal Emissions as an unknown bedroom producer. But the web research revealed a completely different picture: The Nocturnal Emissions have been around since 1980! Back then it was still a real rock band that played industrial and punk. The electronic phase followed in the 1990s, followed by a minimal and downtempo phase. There are even two in the oeuvre of the London band (which has only consisted of founder Nigel Ayers for several years). Dub-Recent albums. The newly released album "In Dub" (Holuzam) presents a selection of eight tracks, all taken from these two albums. So not necessarily brand new material, but still pretty exciting because Nigel Ayers obviously doesn't give a damn how good it is Dub has to be. Instead, he delivers extremely weird minimal productions, which without the clear album title can hardly be considered Dub would be recognizable. With the mindset "Dub’ but the album can be understood as a great experiment: How abstract can the music be without the classification ‘Dub“to lose entirely? Or to put it another way: How far can you go Dub reduce until it stops Dub to be? The amazing realization: Pretty far. But Ayers is by no means only interested in minimalism. His economical tone sequences are interesting listening experiences and sometimes even develop a remarkable groove. Anyone who thinks outside the box of the conventional Dub If you want to look out, you should simply enjoy the Nocturnal Emissions (the wet dreams).
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Nocturnal Emissions: In Dub
2 Responses to “Nocturnal Emissions: In Dub"
Far from being strictly orthodox, the sound is inherently distorted and exhibits an oddly skewed tendency towards digital over these eight tracks.Dub. From the moonboot skank "Follow the Science Dub' about the UK Stepper impulse at 'Energy Dub Crisis” to cerebral “Capital Crash” rhythms, almost muslimgaze-like sounds on “Contagion Dub' and the metallic, raw, dissonant industrial sound of 'No God No Devil Dub" is everything there.
Interesting, but nothing more.
“Nocturnal Emissions” ….. oh dear, that was a long time ago for me.
If I were something like a "bouncer" for Dub, I would have said spontaneously, "You can't come in here!"
Der erste Dub comes with a keyboard that smears the rhythm like tough wall paint over a picture and doesn't stop distributing the paint residues in the brush. I don't like playing the rhythm that way. That pulls, sticks and lubricates me too much. There's another one Dub here, which doesn't appeal to me because of the keyboard sound, but I don't just want to spread "bad vibes" here, because the album grooves too well for me for long stretches. If so, such as with the “Credit Crunch Dub“ After the intro the BassLine starts, I’m “ONLINE !” Because both the sound and the bass melody create a good one for me Dubfeeling Other than that, I think very little happens around it. That was probably the plan too, because this certain minimalism runs through the entire album. If only a faded echo would slide through the room at least once. Overall, you can find out about the DubAtmosphere probably also a little arguing, but I also noticed a few striking and effective ( how should I put it ? ) "interludes" (interludes) very positively. That came to my mind especially with "No God No devil", where the "minimalist" saxophone actually suits me a lot. I like to say again and again that I much prefer a saxophone if it's pro Dub only appears occasionally and that is exactly why it becomes such. The so-called "intermediate games" are also the reason why I as "DubAddict" doesn't have that much to complain about here overall. Yes, from time to time the drum machine (?) produces a rather crass hissing "cimble sound" but that's all still acceptable for me. This "piano Dub“ also grooves really well for me.
I always like to think outside the box when there are interesting new perspectives and I would also say the album is quite interesting, which is a lot more than just "nice". The "drums" still leave a lot to be desired, but together with the bass lines they develop a pretty good groove ...... if I'm not mistaken.
I always find it funny how many musicians who come from a completely different corner feel like it, a little bit Dub to produce. That also confirms my "thesis", that DubMusic is mainly appreciated by musicians, because they probably have a much broader musical horizon than "average Joes". I don't know why I now also have this "gift" ;-). It's probably the exception to the rule again. However, it could also be due to the fact that I'm basically moving a little "too close" to the event horizon ......
"Loaded with Dynamite …….. loaded with Dynamite" ……………………….. Anonymus Optimus Prime