Dub: Red Hot vs Ice Cold by Richard Skinner

By Richard Skinner

Dub is a virulent disease. It infects the physique and warps the brain.

From its reggae roots in Jamaica, throughout to the relatively icy climes of Bristol within the Nineteen Nineties, the historical past of Dub song is certainly one of actual and aural tactics. ‘Dub is the technology of studio strain, whilst engineer turns into artist’, writes Richard Skinner, whereas piecing jointly a chronicle of Dub that is half memoir, half essay, summoning the intensely affective energy of Dub and its numerous groups, that span throughout a long time and continents.

Summoning the tune of the legend King Tubby, Rudolph ʻRuddyʼ Redwood, to the track of Lou Ciccotelli and his proto-African beats, and the Bristol scene of the Nineteen Nineties; Skinner’s heritage, written in startlingly wealthy prose, comes from the hand of a devotee of the style who has been irreversibly infected by way of its strain and bass.

Dub: pink scorching vs Ice chilly is the second one publication released by means of Noch.
www.nochpublishing.com

About the Author

Richard Skinner is a novelist, poet and Director of the Fiction Programme at Faber Academy. His novel, The Velvet Gentleman (Faber & Faber, 2014), is a fictional biography of the lifetime of Erik Satie, a translation of which used to be shortlisted in France for the Prix Livres & Musiques. a few poems from his assortment, the sunshine consumer scheme (Smokestack, 2013) have been selected via the overseas collective of musicians, Pablo’s Eye, as lyrics for his or her album, all she wishes grows blue (Swim~, 1998). http://richardskinner.weebly.com/

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Extra resources for Dub: Red Hot vs Ice Cold

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During the Jikken Kǀbǀ period we discussed Japanese time, space and western structure…. 72 Yuasa’s research into personal and musical subjectivity recognized a possible convergence between the discovery of an originality of Japanese thought in Zen and some aspects of the new French music, particularly of Messiaen and Jolivet, who were studied by both Yuasa and fellow artists within Jikken Kǀbǀ. Yuasa came across Jolivet’s music in 1951:73 In the Que sais-je? series I found a book called La Musique française contemporaine, which contained the names of Olivier Messiaen and André Début 23 Jolivet.

Ex. 16 Cosmos Haptic, mm. 60 ff. - © Ongaku no Tomo 1973 This does not, however, represent in any way a reduction in the strong tension that has been attained in the work. One notes here the two tritones superimposed on one another in an expanded form, as seen in m. 7, this time raised a semitone higher and repeated in such close succession that they have no time to resonate as they had in m. 8. Even in this last, conclusive appearance, cell III is heard in a completely new way, no longer vibrantly static and contemplative as its inner tension has been expanded to make it now the centre of attention (in the last three measures).

11), I is “glossed” by a falling figure of four thirtysecond notes containing intervals of the augmented octave, the fifth, and the diminished octave: a minimal cell that, for convenience, will be identified as II. Notwithstanding its infrequent appearances (5 in total), cell II is one of the building blocks of this work, with its immediate recognisability in strategic positions, its logic of contraction/expansion applied to the intervals with the change in position of the two octaves and the altered central interval of the fifth.

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