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Dub Trio - The Shape Of Dub To Come
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|||||| -----------------=--= RELEASEiNFO =-=------------------- ||||||
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||| Artist Name_____> Dub Trio |||
||| Album Name______> The Shape Of Dub To Come |||
||| Label___________> New Damage Records |||
||| Genre___________> Rock |||
||| URL_____________> http://dubtrio.com |||
||| Release Date____> 2019-05-02 |||
||| Street Date_____> 2019-04-26 |||
||| Size____________> 265.26mb ||
|| Playtime________> 45:50 ||
|| Encoder_________> FLAC 1.3.1 ||
|| Quality_________> 770 kbps / 44.1khz / 2 channels ||
|| ||
| |
| -----------------=--= TRACKLiST =-=------------------- |
| |
| |
| 1 World of Inconvenience (feat. King Buzzo) 5:50 |
| 2 Spyder 4:22 |
| 3 Fought The Line (feat. Troy Sanders) 5:50 |
| 4 Bad Comrade 4:27 |
| 5 Life Signs 5:14 |
| 6 Forget My Name Dub (feat. Meshell Ndegeocello) 4:34 |
| 7 Needles 5:26 |
| 8 Computery 4:24 |
| 9 Sati 5:43 |
| |
| |
| -----------------=--= N O T E S =-=------------------- |
| |
| |
| Every time we wake up, we return to life. Shaking off slumber, the |
| world seemingly begins anew in front of our eyes. |
| |
| Dub Trio underwent such an awakening. |
| |
| Over nearly two decades together, the Brooklyn triumvirateùStu |
| Brooks [bass], DP Holmes [guitar], and Joe Tomino [drums]ùnot only |
| delivered a string of albums that forever redefined the term ôdubö |
| under cover of metal, punk, alternative, and shoegaze, but also |
| infused its musical prowess into the studio recordings and the |
| shows of genre-bending icons ranging from Mike Patton to Lady |
| Gaga. The three-piece introduced itself on 2004Æs ôlive-dub |
| experimentö Exploring the Dangers Of followed by successors New |
| Heavy [2006], Another Sound Is Dying [2008], and IV [2011]. |
| Conjuring up instrumental music hummable enough to sing, praise |
| came from the likes of Pitchfork who predicted ôDub Trio are on to |
| something.ö Along the way, the guys served as Peeping TomÆs live |
| band and toured alongside everyone from Clutch to Gogol Bordello |
| and Dillinger Escape Plan. |
| |
| However, the band took a hiatus as a collective in 2015 after |
| touring heavily behind IV. Having an impact on various genres, |
| they served as the backing band on the Lady Gaga demos that |
| famously attracted the attention of Interscope in addition to |
| backing Matisyahu for six years. Brooks received a GRAMMY« Award |
| nomination for his work with Pretty Lights in addition to backing |
| Rock and Roll Hall of Fame« Inductee Dr. John on the road. During |
| 2018, he played bass in the Saturday Night Live Band sharing the |
| stage with the likes of Kanye West and Kid Cudi. Moreover, he is |
| the musical director and bassist for the GRiZ Live Band alongside |
| Tomino. Additionally, Tomino hit the kit for The Fugees as Holmes |
| lent his six-string talents to Mos Def, Common, and more in the |
| studio. Members shuffled around the country with Holmes in North |
| Carolina and Tomino in Cleveland before regrouping for a European |
| tour in 2017. |
| |
| A two-week 2018 reunion at a tiny Brooklyn rehearsal spot set the |
| stage for their fifth full-length and first release for New Damage |
| Records, The Shape of Dub To Come as an homage to titles such as |
| The RefusedÆs The Shape of Punk to Come and Ornette ColemanÆs The |
| Shape of Jazz to Come. |
| |
| ôThe band has been in hibernation, and now weÆve awakened,ö smiles |
| Brooks. ôIt took a while just by virtue of the fact everyone was |
| in a different geographical location. Once we got together, we |
| rehearsed for a few days, hit the studio, tracked, and mixed |
| everything within two weeks. It has a different energy. ItÆs more |
| fresh. The first time playing these songs was three days before we |
| hit ærecord.Æ ThatÆs a big part of the recordÆs identity. We |
| needed a little bit of a break, because weÆd gone so hard for |
| fifteen years. Joe had a baby. Dave had a baby. In the rehearsal |
| room, it was like no time had passed though. There was a little |
| bit of nostalgia and sentimentality. We fell into our usual |
| patterns and continued.ö |
| |
| ôIt felt like going back to the beginning,ö adds Tomino. ôBack in |
| the day, we used to play in really close quarters: DaveÆs |
| basement. ThatÆs where it started. Here we are in this little |
| Brooklyn rehearsal room, and it brought me back to the roots of |
| Dub Trio. It started this recalibration as we went home to the |
| genesis of Dub Trio and evolved from there.ö |
| |
| This time around, the groove hinged on slower stoner-inspired |
| sludge riffingùanother first. The space allowed the dub to |
| flourish. ôWe got comfortable with the space,ö adds Tomino. ôWe |
| could let it breathe and let it go, one step at a time. Even |
| though we hadnÆt necessarily been that sludgy in the past, it made |
| room for the dub.ö |
| |
| Album opener ôWorld of Inconvenienceö [feat. King Buzzo of The |
| Melvins] illuminates this progression. Guttural guitar buttresses |
| up King BuzzoÆs cacophonous bellow as feedback curls around a |
| thick beat. Meanwhile, the single ôFought The Lineö [feat. Troy |
| Sanders] pairs a near-whisper with a delicate clean guitar as the |
| Mastodon vocalist and bassist carries a sweeping crescendo. Pinch |
| harmonics squeal amidst a simmering backbeat as the track |
| culminates on a haunting and hypnotic chant. |
| |
| ôIÆm always very humbled when someone wants me to be a part of |
| their art,ö says Sanders. ôæFought The LineÆ references struggle. |
| It comes from a poem that I wrote inspired by a conversation I had |
| with cancer itself. I stared at a face of beautiful soft skin and |
| assured this face, æI will take care of you.Æ WeÆre fighting one |
| battle together. IÆm right there, if things fall into my hands. |
| The verses were therapy venting my anger. When people are |
| fighting for their lives, itÆs very easy to go off the line. If |
| death is reeling you in, then you have to fight and do anything in |
| your power to overcome it. I just wanted to be there to support.ö |
| |
| Elsewhere, ôLife Signsö borders on dark industrial with its |
| glitchy electronic swells, and ôSpiderö crawls with a menacing |
| intensity. At the center, ôForget My Name Dubö [feat. Meshell |
| Ndegeocello] emanates soothing transmissions from the vocal |
| phenomenon upheld by forward-facing reggae rhythms and sparse |
| production. It personifies the title, The Shape of Dub To Come. |
| |
| ôWe were a dub/reggae band, and we started implementing what we |
| thought was cool from The Refused and bands like that,ö explains |
| Brooks. ôThe Shape of Dub To Come describes our whole method; |
| applying dub as a process to virtually any style of music. The |
| future of dub doesnÆt have to be just reggae. ItÆs a process |
| rather than a genre.ö |
| |
| In the end, Dub Trio are awake and staring into a bright future. |
| |
| ôThese songs come together like chapters of a book,ö Tomino leaves |
| off. ôItÆs an auditory snapshot of the individuals and the |
| collectiveùwhere we were and where we are. ItÆs a big arc that |
| spans everything from our roots to metal and ambient electronic |
| music. ItÆs a big picture of little snapshots.ö |
| |
| ôWe hope you listen to the whole thing from start to finish,ö |
| concludes Brooks. ôIt takes you on a journey and tells a story. |
| Hopefully, you end up in a different place at the end. We |
| certainly did.ö |
| |
| |
| -----------------=--= GREETiNGS =-=------------------- |
| |
|\ /|
|\\ AEROHOLiCS - ENTiTLED - FNT - FTD - PMS - r35 /|
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