drames rurals / Shackleton Mixes / Hivern Discs

In 2020, 3 Barcelona-based DJs and producers – Ignasi Sadurní, Modular_Juns and Oriol Riverola  – collaborated with singer / songwriter Meritxell on a project called drames rurals. With a title taken from a collection of short stories written by Victor Catala – the pen-name of Caterina Albert i Paradís –  the results were 6 tracks of experimental dub, lent an accessible, pop edge by Meritxell’s vocals. These were pressed onto a trio limited of 45s, but Shackleton has now got his hands on them, extending and reworking 3 of the tunes. His remixes slotting together like one seamless piece of deep, drum and bass driven mediation. Where tribal rhythms are played on heavily echoed percussion, rocked by bottom end boom and bolts of mixing desk thunder. The latter shaken into delayed shards in subterranean, cavernous surroundings, and haunted by ethereal whispers, washes of close harmony, ghostly, collaged Dominican / Gregorian choirs. Synths buzzing and snaking amidst controlled explosions of low end feedback. This was a(nother) Tom Dubwise tip. 

LNS & Sotofett / Step Eight / Resonance Of Dub

LNS & Sotofett launch their new label, Resonance Of Dub, with a 45 that was initially available during a recent Japanese tour. The A-Side, Fanti Shake, sees the duo reunite with Ekowmania, having worked on his 2024 LP, Dr. Afrodub. A piece of party-starting afro, its racing rhythm packs a punk pogo energy drawn from horns, chants and crazy cowbell. Step Eight is the deeper flip. A stripped back skank, still with pacy percussion, but whose B-line gives dancers a half-speed option, its melodic hooks counter dubbed out Fender Rhodes with panpipes. 

Rhythm & Sound / Music A Fe Rule / Rhythm & Sound

Originally released in 1997, this, the 5th 12 from Rhythm & Sound, and their first on their eponymous label, has just been repressed. Mark Ernestus and Moritz von Oswald create characteristic complexity from minimalism. Taking a tiny scuffed loop, a locked groove that after a couple of seconds, jumps, jolts back to the start, and transforming it into a hypnotic, head nodding epic through the constant flickering filtering of a  Roland RE-201 Space Echo. Paul St. Hilaire vamps, riffs and ad libs while singing music’s praises. Providing a focal point. Preventing deep listeners from getting completely lost. His sudden shrieks and shouts shocking them back to reality. 

There are a lot of softer sounds about. The sort of stuff that used to get played in acid house / Balearic Beat backrooms, or at the end of the night. “Loved-up” reggae vibes. Florida-based vocalist, Sailor Jane, for example, covers Sade’s Cherish The Day in a bass heavy lovers rock fashion. Singled out by Lion Vibes from her album No Ordinary Dub, it features flashes of Jackie Mittoo-esque Hammond organ, while on the other side is an even heavier dub. Jallanzo The Dub Wizzard does the honours. Slapping spring reverbs – or the modern day equivalent. Adding gurgling, wah-wah mixing desk effects. Extravagantly EQing and echoing snares. 

San Francisco-based Texan Ross Hogg has also just reworked “Cherish”. Mixing Adu’s angelic vocals with Damien Marley’s dread Welcome To Jamrock. While this mash-up might be a little gimmicky it’s paired with a nice chunky, funky Taxi Gang-like lick of No Ordinary Love.

In a similar sonic vein, Japan’s Jetset have pressed a couple of sought after Sonia Ferguson cuts onto a 7. Both tracks are taken from her Delroy Witter-produced 1980 LP, Magic Lady. Ferguson’s reading of Rose Royce’s romantic, heartbroken hit, Love Don’t Live Here Anymore, is skanking, syn-drum popping and reverb-rinsed. Her cover of Diana Ross’ Motown tear-jerker I’m Still Waiting flashes me right back to Boy’s Own / Balearic bashes, such as The Yellow Book, where, in 1990, the Phil Chill, Soul II Soul-esque remix was a big end-of-the-night number. It has to be said that Sonia’s shake is much more roots and significantly more sophisticated.