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Innovation can be found by looking at the familiar from a new angle, a new perspective or orientation allowing new patterns to emerge.
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Y In Dub seems to aim at the heart of this impasse, showing that searching for some radically different new thing isn’t the only way forward. These moments of upheaval are really the culmination of small steps which don’t always end up sticking in the memory. Looking for drastic change overlooks the fact that most breakthroughs only appear that way from hindsight. As if blinded by a filter which allows only the familiar elements in something to be heard rather than noticing what’s new. Hand in hand with the rise of the nostalgia industry however, there are variations on the theme that there’s no ‘new’ music anymore. Depending on how you understand it, The Sex Pistols declaration of “no future” seems hilariously misjudged or eerily prescient when punk records from the 1970s are getting repressed in 2021. It leaves a particularly queasy feeling when attached to punk and post punk, music which claimed to sit in opposition now being flogged by the nostalgia industry. Though the underground always finds a way – and amazing new music sprouts through – Retromania seems real. Leaving aside the separate, essay in-its-own-right worthy question of why we still place physical releases, and records in particular, on a pedestal, the retro obsession detected by Mark Fisher and Simon Reynolds seems to have struck an absurd nadir. With limited pressing capacity, especially for vinyl, smaller labels and artists can find themselves in limbo as they wait an indeterminate amount of time to get new music released. It’d be easy to lament Y In Dub as another symptom of the age of the reissue, the deluge of old albums getting polished and then reprinted.
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But it raises the question, do we really need to take up mental (and actual) bandwidth revisiting an album from the late 1970s? I’d venture in this case, yes. Their debut is now being revisited once again, Y In Dub sees Dennis ‘Blackbeard’ Bovell MBE, the original producer of Y, lay down dub versions of the original’s nine tracks. Since then, they’ve released a couple of new studio albums, alongside remasters of Y and second album For How Much Longer Do We Tolerate Mass Murder, as well as live albums, compilations and more. An album which feels like it’s rising from somewhere between a dingy pub backroom and council estate soundsystem to punch uncompromisingly upwards.ĭisbanding in 1981, The Pop Group reformed in 2010 for an ATP curated by Simpsons creator Matt Groening.
One wild moment dub full#
Never sounding chaotic, rather an attempt to conjure a hierarchy-less world through sound, this febrile mess came fully formed on the five piece’s 1979 debut full length, Y. Mangled reggae and funk grooves charge through layers of echo and speaker burn, Mark Stewart’s vocals equal parts fierce rant and absurd theatre. Eschewing the art school abstraction and urban austerity of their contemporaries, their songs sound like cacerolazos. The Pop Group always seem the band from the post punk era most able to sound like an actual riot.