Paul Dickow’s mutant dub project steps into its 3rd decade with a batch of free-handed electro-dub-noise on Oakland’s Constellation Tatsu after turns on more labels than we can count since 2001
After leaving his mark everywhere from Kranky to Entr’acte and Idle Hands over the decades, Strategy’s umpteenth album sprays six permutations of cruddy dub electronics smeared with FX in a style and pattern that’s served him well.
We advise looking for the hypnotic dub-disco-house skudj of ‘Daydream Space Graffiti’ or the lilting bump of ‘In Space No One Can See Your Scream’, which is recalling that class Post rework of Grace Jones from Skam 400, if you have a club to budge. But the general vibe is more built for gouching out and getting faded, as encouraged from the gauzy skank of ‘Remote Dub’ thru the empty-belly echo chamber dubbing of ‘Fountain of Youth’, to its most sublime points on ‘Message from Ouroboros’ or ‘Surface Worlds’.
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Paul Dickow’s mutant dub project steps into its 3rd decade with a batch of free-handed electro-dub-noise on Oakland’s Constellation Tatsu after turns on more labels than we can count since 2001
After leaving his mark everywhere from Kranky to Entr’acte and Idle Hands over the decades, Strategy’s umpteenth album sprays six permutations of cruddy dub electronics smeared with FX in a style and pattern that’s served him well.
We advise looking for the hypnotic dub-disco-house skudj of ‘Daydream Space Graffiti’ or the lilting bump of ‘In Space No One Can See Your Scream’, which is recalling that class Post rework of Grace Jones from Skam 400, if you have a club to budge. But the general vibe is more built for gouching out and getting faded, as encouraged from the gauzy skank of ‘Remote Dub’ thru the empty-belly echo chamber dubbing of ‘Fountain of Youth’, to its most sublime points on ‘Message from Ouroboros’ or ‘Surface Worlds’.
Paul Dickow’s mutant dub project steps into its 3rd decade with a batch of free-handed electro-dub-noise on Oakland’s Constellation Tatsu after turns on more labels than we can count since 2001
After leaving his mark everywhere from Kranky to Entr’acte and Idle Hands over the decades, Strategy’s umpteenth album sprays six permutations of cruddy dub electronics smeared with FX in a style and pattern that’s served him well.
We advise looking for the hypnotic dub-disco-house skudj of ‘Daydream Space Graffiti’ or the lilting bump of ‘In Space No One Can See Your Scream’, which is recalling that class Post rework of Grace Jones from Skam 400, if you have a club to budge. But the general vibe is more built for gouching out and getting faded, as encouraged from the gauzy skank of ‘Remote Dub’ thru the empty-belly echo chamber dubbing of ‘Fountain of Youth’, to its most sublime points on ‘Message from Ouroboros’ or ‘Surface Worlds’.
Paul Dickow’s mutant dub project steps into its 3rd decade with a batch of free-handed electro-dub-noise on Oakland’s Constellation Tatsu after turns on more labels than we can count since 2001
After leaving his mark everywhere from Kranky to Entr’acte and Idle Hands over the decades, Strategy’s umpteenth album sprays six permutations of cruddy dub electronics smeared with FX in a style and pattern that’s served him well.
We advise looking for the hypnotic dub-disco-house skudj of ‘Daydream Space Graffiti’ or the lilting bump of ‘In Space No One Can See Your Scream’, which is recalling that class Post rework of Grace Jones from Skam 400, if you have a club to budge. But the general vibe is more built for gouching out and getting faded, as encouraged from the gauzy skank of ‘Remote Dub’ thru the empty-belly echo chamber dubbing of ‘Fountain of Youth’, to its most sublime points on ‘Message from Ouroboros’ or ‘Surface Worlds’.