Temps Noir TN-01

It is said that in 1967, in Jamaica, DJ Rudy Redwood played the first-ever dub record in music history. The story goes that day, Redwood was spinning vinyl on the Supreme Ruler of Sound sound system and made a mistake trying to play a hit by The Paragons. Redwood's error was bringing a test acetate disc - a dub plate - on which the group's vocals hadn't been recorded yet. So, the dub plate was a test disc without the group's lyrics. The audience's reaction was immediate, sparking an instant enthusiasm for this wordless musicality.

Soon, the Jamaican record industry began cutting purely instrumental records, and artists and musicians focused on sound experimentation to amplify the sonic space of the bass/drum duo. This marked the era of reproducing many dubplates of already famous records under the guidance of sound engineer King Tubby, who was the first to truly sculpt sound through well-known effects like reverb, saturation, echo, phaser, or bass and drum amplification.

Tubby was the first engineer credited as an artist on the covers of the dub records he broadcast through his pirate radio (Tubby’s Radio Station) and emerged as one of the pioneers elevating sound to a higher dimension. What characterized early dub was this attention to sound itself. Through a sense of doubling and voluminous, spectral occupation of space, dub sound, as a physical phenomenon, took on an aesthetic and experimental dimension, allowing music to engage the listener's senses.

Dub would then refer to this musical turning point where music took on an existential dimension, questioning the accuracy of our senses and representations. Its deferred occupation of space also evokes a certain nostalgia for a past that continues to return and haunt us, like a call to slow down a constantly accelerating arrow of time in a society of performance and efficiency.

This existential dimension also influenced what is known as dub poetry, which is a form of Jamaican poetic expression inspired by dub music. It proclaims engaged texts on racial and socio-economic issues of the time to denounce the harmful effects of certain capitalist logics.

1.Fgarciolo - Damping - [Legend 1997 Records]
2.Wax - 30003b - [Wax]
3.Sandwell District - Hunting Lodge - [Sandwell District] 
4.Darko Esser - QT -  [Wolfskuil records] (All proceeds from this album will go to Extinction Rebellion.)
5.Luke Hess - Gratiot Ave. - [Dolly]
6.Kristian Heikkilä -  Prime - [Gynoid Audio]
7.Ø [Phase] - Morodem (Floor Mix) - [Token] 
8.Holden Federico - Within - [The Third Room] 
9.Alexander Kowalski - Elements - [Arts] 
10.Kr!z - Nautilus - [Token]
11.rkeat - pal - [rkeat]
12.Tino Trøster - Red Mist - [AKRONYM]
13.Salbany - True Fallen - [Diffuse Reality Records]
14.Julian Muller - Issa’ - [The Third Room]
15.Chontane - Moellex - [Arts] 
16.Introversion - Nostalgia - [Arts] 
17.Dold - Untitled 2 [Arsenik]

Nostalgic Dub

A Contest Mix Set for @sfora_art 14-17.6.2024

This DJ set was recorded as part of the DJ open call organized by the Sfora festival in Rajgród, where my friend and brother yung_gucc will present his holograms to haunt the scenery of this outdoor festival. Therefore, inspired by this spectral and organic atmosphere, I recorded this deep and atmospheric set.

Un labyrinthe plus terrible qu'un labyrinthe circulaire : un labyrinthe en ligne droite.

Atopie : A contest Mix Set for @sfora_art 14-17.6.2024

Part of @collectif-meta 
Hank is a DJ based in Brussels, where he co-founded the collective Méta with friends. Inspired by the history of techno and its early days in Detroit, his influences range from the fierce sounds of UK techno to the color and softness of a certain Berlin dub techno, with a particular interest in the emerging scene of Amsterdam. With a background in philosophy, he blends these influences, aiming to lead the audience into sonic and conceptual adventures while never forgetting the most important aspect on the dancefloor: the liberation of bodies and minds.

Hank

Popular tracks