DATHE is an electro-punk collaboration between legendary drummer Dave Barbarossa and synthesizer programmer David Harman.

As part of both Adam and the Ants and Bow Wow Wow, Barbarossa was instrumental in creating the "Tribal" drumming trend that was popular among British and some American bands, circa 1979–1983. The two most famous examples of this style were Bow Wow Wow and Adam and the Ants, but it also included John Lydon's Public Image Ltd., The Cult, and Killing Joke.

The revolutionary Tribal drum sound was heavily influenced by African Burundi drumming and featured backing beats played mostly on the tom-toms instead of traditional rock beats as played on cymbal, kick drum, and snare. This method created a rich, dramatic, and primeval atmosphere that had not previously been employed in a rock context, and was used extensively by post-punk bands of this era. Later bands, such as Jane's Addiction, Korn, Slipknot and many current bands have been influenced by this style.

In the mid-1990s, Barbarossa was in Republica, which had chart success in the UK and America with songs such as "Ready to Go" and "Drop Dead Gorgeous", and then he worked on the Live shows for Chicane, where he met David Harman - Chicane's then studio engineer and programmer.

DATHE is a collaboration between these two minds, driven by a common love of deep, evocative, punky tribal grooves and textures. They are grounded in electro punk, with a faint shimmer of modern trance, but remain hard to categorise into any usual genre... .

Windbreaker’s Hostage is a strange thing that exists the intersection of eviscerated dance genres. It’s almost as if Nick Read had adopted the role of a Mayan priest, and extracted the heart of Acid, EBM, AI-IDM and EBM one by one, and then hurled their carcasses into a cenote, from which eventually emerges a beast with the poise of a Hidetaka Miyazaki nightmare.

The feeling of alienness is almost unbearable. We know acid, but not this brittle. We know the death-head rattle of Factory Floor, but not without the dystopia. We know EBM, but not de-sexed. We know Warp’s techno, but not without the ravey trippiness.

Nature abhors vacuum though, and the components of this composite eventually expand to fill the void at its heart with the main thing that they share, a sense of eternal propulsion, a knowledge that stasis is decay, that if you stop moving, you will die.
We run with it for a while, and then we are left behind.
20jazzfunkgreats.
"Windbreaker is the solo project of Nick from Lazer Crystal – those immaculate automaton of arpeggiated bliss. As you’d expect from one facet of this Crystal – ‘Meat, Me on the Autostrade’ is a sumptuous feast of Drexciyan chords served upon a Robotnik platter by a cubist algorithm. The final course is a smooth dessert of C64 pastel-prog with a distant vibez of  Brassica, Hubbard and Moore dancing over your tongue, like squares of impregnated paper featuring the logo of the melodic illuminati that those three would surely form. 20jazzfunkgreats. 
  'astral projected gunship' "Here you have a prototype, in the shape of Windbreaker’s Suicide-class battle cruiser. The cruelty of its distortion torpedoes is balanced with the chivalrous aspirations of the squadron of magnificently moustachioed Hussars crewing it." 20jazzfunkgreats.   
 you can purchase both of these songs on colored vinyl here- http://seehrs.com/


UPCOMING SHOWS-
11.15 CHICAGO burlington neonmarshmellow music fest
12.6 HAMBURG GERMANY hafenklang
12.8 BERLIN GERMANY madame claude
12.12 DARMSTADT GERMANY oetinger villa
12.14 MALMO SWEDEN singsang-studion
12.15 GOTHENBURG SWEDEN kolonis julfest
12.17 VIENNA AUSTRIA rhiz
12.19 BUDAPEST HUNGARY toldi mozi
3.19 CHICAGO burlington
3.23 CHICAGO hideout
4.20 CHICAGO cimmfest
4.23 CHICAGO burlington


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Il duende ama il margine della ferita e si avvicina ai luoghi dove le forme si fondono in un anelito superiore alle loro espressioni visibili.

Il duende prepara le scale per una evasione dalla realtà che ci circonda.

..."tutto quel che ha suoni neri ha duende". E non c'è verità più grande. Questi suoni neri sono il mistero, sono le radici che sprofondano nel limo che tutti conosciamo, che tutti ignoriamo, ma da cui ci giunge quanto è sostanziale nell'arte. 

Ogni arte possiede, com'è naturale, un duende di modo e forma diversi, ma tutte uniscono le loro radici in un punto, dal quale sorgono i suoni neri, materia ultima e fondo comune, incontrollabile e tremante, di legno, suono, tessuto e vocabolo. Suoni neri dietro cui stanno già in tenera intimità i vulcani, le formiche, gli zefiri, e la grande notte che si cinge la vita con la Via Lattea.

Duende nell'arte è quel fluido inafferabile che ne è il sapore, la radice, una sorta di serpentina che lo immette nella sensibilità del pubblico". 

Le varie manifestazioni artistiche obbediscono ad un analogo impulso: l'ansia di "stabilire la comunicazione d'amore con gli altri in quella meravigliosa catena di solidarietà spirituale a cui tende ogni opera d'arte e che è il solo fine della parola, del pennello, della pietra e della penna". 



ENGLISH Version
The duende loves ledges and wounds, that he enters only those areas where form dissolves in a passion transcending any of its visible expressions.

The duende prepares the ladders for flight from encompassing reality.

..."whatever has black sounds has duende." There is no greater truth. These black sounds are the mystery, the roots that probe through the mire that we all know of, and do not understand, but which furnishes us with whatever is sustaining in art.

Each art has, by nature, its distinctive duende of style and form, but all roots join at the point where the black sounds issue forth - the ultimate stuff and the common basis, uncontrollable and tremulous, of wood and sound and canvas and word. Black sounds: behind which there abide, in tenderest intimacy, the volcanoes, the ants, the zephyrs, and the enormous night straining its waist against the Milky Way.


ESPANOL
El duende ama el borde, la herida, y se acerca a los sitios donde las formas se funden en un anhelo superior a sus expresiones visibles.

El duende prepara las escaleras para un evasión de la realidad que circunda.

..."todo lo que tiene sonidos negros tiene duende." Y no hay verdad más grande. Estos sonidos negros son el misterio, las raíces que se clavan en el limo que todos conocemos, que todos ignoramos, pero de donde nos llega lo que es sustancial en el arte.

Cada arte tiene, como es natural, un duende de modo y forma distinta, pero todos unen raíces en un punto de donde manan los sonidos negros de Manuel Torres, materia última y fondo común incontrolable y estremecido de leño, son, tela y vocable. Sonidos negros detrás de los cuales están ya en tierna intimidad los volcanes, las hormigas, los céfiros y la gran noche apretándos la cintura con la Via láctea.

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