INNA LAST TUNE STYLE!!!
DUB Deconstruction reveals the metaphysics of presence in a musical work by identifying its conceptual binary oppositions and demonstrating the speciousness of their hierarchy by denying the possibility of comprehending the “superior” element of the hierarchy in the absence of its “inferior” counterpart.
Denying an absolute and intrinsic meaning to either element of the hierarchy différance is revealed (rather than proposed as an alternative ) according to Derrida.
Wiki entry dub edit by Jah Billah reveals that DUB is Deconstruction.
Deconstruction is a term devised in the late sixties by
Jacques Derrida, a contemporary French Philosopher and post-structuralist. At one time being a word to describe the attempt to understand the provionality and ambiguity of communication, over the last decade its use has become more widespread and its true meaning has been lost or even perhaps just ‘morphed’ into something quite different. ‘Whatever its original meaning, in its now widespread use, deconstruction has come to mean “tear down” or “destroy” (usually when the object is nonmaterial).
In relation to the world of audio this term can be used to illustrate an artist or remixer’s process of disassembling a piece of music, only to reassemble it in a personal and unique fashion.
From essey on Deconstruction in Dub from 2011.
Describe the politics you feel are inherent in dub bass.
It relates to the general attitude which states that bassists are just there to do a job and hold down the rhythm, whereas vocalists and guitarists are the ones responsible for serious expression. To me, the bass has always been just as emotive as any other instrument. Dub music proves that’s so because it represents an inversion of clichéd perspectives about bass. With dub, the bass line is the hook of the song and the guitar is often there backing it up. The bass line also offers a low frequency melody that carries the key emotional content. The challenge in being a dub bassist though is you’ve got to do all of that using as few notes as possible. However, your brief is the same as it is for any other instrument—ensuring how you feel about the world is reflected back into your playing.
From Dr. Das – The politics of dub bass
by Anil Prasad 2007.
VIBRATION: THE IMPACTING OF ONE RHYTHM OFF ONE PLANE UPON THE
SUBSTANCE OF ANOTHER.
That is, the gas molecules [air] which the pressure zone vibrates, adopt its density and rhythm.
The atmosphere within the sound barrier is a meta-pressure zone composed of the infinite variety of these energies. Even more metaphorically: pressure zones are currents in the sea of sound within the shores of the sound barrier. Our sound barrier is formed by energies vibrating faster than 76o m.p.h.
How the qualities of energies of this velocity and vibration rate are heard entails a three-stage process. First, by a mechanical process in the middle ear, when the
exterior energy [pressure zone] vibrates, successively, the ear-drum, hammer, anvil, and stirrup transferring a re-proportioned energy to the inner ear. This begins a hydro-electrical process. The fluids of the cochlea vibrate, which in turn vibrate/fire the neurons along the basilar and tectorial membranes of the cochlea.
As neural impulses in the voltage of the central nervous system, the exterior energy has been transformed back into the realm of electricity [physical light].
The first place these neural impulses go is the memory, where they are distinguished, say, from the taste in your mouth right now, and from there to the cognitive center of awareness.
All sensory impulse first arrives at memory.
from
Rhythmajik – Practical Uses of Number, Rhythm and Sound
1992. by Z’EV
OUT OF MANY COME DUB AND OUT OF DUB COME ONE 