The Tapeworm presents…



TTW#92 – Jay Glass Dubs – Dislocated Folklore

Cassette only – limited edition of 100 copies

Illustration – SavX

A: Dislocated Dub
B: Folklore Dub

Dimitris Papadatos (b.1981, USA) is a composer, musician and sound artist based in Athens Greece. His experimentation in various territories of sound began in 2002 and since then he has indulged in sonic areas that vary from pop music to music-concrete,post-grime and dub. At the moment he actively runs three projects. ΚU, The Hydra and Jay Glass Dubs.

Jay Glass Dubs is an exercise of style focusing on a counter-factual historical approach of dub music, stripped down to its basic drum/bass/vox/effects form.

His work has been presented in various institutions and festivals from Transmediale, the Athens Biennale, the Onassis Cultural Centre and Fasma Festival, to the Athens/Epidaure Festival, Cynetart Festival and the Greek National Theatre, while he has composed scores for award winning short films and pioneering theatrical performances.

He has performed in venues and spaces such as Corsica Studios, NTS Radio and Radar Radio in London, Haus der Kulturen der Welt in Berlin, Bios in Athens, Echo Buecher in Berlin, Salon Des Amateurs in Düsseldorf and Détail Gallery in Paris. His music is been featured in various radio shows including BBC Radio 3's “Late Junction”, Trevor Jackson's show on NTS Radio, Sam Segal's show on WFMU, Tristan Bath’s “Spool's Out” show on UK's Resonance FM, Morpho's show on Dublab and Tiny Mix Tapes’ “Tabs Out” podcast to name a few. He has been featured and reviewed in online publications such as Tiny Mix Tapes, Boomkat, The Quietus and The Ransom Note among many others.

With the Jay Glass Dubs project, Papadatos has had releases on labels such as Bokeh Versions, Seagrave, Hylé Tapes and THRHNDRDSVNTT. His forthcoming projects include releases on labels such Anomia and Bokeh Versions among others as yet to be announced.

“Dislocated Folklore”, recorded especially for The Tapeworm, consists of two 30 minute long tracks that incorporate mainly stretched-out 0‘03” sample recordings of 90s Ragga 12” single intros combined with and recordings of a Quran recitation from a Turkish TV channel and Jay Glass Dubs’ signature hybrid hardware/software set-up.

The title refers to (and therefore is an intended pun of) the misinterpretation of “otherism” “orientalism”, “exoticism”, etc… – phrases often used over the past 100 years to describe a tendency of metropolitan musicologists to intellectualise forms of expression that have a very strong relation to roots, religion and ethics.


The Ransom Note (UK):

One of the hazards of wading through the tape label quagmire for your benefit, dear reader, is that some (perhaps a majority?) of the fine releases sticking out of the mulch are produced in such limited quantities that they’re rarely around long enough to be in stock by the time I hand-crank the organ to peal out these scattered notes. The question is, does that negate their noteworthiness? Of course some labels are noble enough to sell a digital alternative for interested parties who missed the boat, but others such as ever crucial outfit The Tapeworm resign their sold out charms to the oral tradition of the tapeworld, to only be uttered in passing by those who have clasped the music with their own ears. And that’s what the tape scene is all about really, isn’t it?

As such, you will simply have to imagine what Jay Glass Dubs’ first release of 2017 sounds like, but rest assured that “Dislocated Folklore” was another fine step forward for the Bokeh Versions-affiliated producer, and the premise was just as fantastic. “Two 30 minute long tracks that incorporate mainly stretched-out three-second sample recordings of 90s ragga 12” single intros combined with recordings of a Quran recitation from a Turkish TV channel.” Even if the name of the artist, the release and the label all turned to dust tomorrow, the description alone would surely lead an inquisitive traveler to the correct sonic destination.

Boomkat (UK):

Sublime, inverted dub trips from Jay Glass Dubs, an artist who stealthily infiltrated our playlists over the last 12 months with a series of class tape and vinyl excursions for Bokeh Versions, Seagrave and THRHDRRDSVNTNN.

His debut for The Tapeworm, Dislocated Folklore is one of Dubs’ dustiest and diffuse transmission; like John T. Gast and Muslimgauze smoked-up and exhaled by Mad Professor in effect, but perfused with an intangible soul of it’s own imagination that’s key to its allure.

Dislocated Folklore, as the title suggests, is a play on the simultaneously detached yet sincerely faithful nature of music made by “metropolitan musicologists” with no tangible connection to its roots or religious background, and likewise the tendency for things to become misinterpreted or lost-in-translation in that process of sampling and appropriation.

Using 3 second samples of the intros to ‘90s ragga records, combined with recordings of a recitation off Turkish TV and dissolved within the prism of Glass’ hybrid software/hardware array, the results are some of the most extreme and curious additions to the modern dub sphere in recent memory. For a start we can hardly detect any bass, which is possibly by design or due to the tape recording, but either way it lends itself to the very upper registers of perception, seemingly in perpetual escape to the borderlands between and above the eyes where his evaporating rhythms and hyaline thizz meet the ferric hiss of the recording format.

It’s an enveloping listen to say the least, and one both best suited to, and only available on tape…

Bleep (UK):

Bokeh Verions Jay Glass Dubs turns in a STELLAR entry for The Tapeworm. Built out of “sample recordings of 90s Ragga 12" single intros combined with and recordings of a Quran recitation from a Turkish TV channel and Jay Glass Dubs' signature hybrid hardware/software set-up” the result sits somewhere between a Lee Gamble LP and an Andy Votel mix. Incredible stuff.


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