The Tapeworm presents…

 

 

TTW#92 – Jay Glass Dubs – Dislocated Folklore

Edition #1 – cassette only – limited edition of 100 copies, white shell
SOLD OUT AT SOURCE

Edition #2 – cassette only – limited edition of 100 copies, black shell
Buy in the TouchShop
Buy on Bandcamp


Illustration – SavX


A: Dislocated Dub
B: Folklore Dub


Dimitris Papadatos (b.1981, USA) is a composer, musician and sound artist based in Athens Greece. The main concern in his work is an apposition of disparate elements that assume a re-appropriation of historically applied methodologies while questioning forms of empowering them. The biggest body of his work reflects issues as copyright, spirituality and originality, undergoing a constant state of transfiguration of its outsourcing.

At the moment he actively runs three projects: ΚU, The Hydra and Jay Glass Dubs.

His work has been presented in various international institutions and festivals from the Transmediale, the Athens Biennale, the Onassis Cultural Centre and Fasma Festival, to the Athens/Epidaure Festival, Cynetart Festival and the Greek National Theatre.

His music is been featured in various radio shows including BBC Radio 3's Late Junction, NTS Radio, WFMU, Rinse France, Resonance FM, Independent Music Podcast, Dublab and Tiny Mix Tapes’ Tabs Out Podcast to name a few.

“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.


Reviews

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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