Apr 24
seen from Thailand
seen from United States
seen from United States
seen from Türkiye
seen from Malaysia
seen from United States
seen from Thailand
seen from Thailand
seen from United States
seen from United States
seen from Bulgaria
seen from Russia
seen from Germany
seen from United States
seen from United States
seen from United States
seen from United States
seen from Türkiye
seen from United States
seen from United States
Listen/purchase: Handling by F.S.Blumm & Nils Frahm
Quasi Dub Development - QDD3 - sounds like real dub to me; Luca Fadda & F.S. Blumm
The QUASI DUB DEVELOPMENT (QDD) was founded around 2010 on a sardinian beach by Luca Fadda and F.S. Blumm. The QDD love Dub and play it by hand with their many instruments and live effects. The band works as a worldwide, modular project: Luca Fadda uses electrified trumpet in New York and F.S.Blumm plays guitar and self-built instruments in Berlin. Jason Candler is staying steadily tuned to the saxophone and co-composes the horn-section. The new QDD rhythm section is based in Barcelona: Corrado Loi on bass and Giorgio Fausto Menossi on drums.
Other guest musicians from Stockholm, Berlin or Amsterdam come and go. The QDDs friendly sound has convinced Lee 'Scratch' Perry, to make an appearance on their second album “Little Twister vs Stiff Neck” and right there You may also find the striking vocals of the Grande Dame de Dance Hall, Lady Ann.
The QDD have colloborated with Victor Rice, Sub Atomic Sound System, Kim Hiorthoy, Loopspool (Tied & Tickled Trio), Guido Möbius and others. Their thrird album "QDD3" is going back to the roots of the QDD: live played instrumental music, dub music: rub it, squeeze it, fresh like a lemon.
F.S.Blumm & Nils Frahm - 2X1=4 - their new dub album
F.S.Blumm and Nils Frahm return with their fourth collaborative album: 2X1=4 is out now on LEITER, the new label formed by Frahm and Felix Grimm.
“We had a certain sound in the back of our heads,” Blumm recalls, “which was influenced by these 80s rhythm machines, and we suddenly discovered a common love for dub.” Most of the album, therefore, was initially developed in 2016 during improvisation sessions recorded by Frahm to two-track cassette. “It was like we were running a combine harvester,” Blumm laughs, “so we could write our names on a single grain!”
“I love ending up somewhere where I’m surprised by myself or the machine or the person with whom I’m making music,” Blumm concludes, while Frahm emphasizes that, “None of this is too serious. The record is only as much of a dub record as the ones before are jazz records…”