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10"
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SATOTEM 002EP
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Stroboscopic Artefacts is releasing its latest addition to its Totem series, L.B. Dub Corp's Roar. Luke Slater's L.B. Dub Corp moniker seen him be a pioneer throughout the genre's many corners since techno was a newborn phenomenon. Roar injects a carefully measured dose of dance floor adrenaline, getting a gradual rolling start with the title track, a kind of minimal rapture that's enveloped by an unforeseeable boiling of tape delay and ambient space. "Hard Wax" is a hardnosed amalgamation of dirty analog sounds, while "Step Sure Dub" keeps the machine minimalism rolling.
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12"
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MOTE 053EP
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Opening proceedings, "See The Light" unveils a soulful and vocal driven side to the L.B. Dub Corp sound, whilst "We Are Going Home" switches up the aesthetic and moves into duskier, percussion driven territories. Last up, Slater punctuates the EP with the intricate, snaking sonics of "Calling The Spirit", harnessing slick, skipping hats, and a hypnotic, ever-evolving lead line.
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2LP
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MOTE 004LP
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Reflecting on a career spanning three decades, Luke Slater is a true dance music legend. The British producer has not only been pivotal in the rise of techno but his work continues to play a vital role in driving the genre forward, particularly under his Planetary Assault Systems name. Following its launch in 2006, Slater's L.B. Dub Corp moniker has been responsible for refreshing house music on labels like Mote Evolver and Ostgut Ton, with the latter hosting the pseudonym's debut album in 2013 (OSTGUT 029CD/015LP). Side Effects is the project's first body of work since then. Slater on the recordings: "I wrote the tracks over the last year between being on the road as P.A.S. and playing a few L.B. Dub Corp house sets, which naturally evolved into Side Effects almost accidentally." Crashing stabs and a rolling hook inaugurate the album in "Reel One" before the meandering "Night Time Hawk" demonstrates effervescent effects and bursts of white noise. Commanding kicks and a moody bassline make up the robust "Edge 7" whilst "IELBEE" exhibits a bouncy aesthetic complete with intricate melodies. "Float When You Can" is dark and ominous from the off but an echoing note sequence adds a glimmer of light, making way for the reverberating mechanics of "Bass Machine" before leading into the twisted sounds and ghostly air of "Forever In A Day". Nearing the end, "LBEES Jam" is the most lighthearted track on the album with its twinkling lead melody until Slater rounds off the release with a soulful and vocal driven affair "All Got To Live". "Edge 7" features Aurelie Yung. 180 gram vinyl. Includes download card.
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12"
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OSTGUT 071EP
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Luke Slater's L.B. Dub Corp alias makes a welcome return to Ostgut Ton. After 2010's Take It Down (In Dub) EP, this second 12" also announces the release of the Unknown Origin album. On the three tracks for this EP, L.B. Dub Corp digs deep into the history of dance music. The euphoric early days of house make themselves apparent on "Turner's House" and are combined with tribal dub elements on "Nearly Africa Dub." Benjamin Zephaniah, arguably the UK's premier wordsmith, lends his wit and wordplay to "I Have a Dream," together with L.B. Dub Corp's treatments, they catch the listener unawares.
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2LP
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OSTGUT 015LP
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Double LP version, featuring 8 of the 10 tracks from the CD.
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CD
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OSTGUT 029CD
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Ostgut Ton presents Unknown Origin, the debut album from Luke Slater's L.B. Dub Corp moniker. The ten tracks recorded at Spacestation Ø form a hymnal intent on transporting you back to the roots. Digging deep into the history of dance music, Unknown Origin dares to ask the big questions and offers no easy answers. Instead, deep spiritual dubs are side-by-side with slices of piano house, and handsome slabs of techno contrast with the words of the silver-tongued poet Benjamin Zephaniah. In L.B. Dub Corp's capable hands this examination of what has gone before is in absolutely no way nostalgic. These are tracks informed by the past and rooted firmly in the present. The euphoric early days of house make themselves apparent on "Turner's House" and the jubilant "Nearly Africa." They are also the key to the building piano line on "Ever and Forever." But house's ability to soothe a mournful soul is far from forgotten and "No Trouble in Paradise" should be kept close when everything's far from blissful. Through Unknown Origin L.B. Dub Corp makes it clear that his dub influences don't stop at its rhythms, but extend right into dub poetry. Benjamin Zephaniah, arguably the UK's premier wordsmith, makes two appearances on the record. He lends twisted turns of phrase to the swung, sensuous opener "Take a Ride," and returns at the album's mid-point to fill "I Have a Dream's" synthesized arcs with wit and word play. Zephaniah's words and L.B. Dub Corp's treatments catch you unawares, and this is why they're such a fantastic pairing. "I Have a Dream" undercuts the closed-down thinking that plagues politics and the us-and-them thoughts that can creep into rallying speeches. Together they create a surreal hymn for our pluralistic times. Equally there's just as much wisdom to be found in the smooth samples on "Generation to Generation" as there is humor. Amid the speculative, introspective moments on Unknown Origin there is no shortage of tracks to detonate dancefloors. "Anytime Will Be OK" is a grooved masterclass and "L.B's Dub" operates at jittery high-octane. The record draws to an almighty close with "Roller," featuring another formidable figure, Function. This pitch-black track provides the menacing last twist in the tale, a firm techno cut to end a record which traces dub to its roots and celebrates the heritage of house.
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12"
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OSTGUT 039EP
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British techno pioneer Luke Slater's L.B. Dub Corp arrives on Ostgut Ton in its latest electronic mutation. "Take It Down (In Dub)" is an extended experiment in dub textures. With reduced club energy at its core, Slater heats up his dynamic onset of sound, slowly unleashing a heavy, twisted funnel of steam and metal. "It's What You Feel" sustains melody with classic house vibes. This rare L.B. Dub Corp appearance reveals the more esoteric end of Luke Slater's creative spectrum.
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