For ‘Tsatsa Tushen’, Ripit created four trance-inducing tracks of swampy industrial dub music, using vinyl loops of ethnographic African recordings, modular synths and intense dub-mixing. The general smokey atmosphere is generated by the collision of several unsettling rhythm layers, scattered echoes, crawling basses, raging stabs and drowned-out voices, guiding the listener on a unstable path towards a dissociative rite.
It should come as no surprise that Ripit releases these tracks now, as dub music has always been a part of his musical heritage. Not just in his work with Fujako, but also in his prolific early years years in the late 1990s, you’ll find obvious links to dub. Hence the title, which means ‘knots of time’ in the main West-African language Hausa. ‘Tsatsa Tushen’ combines the old with the new, the dusty ethnographic records with modern electronics, bending the time and space continuum in a noisy Dub.
Since the 1970s, dub and industrial music find their common ground in the recycling of found sounds and in exploring electronic tools. Adrian Sherwood’s On-U Sound blended Dub with diverse emerging musical influences and industrial artists explored diverse forms of music, their paths regularly crossing. Ripit merged these influences and philosophies in this record.
Think of dusty-needled, hand-driven turntables playing sun-bent vinyls such as African Head Charge’s ‘Songs of Praise’ Muslimgauze’s ‘United States of Islam’, Test Dept’s ‘Critical Dub’, Badawi’s ‘Jerusalem Under Fire’ or The Bug’s ‘Tapping The Conversation’.
released September 13, 2017
All tracks by Nicolas Esterle at Zen666 2014-2015
Mastered & cut by Frederic Alstadt at Ångström Mastering
Images by Eric Desjeux
Design by Silken Tofu