oh gee, Chicago, United States
ALOIS HUBER/OH GEE feat. BAUCHKLANG
Their circular organisation distinguishes cybernetic systems from systems that are organised differently. Heinz v. Foerster
Re:Visions on 10’’ are musical trips that establish feedbacks between the past and the future. The current 10’’ is a part of this series, which was started by Alois Huber and Oh Gee in 2009.
From the start, Re:Visions vibrated in dub parameters: For the first release, samples of Supermax, the visionary Austrian dub pioneer, were reworked into psycho-sonic dubstep heading towards Detroit techno. In the typical 10’’ format, too, with a version included. The second vinyl transformed «So wie du dir das denkst, geht das nicht» by the German band Dub Voyagers, this time with a mix by Sam Gilly of House of Riddim. The 10’’ «So nicht!» (Not like that!) became the 2011 summer hit. After the electronic experiments of Max, So nicht! was mostly committed to a Roots-Reggae approach.
Signs now comes full circle and opens up new practices: Signs is a condensation of the homonymic number of the beat-boxing band Bauchklang from their 2010 album success, mastered by Falm (Formation ohne Name – FON).
Just like the preceding albums, Signs continuously sounds the depths of the relationship of the old and the new and oscillates between dub read as techno and roots riddims as practised minimal. «Signs», a socio-politically committed and driving Bauchklang number recorded with nothing but human voices, is submitted to an extensive transformation in Signs-10’’.
With its pitching beat, the bass monster «Snuggery Mix» bores into brains and hips like a virus. The mix purges the original number until a psychedelic maelstrom emerges which transforms the a cappella track into an electronic pressure chamber.
Gilly’s uptempo mix on the other hand creates associations with the sophisticated stoicism of bands like The Congos or Rhythm & Sound. The track treats the vocals in a more playful manner, enhances the dub atmospheres of the Bauchklangtrack, and the bass runs skilfully roll into eternity.
The constellation of musicians, producers, content and influences leavesno doubt: This 10’’ is something like a Lower Austrian tour de force. Alois Huber, Sam Gilly, Bauchklang and Falm are all local boys. And simultaneously, listening to Signs might suggest that Lower Austria is a province of Jamaica.
The operating principle of Signs is circulation.
Alois Huber and Oh Gee, the Austrian incarnation of Adrian Sherwood? This 10’’ is a good example of the extrapolations possible with dub and dancehall. In 2004, the German band Dub Voyagers recorded the track «So wie du dir das denkst, geht das nicht» (it doesn’t work the way you think). Huber/Oh Geeremixed it, and Sam Gilly (House of Riddim)recorded a version. German lyrics,brass section, relaxed bass runs: The correct sound feed for beach parties between Kingston and St. Pölten. The details show the true significance of this disc: Psychedelic sound experiments are introduced it seems subliminally, the bass booms as though it came from Studio 1. With the Gillyversion, one can detect his partiality for Roots Riddims of the King Tubby or Sly Dunbar brand, the echo chamber is set to lurching basses. While Huber/Oh Gee’s predecessor was mostly indebted to dubstep,this record heads back to dub future. The summer hit of the season.
HEINRICH DEISL, skug – Journal für Musik, Juli 2011
ALOIS HUBER/OH GEE feat. SUPERMAX
Revisions on 10’’: Max
A: »Chill Max«
AA: »Dub Max,
DOW 001, Dubonwax, www.dubonwax.com
That’s the sound! Alois Huber, Austrian grand master of low-tuned bass beats, once againgives us dubstep of historical dimensions. It is just the way it should be – tracks co-producedwithOh Gee, the Swabian US/Chicago resident, founder of the label Dubonwax. Released in befitting 10’’ format, feat. SUPERMAX –akaKurt Hauenstein, dub priestpioneerin Austria,»Brother Max« samples, and then: this bass.It is no coincidence that the two versions are called «Chill Max» and «Dub Max». While the first number takes up the kind of psycho-sonic ambient with twisted audio hallucinations well established by Huber and creates sombre soundscapes à la Burial, the second number is – at least in my opinion – this year’s best Austrian contribution to dubstep. Here, dubstep is clearly defined by dub and transformed into a techno context. Shimmering mid-range sounds might come from Dexciya at their height, while repetitive beats grind into the audio body unremittingly.Viciouslava, grumbling and pulsating. Time and space coordinates are vaporised. Definitely amust-havefor every well-sorted music collection, andintegral partfor every DJ bag anyway!
HEINRICH DEISL, skug – Journal für Musik, Sept. 2009