irun lions in dub format arkaitz villar
I txo!? Though dub rhythms are not really that well known over here, Fermin Muguruza has always interested in them. From the days of Kortatu down to the present day, they have always been an integral part of his music. This time round, his roving eye has fixed on bands from in and around Irun and they help him out on the newly released “Irun, Lion, Zion In Dub (Vol I)” (Talka Diskak 2007.) We got in touch with him to find out exactly what he’s up to now? You’ve chosen dub as a meeting point for groups from different musical backgrounds. Where did the whole idea come from?
Iñaki, the dj from Bad Sound System, plays dub music during coffee hour at Depor bar in Irun. It kind of turns into a place where you can understand the world better. The idea of getting everybody together through music at this meeting point came about while I was on the last tour.
While Black music is well-known here, dub rhythms are probably the least known branch. Was this another reason for the choice?
No. Anybody who knows my musical history knows that I’ve been into dub ever since Kortatu’s “Desmond Dub” in 1985. We did some dub stuff with Negu as well. “Lucrezia” with Dut also works with that universal sound. The “Brigadistak Sound System” records closes with Mad Professor’s “Urrun Dub”.
How did you choose the bands that take part in the record?
I got together with musician friends and bands, people who love dub, and basically put the idea to them. They had all done some work with me at some stage or another and that’s the common ground on the compilation. The fact that you are classed as being a certain type of music doesn’t actually stop you from listening to other types. Bands out there at the extreme like Inoren Ero Ni or Lisabö are huge fans of dub and other types of music.
Clive Hunt, who worked on the album in Jamaica, has also been involved on this one.
Clive Hunt is one of the greats, like Lee Scratch Perry. The thing is that the latter has come up with this madman character that has him called a genius in the West. In Jamaica, Clive is the most respected producer along with Sly & Robbie. And even though heís still coming up with innovative sounds all the time, he probably wonít get the recognition he deserves until he dies.
The importance of Irun has been really present on your last few records. On this one it’s the same. Not just as a meeting point, but also because the likes of Bad Sound System or Lisabö participate.
Irun is a crossroads and the scene there is a very open one. There is a constant tension there be it geographical, political, social, cultural, etc... and that really pushes creativity and the desire to discover and know other cultures.
While you’re working on new songs, you seem to rest by working on new arrangements, soundtracks, compilations and other stuff. A sure sign you like parallel work.
I’ve always had different projects on the go at the same time. It can cause me a lot of anxiety, but that way of working is one of my characteristics. But have no doubt that that’s not me resting. It’s the other way around.
You released the first volume of the collection. Will there be more?
We called it Irun, Lion, Zion in Dub (Vol I) to show there would be more. The idea behind all this at the start was to follow on from Volume I.
Iñaki, the dj from Bad Sound System, plays dub music during coffee hour at Depor bar in Irun. It kind of turns into a place where you can understand the world better. The idea of getting everybody together through music at this meeting point came about while I was on the last tour.
While Black music is well-known here, dub rhythms are probably the least known branch. Was this another reason for the choice?
No. Anybody who knows my musical history knows that I’ve been into dub ever since Kortatu’s “Desmond Dub” in 1985. We did some dub stuff with Negu as well. “Lucrezia” with Dut also works with that universal sound. The “Brigadistak Sound System” records closes with Mad Professor’s “Urrun Dub”.
How did you choose the bands that take part in the record?
I got together with musician friends and bands, people who love dub, and basically put the idea to them. They had all done some work with me at some stage or another and that’s the common ground on the compilation. The fact that you are classed as being a certain type of music doesn’t actually stop you from listening to other types. Bands out there at the extreme like Inoren Ero Ni or Lisabö are huge fans of dub and other types of music.
Clive Hunt, who worked on the album in Jamaica, has also been involved on this one.
Clive Hunt is one of the greats, like Lee Scratch Perry. The thing is that the latter has come up with this madman character that has him called a genius in the West. In Jamaica, Clive is the most respected producer along with Sly & Robbie. And even though heís still coming up with innovative sounds all the time, he probably wonít get the recognition he deserves until he dies.
The importance of Irun has been really present on your last few records. On this one it’s the same. Not just as a meeting point, but also because the likes of Bad Sound System or Lisabö participate.
Irun is a crossroads and the scene there is a very open one. There is a constant tension there be it geographical, political, social, cultural, etc... and that really pushes creativity and the desire to discover and know other cultures.
While you’re working on new songs, you seem to rest by working on new arrangements, soundtracks, compilations and other stuff. A sure sign you like parallel work.
I’ve always had different projects on the go at the same time. It can cause me a lot of anxiety, but that way of working is one of my characteristics. But have no doubt that that’s not me resting. It’s the other way around.
You released the first volume of the collection. Will there be more?
We called it Irun, Lion, Zion in Dub (Vol I) to show there would be more. The idea behind all this at the start was to follow on from Volume I.
