Super Hi-Fi Puts Out the Best Reggae Album of the Year
Meet the best reggae album of the year – and it doesn’t have any lyrics. Brooklyn band Super Hi-Fi’s new album Dub to the Bone is all instrumental. Essentially, it’s live dub – to an extent, they’re doing live what Scratch Perry would do in the studio. But this album keeps the studio wizardry to a minimum and focuses on the songs. Theyv’e got an oldschool echoplex, which they use judiciously and absolutely psychedelically, but it’s the tunes and the playing that make this psychedelic. Since this was recorded as a vinyl record for Brooklyn’s excellent, eclectic Electric Cowbell label, there’s an A-side and a B-side.
The band keeps it simple and catchy as they make their way methodically from one hook to another. A lot of reggae is verse/chorus/verse/etc. and this isn’t, which keeps it interesting while maintaining a fat groove. And while a lot of dub is an endless series of textures echoing and fading in and out of the mix, the band does this live without missing a beat. Bassist Ezra Gale’s songs lean toward the dark and menacing side: some of this is absolutely creepy, as the best reggae and ska can be.
The opening track, Washingtonian works trippy variations on a dark reggae vamp, the occasional vintage newsreel sample adding snide commentary on the military-industrial complex (is that Eisenhower?) The tightness of the twin trombones of Alex Asher and Ryan Snow reminds of classic Skatalites, or Burning Spear’s peak-era band with the Burning Brass.
There are two versions of Tri Tro Tro here and they couldn’t be any more different: they’re basically two separate songs. Which is the coolest thing about dub – the first builds to a carefree Will Graefe guitar hook over the equally catchy bassline, the second begins as a new wave guitar song before the reggae riddim kicks in and morphs into a soukous tune. The third track, Neolithic, runs from a twin trombone hook to a wickedly catchy turnaround, wailing guitar giving way to the swoosh of the echoplex and then an unexpectedly balmy, jazzy interlude.
The best track here is the absolutely Lynchian We Will Begin Again with its noir trombones, creepy, lingering guitar and shapeshifting melody. Q Street drops the individual instruments in and out over an Ethiopian-flavored groove, while Public Option – another political reference – centers its echoey orchestration around a moody minor groove and Madhu Siddappa’s hypnotically boomy snare drum. The final track, mixed expertly by Victor Rice, somebody who knows a thing or two about classic dub, is Single Payer, the most psychedelic, Black Ark-style plate here, the veteran ska and reggae producer having fun matching the bass and drums against the guitar and trombones and vice versa. The album release show is at Nublu at around midnight – you know how that place is – on Dec 13, and it’s free.