'people are talking.....and it's close to home'

                                                                          Hitting the nail.................................................................................................for the sake of the art

dumdum SCORE            

Northumberland (UK) based dumdum Score are Christopher Simpson & Michael Fielding. They produce an experimental blend of no wave, aleatoric, avant-garde music which they describe as the non-genre of 'Jar'.
Long dissatisfied with the straightjacket of conventional instruments and the predictable 4/4 verse chorus aspect of Western 'popular' music they set out on a path of discovery that would free them from these constraints. They developed a series of musical ideas out of context with each other which would take their cue more from surrealist art than established and well trodden musical methods.
Their debut album produced in just two weeks because of the limited time allowed to them by NMW (who owned the equipment), consisted of 14 musical sketches and was given the working title Audio Sheep. It was subsequently released in December 1987 by NMW and distributed by Red Rhino ( a subsidiary of Rough Trade).
The pair lived and worked in isolation without ever being involved in any 'music scene' and discovered sound techniques that were recorded with self - manufactured instruments, tape loops and technologies forming the basis of their freeform abstract pieces (or) 'Musical imaging‘. The duo often employ the use of physiological time' as apposed to strict 'timing' , a concept explored by eminent musical pioneers such as Charles Ives, and as such, the conflict between abstract and the predictable became the very essence of the DDS sound.


Their approach to music composition is always an unrehearsed style often accompanied by one take vocals, again freeing them from the constraints of the 'over polished' and contrived, with the emphasis firmly placed on the musical 'picture' that their pieces convey.

They long held the belief that their earlier work had been out of step with the times, unfinished and unfulfilled and having embarked on several projects unrelated to music ,it was noticed that similar encouraging ideas were slowly being adapted into the current music scene. In 2014 the decision was made to re-explore their founding principals and to set about formulating new music.

What emerges on their new album Audio sheep 'redux' is a re-affirming of those beliefs. The album introduces the notion that music should be a multi-layered picture in which the listener can explore a rich tapestry of movement and questions the purpose of rhythm / timing and the perceived 'need' to repeat a musical passage, whilst retaining the 'jar' between the predictable and the avant-garde. Examples of musical imaging are found throughout the album but particularly noticeable on 'Slab' with its stark industrial landscaped angst recalling a world long since demolished by 'progress', whilst Swells and flows reflects a world of religious and ethnic intolerance, and Cento describes the human spirit engulfed in media propaganda.
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