PREVIEW MUSIC
ome— Dread nought :
i\lttltieultttral tnega—tnixes‘.’ Dread/mite ingest thent helmre hre‘aklztst. liimna Shepherd stirs the pmt—pmttrri.
lt has heen and that exetx ttexx xear is the hest _xeat‘ lmr llll|\te exer. reeartllexx ml hat llllhlx‘ has heen prmtltteetl in that gtxen xt';tt'. \itnplx heeatue there is an exer-greater eanmn ml mrkx tm \‘llx‘t'hll. ln mther xxmrtlx. l‘Ntt \x ill he the liext xear lmt‘ llltlx'lx‘ ex'er. hetter than NUS. lteeattxe this war .x e ean ettimx all tlte nexx tllll\le ttnleaxhetl intm the \tratmxphet‘e. as well as all ml last yank ltlll\le antl haek’xxartlx‘ m/ ill/mum]; .\lxm exet'x nex‘. xear .tllmrtlx greater appmrtnntttex lm:’ lllll\lx‘l;tll\ tm [‘tl\ll lmrxxartl ll\lll}__‘ nexx lx‘elllhtltt}_'_\ antl gmmtl mltl-laxltimnetl itnagittatimn .llltl tm reinterpret anxl plttntler lrmtn the pa\t. llllx ix xx hat Dread/mite tlm \\'elemtne tm the entvantl-paxte ‘lllx.
l-‘mttntler tnetnlter ( ireg lx’mlxettx has a \liles lth l\ ltlllllltx‘l‘ lilaxtin}: axxax in the haekgrmttntl as he tries tm explain the llt'eatl/mne .llllllltlt‘ tm ahxmrhing Yllll\le;ll itleax l'he traek 1\ part ml mne ml lll\ latext ;lx'tllll\lllttll\ a emtnptlatimn tape leatttring llerhie llanemek. Sun Ra. 'lhe .\plie\ 'l'xx in. King 'l'tthhx and Brian linm. lltll\lx‘;ll e\plmt'et\ the lmt ml them ‘the kintl mlthittg l'ti: t'eall_x intm.‘ llx‘\;1}\.
‘l‘tn tt‘xitig tm \eareh mttt xmnte tnmre interesting \ltlll. like that.‘ he emnttnttex. tttrntng it tlmxx n \m he ean ltear hitnxell think. ‘I listen tm a hell ml a Imt ml \lllll nexx tlnh. teehnm. tttnele. trip limp and lilnt |llll\le.
e'\l‘eeiall} at the :nmtttetti .l\ were \lllll‘lllfl up In xlx) a
nexx allnnn. l‘tn lmmkingi lmr xetx ahxtraet lmrtnx ml
ltllhle lteelltlvfi the ne\t alhnnt‘x gming tm he ntmre
Hair today, still hair tomorrow
alxxtraet. tnmre \paee in it. a lmt tnmre lixe. like the name like leel xxe get lrmnt pla_x ing a nntnher lmr txxentx minutes xx here _xmn em] up xx llll a l'll_\llllll _xmtt'te t'eallx emttlettl \xtth'
ll _\mtt'xe heartl llteatl/mnex teeent hit little llrttain' (single ml the jx ear \m lar,’ xmtt hett _xmtt'll hear the ltl\lxlllx‘(ll antl glmhal range ml \mttt‘eex the grmttp like tm tlraxx mn l’rmpelletl h} then mx‘. n :n'rangetnent ml segments ml ('az'l ()rll‘x earlx Itlth eentttt'x elaxxieal eantata ‘( ’artnina llttt'atta' titxell haxetl mn ( ietntante lmlk lliltllllxllhl. the ttael. alxm has an ttnmhtrtisix e tllll‘l‘} ttntlet'tmxx, antl ltreakheatx. l}lle\ .llltl xatnplex xx lllx'll are axmxxetllx “(is and seek tm pass emnnnent mn emntetnpmrarx ettltural lile in Britain. lilxexx here mn the .S‘t'rmtt/ lie/Ir alhntn it emtnex lrmnt. there are \natehex ml ltmllxxxmmtl
xmttntltraekx. \ea \llitlllle\. anthient eleetrmniex.
‘lndian, Jamaican, the dance culture, the alternative living culture, New Age travellers, Newbury Bypass protesters . . . Our album is a celebration of all things that could benefit this country.’
relereneex trmnt paxtmral tnetliexal tinglixh lmlk tratlitimn. anrl xerhal xatnpleu lrmtn pmett'x reatlingx antl tiltnx ;l\ x\ ell ax lil\lllll§1\ ml the reggae and tltth axxmetatetl llll the hantl ltmnt their lll'\[ alhtttn .x’fiti [hen ( \.
‘.-\ lmt ml \x'hat l)t'eatl/mne tlth\ is haxetl mn the itl\t;tpm\lltxtlt ml xx ha' xx e ean ilm against eertain sillllPlLN and a lmt ml the time the_x' leatl the tlireetimn ml the traek.’ sax \ lx’ahertx. "l'he stings are "ahmttt" things in that l hax e eertain \tlllll‘lc\ that xx ill gix e a little \tmrxline. lt's heeattxe xx e like the \atnpler as a kex instrtttnent.‘
'l‘hetne—xx ise. ‘l.ittle llritain’ l\ like St t'm/n/ liq/tr in tniermemxtn.
‘l xxantetl tm xx rite amine lx riex that \llllllllCtl up xx‘hat the :tll‘lllll xxax altmttt.‘ \ll)\ ix’mhertx. ‘antl hmxx xx e lelt ahmttt xxhat it tneanx tm he in Britain in the Utlx. It‘s a
Cultures in the mix: Dreadzone
eelehratimn ml the tll\t_‘l'\ll_\ and the ereatix'itx ml lliitain nmxx. lt xxaxn't a patrimtie thing lt‘x pulling all thexe eletnentx tmgether lntlian. .latnaiean. the tlanee etiltttre. the alternatixe lix'ing eulttire. \exx .-\ge traxelletx. \exxhnrx ltxpaxx prmtexters . . .()tir alhttnt ix :1 eelehrattmn ml all things that emttltl henelit thix emttntrx.’
ltttt \xhx ‘/./!,'.’(' llrilaiti’.
‘lteeanxe tt'x nmt great an} tnmre.’ \a_x\ Rmhertx
\tieeintlx. ‘lt'x gmt tm htnnhle itselltm reemgnixe itx qualities. tnmx e mn lrmtn the past heeause the xx hmle inlraxtrttetttre ml the extahlixhtnent in Britain l\' sm lirtnlx etnhetltletl. 'l‘here'x a lmt mlereatix e talent and a lmt ml itleax emtning mttt ml Britain that are nmt getting lteartlf
llix sale tm sax that lx’mltet'h‘ tlelittilimtt ml llt‘ilpmp tlmexn't square xx ith the axalanehe ml relatix‘el} trailitimnal guitar hantlx xx hm ltax e gateeraxhetl the tnainxtreatn.
‘llritpmp is a tnixnmtner.’ he \axx. ‘l'nt sure 1me ml pemple are still intm guitar hantlx hut there \L‘L‘llh tm he ;t lml Hl pemple mlll ill the \\ L‘x‘kt‘lltl xx lltt lllt\C :1 new xmtintltraek tm their ll\L‘\ xx hieh relleetx the ‘)ll\ teehnm. garage. trip-limp. an} ml that kind ml llllhlx‘ and that's nmt heing relleetetl in the \llex‘x‘\\ ml hantlx like ( );l\l\~
lh'eatl/mne are a \ ihrant antitlmte tm the emttxet‘xaltult antl itnaginatixe hankruptex' l;t\ Rmhertx sees it t ml \llell grmttpx, 'l'mgether with bassist l.em \\'illiantx. lx’mhertx has wars ml innmx ating experienee behind him. xtennning lrmin their (lit)\ (1\ i'lixtlitit \eetimn xx ith the grmtintlhreaking Big .»\tttlim l)xtt;ttttite antl. ilanxthing. hix L'ltlllll\l;l\lll xeetnx tm he inereaxing.
"l‘he ltlk‘;l\ are alxx axx gming tm he there.‘ lte xaxx. ‘ll _xmtt hax e the xx ill tm lll\l perxexere xx ith a traek then xmu knmxx xmniething xxill happen. it xxill tnrn intm a traek. \\'e tlmn't haxe this angxt. xitting armuntl xxmntlering xx hat tm tlm xxe iuxt \x'lll the traek intm heingf
.-\tttl xx illl lllttl lie llL'tttlx till [0 \tllllple lttx ltllexl [0} a tlrtnn llk hrmttght haek lrmni a .\lmrmeean limlitlax /)I‘( (It/.‘rrllr' [’/(l\' '/'/I(' .lI't'/I<'x. (i/ttxemn Ull '/‘/H/I‘x 7
'l‘he l.l.\l 23 Feb-7 Mar l‘)‘)() 41