Dread Astaire - Playstation [Backstage, 2009]

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Dread Astaire - Hipbeat/Bassassination [Fuzzie, 2006]

HIPBEAT
The very first trip, recorded in January-February 2006 at Simultané Studios, Thessaloniki. Two totally different sounds that you can hardly compare. A bouncy, danceable groove over sing-along, shake- it-up-baby detached vocals filtered through tons of Big Muff fuzz pedal and unbearable feedback. As a souvenir of the sessions, Dread Astaire managed to acquire daily doses of sub-existance in one of the city’s most degraded regions, where the sum of three euros could buy you a headache in the form of a glass full of unidentifiable vodka. Yet, who knows, this kind of social interventations may echoed in the band’s performance in a way that “Hipbeat” could not have happened elsewhere.

BASSASSINATION
In Thessaloniki, Dread Astaire soon began to attract attention through continuous gig- ging, sometimes with acts as prestigious as the local 2L8 and NYC’s the Liars. In March 12, the trio left a highly succesful performance along the mighty Fall to begin work on their b-side, “Bassassination”. Attacking their instruments with such enthusiasm that any kind of self-restraint was unimaginable, they dumped the song’s rollicking bass riff not before 7 minutes, 45 seconds of recording time. In fact, the very record bestowed upon you was initially intented as a seven-inch, but even the thought of editing the performance to a shorter version was out of the question. It was such fun!

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Dread Astaire - Take Time To Hate Me [Fuzzie, 2006]

Sonically striking, hard to categorize, and burdened by the failure of their country’s any positive disposition towards oddity, Dread Astaire are indeed fascinating-and full of paradox. They crave to be heard; yet, they chose to launch their own Fuzzie label in order to record and distribute a series of vinyl releases, in an era dominated by i-Poddity. They nod to ambition; still, their ambition’s accomplishable through shitty rehearsal rooms and scrappy concert spaces. Indeed, Dread Astaire often admire each other too much to care about recognition. They respect no expressional boundaries, spanning blues, noise, punk, repetition, improvisation, straight-out rock’n’roll, and more. However difficult it is to give an accurate definition of their cultural location, we can clearly inscribe them in one importand genre: Fuzzbass. Fuzz is about surface, fuzzbass about depth. Fuzz about pleasure, fuzzbass about intensity. Fuzz about the spirituality of electricity, fuzzbass about reaching out to you. But are you gonna be there?

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