dDamage is a double -sided entity, livened up by the Hanak Brothers (respectively known as dDash and rudDe when they’re doing solo things) that have been relentlessly operating a double front offensive onto electronic music for the last 8 years or so. During that time interval, they have tried everything, always remained on the move, leading an exemplary career lined with records that all stand out as powerful symptoms of their time and the expression a precious musical frenzy.
« Reverbreak This Down » : a masterpiece of abstract hip-hop dating from 2000, when the genre still meant something.
« Harsh Reality of Daily Life » : a classic that wrongly passed unnoticed, ornamented with one of the ugliest artworks in the history of music. But also : a highly credible exemple of French electronic music’s perseverance, the sound of pure emergency booming from some badly sound-proofed basement.
« The Missing Link » : some sort of commentary on the previous record, and a musical battle with Japanese artist Kowatabo, because the Underground knows no frontiers.
« Trop Singe » with French rap act TTC : the golden age of Clapping music / Active Suspension. dDamage delivers the goods of one of the most hallucinated encounters between hip-hop and futuristic electronic music, when this type of undertaking was still rare.
A cover version of « Girls wanna have fun » forecasting Tekilatex’s forthcoming pop ambitions in the most unexpected of manners. The cover song does not resemble an ersatz of the original, as a further proof of dDamage’s highly recognizable style of production. Only El-P compares.
« Pressure EP » : a somewhat perfect 12’’, where every track is a potential hit single : « dDistance » is a pop gem and « Ghettoblaster Ape » is the sound of Daft Punk high on speed.
In 2004, dDamage releases « Radio Ape » on British label Planet-Mu. Their groundbreaking record, which introduced them to a larger audience. It hasn’t aged one bit. Following the hot trails of the « Pressure EP », dDamage moves further away from the greasy mix of their beginning and sets in rare clarity their inimitable banger style, made of intricate rhythm signatures and epileptic keyboard sounds. It turned out to be one of the U-Ziq’s label’s best-seller, and probably the label’s best release as well. An international CLASSIC.
« Ink 808 » : some sort of conjuration take on the accomplished nature of « Radio Ape », this EP returns to one of its most emblematic tracks (that uses a TR 808) and reworks it in a wild-and-wooly a way. It also includes remixes by the crème de la crème of french remixers: DJ AÏ (now Jean Nipon, on Institubes), Krazy Baldhead (Ed-Banger Records), Krikor (Kill The Dj).
2005-2006. dDamage on the road. Playing, and playing, and playing again, and turning their audiences upside down every time. After an unbearable time of expectation, « Shimmy Shimmy Blade » lands in our lives, with an incredible hall of fame of hip-hop heroes from yesterday and from the future : Bigg Jus (Company Flow), Dose One, TTC, Mike Ladd, Tes, Existereo, MF Doom, Stacs of Stamina. The rest is all breaks, fire-alarms, pressure, compression : pacemakers go wild, the indie school of hip-hop salutes a putsch of robot punks. The album also demonstrates the extraordinary density of pyromaniac gimmicks that animate their insane live acts, that can also be heard in a bare state in the instrumental version of the album.
In the last 8 years, the dDamage Bros have dropped bomb after bomb on their way to destroy the music of their time. And they’re still moving.
2008. The name is « 100% HATE », and it’s a quantum leap for dDamage’s music. It’s still iconoclastic and all, but in a more accessible and legible way. It’s also a revolution in production style: the stabler, harsher basis of the beat enables us to hear their music from a new perspective. On « JB Savage », snare drums and hi-hats are still cracking up galore but the overdriven bass-synth acts as a spinal column. « Drop Them Bitches » is a nervous, bristly loop, animated with paradoxical funk. At a time when dance music is obsessed with software fuzz and unrelent noise intensity, « 100% Hate » chooses to station its energy on the pleasure of adrenaline fused sequencing, where every event plays the part of an electric shock or a burning jolt. The sound of the record is that of a love for machines, and for the rough sounds of the truants who have been nourishing the unquenchable spirit of electronic music from day 1. And no ones nourishes it better than dDamage. As long as they’ll keep doing so, their input will remain essential.Guillaume Heuguet(trad : Olivier Lamm)
dDamage et les musiques électroniquesenvoyé par asceticmusic. -
dDamage et la fratrieenvoyé par asceticmusic. -
dDamage - La Genèse d&039;un Albumenvoyé par asceticmusic. -
