Underworld - Dubnobasswithmyheadman [Reissue]

Underworld’s core duo Karl Hyde and Rick have recorded together since 1983, initially as gothy electro rockers, Freur, then as Underworld. Initially operating as a kind of Front 242 goes pop band, they split after two albums, then hooked up with DJ Darren Emerson to reform under the same name. The introduction of Emerson was the missing piece - Underworld were a rock band that used electronics, and in Hyde they had a focal point cut from a recognisable rock frontman mould.
Dubnobass’s nine tracks were square pegs that obliterated the holes. It took in so many influences, smashed them up and glued them back together with a 4/4 beat. If you take a look at some of the other albums celebrating their second decade, very few sound as contemporary, or have as much of an influence on current music. Electro-rock bands are ten a penny now, but how many bands seriously want to sound like Green Day's interminable Dookie?
The tracks sounded epic, and lengthwise they certainly were - “Mmm…Skyscraper I love You” clocks in at just under 14 minutes, while “Dirty Epic” - arguably their best track - falls just short of ten. Dubnobass benefits from a wide-ranging scope. Of course there are dance tracks (“Spoonman”, “Cowgirl”) but also spacey comedowns (“M.E”), dub flavoured chill-outs (“River Of Bass”), and in the dirty, druggy “Surfboy” they recorded a sequel to Primal Scream’s "Don’t Fight it, Feel It". In fact, the whole album acts as a follow up to the Scream’s Screamadelica; it’s certainly just as ground-breaking.
Rave, ambient, trance, techno, dub, even the hideously unfashionable (at the time) Italo and Moroder riffs (that arpeggiated riff on “Dark & Long” should have got them sued) got a look in. All these elements are recognisable in their own right but presented in a way that sounded brand new, with equal parts pop trash and intelligent atmospherics (check the beatless synth and bluesy guitar work on “Tongue” a Pink Floyd rethink).
Karl Hyde's unique lyrical approach was created by gluing cut out phrases on paper back together at random (a kind of ‘90’s cut and paste, and six years prior to Thom Yorke doing the same to much acclaim on Radiohead's game changing Kid A). But we when were dancing, when we were high, "I see porn dogs sniffing the wind/pornfest pork fat/Jesus Christ/night light/Elvis/fresh meat and a little whipped cream" actually meant something in the state we were in at the time, even if we now we can't remember.
This comprehensive re-issue covers five CDs. Daunting this may be, but it’s not a bunch of slight variants of the originals, rather a treasure trove of b-sides, remixes, re-interpretations and unreleased jams which give a fascinating insight into how the original album’s nine tracks came to be.
Earlier material such as “The Hump” and “Eclipse” (released under their Lemon Interrupt guise), are more conventional than what came after; the latter could even be an outtake from New Order’s 1989 classic Technique. These tracks were their eureka moment, not quite so fully formed as what they went out to achieve, but they do pinpoint the transformation from ok synth popper to electronic rock behemoths. Very soon after these tracks they created some of their best; “Spikee”, “Dogman Go Woof” and “Rez”, the latter remaining a master class in the art of a techno build up.
“Dark and Long” appears a slightly ridiculous seven times, but most renditions are unrecognisable from the album version, the best being the classic “Dark Train” remix which was used perfectly to soundtrack the harrowing cold turkey scene of Danny Boyle’s 1996 film Trainspotting, (the film also bringing their “Born Slippy NUXX” track to the attention of a wider public, becoming a major financial concern and creative albatross for the band).
The real find of the non-album material is an unreleased version of “Dirty Epic”, named “Dirty Ambi Version”, a genuinely astounding piece of work. By stripping away the percussion and vocals, the despondent shimmering synths and beautiful Phillip Glass influenced chiming piano are highlighted, it’s the original stripped bare resulting in a simple and incredibly moving piece of work.

The UK rock scene had it’s own landmark releases in ’94, Parklife, Definitely Maybe, The Holy Bible, and Morrissey’s career highlight,Vauxhall and I being all massively important releases, but ghettoised into their own genres. Dubnobasswithmyheadman reached out beyond the electronic music scene due to being such a visionary collection of tracks. And just look at that cover; it's designed to stand alongside the likes of Unknown Pleasures, Aladdin Sane or London Calling. 20 years down the line it's proving to be just as influential musically, it's power undiminished in any way with time.