s Disrupt follows up his acclaimed committed to wax when Werk Discs issued ‘Foundation Bit’ album with ‘The On straight dub influences, Disrupt pinpoints ‘Tubby ROM Module’ and then ‘Foundation Bit’ Bass Has Left The Building’, Lee ‘Scratch’ Perry and King Tubby, giving in 2007. Highlighting a demand for physical ASHOOK caught up with the co- ‘Scratch’ the nod; simply based on an units, that sees many of the labels essential owner of Jahtari to get to grips with the “originality of technique” borne out of limitation. early releases like ‘Jahtarian Dubbers’, ‘The label’s roots ‘n’ culture... Enter Jahtari Something also central to Disrupt’s own Elders’ and ‘Bo Marley Vs. Disrupt’ finally Force! production beliefs: “There is no use having a getting the pressing they rightfully deserve now. room full of equipment and no ideas. It’s good When asked why Jahtari chooses to give its One of the most poignant constituents of to have limitations,” explains Disrupt. files away freely when many imprints covet dub label Jahtari’s output is their obvious Bit files as a source of direct income, Disrupt Obsessed heritage. They’ve spent countless It would be just these limitations that dismiss the subject stating “It’s a compressed hours scrolling frenetically through 8/16-bit galvanised Disrupt’s early sounds, starting reduced quality file. You know? You cant charge processor evolutions to the steady bleep of out with a “no save” demo version of Cubase money for something that hasn’t involved any soundtracks is distinctly flagged in and tentative monophonic arrangements via real production costs; unlike a vinyl record Disrupts’ sound, documented on Jahtari’s Noisetracker on Rootah’s Amiga 500. A period say”. Clearly, signalling the label’s viewpoint on 2004 debut dub-homage to C64-game SID of experimentation where Jahtari’s production format choice and belief in a simple coda “the composer Ron Hubbard (‘International Karate blueprint DLR (Digital Laptop ) was music must be out there”; allowing people to Championship’) and posted large on the label’s conceived, evolving in tandem with advances hear, engage and spread the word. Arcadian artwork. in audio software and the now standard laptop The label views their audiences’ signalled There also lurks a strident affinity for cult “What you going to do with response for real products as a natural u-turn B-movies, Sci-fi flicks and ‘70s Japanese 50,000 tracks on your hard on “poor quality technologies”. “What you going animation; which Disrupt succinctly describes drive?”, “Even the way you to do with 50,000 tracks on your hard drive?”, as an attraction to “the timeless themes of “Even the way you select and scan through man vs. machine”, “the struggle” and “the select and scan through music music is altered”. Leaving the Jahtari crews’ daily social commentary in most of our lives”. is altered”. Leaving the Jahtari opinion in no doubt, that “people are turning However, before anyone gets it twisted... back to vinyl” with mp3/files used merely as Jahtari are first and foremost a “DUB” label. crews’ opinion in no doubt, a module for previewing products you want to that “people are turning back own. A point they are clear to labour... “It’s not an to vinyl” with mp3/files electronic label doing dub, it’s a dub label using Although maybe not opinions shared by all, it’s new technologies to create something that used merely as a module for this ethos for product exposure that now sees couldn’t or hasn’t been done to dub before.” A previewing products you want to the label with worldwide physical distribution; unification of two distinctly opposed principles: where the original two man operation has the generation of “a non-math, 100% soulful, own. morphed into a growing collective of staff approach to music,” using machine code and required to handle the workload of production, processors as the central tools. set-up. A streamlined technologically enhanced pressings, distribution and tour bookings. Quite focus on off-beat and island-centric simply it’s an example of label research and However, when Jahtari’s owners Rootah and vibrations. development executed poetry. Disrupt first met on a construction site in Leipzig (1998), the friendship was immersed in Poignantly, it’s the evolutionary rise of On reflection, Jahtari have bucked the trend somewhat different territory. It was Germany’s information-technology transfer methods that with a back-to-the-future manipulation of the rekindled art house bohemia of warehouse have been instrumental in Jahtari’s success, once standard label model and inspired a solid parties and the fast mutating Digital with the label’s first 3 years not seeing one “real world” demand for their output catalysed Hardcore, and IDM scenes of the physical release; instead following a net- through freely available data. It’s really a late ‘90s that sparked future exploits. Regular label based approach. Initially, spurred on by gloriously human victory in “the struggle” of JAHTARI trips to Berlin’s Hardwax record store are “surprising support” to Disrupt’s ‘Fist Full Of two 8-bit obsessed dub-producers to connect cited as being “massively influential” where they Dub’ files released on net-label Phonocake, across the sprawling mainframe, with a Master exchanged pay cheques for Detroit techno and Jahtari’s own creative-commons roots in 2004 Control of mega-bytes the lodestar in their Chicago house; before the duo went spiralling would herald a slew of file releases igniting search for ghosts in the machine...Press Play if RIDDIM FORCE! into the dubbed minimalism of Basic Channel interest across the globe. you believe in “the users”. and vintage ‘80s synthesiser classics from the store’s Wackie’s re-pressings. Interest that would finally see Jahtari file output

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