On Horsie, Moore pushes the element of surprise measure for measure so, unlike so many rote digi-dubbers, his thunderous riddims and subtly formed sounds disintegrate nostalgia into a landmark in post-modern dub”. “KIK”‘s drive recalls classic Revolutionaries at Channel One, but is suspended in an ambient chamber of glockenspiels. “Dance” floats “Guess Who’s Coming to Dinner” into a liquid techno-style groove. On “Romy,” he works with three completely different themes: a Scientist-like space station under attack by electro-termites, a drifting Duane Eddy-ish guitar line, and a monster nyabinghi-tinged undercurrent. “Oats,” for instance, seems to find the midpoint between Krautrock and dub. 1999’s Horsie, Moore’s sixth release, catches him searching for a way to wed his rock background with his reggae interests.
Maybe his background gives his dub the perfect balance of analog mixology and noir mood certainly, unpredictability is his trademark. Perhaps the best of all the millennial dub reggae revivalists, Twilight Circus Dub Sound System is in fact a one-man show: Ryan Moore, a goth refugee (Skinny Puppy, Legendary Pink Dots). Follow the bass or follow the drum Mama’s calling you home. “Dance Plate”, a tribute to Black Uhuru’s 1981 depth probe “Guess Who’s Coming to Dinner”, splits the riddim and boggles your ear cavity. “Filter 13 (Ultra Dub)” is as explosive as Krust, as sophisticated as Philip “Fatis” Burrell, and as riveting as DJ Premier. Dub Plates Volume Two- a vinyl-only collection of rare acetates that doubles as a greatest-versions set – should be a landmark in post hip-hop sonic engineering. In his kaleidoscope world a feather weighs a ton, colors cut corners, and time eats itself. Enter Ryan Moore, the Legendary Pink Dots escapee behind Twilight Circus, who wrestles with history’s titans and leaves the ring commanding ’nuff respect. Tubby, Perry and Hudson must tower over ’90s sound-boys. If only innovators like Wimbish could shake the cultural prejudice that insists. Since that night in 1967 when selector Ruddy Redwood spun a vocal-less acetate in a Kingston dance hall and the midnight ravers demanded “Rewind!” dub scientists have been perfecting the art of 21st-century soul tonic ) But while King Tubby’s progeny – from hip-hop to house, dance hall to drum’n’bass – have gone forth to mutate pop’s subconscious, mother Throughout, Moore’s reverence for the form ensures a refreshingly warm, live feel, even when the echo box settings are pushed to alien extremes. As the album progresses, Moore injects more space and grime into the mix, stretching and contorting tracks such as “K2000” and “Silver” into thoroughly modern-textured dubscapes. Dub Voyage, the Amsterdam resident’s seventh platter under the moniker, hovers in purist Jamaican dub territory – impossibly thick, woofer-threatening bass lines slathered in all manner of slippery echo and compression effects, punctuated by lilting fragments of organ, melodica, and skittering percussion. Twilight Circus is the dub-centric recording project of multi-instrumentalist/producer Ryan Moore, a ubiquitous Nettwerk Records studio contributor and longstanding member of the Legendary Pink Dots. Studio Twilight, The Netherlands & The Miller Block, Vancouver, Canada Produced, Performed & Mixed by Ryan Moore
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