She'll Stay5:35
Nifty Night5:35
Don't Make Me Want You4:19
Raw Thing4:10
Simply Smooth5:09
Slack Society4:46
Boogie Boil4:55
Sound Of The Ebu4:11
Izquitos (Freedom Satellite Remix)6:13

Credits (6)


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    Cover of Eight Ears, 2004-06-07, CDEight Ears
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    Pulver Records – pulver 017CDGermany2004Germany2004
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    Pulver Records – pulver 017CDGermany2004Germany2004
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    Pulver Records – PULVER 017LPGermany2004Germany2004
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    • robin75's avatar
      Thanks to the unshakable laws of mathematics, the year 2000 proved to be yet another great year. That perennially abused equation, two plus two, came through once again equalling an instinctively solid four. And in the same spirit of inevitability, two dj duos merged their talents – out of friendship and mutual appreciation: not as the side-effect of some hostile takeover – thus forming the quartet, Dublex Inc. This new creative constellation immediately started making inroads into the Fusion genre (formerly Nu Jazz and Acid Jazz) where they have since shown an almost infallible ear for success in the mixing lab.

      In four short years, Dublex Inc has amassed an impressive balance sheet: two EP’s, two highly successful singles, over 20 remixes, more than 60 licensing deals to the world’s top compilations and a major foray into the world of big business, as well as the single Nifty Night and the forthcoming debut album Eight Ears. But let us not forget the day when talent and good fortune collided and Dublex Inc.’s world-wide sensation Tango Forte ended up on the desk of the producer of the Sugababes who overlaid the rhythms and melodies with those irresistibly infectious ‘round round’ lyrics taking the song to number 1 in the UK. As with the follow-up single Tocame, Tango Forte has not only been given its rightful place on the most prestigious Hotel Costes compilations, it has served to inspire a number of prominent dance producers, and has been used in advertising trailers for the big screen by Fiat, Daimler Chrysler and Coca Cola.

      Out of the whirl of this creative success emerged the label, Pulver Records, founded by three of the four members of Dublex Inc. The label not only became a platform for their own music but quickly helped set the tone for like-minded artists within the Stuttgart scene as well as across Germany and around the world. Charged with that highly revered Swabian fondness for hard work and perfectionism which has brought us the likes of Mercedes and Porsche, the Label began producing magnificent vinyl records with superb cover designs at regular intervals. With its origins in Stuttgart, Pulver Records is at once rootsy and cosmopolitan. Which explains why the dj’s at Dublex Inc. feel just as at home in a wily metropolis like NYC as they do out on the last forgotten scruff of Finnish tundra? Music is the one and only Esperanto.

      Naturally, the quartet has always had an LP in the works and a quick look at their creative balance sheet certainly shows that the expectations surrounding this debut album could never be insignificant. Of course the title Eight Ears hints at the notion that four sets of ears are able to perceive with greater subtlety than just two, but it is more than that. After 15 months of studio work, an honest, almost raw, unaffected sound has been achieved by four seasoned dj’s who have evoked their musical preferences and influences and smoothed them down to their very essence.

      Early on, Dublex Inc. established two fundamental criteria for their debut album: firstly, it had to move beyond the dance-floor context. As a result, Eight Ears is fuelled by constantly shifting swells of tempo and mood which take hold of listeners without dragging them under or flooding their veins with squalls of adrenalin.

      Secondly, it was clear from the outset that real flesh and blood musicians would have to be involved in order to take the project to new ground, especially since Dublex Inc. had already mastered a myriad of sampling techniques and had the rhythmic savvy necessary to arrange complete beat programs in their sleep. Their participation would also help ensure that the music would not fall prey to those thin regurgitations typical of certain unspeakably mundane dance-scene music.

      Warm bass notes, rhythmically rich guitars and funky horns lend the album an insouciant, summery flair. The arrangements are constantly being reduced to their essence; the tracks, soberly constructed, border almost on cautiousness. A gentle cascade of sounds and melodies lightly impregnate the silences among the beats. These are sometimes straight and fast, easing momentarily into a smoother more gentle pulse, only to glide off-beat, surging in a new direction with impulsive complexity.

      To Dublex’s infinite satisfaction, a number of guest singers are also featured on their debut album, with Dublex Inc. taking on the novel role of skilful new song-writers. Wayne Martin, the 60 year-old blues singer from Berlin, leaves not a trace of doubt when he sets his powerful voice in motion; just like Brighton’s, Alice Russell, whose incredible talents echo the jazz atmosphere once found in clubs from Manhattan to Montreux; while Barbara Padron Hermandez’s sensuous Latin American vocals breathe a slow, smouldering eroticism; and Kudra Owens and MC Sunking will draw us into their Ragga-Dancehall style with a Reggae-Riddim finale.

      And it is our conviction that at some point, long before the needle slips into the album’s final groove, it will become inevitably clear that mathematics and mergers do maintain a certain fortuitous charm, for without them, Dublex Inc. might never have existed and the world would not know the loss it was suffering without their eight very talented ears.

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