6/15/08- Sun Toucher at The Five Spot

In a flash of understanding I got it. We are not only the sum of our experiences, but more specifically, the sum of our music. For a true musician, especially one encroaching upon a specific genre, they must not only embrace music, but expand it. Think Antibalas and what they have done for Afrobeat. Not only have they stayed true to the genre, but they have become the new definition of what it means for our day and age. Sun Toucher is this type of band. They are dub in its new phase, bringing in experimental sounds, drum and bass influences, and vibes that are “Fuggin Awesome!”

I got my first taste of their music at The Five Spot about a week ago at the third Sunday dub and reggae night. As excited as I was to hear a band whose name had been buzzing around my ears at a venue where the sound is notably spectacular, I had to wait several hours between my early arrival, and the place being filled enough for the band to start. Even with the meager crowd present during sound check, there were claps at the end of songs, and even my wandering interest was held tight. The trumpeter asking for more delay in the mic, sipping Hebrew Genesis Ale (the chosen beer), and watching Rastas silently lament their trials with “Babylon”, all made me transcend Little Five Points and start feeling pretty darn irie. Djs Antares and Osmose played a thorough set of dub and dub-step, which helped to keep my mind a bit occupied. Hours later, when Sun Toucher ascended the stage, donned in “Fuggin Awesome” t-shirts (from a show they were part of at The Drunken Unicorn), my perception of being in Atlanta had slipped even further. (And it wasn’t just the genesis ale.) The band chimed in over a very strange, somehow acceptable dancehall mix of Mary J. Bliges “Danceree”.

The bass pierced deep into my chest as the drums began. It was hard to distinguish that they were live drums, they had an almost programmed tinge to them. Into the dub sound fused a chant of “Hey!” which lent a punk feel over the chink chink reggae rhythms of the keyboard (which incorporated the holy trinity of Korg, Yamaha, and Roland). The trumpet wailed in with an indo-african riff while the Korg lent a hypnotic high end riff. Children hopped around in floral print and sandals (around midnight granted) while Rastas nodded their heads and clapped to infused samples. Nag champa incense burned above the Jamaican flag into a red tinted room where everyone was just, happy. What more can you ask for these days. The first song ended with “Fuggin Awesome!” shouted in call and response between the crowd and the band.

This was no “every song sounds the same” type dub. Punk, funk, soul, bossa, hip-hop, and drum and bass were all effortlessly blended, reflecting the experiences of the former hip hop and jungle producers, MC, and jazz performer on stage. The influence of classics translated into their music—the melodica summoned the feel of Augustus Pablo over Roni Size style percussion. The musicians floated into their own world during each song, but still engaged the crowd by their sheer joy at making great music. There was not a still foot or head in the building. Great live music, nice dj sets, the feel of being expanded, happy people, and good beer. “Fuggin Awesome!”