Rough Trade Exclusive. 12" and 10". Limited to 300 copies. Catalog Number: FATLP17/10FAT113 Color: Black Format: 12" UPC: 60011641131 Bundle with both the 12" and 10". FatCat trio, Traams, have invited two modern day dub explorers, Elijah Minnelli and Jay Glass Dubs, to tackle a selection of tracks from their stellar 2022 long-player, Personal Best. Athens-based Dimitris Papadatos, aka Jay Glass Dubs, first caught folks attention in 2016, with a series of bespoke releases on Bristol's Bokeh Versions. Demonstrating a sound that he called Glacial Dancehall, the Greek musician has worked with "beat" legend Leslie Winer, paid tribute to Spacemen 3, and recently deconstructed `80s soul / pop / style icon Sade, for Berceuse Heroique. Last year he launched his own label, the Boomkat-backed, Extended Techniques. Renowned for uncompromising, radical work, Jay Glass Dub's transformation of TRAAMS might be his most accessible outing to date. The E.P. is as a whole is a warm, euphoric, sonic wash. Breathe's tribal tom-tom-ed space rock raga is dropped down to ambient drones and disembodied voices, before tripped-out drums add a distant, muffled, funk. Sleeper, originally a lushly layered, uptempo thump, a Sonic Youth-like duet between TRAAM's Stuart Hopkins and Soffie Viemose, of Danish band, Lowly, is serrated into synthetic shimmer. Now set to a sedated ceremonial march, Dimitris draws out its delicate 6-strings, which were previously lost in the mix. Hallie, on the album, was a churning, cathartic rush. Full of noisy arcs, and electric shredding, it was gravity-destroying, orbit-obliterating stuff. Here, it's a chunky, chugging, skank, dancing to muted foot stomps and hand claps. The song itself, shattered into splinters, spinning whispers, locked in infinite loops. Comedown once boasted a breakneck, head- banging, rhythm section, and snaking, droning guitar. Driving, like a double-drummed La Dusseldorf. Grooving, like CAN. In Jay Glass Dub's hands it's less racing motorik, more stoned Massive Attack. Cutting a slow-motion rug to a cool contrabass-like line, and refocused on Liza Violet of Menace Beach's ethereal guest vocal, only the overall melody remains. Elijah Minnelli is perhaps the more elusive / mysterious of the pair. His press one- sheets basing him in the fictional town of Breadminster, and branding his imprint the County Council's Music Initiative. Since 2019, with a handful of self-released 7s, Elijah has slowly built a complete mythology around this made up locale, which spills out into his monthly Soho Radio show, The Mustard Hour. Minnelli's own music is a unique, distinct, fusion of reggae, Eastern European, and Latin American influences. The latest example can be found on fantastic 45 produced for Portland institution, ZamZam Sounds. Elijah's reworks of Traams are an "organic" affair, incorporating international folk elements, and throughout have a strong, traditional, skanking, roots feel. Low-end is always his lead instrument. Sirens, formerly a soothing synthscape of gentle bleeps and serene Morse Code signals - similar to Cluster / Harmonia's classic pastoral kosmische - becomes a broken, beat-juggled bogle, bullied by seismic subs. Dry's wall of raucous riffing, and searing stratospheric feedback gets heavily sedated. Stripped to a mournful melodica-led samba. The Light At Night, which began life as a bruised and wasted sermon, delivered by Protomartyr's Joe Casey, riding another frantic, Velvet Underground-esque raga, also pays haunting, hypnotic homage to Augustus Pablo's famous Far East Sound. Its winds, however, blow in from The Balkans, like a squeezebox shanty from the Turkish Straits or Black Sea, rather than Mother Africa.