New Codes by Tytus & The Left-Handers

The music on Tytus & The Left-Handers' second studio album is difficult to classify. The four songs on it are long instrumental compositions in which space and improvisation play a key role.
It cannot be denied that the direction chosen by the band on this release is a fusion of jazz with dub.

Deep and repetitive basslines constantly try to break away from dub standards, flowing somewhere together with the music. The electric guitar here plays endless solos filled with jazz licks and melodies, which are flooded with a lot of reverb and delays, while during the more rhythmic parts there is a skank, although it is very far from the one known from Jamaican recordings. The drums, in turn, play trance-like, often twisted rhythms, strongly focused on the work of the hi-hat, while being completely different from one-drop, stepper and other dub grooves.

Listening to these recordings you can hear a multitude of other influences that make this fusion so unique. There is a very noticeable ethereal and melancholic atmosphere reminiscent of spiritual jazz, many moments are filled with ambient landscapes, you can also hear a lot of ideas taken from psychedelic rock, which is the inherent inspiration of our rhythm section
The mix of genres is complemented by dub production, although it is quite far from its traditional arrangement form, it is still made in an old-school way using an analog console and reverb processors

There is a huge dose of peace and mystery flowing from the second album of Tytus & The Left-Handers. The vision of fusion is similar in all songs, which makes the album coherent. Some time ago, our friend Lech told us "The music you play is dub of the 21st century, you have to write new codes." I don't think it's up to me to judge whether we succeeded, but it seems to me that the amount of freedom, freedom in form, improvisation and selection musical elements make it in some way a new look at dub music, and certainly an original and non-obvious stylistic mix

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