"We're different," begins Asian Dub Foundation's guitarist/programmer, Chandrasonic. "And not just because of the way we deal with social issues, but because we're pushing the boundaries of how a band can be in England. That motivates us to shout louder, because music as a force for emotional change, for political change, has almost disappeared from Britain. After the death of Thatcherism it all became more personal, but we believe that if you can inspire people, you can make a difference. Rather than playing music out of nostalgia or confirming the status quo, we play it as a force for change."

Asian Dub Foundation's 1998 album Rafi's Revenge draws upon the righteous dub reggae anger and stylings of the original '60s black rappers, and adds cultural references and styling all its own. Rafi's Revenge sounds in some places like a more organic Rage Against The Machine, in others like a modernized Lee "Scratch" Perry, and it is always fiery, always bitterly aware of the oppression their race suffers--more than any other--in Britain. Songs like the unapologetic, eye-for-an-eye "Assassin" and "Operation Eagle Lie" (dedicated to racist policemen) are chilling indeed. And it's good to hear passive-ass dope-smokers being slammed on "Dub Mentality."

"You can hone our motivation down to the issues we're involved in," continues Chandrasonic. "Like the Free Satpal Ram Campaign, where we're trying to get the guy [Satpal Ram] out of prison. Also, education--organizing music workshops, where we go to a school or housing estate and show people how to use the technology. ADF itself started at a workshop, where our singer was learning how to make a jungle tune."

Why aren't there many bands like you around anymore?

"There are, but they don't get heard," the rapper replies. "The media, being its usual unimaginative self, can only perceive music as coming from a certain place--you read about a band, it's a stereotypical thing of rock bands being 'rock and roll,' of a DJ being a DJ. The problem is, the media always looks for the familiar. That's why we get called nonsense like 'the new Clash,' because journalists always want to recreate something that's gone before."

To compare ADF with the Clash would be mendacious indeed. The Clash used to suck live--even back in '79, when Mick Jones would lie flat on his back performing guitar solos pretending he was Jimi fucking Hendrix or someone. ADF kick ass live, their bass-heavy dub, Asian influenced guitar sound and insistent vocals having rocked the dance-halls and housing estates of the U.K. for several years now. Make no mistake, this is one barn-storming act Seattle is gonna witness. Ever seen a great dub act on stage? Now's your chance.

"The best bands we've heard have come out of areas that aren't usually associated with making music," continues Chandrasonic. "We tour with groups like Audio Active (future dub from Tokyo) and with second-generation Lebanese and Algerian people from France, like Zebda, and Clotaire K--an amazing live hiphop/bass-and-drums rap act who can't even get a record deal. The creativity is out there, but it's not in areas where the media wants to look. Now, you have all these 30- and 40-year-old editors who think music isn't important, who keep writing editorials about how there's nothing innovative around and that music is dead. I don't get it."

What are your influences?

"Dub, obviously," Chandrasonic laughs. "Jamaican music, in particular--it's not that we're holding a banner saying we're political, it's just reflective. Like the Jimmy Cliff records from the '60s, and the conscious Motown records like 'Ball of Confusion.' People didn't think they were specifically political at the time, but now we're at a stage where if it's not hedonistic and self-indulgent, then it must be political--according to the media, at least."

Specifically?

"Dub reggae, like Lee 'Scratch' Perry," our man replies. "The Beatnigs and Disposable Heroes of Hiphoprisy--they were two of our predecessors. Public Image, for Jah Wobble's bass sound. Afrika Bambaataa, Soulsonic Force, Linton Kwesi Johnson...."

One last question: Do you think people in Seattle will understand your music?

"Yeah, why not? They did in New York, they did in L.A. I can't see why Seattle would be any different."