Shortly after the release of their 'F.S. Blumm meets Luca Fadda' collaboration album, these “two peculiar geniuses" (Christoph Büscher/Intro) joined up with Alessandro Coronas to perform their new work in a Sardinian church.
But it was on the next day, while walking along a wintry beach, that Luca and Frank discovered their shared love of dub, and from that point the idea of the "Quasi Dub" was born.
The idea: to replace dub’s essential bass with the tuba, to replace the tuba with a modulated trumpet, to replace Jamaica with Sardinia. Then add all this to those dreaded bricolage sounds of Blumm… forcing a deliberate confusion to take hold!
With this agreed everyone went back home to Berlin, New York and Cagliari, recording independently, each for themselves, but with the idea still in mind and the lasting thought of "one for all and all for one".

The result is a cocktail of cultures: invoking the spirits of dub while living across its borders in a whole other world; off the tracks but always close to the heart, very personal… very direct. The specific ingredients are a charming blend, with a breathtaking brass section (with special guest Jason Candler on Saxophone) interacting with an Italian sense of melody and a German feel for clarity and precision. Amongst all this lies a great playfulness, an opening of horizons that’s full of varying perspective, both uplifting and a little melancholic at the same time.

THE QUASI DUB DEVELOPMENT features
F.S.Blumm: "king of pling", master of the "bricolage-sound" on bass.
Luca Fadda: man on the horn, man on the wah-wah and the whammy-pedal.
Alessandro Coronas: mr. unpredictable supersonic-speed-champion on drums.
All highly skilled, classically trained musicians with varied biographies (reaching from game-music composer to Manhattan café-owner) who’ve met repeatedly on stages on either side of the Atlantic.
Mastered by Nils Frahm.

The live idea of QDD is to perform modular, meaning there will be various line-ups serving the QUASI DUB: a duo (with Blumm on bass and Boris Hegenbart on electronics/live-dubs) a trio, and a quartet.... all different versions working on the same musical material and the same ideological imprint: working on the dirty spirit of dub!

The title “Limousine to the Guillotine” is a reference to Miles Davis' soundtrack to Louis Malles "Ascenseur pour l'échafaud" (Elevator to the Gallows) from 1958.