The streaming service of my choice knows me very well; he knows about my crazy love for Dub and can distinguish it from my appreciation for reggae. He provides me with the latest releases punctually on Fridays at midnight - probably knowing full well that I, a transparent person, sit in front of my notebook by 00:00 p.m. at the latest, waiting for the latest news Dub to get presented. No, not minimal techno-electro steppers-Dubwhich is mainly characterized by endless repetitions of the same synth bassline or one and the same EDM pattern; neither Dub the cheap kind quickly cobbled together somewhere in the closet and certainly not Dubthat was produced for its own sake. It has to be the classic one Dub being who boldly reflects the present; who is at best the counterpart of a vocal album or proves to be sophisticated, Dub-inspired instrumental album presented.
But then again ... nobody is perfect. Occasionally - but rarely - I deliberately flush my ear canals with completely non-genre productions by various current artists. On the one hand, the gray matter begs from time to time for appealing and / or intelligent texts; on the other hand, I mean that more classic Dub there is no island of the blessed: He can and must get involved in new musical trends and technical developments in order to be up-to-date, lively and, yes, competitive within the scope of his possibilities. In this respect, a comparison with other genres is important to me - but I'm assuming that my streaming service cannot (yet) understand this train of thought and that one or the other non-genre album can be senselessly incorporated into the beloved one Dub-New release list is misdirected. In any case, this not only increases my desire for discovery Dub Satisfied productions - at the same time I broaden my horizons and can deal critically with current music.
That is sometimes exhausting, but highly satisfying and brings one or two aha moment, which brings us to the actual topic of this review: Spotify presents me with a brand new album, the brightly colored comic cover spontaneously on the soundtrack to a sequel of “Cool Runnings “Film lets close; Despite the Marley reference, the title “Jamaica By Bus” points more to a calypso or Mento-laden tourist souvenir than to a substantial album; The artist name “Addis Records” also seems strange ... so close your eyes and go through with it. First impression: woah… a professional production with an earthy, rich and dynamic sound, instrumental reggae brand. Second impression and suspicion: oh no ... Dean Fraser. His sometimes aggressive, often layered saxophone just doesn't want to go into my ears. To put it clearly: his soprano, tenor, baritone and bass saxophone, which is played in layers, is not a classic brass section as it is in reggae /Dub is at home and rather suggests that you want to spare yourself the trumpet and trumpet. So many Dub-Enthusiast will see the other; I find it hard to forgive Fraser for using classics like Black Uhuru's "Shine Eye Gal“Assassinated. I wish the man would turn more to the backing vocals, the arrangement of which he has mastered perfectly - you just remember the grandiose harmonies he created for various XTerminator productions.
The very successful second track of "Jamaica By Bus“(Addis Records) dispels all concerns: Trumpet there, all good and even more: Few, well placed Dub-Effects ensure that you don't choke on the instrumental album like dry bread. The large number of well-known musicians involved in the production is reflected in the variety of titles named after nine of the 14 Jamaican parishes - all handcraft in the best sense of the word, recorded over a period of six years in Kingston, London, Paris, Geneva and yet: an album made from one piece; an album heavily related to recordings from the early 1980s; an album that plays through one drop, rockers, steppers and back as a matter of course and is quite entertaining.
And who produced it? The Swiss, of course - the duo Jil & Stuf, which has already gone under the name “Restless Mashaits“Has released two good, if not optimally mixed, instrumental albums. This shortcoming has now been corrected; the drum machine is finally disposed of and musical excellence is the focus. “Jamaica By Bus is not a Dub-Album, also not a pure instrumental album; it's a 100% live version album, ”says producer Jil. “We wanted to capture the special atmosphere of individual parishes - a musical journey of discovery, so to speak, based on our own experiences exploring the island.” Jil now seems to know her very well - he has been traveling to Jamaica since 1991. He knows the constantly tense, sometimes dangerous situation in Kingston; but he also knows about the completely different scenes in areas far away from the capital. As varied as the island is, so different are the tracks - connected solely through instrumentation, arrangement and mix.
The question of the artist's name still remains: “Addis Records is actually the name of our label, which was founded in 1992,” says Jil, “we want to be easier to find on the streaming platforms.” They wish Jil & Stuf to do this works - because the motley cover, on which you can't even find the album title, makes visual orientation difficult. So watch out and don't get confused: This is not an album with children's songs, but first-class produced instrumental reggae - not nearly as sophisticated and solo-heavy as Clive Hunt's current "Blue Lizzard" release, but it is a mere "version" To call album “is a big understatement: as such it would be the best thing I've ever come across.