Most Dub-Albums obey a consistent style - from the first to the last track. Once the Logic Pro setting has been found, it can be copied from track to track. The collaboration project of the two producers Ksanti & Owl Trackers: "Time Lapse“Breaks with this pattern and rather resembles a journey through different styles, musical influences, moods and tempos. The spectrum ranges from gentle steppers to Indian influences to lo-fi and electro-Dub. And that in just four tracks (and an interlude)!
Ksanti & Owl Trackers are two French producers. Ksanti is a Dubmaker from Bordeaux, with a preference for progressive steppers and musical experiments in the direction of electro, chill and sometimes lo-fi sounds. Owl Trackers, on the other hand, is a Dubmaker from the Paris region, the Dub connects with electro, trip-hop or techno influences and weaves them into fascinating soundscapes.
“Time Lapse” leads us through these landscapes in slow motion. the Dubs radiate an uncommonly contemplative calm while at the same time a feeling of sublimity arises with which we look at the beauty of the imaginary musical landscape. Sounds a bit pompous, but - if you get involved - is what makes these four tracks so attractive. Have a listen. Of the Download is free.
We Dubheads live in our little, hermetic Dub-Bubble and celebrate our very, very special interest sub-genre as the center of the world. A navel whose existence 99,999999 percent of humanity do not even suspect. Compared to rock, pop and hip hop, the music we revolve around lives absolutely hidden. This obscurity is downright cynical in view of the fact that the descendants of Dubas z. B. Discomixes, remixes or bass music have long since become part of the mainstream. But whatever? As long as there are still musicians and producers who provide our bladder with fresh supplies, we don't care if the world out there takes notice of us. And yet ... Somehow the missionary in me stirs: “Hey guys, listen to this. It will change your life! ”. Well, yes, you will be allowed to dream. But in fact, a fantastic opportunity is opening up, not for the mainstream, but for people interested in music outside our bubble to glimpse the beauty of Dub to grant: "Late Night Tales Presents Version Excursion Selected by Don Letts". Late Night Tales is a compilation series that has been inviting artists and DJs since 2001 to delve deep into their personal collections and curate the “ultimate late night mix”. Twenty years ago it was a completely new and hugely popular concept. We remember z. B. to the extremely popular KJ Kicks series, or to the legendary Fabric compilations. What made these CD series so interesting at the time: With extensive marketing, they were aimed at an open-minded music audience and gave the collected genre productions an incomparable reach. In the Spotify age, this may not be that important anymore - but it still works. That's why it's something very special when a series like “Late Night Tales” (according to GQ the “Rolls Royce among the series”) invites DJ, radio DJ and filmmaker Don Letts to invite them Dub- Curate album.
Who, if not Don Letts, would be the perfect man to lead this missionary crossover, since he has always stood for the mixture of diverse musical cultures and Dub. “A disciple of sound system, raised on reggae n 'bass culture my go to sound was dub. Besides being spacious and sonically adventurous at the same time, its most appealing aspect was the space it left to put yourself 'in the mix' underpinned by Jamaica's gift to the world - bass. But that's only half the story as the duality of my existence meant I was also checking what the Caucasian crew were up to not to mention the explosion of black music coming in from the States. ”Don Letts explains his musical background and continues:“ That's why "Late Night Tales Presents Version Excursion" crosses time, space and genre, from The Beach Boys to The Beatles, Nina Simone to Marvin Gaye, The Bee Gees to Kool & The Gang, The Clash to Joy Division and beyond. You'd think it impossible to draw a line between 'em? But not in my world. Fortunately, the 'cover version' has played an integral part in the evolution of Jamaican music and dub covers were just a natural extension. "
What a cool idea! There Dub - at least in Lat's view - remix means that he only offers versions of songs that were created outside of reggae. A strong concept that is not only aesthetically pleasing, but also ideally suited to addressing a mainstream audience outside of reggae.
Yes, Don Letts is the missionary I would like to be. Aware of his chance, he was by no means satisfied with submitting a disdainful list of titles to Late Night Tales, but made his little one out of it Dub-Exhibiting a real masterpiece by following the principle of remixing Dub made not only the principle of his selection of cover versions, but also the principle of his presentation. That is why 13 of his 21 tracks are “Exclusives”, i.e. remixes or remixes.Dubs historical productions created by the likes of Mad Professor, Scientist or Dennis Bovell.
Well, the man is in love with concepts - but so am I and can therefore only praise his Late Night Tales Version Excursions in the highest tones. Since the whole thing is done with a decent budget and a lot of marketing, there is also an entertaining video in which Letts explains the criteria of his selection and gives a few anecdotes about the individual titles. Cool guy and very eloquent. A born ambassador of Dub.
For new work from Dubvisionist I get reflexively curious because Dubs from Felix Wolter would suggest the Netflix algorithm with at least “98% agreement”. The hit rate is therefore that of Biontech. Fortunately, the Hanoverian DubProducer a constant output level of high quality Dubs - and has done so since the 1980s. He and ThaiGrr founded The Vision, a pioneering German reggae band, whose recordings are the basis of some fantastic ones Dub-Albums that Felix created over the years. In recent times he has delivered many compelling ones Dub-Mixes on behalf of Echo-Beach.
Now he has Dub-Wizzard rummaged in his archives and marked "Treasures from the hard drives“Ten exciting but still unpublished ones Dubs promoted to days. Why they had to eke out a purely virtual existence up to now seems completely incomprehensible when listening, because they are presentable in every respect. I am enthusiastic about the sound (the master understands his mastering), the arrangements and of course the mixes. But above all the variety of the track selection. Maybe that's a bonus that comes with it automatically when recordings are compiled from different contexts. The achievement then undoubtedly consists of sucking in to ensure that everything still sounds like one piece. Of the Dubvisionist completed this challenge with flying colors.
Long recipes, in a nutshell: I like the album exceptionally well. While some albums are particularly convincing due to their atmosphere and sound and are predestined to exist in the background, Felix's “Treasures” are ideal for conscious listening. Highly entertaining - 98% guaranteed.
"The Highest Principles of Dub“- I have to admit that this title absolutely catches me. An album with this title has to be heard! This is about the principle - about it Dub-Principle. So not just a few nice ones Dubs, but something fundamental. About something that Dub at the core. And let's be honest: don't we all want to know? Of course we know the ingredients of Dub great and we can usually say exactly which one Dub we like it and which one doesn't. We can even justify it - mostly with taste judgments like “I don't like slack basslines”. But we know why Dub fascinated us so much? Why do we listen to it so much? Why do we fill up record shelves and virtual media libraries with it? Yes, why have we invested a lot, a lot of money in it in our lifespan? No, we don't know. The origin of our passion remains unknown to us, remains a mystery. Can we tell us “Highest Principles of Dub“By Indica Dubs Meets Vibronics Enlighten? Can this work make us the principle of Dub lead that finally lets us see what Dub and where does our passion originate? Well, whoever is on solid sound systemDub stands, he could come to a knowledge here, because the ones presented here14 Dub- Principles show where the hammer hangs in the sound system. Sukh - former protégé of Dougie Conscious - got together with him and formulated the principles. It is logical that it is not about variations and current fashions, but about the fundamentals. This is why we are dealing with ultra-orthodox UKDub to do - not to say: with steppers! I know that im here steppers dubblog is sometimes a catchy word. Sorry! But STEPPERS has to be like here with Sukh and Dougie: hard, straight, uncompromising, deep and fast. But with a sense of proportion! The two don't overdo it. The structure remains clearly recognizable, there are melodies and arrangements - and yes, even the mix has a certain dramaturgy inherent in it. I still don't know why I am Dub love - but i know i love this Dubs love.
Your artist name: International Observer Your real name: Tom Bailey You live in: Aotearoa New Zealand Title of your last album:Bat
What is your personal definition of dub? Dub has become a broad field of activity, which is only right for an experimental form, but I do value a connection to the early old school attitudes and ideas.
What makes a good dub? Deconstruction and subversion. The radical element must be present with the narcotic / soporific.
Which aspects of dub music fascinate you the most? The rebellious spirit which refuses to accept the mainstream version of song / reality. There's also something shamanistic about the mind altering aspects.
How did you discover your passion for dub and how did you develop yourself and your music since then? My first experience of dub what "Garvey's Ghost". By chance I got to know it before encountering the original "Marcus Garvey" album, so my mind was blown twice in reverse order!
What or who had the biggest influence on you? In the late seventies I followed a London sound system called The Mighty Observer who demonstrated the radical use of the bottom end in a live situation. That began a love affair with a large surface area of bass bins and the right music coming out of them.
How would you describe your style of dub? That's for others to say, but I don't feel confined to any one approach.
What does your process of creating a dub track look like? Generally I pick an arbitrary starting point and improvise until something interesting arises, then I pursue it to see if something can be grown out of that idea. That can take minutes, hours or days. There's no fixed pattern.
When you are satisfied with a dub track you produced? Sometimes never, but you have to move on before overworking a good idea.
Dub doesn't need a vocal original.
What is most essential when producing dub music? Love of dub.
Does a Dub need a vocal original to be a good dub? No
Which one of your albums do you consider your best work up until now? Not for me to say.
What aspects of your job do you enjoy the most? Everything.
What annoys you in the studio? Timewasting
When you're not working on dubs, what is your favorite thing to do? Meditation.
What do you listen to besides dub music? Everything I hear. From inane pop to classical masterworks to birdsongs.
My greatest musical role model? JS Bach!
If money and time didn't matter: Which music project would you like to realize? Money and time don't matter.
What do you prefer: Studio work or sound system performance? I love the occasional sound system gig, but it's really the days spent in the studio which are most interesting and rewarding. Something compels me to go in and do it.
What is your greatest musical role model and why? JS Bach, for the contrapuntal basslines
Is there a sound system that you particularly appreciate? Memories of the Mighty Observer are strong.
What are your personal top 5 dub albums? I'm writing to you on the day that Lee Perry has died so I'd like to say something about him. I was lucky to cross paths with him on a couple of occasions. Once, playing keyboards on his History, Mystery and Prophesy album. That was an intense session at Compass Point studio in Nassau. The legend is that he had fallen out with Chris Blackwell, but the fact that he was happily working in Blackwell's studio doesn't support that. Perry was aa flamboyantly eccentric artist, so it was all to easy to misunderstand him, but his track record and influence are remarkable. I think one of his main motivations was simply to bring reggae music to the world.
Much later, I toured with him and Mad Professor in Australasia. His eccentricity had reached spectacular heights by then and some of my strongest memories are of mundane things like going through airport security with him. He seemed to love setting off alarms - and that's a great metaphor for his work in general. So, although I love so many of the early dub artists, today I would choose any five albums by Lee Scratch Perry, the upsetter.
A year ago the highly acclaimed original "Carry Me Home: A Reggae Tribute to Gil Scott-Heron and Brian Jackson" from The Archives was released. A big budget production by Eric Hilton (one half of Thievery Corporation) and Darryl “Trane” Burke. Superbly rehearsed, recorded and marketed reggae retro sound. the Dub-Version was only a matter of time. Now it is available: "Carry Me Home Dub“By The Archives (Montserrat House). The big budget can be heard with every note. Everything is just right in terms of sound. And yes, of course it is more real Dub, although it is not uncommon for vocals to be heard. But the music has nothing to do with sound system nights. It wants to be played on Sunday mornings at breakfast or at a neat - but cool - dinner. It is about "sophisticated" Dub, tasteful and stylish. But all too often there is also a bit of boredom inherent in “high-quality” works. Everything is calculated, appropriate and balanced, reflective and intellectual. There is simply a lack of what is fun: hard contrasts, surprising, sometimes disruptive ideas, courage and daring. So I'm not sure how to rate the album. It is undoubtedly of absolutely high quality, but I don't have much fun listening to it. Phew! Maybe I just lack the level.
Retro reggae is (almost) always very popular. Many producers struggle to reproduce the sound of the Black Ark, the early Revolutionaries or Channel One. Pachyman fits in seamlessly there. The Puerto Rican, who lives in Los Angeles, is based on the sound of the late 1970s and offers a fresh one, characterized by small melodies and lively rhythms Dub-Style. He plays all of the instruments himself in his basement studio - you can watch some nice videos on YouTube.
My colleague gtkriz once criticized Pachy's sound harshly: “He presents a sound image that gives the impression of being with the artist in a rather musty, dull rehearsal room that is padded for sound insulation. Nothing is embellished there; the loud hi-hat and the cymbals sound tinny, the bass drum and the bass are dry and flat. ”Well, where he's right, he's right. But the question is: Is that really to be assessed so negatively? Or should retroDub doesn't sound like that? If you answer yes to the last question, then of course the follow-up question immediately follows: Why the copy when there is the original? Which brings us to the philosophical proseminar. That's why I don't want to go into any further detail here, but simply announce: I like his new album "The return oh Pachyman“Exceptionally good. the DubIt's wonderfully playful, the melodies nestle in my ears and the mix makes for good entertainment. And yes: I also enjoy deciphering the many quotations. I get the feeling that Pachyman and I are “one of an kind”. That's why I like him, I like to watch him in his basement studio and hear "Return ..." when I'm in a good mood. Welcome back Pachy!
It always says that it is in Jamaica Dub just about to die. But then the intensive care patient still twitches every now and then and makes everyone present in a state of excitement. Most recently on Teflon Zincfence's album "Dub Policy ". Now another shock wave is going through the intensive care unit: Jallanzo publishes with "Dubam 'It & Luvin' It“A great one Dub-Album made in Jamaica. Jallanzo ?? I didn't know his name yet, but I did know his music, because the multi-instrumentalist, songwriter, singer and Dub-Producer played for the a few years ago Dubtonic Kru, whose music I really appreciated. So now a solo project - in the form of one Dub-Albums! I have no idea who recorded the tracks here, whether they are secondary use or from the outset as Dubs were planned. I only know: you sound breathtaking. So crisp, powerful and dynamic that they would be a pleasure, even if it weren't for the perfect timing, the beautiful melodies, the ingenious arrangements and the inspired mix. Everything is just right here - except for the ugly cover. One reason to forego vinyl. The title of the album comes from a quote from Jallanzo: “Music is my life, my life is my music and I am dubbing it and loving it ”. Jallanzo has dedicated himself to music since he was 13 years old. He mainly works as a studio musician and can be heard on the productions of many well-known artists. Let's hope that we will be able to enjoy his music in the future even without vocals in the foreground.
(This text has been machine translated.) I'm slowly running out of words of praise. I've already written my fingers sore about the works of International Observer - behind which the lead singer of the historic Thompson Twins, Tom Bailey, hides. I love his relaxed Dubs beyond measure. What fascinates me most is that on the one hand they are incredibly relaxed, but on the other hand they are extremely exciting. It's a crazy paradox. Who knows reggae and Dub from New Zealand, can guess what I mean by that: Perfectly timed rhythms full of groove and inner tension, presented in slow motion. Fascinating. Tom Bailey also knows his trade. His tracks are superbly produced: crisp, dynamic, full-sounding. And then there is the ingenious arrangement, the fantastic bass lines and the wonderful, colorful, shimmering melodies. Everything from the mix interwoven into a large, comprehensive, multi-layered euphony.
There is actually no category or the dubs by Tom Bailey. It is undoubtedly one hundred percent reggae-dub technical perfection, which at the same time has completely emancipated itself from reggae. Crazy, right? Tom has created a completely independent dub-style that admittedly makes use of the reggae aesthetic, but otherwise leaves genre conventions behind. No “Yeah” exclamations, no sirens, no steppers, no historical basslines or brass sections - observer Dubs are utterly themselves, without quotes and superficial references. That's why I can't even imagine his music at a sound system event, even with the best of intentions. Unthinkable! But it would be perfect for a New Zealand pop open air festival.
The meticulousness of the productions also explains why the Observer only sporadically releases new EPs (let alone complete albums). Here quality comes before quantity. "Bat“ (Dubmission) is his latest work. After “Mink” and “Pangolin” it is the third EP in the “animal series” - and this is of course as excellent as all other works of this extraordinary dub-protagonist.
(This text has been machine translated.) It was time for Mungo's Hi Fi to release a proper Dub-Album. The three Scots produce their fingers sore, put out the coolest albums and EPs in staccato and save up Dub?! Okay, "Serious Time" got 2014 a Dub-Pendant, but that's about it. But now it's over: "Antidote“(Scotch Bonnet), the new Dub-Meta-Work of the Glasgower is here. "Meta" because it contains ten Dub-Versions of titles from Mongo's oeuvre. So the meta-study of the existing Mungo's productions - which brings us right to the title: “Antidote”. Corona sends its regards. But the Mungo's crew does not refer their antidote to the evil virus, but "it's an antidote to all the stress and restriction of modern life". Aha, there seems to be a bit of frustration. No wonder. For a sound system that lives from festivals and parties, the last few months should have been an imposition. Anyone who knows the Scots from live performances will know that they rock any party. Their mix of old school dancehall and modern bass music is simply irresistible. I've already spent the most beautiful sound system nights in the bass waves of Mungo's Hi Fi. So I was all the more astonished that “Antidote” is NOT being party-music. Dub is obviously serious business for the three guys from Glasgow. Almost academically, they dissect their rhythms here, rigorously cut them down and reduce them to drum and bass. Quite puristic and consistent. Unexpected, but not bad. "It's a sonic journey that will leave all who enter cleansed and replenished on the other side," they promise. A purification cure, in a way. This is exactly the cure they have given their music and the result is a Dub-Catharsis. Pure and clean, as Gregory would call it. May we start cleansed into the newly won freedom.