Author Rene Wynands

Review René

It's a bit strange that a Jamaican artist has to turn to musicians outside of Jamaica if he wants roots reggae rhythms. But okay, Jamaica is moving forward – while here in the “West” we conservatively hold on to the legacy of the 1970s. Since we still have some purchasing power here (let's see how long that lasts), Protoje came up with the idea of ​​having his 2020 album "In Seach of Lost Time" "remixed" for our listening tastes and as “In Search of Zion” (RCA Records). Remix here means that the three Zion I Kings producers have actually composed and recorded a completely new roots instrumental album - which, however, only serves as backing for the vocals from Protoje's existing album "In Seach of Lost Time". It's a really crazy concept: just swap out the music to better sell the album to European and North American audiences. Well, it's just business. However, the Zion I Kings were proud enough to release a double album Dub-versions of their productions. And let's listen to it now. What is immediately noticeable: The spectrum ranges stylistically from lovers rock backings to (subdued) roots steppers. I'll now benevolently delete the Lovers Rhythms because I can't do anything with Schlager, no matter what musical form it comes in. The backings of Schlager are not far from elevator music – a product of boredom. What remains are the rootsDubs on the album. But compared to the state of the art, they areDub of the present, incredibly pale and inconspicuous. Where is the power of Roots? Where is the dynamic, where is the rebellious statement? How can a roots album by a great artist come across as so shallow, unoriginal and despondent? The same applies to the Dubmix: Absolutely generic. Unfortunately, “In Search of Zion” is a huge missed opportunity for modern Dub to make it palatable to a broad target group of Protoje fans.

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Admittedly, I'm more familiar with Protoje - especially in recent years - through casual overhearing: I'm not into hip-hop, I'm not into chanting. Maybe in this case you could call it conscious hip hop, progressive rap, sing-song or whatever; In any case, the music and lyrics leave my auditory nerves pretty unimpressed - even though I have certainly engaged with Protoje's albums, even if not with the usual intensity: In the end, every artist deserves a chance.

For the sake of fairness, it should be noted that in Protoje's oeuvre - or should we say: in the oeuvre of his producers - one can certainly discover successful hooks. You could already find them in the first (internationally released) albums - thanks to producer Don Corleon, who basically wrote the Reggae/Conscious Dancehall/R&B-heavy material at the time, right down to the lyrics, for Protoje. With the albums and singles that followed, Protoje was able to establish itself as a permanent fixture in its ReggaeHipHopR&B hybrid genre with its own label and management and, above all, the support of producer/keyboarder Phillip James. Live a little more roots, in the studio a little more R&B - to each their own. It was only a matter of time before a major label put Protoje in the black and signed him up to a contract. Sony Music or its sub-label RCA Records has more or less controlled Protoje's fortunes since 2020, although he expects "a certain level of creative control" (=> Wikipedia) from the deal. One would like to wish him that, even though one knows that majors are not exactly squeamish when their financial input does not bear the expected fruit.

Two very successful albums on RCA Records later, we are faced with a surprise these days: someone has the (vocal) tapes of the 2021 release "In Search of Lost Time“ handed over to the Zion I Kings team – nothing less than the roots-oriented reggae album “In Search of Zion(RCA Records) (RCA even calls it a “remix album”). Whose idea that was is anyone's guess; it may be Protoje himself to regain some credibility in the reggae community; It may be Sony/RCA Records that also wants the Sunshine Reggae segment to be covered in its roster. The fact that Zion the I Kings was hit may be because of their good reputation or because of their first collaboration on Protoje's last regular release "Third Time's the Charmto be grateful for.

Now we already know what we can expect from the Zion I Kings: flawless craftsmanship, solid arrangements and the finest sound, implemented in classic-looking roots tunes. You really can't complain, it's solid backing that gives every singer room to do their thing. This even works, as in this case, if the singer doesn't sing anything new. Wonderful and maximally enlightening: listening to the original and the reggae version back-to-back, comparing two worlds. Rap like that doesn't work on Roots... but it does. And it sounds good!

As an unexpected bonus, Protoje/RCA Records/Zion I Kings also give us this Dub-Tracks of these reggae versions recorded two years ago. The Zion I Kings can do that too, as they did with the Dub-Albums under his own name have proven - especially with the Vol. 1 of theirs Dub-Series, with which they pay an excellent tribute to Style Scott. Now we know - and have already discussed it here - that you shouldn't expect any crazy innovations from the men around Laurent Alfred - they boom accordingly Dubs bass-heavy from the speakers; The effects are used with appropriate precision and never oversteer. Nothing new under the Virgin Islands sun – “just” the usual reliability with quality.

Subdub is a well-known venue in Leeds (UK) that has been running since 1998 Dub, Roots, Dancehall, Jungle, D&B and Dubstep prescribed. How wonderful it would be to have a club like this in my city! Instead, there are clubs here that give me the choice every Saturday between techno, hardcore techno and tech house. mainstream instead Dub liking would definitely make my life more enjoyable. But somehow Mother Nature gave me this Dub-Gen donated and then put me on a deserted island where Dub is only available as canned food. This is exactly what the makers of Sub wanted Dub To give myself and countless fellow sufferers around the world some relief and planned to publish a sub in 2001dubcompilation album entitled “Digital Africa”. But when the “Digital Africa” test pressings finally arrived, the project was put on hold. Why? Well, dear vinyl friends, it's your fault, because pressing and distributing vinyl was so expensive back then that Subdub couldn't raise the necessary money for it. So the compilation disappeared on the shelf for a while - until 22 years later Dubquake team made a pilgrimage from France to Leeds and discovered the test pressings there: unreleased and exclusive titles by Iration Steppas, Jah Warrior, Vibronics, The Disciples, Tena Stelin, Nucleus Roots, The Bush Chemists and Freedom Masses. 12 UKDubs from the 90s, hard-hitting, uncompromising Sound System stuff curated by Simon Scott and Mark Iration. Since the financial situation of DubQuake is sufficient (and a digital publication is now available almost free of charge), the decision was made to “Digital Africa” (Dubquake) just in time to celebrate Sub's 25th birthdaydub to be released (of course also on vinyl ;-). “And” – the question now arises – “has the music passed the test of time?” I have to admit: Hell, yes, it has. Why “damn”? Because it raises a number of questions when music that was created a quarter of a century ago doesn't sound historical today, but still sounds up to date - and that in a genre that claims to be progressive. Okay, sound system music doesn't exactly represent the avant-garde Dubs, but the considerable historical distance should be more clearly audible than is the case with “Digital Africa”. Was the compilation way ahead of its time, or could it be that the UKDub hasn't really developed further and is stuck in the early two thousandths? The last thesis isn't quite that hypothetical, because... Dub in the UK is still influenced today by the actors of that time. But fortunately there are many Dub-Musicians who stand on the shoulders of the UKDub but have overcome it stylistically and are breaking new ground. Only on Sound Systems is he still alive, the good old UK-Dub-Sound – and there it is unsurpassed. Good things remain!

Finally arrived: The second stage of Tropical's musical world tour DUB Connection, “Outtanational Steppa's Mixtape Vol. 2“ is completed. Another fascinating one Dub-Album that picks up seamlessly from its predecessor. Like Vol. 1, it weaves musical influences from many styles of global pop and traditional "world music" with the powerful sound of Dub. A kaleidoscopic experience that takes us on a sound journey around the world. The collection of diverse styles and musical cultures ranges from Argentina to Cuba, Portorico, Jamaica, Great Britain, USA, Kenya, Nigeria, Mali, India, Turkey and the Republic of Tuva. Each of these countries contributes its harmonies, instruments, rhythms and melodies that are here Dub be merged. The album is a truly global journey and a unique auditory experience. From the meditative sounds and songs of the Indian subcontinent with instruments such as santoor, sarangi, bansuri flute, shenai, sitar and tanpura, to the pulsating African balafon, kora, ngoni and tribal voices to modern Afrobeats. The musical diversity is extensive. And there's more of it: Southern country blues, Argentine tango and the oriental vibes of the Turkish baglama, the Alaturka violin and the Mey flute. All of these elements create an impressive mosaic of sounds and rhythms that allows us listeners to delve deeply into the cultural essence of each culture. Sound too eclectic? It may be that a few instruments, rhythms and harmonies do not do justice to a complex musical culture. But this is not about the portrait of specific musical traditions, but rather about the creation of a global sound under the sign of Dub. We acoustically fly over regions, countries and even entire continents within a few minutes. What we realize is that the whole world is full of fascinating music beyond our limited horizons. What there is to discover! The album is not only an impressive musical achievement, but also a testament to the power of music to overcome barriers and bring cultures together. The blend of traditional and modern sounds creates a bridge between past and present, East and West, providing a captivating listening experience that celebrates the earth's cultural richness. Despite its diversity, “Outtanational Steppas Mixtape Vol. 2” remains one in its essence Dub-Album. The production is superb, and the mix manages to weave the diverse sounds into a harmonious whole. The journey the album offers is not only entertaining but also enlightening and inspiring. It invites you to experience the world through your ears and enjoy the universal language of music.

"Why we a Dub Make an album of Happy Hour? Because we wanted to bring out the many musical details that were still to be discovered and uncovered in the songs,” explains producer Ben Mckone. Logically, because Hollie Cook's bright voice is so present in her music that it covers a lot of what is happening musically in the background. That is why there is nowhappy hour in Dub“ (Merge), the Dubversion of their 2022 Lovers Rock album Happy Hour. Nice because I love Dubversions and I still had the instrumental and Dub-Versions of their Prince Fatty productions in ear. But what a disappointment! Unfortunately, "Happy Hour In" is missing Dub' the musical power and inventiveness that characterized Cook's earlier work, particularly that produced by Prince Fatty. The production and instrumentation are technically flawless, but formal excellence does not make good music. There's happy hour in Dub There are definitely moments of brilliance, the sometimes beautiful arrangements and the skillful mixing are impressive - yes, the details Mckone mentioned actually exist - but the album as a whole remains pretty bloodless. Apart from that, the strings and synth pads as well as cheesy background harmonies, which repeatedly conjure up the typical Lovers Rock atmosphere, are simply annoying. But that may be an entirely subjective assessment. I don't like hits, no matter what genre and musical culture they are. All the more amazing, however, how inspiring and varied Prince Fatty once interpreted Lovers Rock. But it is precisely against this background that "Happy Hour in Dub“ unfortunately only lose. And it really makes me wonder why Cook and Fatty aren't recording an album together again.

Almost exactly a year ago I professed to find the album "Reconciliation" by Ras I Mothep shamelessly good, even though it consists exclusively of rather brutal SteppersDub offered. Well lies with "Orbital Dub System" (Subsquad) the next album of the Sound Systems from Aix-en-Provence, and again I have to listen in fascination. The simplest digital productions, pure rhythm, endless bass and otherwise 4-to-the-floor. Where's the sophistication? where the art Where's the good taste? I don't know, and I can't think about it because my head is full of bass and digital thump. Seriously: It's not easy to write a differentiated review about the music of Ras I Mothep, but on the other hand they are Dubs from the south of France too beguiling to pass up. Let's put it this way: The rich sound of Dub can also be broken down to very simple basics: syncopated beats, bass, effects. That's exactly what "Orbital Dub System". The secret lies in the arrangement of the beats, which follows a secret formula: it is directly intertwined with the metabolic processes in the human brain and creates involuntary compulsion. Forced to listen to the next track. The obsessive compulsive is aware that he is being tied to this muscle against his will. A terrible fate. So think carefully before checking out the album.

Zion Train turns 35 this year. This makes the band, the label, the sound system, in short: Neil Perch one of the absolute veterans of the genre. I also remember well a concert organized by Nicolai (Echo Beach) in Cologne in 1994, where I saw Zion Train live for the first time. That same year, Zion Train released the landmark album Siren and signed to the Mayor label (now Warner) shortly thereafter. It was the time when we all believed Dub be on the way to the mainstream. Not even close! And fortunately, as we now know. A sell out would have that Dub robbed of his soul. Long story short: Zion Train is something very special and I'm always very happy about the (rare) releases. Now it's finally that time again. just releasedDissident sound“ (Universal Egg). I suspect that the exceptional quality of Neil Perch's productions is that he Dubs how songs understands and develops. Like a good song, also needs a Dub an idea, a central element that makes it unique. This can be an exceptional bassline, melodic horn sections, an inspired solo instrument, or the like. The melodic aspect is essential. The melody makes it Dub a song-like instrumental piece. And that's Zion Train's specialty. Each album (apart from the early work) is a work of its own character - unmistakable and unique. In addition, of course, there are the necessary virtues of Dub-Production: Inspired instrumentation, clever arrangement, clean craftsmanship (with real instruments), crisp sound, fat bass, more radical Dub-Mix. Why am I listing all this? Because "Dissident Sound" offers all of this in ideal form. I would even go so far as to say that this is one of the best Zion Train albums ever. Like its predecessor "Illuminate", "Dissident Sound" was also recorded in Germany. Paolo Baldini has also contributed bass and guitar again and singer Cara can also be heard on three tracks. The album was recorded entirely with "real" instruments and mixed by Neil with analogue equipment. Even if I'm otherwise an advocate of digital productions, I have to state that "Dissident Sound" benefits massively from the analog and handmade sound - which can also have something to do with the anarcho attitude that the album title and cover so ostentatious represents.

The Mad Professor and the Channel One Sound System take it easy. There are now seven years between the first and second round of their exchange of blows. A period of time that I had massively underestimated, because the first round was still too present to me - which wasn't necessarily due to the music, but maybe more because I appreciate the two opponents in general and especially the great cover impressed me had. The Dubs of the first round were in fact quite disappointing. Especially the sound of the Channel OneDubit was terrible. Now lies with Mad Professor Meets Channel One: "Round Two" (Ariwa) present the follow-up album and one thing is immediately apparent: at least the British Sound System has learned something new. The sound is actually quite decent, but the productions (I have no idea who recorded them) are still too harmless compared to the furious live performances of Channel One. Only the final track, "Straight to Mad Professor's Head" has the magic and punch I've come to expect from a sound system of the likes of Channel One's. Unfortunately, the professor does not know how to defend himself adequately. His Dubs are - as usual - complex arranged and virtuoso mixed and the sound is beyond any doubt, but as almost always in recent times, they are compositionally disappointing. The tracks simply have no corners and edges. They remain bloodless, the basslines are weak and there are hardly any melodies. But well, the professor has long since completed his life's work. He has so many brilliant Dubs conjured up like probably nobody else. Let's rejoice that he refuses to retire and is still turning the knobs.

How good an old schoolDubconcept can be implemented today, as Elijah Salomon proves with his album "Solomon Dub" (One Champ). It was made by the Zurich band DubHand-recorded by Conquerors and recorded in Jamaica by Bobby Digital at their Digital B studios, then mixed by John John at King Jammy's studios and mixed by Joe Ariwa at London's Ariwa studios. It is also based on a vocal album (“Salomon” from 2022). It can hardly be more classic. And that's what it sounds like - albeit with an outstanding sound quality that would have been unthinkable in the classical age. The Swiss singer, multi-instrumentalist, composer and producer Elijah Salomon is best known for his lyrics sung in Swiss German. However, I didn't really have it on my radar. That has “Solomon Dub' now suddenly changed. That classically interpreted Dub Can sound so fresh and inspired is a real joy. I was also positively surprised by the mixes by John John and Joe Ariwa. I'd saved the former as a digital dancehall producer and always dismissed the latter as the somewhat uninspired son of Mad Professor. Both teach me better now, because they deliver perfect craftsmanship and a firework of ideas. The inspiration probably comes from the excellent production that Elijah himself was responsible for and brought to the two of them. Credit for that should also Dubby Conquerors due, because the precision of their game is breathtaking. I can think of “Salomon Dub“ less in a sound system than with headphones in the subway, because the many details of the production and the mixes want to be listened to carefully.

Honestly, I don't know what else to write about Alpha & Omega anymore. I didn't count, but I estimate I've already written about 5000 reviews of their music. Everything was said there – several times! But on the other hand, the duo has a permanent place in mine Dub-heart, so I can't bring myself to ignore a new release of the two. So there he is, Alpha & Omega: "Dubplate Selection Vol. 4 ". On it you can hear what is always heard from A&O: mystical jungleDub, somewhat carelessly produced and mostly of medium to poor sound quality. But the hypnotic power that hers Dubs own, also works here with undiminished force. On the "Dubplate Selection Vol. 4" they have collected recordings for the fourth time that were previously known as Dubplates were in use. By this they mean alternative mixes of their productions, which they create exclusively for specific sound systems. Since the duo is quite prolific and constantly new Dubs produced, the number of their exclusive ones is also growing Dubplate mixes. In short: So it was time for a volume 4. I really like the handling of the vocal fragments by Ras Tinny, Nai-Jah and Joe Pilgrim. Used in an absolutely minimalist way, they characterize the Dubs with tiny tunes. They flash like sunbeams penetrating to the bottom of the jungle. Beautiful imagination!