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Five Star Review

Horace Andy: Midnight Scorchers

Adrian Sherwood.

…and done! Sometimes it really only takes two words and a meaningful review has practically written itself - at least for the well-informed dubblog.de community. About Mr. Sherwood, his On-U Sound label and the oeuvre he produces - from Creation Rebel, New Age Steppers to African Headcharge, Singers & Players to the Dub syndicates; to Lee Perry, Bim Sherman and many others – there is probably no longer any need to waste big words. It's On-U Sound, man!

Doyen Sherwood himself has never lost relevance in his more than 30-year history as a producer - well, sometimes he has ventured into somewhat more obscure areas (such as his Collaboration with Pinch), but alone his productions with the Dub Syndicate and/or Lee Perry showed how much he works on the cutting edge and beyond. Who doesn't remember Perry's epochal "Rainford"-Release and its no less valuable counterpart "Heavy Rain"?

Now we have another fine double pack in front of us: The Horace Andy album "Midnight rockers' and its just-released counterpart 'Midnight Scorchers". The former surprises with a fairly classic sound by Sherwood standards, with Horace Andy at his best; the latter with, well, reinterpretations. A real Sherwood treatment goes far beyond that Dub-Borders, turns the innermost outside, lets shine in the vocal mix that has been buried, adds instruments and vocals (Daddy Freddy, Lone Ranger), fades out tracks in return and fattens up the whole sound compared to the original. All reasons why the term "Dub Album" doesn't go far enough and I think the more comprehensive "Counterpart" is more appropriate.

Finally, just the hard facts: "Midnight Scorchers" contains seven alternative versions of "Midnight Rocker" tracks plus three new tracks, all bearing the multi-ton On-U Sound seal of approval. Adrian Sherwood just... and done!

Rating: 5 out of 5.

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Review

Mato: jazz funk Dub Tribute

Thomas Blanchot aka mato is almost a guarantee for excellent analogue productions made in France - just remember his interpretation of Daft Punk's "Homework", the film music tribute "Holywoo Dub", the excursion into e-music "Classical Dub' and finally his nod to the horror genre 'Scary Dub". So far there has been dubblog.de good to very good reviews, although we are more concerned with instrumental than Dub-Albums have to do. Not that Mato is stingy with effects - on the contrary: Echo, Hall & Co. fit so well into the overall picture that the focus is more on musical excellence and fine arrangements.

Part of the success of the Mato works is certainly their recognition value: the originals are well known; their reggae or Dub-Surprise interpretations. So far at least, because this recognition effect is missing in Mato's new release "jazz funk Dub Tribute" fully. This is of course a very subjective statement; Listeners who are at home in the jazz-funk genre - particularly the recordings of the 1070s - will probably celebrate the new reggae interpretations. The reviewer, on the other hand, completely lacks this connection, even though the originals come from funk greats like Kool & The Gang, War, Grover Washington Jr. and jazz greats like Lonnie Liston Smith or Weather Report.

The bottom line is that Mato delivers on his not exactly original but aptly titled “Jazz-Funk Dub Tribute" from first-class craftsmanship again, no question. Everything is where it belongs, you can't complain - the will for perfection is there, the will for musical development is not. Similar instruments and arrangements, no matter how perfect they may be, could already be heard on earlier albums - but this time the spark is missing, the desire for something new, for experimentation and the courage to leave the beaten path. The reviewer would like more artistic risk, more surprises, less fabric softener. And he doesn't wish for any more fade-outs either - they could be seen as a reference to the 70s, but in 2022 they seem like a work avoidance characterized by a lack of imagination... doesn't have to be, Mato.

Rating: 4 out of 5.
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Review

Youthie & Macca Dread: The Roots Explorers

Although the first months of 2022 me in terms of Dub left quite at a loss, if not downright disappointed, there seems to have been a real boost of very good releases in the last few weeks: At first they were convincing JonQuan & Associates at full length, then delivered Dub Vallila a fine album and now Youthie & Macca Dread's latest set "The Roots Explorers' out of the speakers. What an eclectic mix of reggae, jazz, Dub and world music in the broadest sense, which corresponds to the predecessor "Nomad Skank“ is in no way inferior.

Ras Vorbei's apt review of "Nomad Skank" could be reproduced here 1:1, especially since the protagonists are the same as back then: Youthie - a gifted musical craftswoman - works on trumpet, flute and accordion, producer Macca Dread takes care of the congenial sound . All in all, it's like an acoustic journey around the world, with rough stays in various francophone countries, with the Celts and with the - how do you say politically correct these days? – well, with the “Mobile Ethnic Minorities”. In any case, there is no boredom here, the compositions, arrangements and musical ideas are far too sophisticated for that. Thanks to the dynamics that are well preserved in the mixdown, "The Roots Explorers" doesn't sound tiring even after repeated listening: decent bass and punch on the drums - what more could spoiled ears want?

And yet you have to consciously get involved with this album - it's one of the (more or less) intellectual kind. Lovers of bare bones riddims of the classic kind could be a little overwhelmed by the musical opulence and ask the legitimate question what all this has to do with Dub had to do. Not much, dear readers, not much. Rather, "The Roots Explorers" is one of the best and most diverse instrumental albums in the reggae genre, hands down.

Rating: 5 out of 5.
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Review

Dub Vallila – Katakom Beat

Spoiler alert: 4,5 stars for a very nice, groovy, Dub-impregnated instrumental album that found its own way to us from – read and be amazed: from Helsinki / Finland. Why not; Talent can be found everywhere. Here, however, we have to do with an accumulation of it; tape and Dub Mixers complement each other ideally:

The band is called Dub Vallila and "Catacomb Beat“ (Playground Music Oy) their successful debut album. The line-up is as simple as it is effective: classic reggae horns meet the same band; just using a hang drum is a bit out of line. But why not; the slope is used in the fine arrangements just as appropriately as it is unobtrusive. The whole thing also works very well live:

Ultimately, it is still the Dub-Dragging the mixer in front of the curtain - a certain Micho Dread, who is the congenial partner on the mixing board: Very nice classic and modern effects that fit perfectly but never take on the leading role. If you like his style, you can find more of it on "Dub by Studiored".

And all this from Finland, who would have thought it. One could now be subtle and wish for a somewhat warmer overall sound; but the reviewer surprisingly doesn't want to be nitpicking and just sticks to the basslines, horn sections and Dub-Effects delight. Will probably be his summer soundtrack 2022!

Rating: 4.5 out of 5.
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Review

Christos DC: Crisis 2.0 in Dub

Where "I Grade" is on it, quality is in it - no question: Best sound, brand "sophisticated". See the review of the recently released Zion I Kings album "Future Ocean's Echo“, which thrives on concept first and, well, riddims and effects second. But if the former is missing and the latter isn't the icing on the cake either, then it sounds like Christo's DC's newer one Dub counterpart to his "crisis 2.0" Album that, no-na, "Crisis 2.0 in Dub“ (Honest Music) – both mixed by Laurent Alfred aka I Grade.

To make it short: "sophisticated" stands for cultivated boredom. The riddims ripple neatly along without any arc of suspense; due to a lack of concise basslines, it doesn't want to be recognizable. The same goes for the mix: although there's no stinginess with effects, it doesn't quite spark. In the sound, everything seems to be more or less equally loud/quiet, courageous fade-outs are missing, acoustic uniformity reigns, less would be more. A disappointment, since one is better from I grade Dubs used to. In comparison, the vocal album Crisis 2.0 does better: It's Christos DC's voice that ties it all together and provides direction.

The example above may not demonstrate the catchiest melody line, but it is, hands down, the best riddim on the album. And so it finally comes that in the present case I actually play the vocal tracks of the Dubvariant, especially since sound gimmicks have also been incorporated there. Which shows: Sometimes you've already delivered the best and it doesn't need any further processing - and yes, you can also overdo it with perfection.

Rating: 3.5 out of 5.
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Review

Dubmatix Meets Future Dub Orchestra: Frontline Dub

Once upon a time there was the future Dub Orchestra - a loose musicians' collective around the Brit JT Clarke - that released the rather trivial, droning album "Echoes": Suitable at best for lounges, at worst for an elevator that catapults hip scouts to the next startup with potential hits . That was 2017; flashforward to 2022 and the ingenious idea of ​​the Future Dub Orchestra with Mr Dubto clamp matrix together. That makes something, as you can see on the just released "Frontline Dub' (Echo Beach).

Both parties benefit from the new album: the orchestra gets thanks Dubmatix kicks his butt and he in turn broadens his musical horizons in a beneficial way: a win-win situation, so to speak. And indeed, “Frontline Dub' an entertaining work consisting of five instrumentals plus their Dubversions and as such fits perfectly into the Echo Beach catalogue: the danceable electronic version of Hall & Echo, which just barely misses reggae. Fans of this genre mix - for which there should have been a category for a long time - will love the album, no question. And indeed: So far the best Echo Beach release of the year, although we're only halfway there...

Rating: 4 out of 5.
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Review

Zion I Kings: Future Oceans Echo

The Zion I Kings - a group of musicians and producers from the three houses Zion High Productions, I Grade Records and Luster Kings Productions - have their fifth without much notice Dub-Album released: "Future Ocean's Echo(Galactic Soul Music). The title sums up very well what this release is about: the oceans of our planet and their inhabitants. The concept is not new and also in reggae/Dub-Genre to find - like Sly & Robbie's "Underwater Dub", in which producer Blackwood greases the tracks throughout with underwater noises - but no act has ever pulled it off as stringently as the Zion I Kings. Accordingly, they go a step further here: A portion of the proceeds from streaming services are donated to the preservation of the coral reefs in St. Croix (US Virgin Islands), where the Zion I Kings record the majority of their tracks. In the service of the cause, the promo video for “Red Gold & Green Dubmarine":

Today, the Zion I Kings stand for quality - wonderful, handcrafted riddims, provided with fine bass lines and a balanced sound that cannot be faulted. alone Dub-Effects – which are used in a diverse, contemporary and generous way – fail to develop an arc of tension, to tell an acoustic story. Of course, that's mosern at the highest level, because what's left is still a very good one Dub-Album that can be recommended without reservation.

Rating: 4.5 out of 5.
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Review

Dub boat: Dub Boat

Please forgive me if this review features an album that was released in 2020. I myself just recently stumbled across this and am fascinated by it; it is of breathtaking musical brilliance, offers wonderfully extensive, consistently sophisticated arrangements and 1A sound quality. I say it openly: Dub Boat, a quintet from America's East Coast, sometimes sound like a symphony orchestra - every note on their untitled, self-published one debuts testifies to virtuoso ability - this also applies to the work of the sound engineer(s) involved. Mind you: we are still in the reggae genre, and there close to Dub-Area. Okay, let's call it instrumentals:

You can of course wear yourself out with such a work – because the whole thing has very little to do with the familiar, heavy riddims of Jamaican provenance. If you're looking for that typical earthy vibe that seems to be built on blood, sweat and tears, you won't find it here. It's reggae as reggae as it could be. Of course, the bass gets involved in a few repeated sequences of notes - but only to break out of it again and follow the sophisticated arrangements. Drums, guitar, keys and trumpet/flugelhorn are in no way inferior and produce together... well, what actually? Reggae goes Jazz-Rock-Funk'n'Soul goes Tamtam? Reggae as stadium rock or symphonic open-air concert? Chris Blackwell meets Jim Steinman meets Clive Hunt? Elevator music or breathtaking performance?

I suggest taking your time and letting the music sink in. There is a lot to discover, unforeseen musical surprises and one or the other Dub-Effect. Associations and classification are difficult – would Dub Spencer & Trance Hill would they sound like this if they were Americans and recorded Hollywood soundtracks full-time? Or maybe Marcus Urani's Groundation sans Harrison Stafford, freshly strengthened and ironed out?

An album - or rather: a review that raises more questions than answers. As always, I advise dealing with such phenomena from the fringes of the reggae universe - it could be worth it.

Rating: 4 out of 5.
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Review

Super natural sound: Dub Tape Volume 1

Sometimes they just appear like that - without notice, without warning. albums by unknown acts with cover artwork that is rather unusual for the reggae genre; the reviewer is unfortunately inclined to let such parts pass unheard in the streaming universe. Of course, you should never do that, as I did on Super Natural Sound's "Dub Tape Volume 1(Super Natural Sound) can demonstrate.

First thought: woah… Lee Perry's Black Ark studio? Already the first track makes it clear what's going on: Honest, handmade music, provided with instruments like in the olden days. That it goes so far that tapes, appropriate recording machines and various sound gadgets such as self-made sirens are used, I only find out later in the exchange with Aaron Sprague, the man behind Super Natural Sound. 

“ Lee Scratch Perry was a big influence on my approach to working in the traditional style on tape with analogue equipment. My first release was actually a track I wrote and produced with Lee Perry in 2020. As the bass player for the New York roots reggae band Mosaic Foundation, I played a show with Perry and was lucky enough to record the song "Garvey Say" with him. I've been so influenced by Lee's style, the Black Ark sound and his spiritual approach that I'm trying to capture this analog one Dub- to keep the tradition alive.”

Aaron's present debut "Dub Tapes Volume 1” under the moniker Super Natural Sound is a collection of Dubs created in the past year. Contrary to the original intention of making timeless music, the instrumental recordings are sparsely sown Dub-Effects rooted entirely in the sound of the 70s. Joining forces here are Ranking Joe with the only vocal track and a wonderful melodica and bongo duo from Japan: Aki Mittoo and Goja Bongos. Mittoo's euphonious melodica is very different from the melody and playing style of an Addis Pablo or an Art-X; The instrument is wonderfully embedded in the mix and never intrusive. 

There are also two drummers from Los Angeles and Israel, with the latter providing an extra portion of punch and slightly lifting the recordings towards the 1980s. Sprague does the rest of the instrumentation himself, completing a blend of many cultures and styles brought together, as he puts it, "by a love of reggae."

"Dub Tapes Volume 1” is intended to be just the first of many more albums from Super Natural Sound; ready-recorded vocal tracks, which will be presented by various female singers, are already waiting for the release. "Working with the different musicians drives me and always allows me to create something new," says Aaron Sprague. “I make sure that Super Natural Sound's music is positive, full of love and good vibes. The analog recording technology is helpful here and helps to preserve these vibes in the best possible way. After all, music is medicine, and I also support the healing effect with sounds for which I build my own instruments. All my equipment, which is older than me - from the 60s, 70s and 80s - plays a big role in this. I love the sound of that time and I want to spread it with my work; But above all I want to make music that I want to hear myself. The "Dub Tapes Volume 1" is just the beginning - the Super Natural Sound studio still has a lot up its sleeve."

There is nothing to add; the man knows what he is doing and what he wants to achieve with it. Respect for the handmade music based on an old recipe and also for the fact that he doesn't just go through the whole thing as an ego trip - quite the opposite: New York meets Japan meets California meets Israel, and it still sounds like a piece. LSP lives on - in all the musicians he inspired. "Dub Tapes Volume 1” bears witness to this.

Rating: 4 out of 5.
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Review

Seanie T meets Aldubb: Armagideon Time (Remixes)

After a "Punk reggae party' often comes the rude awakening: 'Armagideon Time (Remixes)(Echo Beach) is another Seanie T and Al collaboration, according to the coverdubb. The reviewer rejoices that this can only be a good thing - until he discovers that Rob Smith has his ice-cold fingers in the pie again on some tracks. Well... where there is light, there is shadow.

Like "Punky Reggae Party," Seanie T's version of "Armagideon Time" was first featured on Lee Grove's "dance a Dub" listen; Now the re-recording of the Studio One/Willie Williams classic on the Real Rock riddim is available as a remix album. Aldubb delivers five wonderful mixed versions - including three Dubs and the vocal track that Seanie T shines on. The whole thing with excellent band backing that comes very close to the original - including the typical snare roll and the prominent Real Rock trombone:

So the album is a pleasure, until track 6, when Rob Smith aka RSD strikes: The first glaringly annoying kindergarten keyboards, the sterile, staccato-like synth bassline and the flying cymbal reveal the whole dilemma. Where the computer rules, the vibe fades away (here, too, exceptions prove the rule). It makes you wonder why the Echo Beach label keeps coming back to Rob Smith when it comes to something dance-oriented. His style isn't even up-to-date anymore, others can do that better and more contemporary, see Lee Groves & Co. There is nothing more to say about this:

So how do you rate this remix album? Aldubb and Seanie T just missed five stars, Rob Smith "was always trying". All in all... 

Rating: 3 out of 5.