Categories
Review

Dubvisionist presents PFL Dubstudio sessions

Admittedly, the first time I only listened half-heartedly and incidentally via the notebook speaker. Biggest possible mistake of a reviewer, no question about it - shame on me. I may ask for a little understanding when I confess to myself Dubvisionist's "Yoga in Dub“Left pretty untouched. An album that certainly has its place in the work-life balance trend and can be used well with a vinyasa flow, for example - if you can't stand silence while performing the asanas. And yet: I have the approach of reggae /Dub belongs to "New Age" music in the broadest sense. Deeply relaxed readers like Deva Premal's excellent mantra chanting album produced by Maneesh de Moor "A deeper light“Lead to mind; or Jay Uttal's "Roots, Rock, Rama!“-Release in which the Kirtan veteran padded his chants with solid reggae grooves.

In fact, this is about the successor to “Yoga in Dub"Who is there"Dubvisionist presents PFL Dubstudio sessions “(Echo Beach) calls it. Felix Wolter aka Dubvisionist is well known and valued in the Dub-Scene; the dubblog.de review its fine “King Size Dub There is nothing more to add. I would see PFL or Pre Fade Listening as the part in the equation, which is rather unknown today, as one of Felix Wolter's musical incarnations: a project that made a name for itself in the past with its lounge productions.

“Lounge” as a term for a hodgepodge of different musical styles has always been a puzzling phenomenon to me - sure, it's mostly really relaxed downbeat; often instrumental or provided with more or less obscure ethnic vocals and samples. Located somewhere between everything and nothing, it is used by millennials as background sound in the cool bars and hip club lounges. This is where people meet for a neat chill out, have friends and acquaintances and possibly plan the rest of the night together. In short: Wherever the word “nice” is used instead of “beautiful”, “good” or “fine”, the probability of hearing lounge is very high. All of this has to do primarily with communication; Music plays a subordinate role: not too loud, not too present, not too intrusive or, in the worst case, even disturbing the conversation. Passive music that you don't actually want to hear, but at best perceive as background hum, but which is ideal for bridging the silence - in the event that you have nothing more to say to yourself. Sarcasm aside: A lot of money was made under the label “Lounge Music”, especially in the noughties; it was probably the last hype in which physical records played a role. What remains is a curiosity: music that you actually don't (consciously) want to hear.

Back to the topic; back to an album that in the right setting - that is, a music system with a powerful subwoofer - becomes a veritable bass monster. Of course we don't have classic reggae here /Dub infront of us; HardcoreDubheads will definitely identify one or the other snipet of a reggae bassline; for example in the track “Going Underground”, in which the groove of The Tamlins' or Sly & Robbie's “Baltimore“Can be seen. Or how about the whole "Drum song"-Bassline in" Long Reasoning Dub“? Even Nyabinghi drums are used (“Searching for the Magic Frequency”), and yet I would rather classify the album as a downbeat - also to avoid the unfortunate term lounge. The release is just too interesting for that, requires due attention to discover many small and large sound gimmicks - such as vocal samples, a rocking guitar and wonderful percussions. 

May one "Dubvisionist presents PFL Dubsessions “maybe even with the Dub Compare Syndicate at Best On-U Sound Times? Well, a Style Scott is irreplaceable, but Adrian Sherwood also likes to experiment with all sorts of influences and styles. In this respect one can draw parallels; and I would think of the track "The Lone Ranger" as missing Dub Want to sell Syndicate recording - I probably wouldn't question it. Apart from the boring track “Yoga Secret” an interesting album that includes Dub- Effects not stingy. In terms of sound, it is in the with its rather reserved highs Dubvisionist-specific sound world at home, which was much duller on earlier releases. Balm for listeners like the reviewer, for whom cutting, extreme highs cause bleeding ears, but who celebrates intestinal massages in the lower Hz range all the more.

Ultimately, I recommend the inclined reader not to be confused by the album cover, the track title “Skylarkin Lounge” and the reviewer's lounge phobia. Albums of a different kind demand openness and the willingness to get involved with them - especially if they are not the usual ones Dub-Conform to clichés. Who so on "Dubvisionist presents PFL Dubsessions ”will be rewarded.

Rating: 3.5 out of 5.

Categories
Review

Manasseh meets Praise

I don't want to fool around for a long time and say right away: That's not a Dub Album. There are no echoes, hardly any reverb or other effects. This is by no means a journey through it Dub-Universe let alone a multi-dimensional sound flash in trip quality. But it's a nice, atmospheric instrumental album of a different kind - and I'm not in the position to call it one of the best releases so far of the drought 2020 in this regard.

We're talking about Nick Manasseh's new production, which he recorded with Praise. As far as one would like to believe the omniscient data garbage dump Google, the latter is an accomplished and sought-after violinist who has already worked with various greats in the studio and on stage. This makes it clearer in which direction we are moving here: To a different kind of clash - when string instruments meet reggae. This is not a sensation per se, nor is it new, as demonstrated by Cat Coore, Ras Divarious or numerous Sherwood productions. With "Manasseh meets praise“(Roots Garden Records) the two components enter into an almost perfect symbiosis. 

On the one hand, this may be due to the producer Manasseh, who used his gentle but unshakable voice from the Earl Sixteen release "Gold dust“The familiar style continues: Acoustic guitars float over a lazy bass monster. Here Praise can bring himself in perfectly with multi-layered string recordings, so that sometimes the impression arises as if a string quartet played melancholy music for a film of this kind - as you can also see in the video for the track "Yes Mic":

I do not know why this particular piece was chosen for the promo video; In any case, my selling point would have been “London Babylon”, which is my highlight of the album with its melody and clever arrangement. Perhaps the choice was difficult because the tracks from “Mannasseh Meets Praise” make a wonderfully coordinated potpourri and ultimately look like one piece - even though the recordings took place over a period of almost ten years.

The album unfolds its greatest charm through its well-tempered sound. You seldom hear a reggae bass so comfortably soft, so deep and at the same time powerful, the highs are pleasantly reserved. In the mixdown, the violins (and sometimes a flute) are gently embedded; nothing screeches there, no sound is annoying - and yet one is miles away from being “ironed”. In the usual review self-experiment, I also heard this release in a continuous loop; it was never boring or annoying due to the repetitions - but it always revealed new nuances: in the sound, in the arrangement, in the (imo classical) melody.

If I finally had to sum up the qualities of the album in one word, it would be “subtle”. Not everyone will be comfortable with this assessment - hardcore Dubheads it could all be too lax. On the other hand, those who are open to nuanced acoustic sounds will like the album and the way it latently seeps into the subconscious. 

Rating: 4 out of 5.

Categories
Review

Pyrotechnist: Fire Crackers

Then it's slowly enough again with the 70s revival. There have been plenty of new recordings lately with a glorified view of the good old days: Here a part Roots, there a part Lovers Rock, spiced with a touch of Ska and / or Rocksteady, which can be stirred or shaken with analog instruments and DubEffects - the new, old cocktail as it is now served on American and European platforms is ready. The roots-oriented productions of Roberto Sanchez proven: He has succeeded in replicating the essence of Jamaican productions of the late 70s and bringing it into the present day. With this, Sanchez has set a milestone that can be used to measure other productions - even if they start earlier and use recordings from the early 70s as a reference.

One can and should ask the question whether such a 70s revival trend makes sense at all: Why reproduce a sound of which there are plenty of excellent originals thanks to labels like Pressure Sounds? Why imitate the old masters of the genre if you can't muster up their inventiveness, enthusiasm for experimentation, but also audacity and disrespect for all technical standards and customs? Back then, these weren't considered, balanced sounds that caressed the ear, but rather the full broad side beyond the stop: A King Tubby didn't care whether an effect was completely overdriven and the PA or studio monitors were overloaded; only the result counted. The replicas completely lack this daring; Sometimes you can't help but get the impression that only mid-o-esque background sound was recorded for dignified shopping malls à la Galerie Lafayette: boring, irrelevant. And yet the revival bands have a certain status as a live act; With a much more powerful sound, they make the stage a place where the arrangements á la 70s can be really fun. 

I assume that it is similar with the Belgian band project Pyrotechnist. Their album "Fire Crackers" (Badasonic Records) has just been released and offers not only a clean sound but also dignified arrangements that are not too short DubEffects are offset. The focus is on the early 70s; memories of Jackie Mittoo, Augustus Pablo, Dave Barker & Ansel Collins, but also Sly Dunbar are sought. All in all, this results in an eclectic and unspectacular mixture of reggae and rocksteady with a hint of Ska. It only gets exciting when brass sections come into play; when drums are mixed so far in the background that only snare and fills can be heard; when (finally again) the Clavinet plays a role or the sometimes outstanding ones Dub-Push effects into focus. 

Of course, one can understand the album in its entirety as a bow to the aforementioned master instrumentalists; the recordings do not do justice to the originals. So who will enjoy “Fire Crackers”? Probably nostalgic and the Lafayette Gallery; I recommend the corresponding releases of Blood & Fire, Pressure Sounds & Co. to everyone else.

Rating: 2 out of 5.

Categories
Review

Aldubb: Mesozoic Valley

What do you actually call music - and in our case Dub - which was created entirely on the computer? Digital Dubs, laptop music, EDM (cheekily modified: Electronic Dub Music)? The digital craft is not that brand new - it's been an unbelievable 35 years since Prince Jammy produced the Sleng Teng-Riddim and thus triggered a paradigm shift that was to fundamentally change the reggae world. For a good 15 years, digital sounds have dictated where to go - and Jammy, who became King after Tubby's death, was the measure of all things, at least in the first decade. Today his recordings are only acoustic witnesses of bygone days, and the early digital works of other producers and musicians such as Fatis Burell, Bobby Digital or Gussie Clarke have only survived the time - if at all - slightly better. What they all have in common, however, is the immense and lasting impression they make in reggae (and in Dub) have left.

Al was certainly influenced by thisdubb exposed; however, his music has overcome the narrow boundaries of roots and dancehall and is open to well-dosed pinches of other music genres. Much appreciated for its two wonderful “Planets of Dub"Releases, the Berliner now publishes a selection of laptopDubs that the wait on planet of Dub Vol. 3 is intended to shorten. That makes "Mesozoic Valley“(One Drop Music) by no means a stopgap; the (this time) purely digitally orchestrated pieces can definitely stand on their own. The opener “Jurassic Extinction” was a great success, sneaking up with a restrained string sample and then creating a physically noticeable pressure wave with a drum & bass drop - at the appropriate volume, mind you. This first "Woah ... killer bass!" Impression extends over the entire length of the album and is my personal tonal leitmotif of "Mesozoic Valley", which is also otherwise due to excellent mixing and perfectly placed, but still unobtrusive (analog!) Dub-Effects shines.

Is everything okay then? Not exactly; The above-mentioned “well-dosed pinches” are too strong for my taste this time - a little less trap and hip-hop elements (“Velociraptor”) and Dubstep bonds ("Tethys") would be the conservative Dubhead better liked. Instead, I would have liked more “lifelike” samples like the initial strings, which contrast nicely with the programmed beats. The biggest shortcoming of the album, however, is the lack of hooklines - neither the aforementioned punchy, almost subsonically perceptible bass nor the successful mixdown help: If no melodic phrase or bassline wants to cling to your ears, the tracks will splash more or less when you listen to them often interchangeably. The very interesting concept into which Aldubb has embedded his tracks: The titles tell of the Middle Ages, the drifting apart continent Pangea, the Tethys and everything that crawls and flies in the Jura - until the asteroid comes and the great extinction begins. The music itself has no relation to the titles; Put simply, no Velociraptor screams at us on the track of the same name; the huge Triceratops does not want to stomp in his piece and draw attention to himself in terms of sound. That's not to say I liked an acoustic comic better; Just my attention and the associated recognition value would have been much higher.

Ultimately, “Mesozoic Valley” leaves me as a reviewer with thoroughly ambivalent feelings. In contrast, all those Aldubbs earlier works like “Let There Be Dub"Or" Advanced Physics "appreciate and love, cannot understand this dichotomy and add one star or another to my rating. Go ahead!

Rating: 3 out of 5.
Categories
Review

Pachyman: At 333 House

So here we have a release called "from scratch" as Dub-Album was designed; a production that was probably created out of joy and love for classic reggae or analog Dub-Technique originated. But the album also seems to correspond to a trend that has been heard more and more recently: It presents a sound image that gives the impression that one is with the artist in a rather musty, dull rehearsal room padded for sound insulation. Nothing is embellished there; the loud hi-hat and the cymbals sound tinny, the bass drum and the bass sound dry and flat. Musicians will feel transported back to their beginnings when they listen - back then, with the band in the damp, cold basement for whom the term “rehearsal room” was a bad joke. 

So a sound that has nothing to do with the deep bass and the sharp highs of e.g. Jamaican productions. In this respect, classic Dubheads no great pleasure in Pachyman's "At 333 House“(Mock Records) have. It is the second (solo) album by the LA-based Puerto Rican who obviously draws the inspiration for his self-written and almost single-handedly recorded riddims from the late 70s. He is not alone in this either; In the last few months there have been productions that have dedicated themselves in every respect to the golden era of reggae. The Revolutionaries or the early Roots Radics send their regards - if it was great then, why not today?

This concept only works to a limited extent. Pachyman may be talented and able to play multiple instruments - but that all seems just average. The quality of his bass runs ranges from unspeakable boredom (“Smokeshop”) to wonderfully groovy (“Babylon Will Fall”). The sound mix is ​​difficult and tiring, as the instruments are almost equally loud, i.e. mixed without dynamics. The Dub-Mix per se is unspectacular and devoid of any highlights: Sometimes a reverb, here a reverb; Pachyman is rather stingy with echo and the Mad Professor is much better at the bass, which is pitched high in places. And between us: Fade-outs are no longer necessary or common today, you can also use them as Dub-Mixer conjure up brilliant things.

So is it safe to throw “At 333 House” off the playlist again? Maybe; but one should readily admit to Pachyman that there is a lot of potential. I suspect he could use it better if he left the cocoon and had his ideas filtered, animated and implemented by the band, mixing engineer or sound engineer. Well worth a try, Pachyman.

Rating: 2 out of 5.

Categories
Review

The Loving Paupers: Lines in Dub

Nice, again a "real" Dub- To be able to review an album - that is, one that was created classically from the (further) processing of a previously released vocal album, takes it into new dimensions in terms of sound technology, but never loses the reference to the original - in which it is the original musical and sometimes the textual message also reinforces, spins on, caricatures, leads to absurdity or transformed into the opposite. That is the essence of the Dub: Without the original as a reference there can be none Dub Give version; that would be as pointless as Dub-Tuning without a car.

Of course, there are still instrumentals of all genres in abundance, without any template Dub-Techniques and ingredients were developed. However, whether the mere use of effects such as echo, reverb or the fading in and out of sound tracks the term "Dub“Justifies, is a question worth discussing.

The Loving Paupers, a septet around singer Kelly Di Filippo from the United States, are obviously committed to tradition and have their album "Lines" also as - nomen est omen - "Lines in Dub“(Jump Up Records) released. Both labels and artists state “Lovers Rock” as the genre, which seems too short-sighted and has little to do with conventional, but rather flat Lovers Rock. The lyrics of the vocal album are too sophisticated and encrypted for that; the conveyed state of mind is pure melancholy and Di Filippo's sound, often set in two-part harmony, is very reminiscent of non-genre artists such as Rumer, the early Dusty Springfield, and sometimes Sade. The impression is supported by catchy melodies, which point more towards singer / songwriter, country or pop / rock.

The foundation, however, is formed by pure, original roots riddims: Without a vocal track, they could well pass as productions of the late 70s in terms of arrangement and instrumentation. Only the reduced highs and the associated muffled sound are the drawbacks of "Lines".

"Lines in Dub“On the other hand corrects this weakness and convinces with a clear, powerful sound that the Dubs sparkles. The difference is a bit surprising, as Victor Rice turned the controls on both albums. Its soundscape is still not for everyone, especially its bone-dry, almost tinny drum sounds. But the man knows exactly when to use which effect and when to fade in and out vocal tracks; the result is the subjectively best Dub-Album from Rice. It can stand on its own, but works best in combination with the vocal album - precisely because it perfectly carries the melancholy mood: A beautiful soundtrack for dark, rainy days.

Rating: 4 out of 5.
Categories
Review

Sly & Robbie: Dub Serge

To anticipate: Sly & Robbie were the best, most innovative and most playful drum & bass duo - even if others like Style Scott and Flabba Holt sometimes did a much cleaner job, but never achieved cross-genre recognition. Sly & Robbie, on the other hand, were booked worldwide to support pop and rock greats such as Joe Cocker, Bob Dylan, Mick Jagger, Serge Gainsbourg and many more in the studio or live. There is no question that they also developed the reggae genre significantly with their riddims.

But that was in the late 70s and early 80s of the last century; the times of musical innovations and new musical territory are over for the two of them. Sly & Robbie seem to be trapped in a time bubble today: They reproduce their own musical past and more or less celebrate the riddims that made them the musical spearhead of reggae in the past. 

So also on their new release "Sly & Robbie Dub Serge"(Taxi Records), for whom they are nothing more than their own riddims from the excellent Serge Gainsbourg album"Aux Armes Et Caetera“(1979) have recorded again. Why? Only Guillaume Bougard knows that, who works here as co-producer and, together with Gaylord Bravo, the uninspired Dub-Mix is ​​responsible. There could be no need for these bloodless, endlessly rolled out and at best boring versions, especially since the original album (as well as its successor) has been considered in recent years Deluxe- and Super deluxe Version including Dubs was published.

So the question is: do you need this new album? Absolutely, if you want to hear how two excellent musicians dismantle their life's work. Otherwise: Hands off it and listen to one of the many brilliant Sly & Robbie albums from the 1980s instead. How about the epochal “A Dub Experience ”from Iceland's“ Reggae Greats ”series?

Rating: 1 out of 5.
Categories
Review

Christafari: Dub Supreme

A band that regularly occupies number 1 on the Reggae Billboard charts and has a correspondingly large number of sales and streams - but is still largely ignored by the reggae community? A band that gives well over a hundred concerts worldwide each year, but is still exposed to violent attacks, sometimes also physical violence - for example by Buju Banton, who is said to have attacked and injured band members?

This is Christafari, a conglomerate of musicians around Pastor Mark Mohr and Avion Blackman - all of them devoted Christians who spread messages with their music. This is obviously not appreciated by reggae enthusiasts, although the lyrics, including the extensive use of the word "Jah" and quotes by Haile Selassie, are almost identical to Rasta-centered lyrics by other, generally recognized artists. No dreadlocks or perfect patois, which Mark Mohr has acquired in his long work as a missionary in Jamaica, help. Anyone who, like him, is critical of Rastafari, does not understand Haile Selassie as a deity but as an ordinary Christian and also rejects drugs of any kind, has a hard time in the community.

As expected, the abstinence is not noticeable musically - Christafari are accomplished musicians who mainly work in the classic roots reggae genre, but also well versed in dancehall - including the popular recycling of well-known riddims. The impressive back catalog proves the regular release of new albums, all recorded in the band's own studio and published on the associated “Lion of Zion” label. The fact that you can work on the sound without any time pressure is unmistakable: the arrangements are sophisticated, the mix and mastering are flawless. However, this technical production advantage also harbors a risk: Too much of a good thing can have a negative effect, dilutes the musical essence and tires the listener's ears.

Christafari's Dub Albums that complete the vocal releases are far from this danger; "Dub Supreme“(Lion of Zion Entertainment) is no exception here. As a roots-oriented Dub-Companion for the albums “99.4.1 (Reckless Love)” and “Original Love” presents versions that are cautious for Christafari standards and use the often exuberant vocals as well-dosed ethereal fragments of sound. Even the classic one Dub-Mix and the mastering are of the best quality - and yet: If the production weren't quite so flawless and pure, if there were a little more corners and edges and if the smooth surface had been treated with a little bit of dirt ... then there would be Nothing in the way of a first-class evaluation. As it is, it remains a good album that shows its strengths best when you listen to it loudly and with a good punch.

Rating: 4 out of 5.
Categories
Review

Ras Teo Meets Lone Ark: Ten Thousand Lions

Rarely, but an album manages to impress with the very first track - for example, when one of the reviewer's favorite riddims thunders out of the speakers. This is what happened with Ras Teo's new release, which uses the Roots Radics opener “Country Living” - to be found in the original as “Material Man”On Gregory Isaac's legendary“ Night Nurse ”album. 

Ras Teo delivers with "Ten Thousand Lions“(A-Lone / Rebel Sounds Records) released a massive double album, which in addition to twelve vocal tracks also the corresponding Dub Versions presented and therefore traded under the name “Ras Teo meets Lone Ark”. The singer with the velvety soft voice is Angeleno of Armenian descent - which makes his sometimes deeply spiritual lyrics, which are presented in broad patois, appear in a somewhat strange light, especially since there was no corresponding ethnic connection to Jamaica. The singing itself creates mixed feelings: the man has a pleasant voice and hits the notes, but lacks energy. Anyone who expects a natural, dynamic range from quiet to loud here will be disappointed - the vocals ripple along too loud and uniform. The vocals are also highly compressed in terms of production; What can do well with polyphonic chorus leaves a stale impression with lead vocals and tires the listener in the long run. It's a shame, especially since the lack of dynamism is a general shortcoming of the otherwise successful album.

Of course, what is of particular interest here are them Dub Versions. The instrumentals, produced by Roberto Sanchez in his Spanish Lone Ark studio, have a strong relationship to the 70s, and you might think that they were recordings by the Revolutionaries from 1978. “Bad Friday Dub"," Hitey Tighty Dub"And" Babylon Crooked Dub“Are exemplary examples of this; especially Sly Dunbar's influence is unmistakable here. The backing tracks and especially the Dubs present themselves as a journey through time that couldn't be more impressive - everything is just right here: From the drums (including syndrums!) and percussions to keyboards to the excellent arranged horns, the “Lone Ark Riddim Force” apparently effortlessly has an album delivered to the master class. This is all the more remarkable since the producer recorded and mixed the lion's share of the instruments himself; only keys, percussions and horns are not from him. Roberto Sanchez shows once again that he is a profound expert on the subject, has precise ideas about the sound of his productions and obviously that Dub- Attended School of Scientist, Mad Professor, King Tubby & Co. If you like the sound of Sanchez '"Lone Ark Riddim Force", you will also find other Lone Ark productions such as Earl Sixteen's "Natty Farming"Or Earl Zero's"And God Said To Man" estimate.

Rating: 4 out of 5.
Categories
Review

Dubblestandart & Firehouse Crew present Reggae Classics

“I've wanted to record songs for a long time that have great meaning in my life and inspire me. It was time to bow to a few handpicked artists, ”is how Paul Zasky describes the idea behind the new album by Dubblestandart. What sounds like a glorified retrospective has actually turned out to be a release full of content in many respects, venturing into roots pearls of the late 70s and 80s. Anyone who suspects the umpteenth Bob Marley cover is behind it will be surprised: This is where heavyweights like Matumbi, the Twinkle Brothers, Steel Pulse or Burning Spear are honored.

Zasky, mastermind and bass player of the Viennese formation Dubblestandart, this time also breaks new ground in terms of production technology - it is not for nothing that the album surprises with the title “Dubblestandart & Firehouse Crew Present Reggae Classics“(Echo Beach). Initiated by producer Devon D., the recordings with the Firehouse Crew took place in 2017 and 2018 in Kingston's legendary Anchor Studio. The result is one for DubA production that is very reserved and focused on the essentials, which is strongly influenced by the game of the Firehouse Crew.

“We didn't reproduce much or not at all in order to get the sounds as original as possible - this resulted in a very transparent sound image. Of course, the unique recording room at Anchor Studios also plays a major role; there you get a drum sound that just has the right roots vibe, ”says Zasky, who was less involved as a bass player than as a singer during the recordings. That too a surprise, set DubUsually blestandart on samples and guest vocals - for example by Marcia Griffiths or Lee “Scratch” Perry. 

Who has been the subject of "Dub“Has missed, be reassured: In the best showcase manner, the corresponding vocal versions follow Dubs, mixed in Robbie Ost's Vienna GoEast studio. Here, too, there is an unusual reluctance: solid Dubs that live primarily from Danny Axeman's grooving basslines. More courage for a sound adventure would have been good, at least for them Dubs on the CD or streaming version of the album. The vinyl version of "Dubblestandart & Firehous Crew Present Reggae Classics ”, on the other hand, waits exclusively with rougher and a little more daring Dubs on. If you own a turntable, you have a clear advantage here (and the CD is free with the vinyl).

In terms of sound, there are a few complaints about the album; so the mids could be a little less concise in favor of bass and treble, but the omnipresent trend towards “hot mastering” can also be felt by reggae and Dub not withdraw. One or the other will notice George Miller's extremely dry sounding kick drum, but Paul Zasky treats himself to a more than extensive reverb bath for his vocals. You can, but you don't have to like that - but it contributes a lot to the characteristic sound of "Dubblestandart & Firehouse Crew Presents Reggae Classics ”.

The question remains whether Paul Zasky's album concept will work - even sung cover versions of heavy songs by 70s / 80s roots reggae icons with the Firehouse Crew as the backing band. A difficult task that only succeeds with some compromises - sometimes better (Twinkle Brother's “I'm No Robot”), sometimes worse (Johnny Clarke's / Culture's “Jah Jah See Dem A Come”), sometimes surprisingly well (Burning Spear's “Fly Me To The Moon "). The crux of the matter is Zasky's uncharismatic voice, which fails because of the overpowering originals and also the classification of the album in the Dubblestandart-Oevre makes it difficult: Is it a solo album recorded by the Firehouse Crew by the band's bassist or at least one of the collective Dubblestandart? Perhaps the better concept would have been to have an album entitled "Dubblestandard presents Reggae Classics in Dub“And thus embark on a great sound spectacle without reservation. In any case, it is mostly those who boom from my speakers Dubs - from the vinyl version of the album.

Rating: 3 out of 5.