Categories
Review

Tsadqan: Dub Meditation

If you are only a little interested in reggae, you cannot avoid typical Nyahbinghi chants. My first contacts with Nyahbinghi Songs were actually “Rastaman Chant” by Bob Marley & The Wailers, followed by Bunny Wailer's “This Train”, Cultures “So long Babylon a fool I”, IJahman's “Zion Hut”, Bob Marley's “Babylon System” and of course albums by Ras Michael (Dadawah) and the parade copy par excellence: Count Ossie & The Mystic Revelation of Rastafari “Grounation”. Even Jimmy Cliff opened his 1980s concerts with the Nyahbinghi Chant "Bongo Man".
The style of music that Rasta and percussionist Oswald Williams alias Count Ossie, who died in 1976, created together with The Mystic Revelation of Rastafari from its early beginnings in the late 1950s to the groundbreaking milestone “Grounation” (1973) and beyond, that is still today The foundation of "Kings Music", i.e. roots reggae.
The Nyahbinghi seances, also called Reasonings or Grounations, exerted an enormous influence on almost all Jamaican musicians, from Prince Buster, Rico, Cedric "IM" Brooks, Tommy McCook to Bob Marley and many other Foundation Artists. Even Keith Richards of the Rolling Stones, an outspoken reggae fan, is enthusiastic about the classic Nyahbinghi sound and therefore produced two albums for the Wingless Angels - a group around Justin Hinds - in the early 1990s. Almost every music lover in the world has known at least one Nyahbinghi song since 1993, namely "Oh Carolina" in the version of Shaggy. Produced by Prince Buster in 1958 with the Folkes Brothers and Count Ossies Afro combo, the original was released in 1960.

Nyahbinghi is derived from an East African territorial movement that opposed European imperialism and was active in various African states from 1850 to 1950. This movement also inspired many Jamaicans to oppose British colonialism in the 50s. This music then got its name from Jamaica and became the musical pillar of the Rasta religion and its followers.

Let's get to the actual project of "Tsadqan: Dub Meditation", the Dub-Album to "The Tsadiq Nyahbinghi". The current album takes us far back in time when the Nyahbinghi style was brought to life. The classical instrumentation: Thunder, Funde and Repeater or also called Kete, was combined to unique melodies by means of an electric bass, sparingly used guitar solos and keyboard interludes. This created a beautiful new mix in which tradition and modern times merge into a unique atmosphere. "Dub Meditation ”contains twelve tracks, two per track Dubs, in classic NyahbinghiDub-Style. The first ten tracks were discreet by Nick Manasseh, who is not unknown here, in his new London studio, that is to say: without major ones DubGimmicks, mixed. The last two tracks on the album are two unreleased bonus tracks from the opus "Shakaroot meets Tsadqan" and here Petah Sunday was allowed to show his mixing talent. The first ten tracks are unreleased Dub-Cuts from the 2020 album "Tsadqan - The Tsadiq Nyahbinghi", which have been withheld until now and only played in a few live performances.

Those who get involved in this typical, unadulterated sound will experience the meditative effect on their own body and rise into the air and glide like on the wings of an eagle. The sound is truly back to the Cradle of Roots Music made in Basel, Switzerland.

Rating: 4.5 out of 5.
Categories
Five Star Review

KMFDM: In Dub

There is music that literally makes you sit up and take notice. A few weeks ago my daughter asked whether I "KMFDM: In Dub“(Metropolis Records) would know; I absolutely have to listen to the album once - after tons of heavy sounds from early childhood, she knows her "old man" too well. And what shall I tell you? The “In Dub“Is one of those again Dub- Curiosities that have always cast a spell on me.

KMFDM was founded in 1984 by Sascha "Käpt'n K" Konietzko as a performance art project in Hamburg, moved its headquarters to Chicago in 1991 and has been successful in industrial metal / industrial rock for over 36 years. None other than the ON .U sound mastermind Adrian Sherwood, who has been exploring the endless possibilities of the Dub-Musik, produced the KMFDM album "Don't Blow Your Top" in 1988 and continued with its mixture of industrial, rock, Dub creative standards again.

About the album itself, “Käpt'n K” said in an interview: “The idea of ​​a Dub-Making a plate had been brewing for a number of years. I just never found the time to sit down and tackle the project. Some of my earliest musical influences were Dub and reggae and I did the project really old school. The dismantling of the original tracks and the brass arrangements were a lot of fun for me. In doing so, I found out that songs are at 125 BPM too dubben is not so ideal. It worked best with the slow and really fast tracks. ”That sounds very interesting. So I got down to the album and delved into the matter. “Käpt'n K” has reinterpreted twelve songs that span their entire career. Already after the first full rimshot on the snare at "Dub Light “I knew that this was an album to my liking. I would never have dreamed that this groovy and rocking source material would be so skillfully integrated Dubcostume transfer. Lucia Cifarelli sings “Everything Old Is New Again” on “Real Dub Thing ”and thus perfectly defines the power of“ In Dub". KMFDM hymns are reinterpreted and garnished with a hodgepodge of meditative grooves with groovy guitar passages, high-pitched horns, intense organ sounds and heavy bass lines, as on “A Dub Against War "," Hau Dub"," Bumaye "presented. With “Bumaye” I mean to hear a sequence with Nina Hagen's voice.
All in all, an album that is bursting with ideas and yet Dubheads will polarize. Quote from a fan: “My girlfriend likes reggae, but KMFDM not so much. Now she likes KMFDM too ”. For ON .U Sound Addicts from the very beginning, “KMFDM: In Dub“An easy exercise and access to those seldom heard sounds may be a little easier.

Rating: 5 out of 5.
Categories
Five Star Review

Gladiators: The Time Is Now Discomixes

The Gladiators are undoubtedly a veteran of reggae history and their musical roots can be traced back to Clement “Sir Coxsone” Dodd's Studio One. My first encounter with their music was only in the mid-1970s. Their then producer Tony Robinson had made a deal in Europe and so the first (regular) albums of the Gladiators appeared on Virgin Records. Albert Griffiths died on December 15.12.2020, 74 at the age of XNUMX after a long illness of Parkinson's. The head of the trio with classic harmony vocals à la Wailers, Culture, Abyssinians, Israel Vibration, Meditations, Mighty Diamands etc. has the appearance of the "Gladiators: The Time Is Now Discomixes“(Tabou1) and I can imagine that he was very happy with the end result. Dartanyan "GreenLion" Winston, a young American sound tinkerer in his early 30s from Ohio, has chosen a few tracks from the almost inexhaustible repertoire of the Gladiators and created wonderfully classic discomixes. Eight original songs are skilfully deconstructed and reconstructed with a ton of energy, studio and mixer magic. Dartanyan "GreenLion" Winston pulls out all the stops and delivers a wonderfully sparkling sound bath of vocals, echo, reverb and delay. My highlights, the eight-minute title, are: "Fussing and Fighting" - a Marley song that most clearly shows how much Albert Griffiths' voice resembled Bob Marley's - and "Dreadlocks your Time is now" of course. The album cover gives the impression that it was created under the influence of psychoactive or even more hallucinogenic substances in the hippie era. Even if I had made a slightly different selection of songs, “The Time Is Now Discomixes” is, in retrospect, a wonderful homage to the wonderful gladiators who, undeservedly, were always a bit off the side of the really big vocal trios.

Rating: 5 out of 5.
Categories
Review

Prince Hendrik and the Other Members of The Royal Family: Aquadub

As a child he was crazy about music and as a teenager he was fascinated by the magical sound of reggae and ska. For this reason he flew to Jamaica to the roots of reggae at the age of twenty, where he lived for two years from 1989 to 1991, married a Jamaican woman and fathered a daughter. The 52 year old Hendrik “Prince Hendrik” van Houten from Arnhem says about his time and life on the Caribbean island: “I was young and very receptive to everything. I lived in Rasta communes, learned a lot about Rasta philosophy and Nyahbinghi drumming. My stay there had a very positive impact on me. "
In the mid-1990s, Prince Hendrik arrived as a single father in the Arnhem artists' quarter Klarendal and built his “Kitchenrock home studio”, a multitrack recording and mixing studio, in his house. Since 2012, three albums have been released on CD under the name “Prince Hendrik and the Other Members of The Royal Family” and now “Aquarius / Aquadub“(A Sky High Underground Production) re-released in limited and numbered edition of 300 copies on vinyl.
“Two friends I have known all my life and with whom I used to be in bands play along. One on drums and bass, the other as guitarist and cellist. I take care of the vocals, keyboards and the recording process myself, ”says van Houten and continues:“ For me, sun and beach are not inextricably linked with reggae. I have nothing to do with the party variant of reggae and even less with dancehall and raggamuffin. The latter often glorifies aggression and hatred. ”So almost everything has been said about the reggae style of Prince Hendrik and his friends. We are offered a kind of relaxed, handmade “underground reggae” - as Prince Hendrik himself describes his style. I involuntarily associate “underground reggae” with the early, sometimes Spartan but always highly interesting ones Dub-Work of a Keith Hudson. “Aquadub“Both vocally and stylistically. On “Aquadub“There is no sound too much, every instrument and every small one Dub-Effect gets its space and enough time to develop in the ear. I especially liked the cello, which occasionally comes up with small but fine melodies surrounded by a beautiful guitar sound. A chance find of honest, handmade music that I would like to recommend to everyone.

Rating: 4 out of 5.
Categories
Five Star Review

Lee Scratch Perry meets Daniel Boyle: To drive the Dub Starship through the Horror Zone

I often find myself asking: "How would Jim Morrison, Jimi Hendrix, Bob Marley and many more sound today if they hadn't died much too early?" This question comes to mind when I hear Lee "Scratch" Perry. No, no, thank god Scratch is still alive. But what if Lee “Scratch” Perry hadn't slipped into an increasingly unpredictable, depressive, and destructive phase in the late 1970s that ended up with the flaring of his Black Ark studio in Washington Gardens, Kingston? How would albums from Black Ark Studio sound like today? Fortunately, there is an Adrian Maxwell Sherwood and a Daniel Boyle who still have the ability to inspire this man, who is well over 80 years old, to top performance.

Maxwell Livingston Smith alias Max Romeo produced his masterpiece in the Black Ark as early as 1976 together with Lee Perry and the Upsetters - a massive mountain range that is still visible today in the vast Reggae landscape. Almost 40 years after "Was in Babylon"In 2015 Max Romeo, Daniel Boyle, Lee" Scratch "Perry and three great Upsetters published another collaboration:"Horror Zone". “Horror Zone” is by no means a cheap copy of “War ina Babylon”, but rather a successful connection to old times, so more of a kind of further development. That was the case with the vocal album "Horror Zone" DubAlbum in good old fashion already with. And what's next? After this "Lee Scratch Perry meets Daniel Boyle to drive the Dub Starship through the Horror Zone“Was already released in 2020 in a limited vinyl edition for Record Store Day, now that follows Dub Album of the Dub Albums in digital form. Boyle and Perry have the original "Horror Zone" -Dubs subjected to another processing on the mixer and refined a cosmos with tons of cave-like reverb and analog special effects, which according to credits Lee "Scratch" Perry is attributed. Once again we are convincingly heard that it is not a challenge for Perry & Boyle, an already good one Dub-Mix album one more time because these two Dubmasters are always able to go one better. The result can be more than heard, because the two have an intergalactic, dubcreate a wise supernova that shines the entire galaxy even brighter than the original.
Daniel Boyle's Rolling Lion Studio produced, recorded and mixed exclusively with analog devices from the 50s to the 80s and the characteristic Black Ark sound, which is understandably not 100% achieved. Nonetheless, I'm pretty sure that “Lee Scratch Perry meets Daniel Boyle to drive the Dub Starship through the Horror Zone ”will be a new classic in Lee“ Scratch ”Perry's overall / life's work.

Rating: 5 out of 5.
Categories
Review

Mantra Move: Raven Dub

Today I recommend the different ones again Dub, which in this case invites you to take a trip through mystical India. The project Mantra Move: "Raven Dub“(Liquid Sound Design) matured in 1997 in the minds of bassist Paul Raven (Killing Joke, Ministry, Prong, Raggadeath) and singer Koze Kozma (Raggadeath). But it didn't take shape until late 2019 - over 12 years after Paul Raven's sudden cardiac death. Mantra Move is a colorful troupe of musicians, singers and poets such as: Youth, Koze Kozma, Laurence Harvey (Kuba), Nik Turner (Hawkwind), Mark Gemini Thwaite (The Mission), Lee Harris, Shaky, Twixymillia and many others Artists created a very special atmosphere in the studio from a variety of musical styles and genres. A merger of Dub, Downbeat Electronica, Reggae and Psychedelic / Progressive Rock. But that's not all, you can also discover flamenco sounds and traditional Indian instruments such as sitar, dhol and banshi. The texts, partly translated from Sanskrit and recited by the poet Lee Harris, fit wonderfully into this partly magical mood.
Lawrence Harvey (Kuba), one of the great chill-out and deep downtempo artists, stopped at “Raven Dub“All strings in hand. With the combination of different styles he created an incredibly relaxed and calm, but also refreshing atmosphere. With this intelligent mix of upbeat, downtempo and cool Dubby Lounge Grooves he developed a wonderful musical experience. The merging of different genres and rhythms resulted in an album that sounds fresh from start to finish and can be heard over and over again. An excellent homage dedicated to the bass player and music producer Paul Vincent Raven (January 16, 1961 - October 20, 2007).

Rating: 4.5 out of 5.
Categories
Review

Liquid Rainbow: 8 × 8

(This text has been machine translated.) On November 16, 1938, Albert Hofmann synthesized a substance in Basel, which he tried for the first time on April 19, 1943. This day would go down in history as “Bicycle Day” because Albert Hofmann first noticed the drug's effect on his bike ride home. With this discovery, Hofmann has widened the gates of human perception to infinity. Why this digression?
When a formation calls itself Liquid Rainbow and then it ends with such a funky kaleidoscope cover and this idiosyncratic, musical hodgepodge Dub, Psychedelic, Electronica, Chillout and Field Recordings comes around the corner, I have exactly these associations. At the beginning of 2014 the Liquid Rainbow album was: "× 8 8“And has not lost any of its appeal to this day. The opus are eight original songs and eight Dubs made by Stefano Contini aka Dubmaster Conte were mixed afterwards. Liquid Rainbow are three men from Italy. The two multi-instrumentalists Stefano Contini aka DUBMASTER CONTE and Francesco Allegro aka FRANK WIZARDD play bass, drums & percussions, keyboards, samplers, baritone guitars, electric and slide guitars, samplers and field recordings. Roberto Beretta aka ROBY B contributes the electric guitar, banjo and keyboards to the sound mix.
The Milanese DubAs a teenager, master Conte played bass in a punk rock band that was very much inspired by The Clash. And how could it be otherwise, just about this track found Dubmaster Conte his access to the legendary Dub- Producers like King Tubby, Lee Scratch Perry, Scientist and also Mad Professor, who in turn Dubmaster Conte to his mixed media. To cut a long story short, the album could best be described as a clever compilation of Psychedelic Dub Characterize in a trip-hop costume with ambient soundscapes and groovy guitar sounds. “8 × 8” is therefore a bit more remote from mainstream reggaeDub to locate - exactly my thing.

Rating: 4 out of 5.
Categories
Review

Bob Marley & The Wailers: In Dub Flight. 1

How time flies. Exactly forty years ago today, a message on the radio hit me right in the heart. I pulled my old VW Beetle to the side of the road, stopped in shock and felt like I had just received the sad news that a very good friend of mine had died. Reggae's figurehead, the Tuff Gong, had lost his last battle with cancer. After almost six months of treatment at the Ringberg Clinic in Rottach-Egern, Bob Marley's health deteriorated significantly in early May 1981 and he decided to fly back to Jamaica to spend the last days of his life there. Unfortunately, he should no longer achieve this goal. Already on the way back to the Caribbean it collapsed at the airport in Munich-Riem. After a stopover in Miami on the morning of May 11th, he was too weak to continue the flight. He was taken to a clinic, where he died a short time later. One of the most charismatic and challenging performers of our time, a musical, political and even spiritual figure of mystical proportions died at the age of 36 and is and remains Reggae's greatest icon and an outstanding figure of our time. No artist in modern music has dominated his genre like Bob Marley has dominated reggae. Marley sang of rebellion, riot, rasta and the power of love. A man who rose from the most modest of circumstances to become a role model for the oppressed. He was the most renowned Jamaican artist who gave a voice to the daily struggle of his people and the Rastafarian culture (s) and also the first to achieve global fame.
Bob Marley & the Wailers recorded eight studio and two live albums together during their lifetime. On the occasion of his 65th birthday (February 6th) - if he had seen him - in 2010 "Bob Marley & The Wailers - In Dub Flight. 1" released.
Apart from Soul Revolution II, which Lee Perry originally only released on his label, “In Dub Vol. 1 “one of Marley's few attempts Dubs to be published in album length. That makes the album interesting from the start, but also daring. With “Roots Rock Dub“The album starts and the skanking rhythm guitar in combination with fragmented backing vocals are complemented by jazzy saxophone sounds. The “Jamming Version” almost completely dispenses with echo and reverb. "Is This Love Dub“Comes out much stronger: The lead vocals are faded in and out, echo, reverb and beautiful percussions show the way. "One Love / People Get Ready Dub“Sounds good to me too. In “Forever Loving Jah Dub“Aston Barrett's incomparable bass takes on the role that he played in Dub also due to the main role. The “Lively Up Your Dub“Retained more of Bob Marley's voice than any other track. "Three Little Birds Dub“Sounds a bit like from the beginnings of reggae, maybe also because of the classical instrumentation. "Crazy Baldhead Dub“Looks even darker and therefore more interesting, while“ Waiting in Vain ”seems much darker to me than the original. "She's gone Dub"Contains much of the original vocals before being converted into a great old-school version /Dub-Style transitions. The album closes with a "Smile Jamaica Version" and a somewhat muffled production sound that was characteristic of the time.
"Lively Up Your Dub“Is the only track on this album that clearly shows that it was mixed by Scientist. The remaining ten tracks could have been mixed by Bob Marley with Aston Barrett or other sound engineers working in the Tuff Gong Studio. Unfortunately, no further information can be found on the album in this regard.
In conclusion, it can be stated that “Bob Marley & The Wailers - In Dub Vol. 1 “No major mixer trickery taking place or one Dubfireworks being burned down. Rather, we get before our eyes and especially ears that also in the reduced Dubsound Robert Nesta Marley's songs and melodies light up like fixed stars in the infinite universe.

Rating: 4 out of 5.
Categories
Review

Dub Garden: Doctor Wind In Dub

Every time I listen to this album I think that I absolutely must Dubblog should discuss. Dub Garden are a group of four - two girls and two boys - from Thessaloniki, who have been on the road in terms of trip-hop music since 2016. In the summer of 2017 they released their first album: "Doctor Wind", which they received in 2019 Dub-Revision in the form of Dub Garden: "Doctor Wind In Dub“Followed. Trip Hop (pige) formations from the early 1990s such as: Massive Attack, Portishead, Thievery Corporation, Groove Corporation, Waldeck, Kruder & Dorfmeister and many others have contributed significantly to my interest in Dub has not suffered over the years and I am still deeply into the matter. I especially have to highlight two albums from that time: Massive Attack / Mad Professor: “No Protection” and Groove Corporation: “Co-Operation Dub“That made me feel the lack of good, current, Jamaican Dubs made them much more bearable. The Greek represent precisely this legacy Dub Garden with their present album “Doctor Wind In Dub“, A trip hop album that is very much dated Dub is influenced. The eight tracks, around four minutes long, reflect a wide variety of musical influences and take us on a melodic and equally groovy journey from the early nineteen-nineties to today with very pleasant vocal sprinkles, stoic basslines, well-accented guitar licks. With some ethnic, blues but also ambient elements, we move on to the lesser known Dubterrain and worn out Dubpaths.
In short, we have a great mix of the traditional here Dub and innovation. "Doctor Wind In Dub"Is timeless and hopefully not only drives away the bad vibes that the" infamities of life "occasionally bring with them.

Rating: 4 out of 5.
Categories
Review

Nachur: Cicada Sessions

Okay, okay, the hottest shit is the 2013 album "Nachur: Cicada Sessions“Actually not. But one of the more interesting ones I've recently rediscovered in my archive. At the beginning of 2012, two multi-instrumentalists, the New Zealander Isaac Chambers (production, programming, sampling, recording, keyboards, percussion) and the Canadian Prosad (sitar, guitar, didgeridoo, bansuri, melodica, keyboards, percussion) set out to share their unique ideas and influences and combining diverse skills to create live electronica. The two protagonists quickly put together a temporary studio in an old bus. Then they drove to New Zealand's "Abel Tasman National Park" with a view of the ocean and began to compose their songs. The resulting "Cicada Sessions" apparently derive their name from the cicadas. Anyone who has heard cicadas in a pine forest in the south of France on a summer's day can vividly imagine the noises. That is why the album was only produced at night. The recordings began at sunset and mostly lasted until sunrise. Many other sounds of nature, including the cicadas, found their way onto the EP, which was unfortunately a bit too short. If it were up to me, the album might as well be twice as long and I still wouldn't be bored. Many of the solos were recorded in a single take and no overs at alldubs subjected.
Inspired by Dub, Roots, Jazz & Downbeat Electronica, "Nachur" (pronounced Nature) merges modern digital productions with earthy analog sounds. The songs become soulful Dub-Elements such as delay and reverb combined, creating deep atmospheric soundscapes. Electronic beats and reggae basslines are weightlessly interwoven with sitar, guitar, bansuri (Indian bamboo flute), didgeridoo and melodica. Epic guitar solos, reminiscent of Pink Floyd's David Gilmour, are arranged with Eastern sitar and indigenous instruments to take the listener on a true sound journey.
The goal of the "Nachur" project was to simply create music that conveys positivity and deep respect for nature. The result can be heard, because the result is an optimistic and stimulating sound work.

Rating: 4 out of 5.