Author Ras Vorbei

If you choose DubWhen I read lerone, I inevitably associate “the tenderest temptation since it »Dubolade« gives”. We know that Switzerland has more to offer than safes, banks, francs, mountains, cheese, hash browns, watches and Swiss army knives - to name just a few clichés Dubheads at least since Hazer Baba, Dubment and above all Dub Spencer & Trance Hill. Now another delicate one comes from the Swiss capital Bern Dub-Temptation with the beautiful name “Dublerone”. A project that, according to the information text, gives us “the finest handcrafted Swiss chocolate dub music” presented. With this formulation, the two Bernese multi-instrumentalists Voni Rollins (sax, keys, Dub FX, Mix & Editing) and David Boumi (Drums, Bass, Guitar, Keys, Compositions) have set the bar pretty high. Already the title of the album “Dub For Kailash“ (PhaPha Records) piqued my interest and raised my expectations. This mountain has fascinated me for more than half of my life. The Kailash in the Trans-Himalayas, meaning “precious snow jewel,” is considered the holiest mountain for Tibetans and Hindus. Buddhists and Bön also revere him equally. This is the headwaters of the four largest rivers of the Indian subcontinent. To this day, the mountain has not been climbed out of respect for its religious significance. Although Reinhold Messner was granted the first ascent permit in 1985, he fortunately decided not to carry it out out of consideration.

But back to this wonderful album, which with a total playing time of 27 minutes is unfortunately a bit short for my taste. To be honest, I had never heard of it until a few days ago Dublerone belongs. But already the title track and opener “Dub For Kailash” offers everything that Dub-Heart desires. The sound of a prayer bell and monk chants is followed by a fat, rolling bass, a rich brass section, delicate sounds of a whirring tanpura, which then lead into a really groovy rock guitar solo. In general, the sound effects throughout the album are well thought out and used effectively. The second track on the album, “Oblingada”, conveys a completely different mood. Everything here sounds more like bossa nova and, thanks to the brass section backed by strings, is reminiscent of the soulful, funky acid jazz of the late 80s. Also “Badman & Robadub“ impresses with a powerful bass and drum foundation on which the guest musicians Marco Wäspi on the trumpet and Maro Widmer on the trombone can really let off steam before a few jazzy guitar runs make their way. “Just Bees and Dub and Flowers” ​​is reminiscent of Wes Montgomery with its gentle guitar runs, before a jazzy, oblique saxophone moves into the foreground in waves. I particularly like “Dub For Kailash”, the tracks move more and more into jazzy territory and the Blue Notes gain the upper hand. The usual reggae and Dub-Patterns are preserved.

All in all, an extremely entertaining album from the duo Dublerone presented here with his colleagues. I wouldn't be surprised if David Boumi, Voni Rollins and the other musicians involved were also graduates of the Lucerne University of Music. No matter, what is much more important is that, as usual, we are offered a very fine, high-quality product from Switzerland, which is also available on vinyl as a special treat.

It's a family affair, because music is also in the blood of the brothers Adam and Jordan Chini. But first, back to the beginning, where it all began. The Chini family immigrated to the United States from Italy in the 1920s. Ed Chini, Adam and Jordan's grandfather, earned his living as a young boy playing accordion on Chicago radio stations. After the family moved to California, Ed, who became increasingly enthusiastic about jazz, became an accordionist in the band “The Four Sharps”. Ed's son Robert Chini followed in his father's footsteps, learning drums at an early age and later becoming a songwriter for Motown. In the 1970s, Robert had the same manager as Muhammad Ali and almost got his big break when he sent one of his songs to Quincy Jones, who was considered for Michael Jackson's Off The Wall sessions. Unfortunately, the song just barely made it into the selection. Out of several hundred songs submitted, it ended up between 10th and 15th place. It's a shame, but just over is over.

Adam was born in 1985 and got his first drum kit at the age of five. His younger brother Jordan was born six years later in 1991. Jordan also got his first instrument, a guitar, at the age of six. Since Robert Chini, the father of the two boys, had taken a job as an artist supervisor at Carvin Audio, there were regularly new home recording devices around the house to try out. From an early age, Jordan Chini was making crazy electronic music in his room, like the ones Aphex Twin and Autechre were making.

Despite the six-year age difference, Adam and Jordan have always been close and played in the same bands together. In the meantime they went their separate ways musically. Jordan Chini has become a multi-instrumentalist and music producer under the name “Boy Dude: Cassette For You“ released an album in which he fuses lo-fi songwriting and psychedelia with the aesthetics of experimental funk and soul.

Under his new alter ego “Count Dubula” (dubula = Zulu expression for shoot, fire) he published two months ago “The Rise of Count Dubbeehive(CQQL Records). It cannot be ruled out that Jordan recorded the album alone. Since he has always worked a lot with sound techniques, it can be assumed that Jordan disappeared into the studio armed with an array of guitars, basses, drum machines and vintage synthesizers and got to work. For me, “The Rise of Count Dubula” pure listening pleasure. Every song has its own melody, the keyboards waft long and wide through the air Dub-Effects are not exaggerated, the bass rolls slowly and sluggishly, but always with pressure. The keyboard sound is often a bit pompous, almost theatrical. It’s wonderful how the theremin wails in the track “Born Again”. Musically, the whole album also reminds me of Jack Arnold B-movies from the 50s (The Incredible Story of Mister C.; Terror Creeps Through the Night; Tarantula etc.). Here too, some of the cheapest effects are available, such as: B. in “Black Lung” a good morning cough from a chain smoker brand “Last Greetings from Davos” or a big cough after a hit from the hookah. But I like the whole concept as it is: entertaining, dubbig, fuzzy, emotional, trippy, dreamy, or... make up your mind.

In summary: “The Rise of Count Dubula” by Count Dubula is an American Dub-Reggae project from Los Angeles, California, created by music producer and composer Jordan Chini in traditional Dub-style was recorded, recorded and mixed. Using analog delay, spring reverb and a Big Knob filter, the recordings were sent through a Tascam 388 eight-channel mixer/tape machine and then mixed using an improvised approach. I really like the idea of ​​the cassette cover. The album and layout were influenced by Jordan Chini digging up some of his father's (Robert Chini - former songwriter for Motown Records) recordings, i.e. a cassette, from the late 70s, which in turn inspired Jordan to experiment in a similar way. The result is impressive.

Jah Shaka was quite possibly the best known reggae sound system in Britain and beyond until his sudden death. Brothers Mikey Dread and Jah T's Channel One Sound System is almost on par in terms of popularity and notoriety. The two took over their father's business in 1979 and brought their sound to the local blues dances. Mikey chose the name Channel One as a homage to the legendary Channel One Studio in Jamaica. Every year since 1983, Channel One has performed at the Notting Hill Carnival, which starts to the day today and ends on Monday 28th August. After playing a selection of Greensleeves at the 2022 Notting Hill Carnival, Mikey was asked to rummage through Greensleeves' vaults and suggest tracks that would make a double album. Now the time has come: Just in time for this worldwide unique event, the "Roots Defenders of Notting Hill Carnival" present a collection of 20 tracks on double gatefold vinyl - "Channel One Sound System: Down In The Dub Vaults" (Green sleeves). An LP with vocals and an LP with the accompanying ones Dubs. Mikey Dread delved deep into the treasury of the Greensleeves label and brought to light some long-forgotten gems that were released as maxi-singles many years ago. Featuring artists like Reggae Regular, Keith Hudson, Michael Prophet and Linval Thompson as well Dubs by Sly & Robbie, Roots Radics and Rockers All-Stars features Down In The Dub Vaults” provides an overview of the tracks and Dubs who have played an important part in the Channel One rotation over the years:
Michael Prophet with "Just Talking" is such a classic that Mikey Dread first heard in Jamaica. This heavyweightDub from the editing room at Channel One Studios on Maxfield Ave, Jamaica, has been played on their dances by the Channel One Sound System for many years. Tetrack's "Trappers" by Gussie Clarke and Sly & Robbie could not be missing from any session. Mikey Dread says, "One of those tracks where you know when the KT88 tubes are warming up is Anthony Johnson's 'Let Go This One'." Almost an anthem for the Channel One sound system, 'Can't Pop No.' style”. The song by the young Hugh Mundell, directed by Augustus Pablo, is still an integral part of their current repertoire. Finally, I would like to highlight two of my personal highlights from this wonderful collection of old, venerable riddims: On the one hand, Keith Hudson with "Bloody Eyes" and the accompanying one, which I value very much Dub "My Eyes Are Red", on the other hand the Reggae Regulars with "Black Star Liner" and the Dubcounterpart "The Dub (It's Coming)”. Despite countless runs, I still listen to this maxi single from my collection with growing enthusiasm.
Conclusion: This release contains tracks that the Channel One sound system has been playing for over 40 years. "The project illuminates the history of real roots & culture music with vocals & Dubs on two vinyl records sourced from some legendary reggae artists. A lot of young people don't know these anthems and may never have heard them, so this release is really for the next generation of sound systems that are just starting out,” says Mikey Dread.

Herman Chin-Loy was passionate about music from an early age. Far too often, Herman Chin-Loy is wrongly forgotten when the greats of the Dub-History to be enumerated. He belongs with his "Aquarius Dub' from 1973 are basically among the spearheads of this genre. Before opening his own Aquarius record shop and label in 1969 at the tender age of 21, he sold records, worked in record shops and DJed at some of Kingston's hottest clubs.

Although he was responsible for the vocal tracks, it was his fabulous instrumentals that best define his early career and which this compilation focuses on. Herman Chin Loy has a sound that is unmistakable like no other in reggae. Like Lee Scratch Perry, he always specialized in the quirky and unusual. His labels Scorpio and Aquarius are responsible for some of reggae's most innovative instrumentals. From his Kingston record store in the early '70s, he was able to capture the "street" vibes of many of his young, hip customers. Initially, his first instrumental records were created under the name Augustus Pablo. Until a skinny young man named Horace Swaby showed up at his store with a melodica. Herman gave the young Swaby the name Augustus Pablo and took him to the studio. The rest is history.

Here on "Aquarius rock(Pressure Sounds) we have some of the liveliest funky reggae tracks ever made in Jamaica. There are a handful of vocal tracks too, but those are killas too. The instrumental pieces collected on the album impressively show Herman's early studio career. Harnessing the talents of the Hippy Boys (aka The Upsetters II) and the Now Generation in the studio, Chin-Loy began releasing a flurry of instrumentals, which this compilation focuses more on. The keyboards-dominated pieces have been attributed to Augustus Pablo, regardless of who actually sat at the keys. The producer released the young melodica player who showed up at Chin-Loy's first single "Iggy Iggy", also under the pseudonym Augustus Pablo. Horace Swaby kept his new stage name and continued to land hits, most notably "East of the River Nile", with which he established his unmistakable Far East sound.

Aquarius Rock features half a dozen classic Pablo/Swaby solo singles, some of which are also DJed by the producer. Some recordings are combined with instrumental pieces, which underlines even more the extraordinary work of the band and the astonishing creativity of A. Pablo himself. The musicianship is phenomenal throughout, be it the band's instrumentals, the horns' solo excursions, the rousing melodica pieces and of course the keyboard-dominated pieces. These instrumentals, as well as A. Pablo's solo pieces, make up the bulk of the present set. Two vocal tracks come from Alton Ellis, who delivers his "Alton's Official Daughter" cleanly if a bit unpolished, while Dennis Brown contributes the "Song My Mother Used to Sing" more soulfully. An unknown Archie McKay sings "Pick Up the Pieces," which has nothing to do with the royals' classic. Beres Hammond presents one of his earliest recordings, an impossibly warm "No More War" followed by Herman's "No More Version". Less well known than his cousin Leslie Kong, Herman Chin-Loy still deserves our full attention, and this compilation is a long-overdue tribute to one of reggae's most influential talents. The fine scat intros are all written by Herman Chin-Loy himself.

I would like to start my review with a heartfelt thank you to lemmi. He was the one who brought this incredibly strange yet fascinating project to my attention. Ashes on my head: I completely slept through the release in January of this year.

It's crystal clear to me that this record won't be to everyone's taste. Maybe that's why I like it all the more. The recordings for "Fire feat. Adrian Sherwood“ (Salgari Records) were created on October 04th, 2020 at the Turin Jazz Festival, in Italy. A musical audio-video project so ambitious that I like to use the band's biography as a litmus test for what is conjured up on this record: Fire feat. Adrian Sherwood is a collision of electronic music, Dub, jazz, global beats, field recordings and visual arts. It is the condensation of musical and visual languages ​​that is all-encompassing for both artists and audiences. Five seasoned musicians, one English Dub-Legend - Adrian Sherwood, the absolute "guardian deity" of English Dub - and a video artist combine the techniques of contemporary electronic jazz with liveDubbing and the real-time performance of a movie collide. Between the audience and the musicians, the film was projected onto a screen on the stage.

Now these fascinating live recordings have finally been made available to the public. The most remarkable ensemble was founded by trumpeter Ivan Bert (Dark Magus Orchestra, Emma for Peace, Jazz TO Nepal). Joining the crew were: saxophonist Gianni Denitto (Zion Train, TUN, Kora Beat), vibraphonist and percussionist Pasquale Mirra – one of Europe's most versatile and inspired jazz vibraphonists – (Mop Mop, C-mon Tigre), drummer Filoq (Italian Institute of Cumbia, Uhuru Republic, Vinicio Capossela), and multi-instrumentalist, guitarist and producer Marco "Benz" Gentile (Africa Unite, Meg, Architorti). Riccardo Franco-Loiri aka Akasha was responsible for the visuals of this multimedia project.

In short: the result is lysergic. Soothing and unsettling atmospheres were created. The changes between human voices and bizarre exotic elements as well as between jazz elements and post-industrial loneliness were perfectly integrated into the overall concept. The band, but also Adrian Sherwood are truly »on fire«. By Sherwood's geniuses Dub-Mix with e.g. T. long-forgotten samples from Prince Far I, Andy Fairley, Dub Syndicate and Albert Einstein, the final product is amplified disproportionately. There they are, the unheard sounds, because On .U Sound presents: "Tunes from the Missing Channel"! The interaction between Fire and Sherwood is breathtaking. In my opinion, only the open-minded AM Sherwood, who has always broken all conventions, can do something like that. Unique!

Anyone remember the legendary performance by the Blue Riddim Band from Kansas, Missouri? The first American reggae band, who performed at the legendary Reggae Sunsplash in 1982 and brought Jarrett Park in Montego Bay to a boil with a sensational performance in the early hours of the morning in front of around 14.000 spectators. The almost 36-minute LP "Alive in Jamaica' (Flying Fish) in 1986 documented this spectacular gig that would be voted the best performance of the four-day festival by Rockers Magazine and four years later would be nominated for a Grammy Award for Best Reggae Album of the Year.

Yes, but what do the Rougher All Stars have to do with the Blue Riddim Band? A whole lot. Both bands hail from Kansas and are basically one, like the 2013 album "Blue Riddim Band Meets Rougher All Stars: Enter The Riddim(Rougher Records) shows. Some of the musicians involved, like multi-instrumentalists Todd "Bebop" Burd aka "The Little General" and Emily "Goldie/Goldilocks" Madison, played in both bands. The two were also responsible for the co-production and mixing of the above-mentioned album, on which the song "Do Me Like That" is found, which in turn was the inspiration for the title of the new album that we are talking about here.
Another ten years later, “Rougher All Stars: Dub Me Like That(Rougher Records) and the Rougher All Stars have since shrunk to a duo. The eight carefully crafted Dubs and instrumentals were produced, written and arranged by Todd "Bebop" Burd and Emily "Goldie/Goldilocks" Madison. "Dub Me Like That" reflects the music of the pioneers of this genre. With due respect to the musical heritage, this album embodies the spirit of the greats of classic reggae. Todd Burd and Emily Madison's commitment to authenticity can be heard in every note on the album. From throbbing bass lines to intricate horn arrangements, each track was recorded in real-time with guest musicians. The DubEffects have been used sparingly but purposefully, and the tracks on offer range from faster ska-like numbers to classic ones Dub-Takes. In short, the result undeniably reflects the true essence of timeless reggaeDub-Sounds reflected. Burd explains in the interview: "We wanted to make an album that would commemorate the golden era of the Dub Pays tribute, but in our own way. While staying true to our roots, the subtle jazz nuances add a unique twist to the sound, which I think makes for an immersive experience.” Emily Madison adds, “We wanted to create an album that would stand the test of time. That's why we hope that people will be hearing these tracks for many years to come.” The Rougher All Stars would definitely like that.

Let's start with questions: "Who would play that on the radio? Which promoter would dare to present this material live? Where does this music come from?” Legendary presenter John Peel, once an institution in the British radio landscape, is sadly long (2004) dead. He certainly would have “The Grapes of Dub: Combat Dub“ (Giant Pulse Records) offered a forum in its program and presented it to a wider audience. The ON .U sound mastermind Adrian Sherwood also produced a similarly intricate sound in the late 1970s and early 1980s in London's Berry Street Studio and defied all existing rules, laws and borders.

I too can say that I've been dealing with him intensively since the album came out, because from time to time my mind also needs such, somewhat difficult to access, psychedelic listening experiences. This is not necessarily due to the ingestion of any mind-altering substances. I have always found abstract sounds, which are created through the blatant use and abuse of modern technology, very exciting and refreshing. Edgar Varèse, Karlheinz Stockhausen or CAN are just a few examples.

About the Grapes of Dub I found very little on the "net" except that the recordings were made at Puzzle Studio in Barcelona and were released in May of this year. I don't have any further information about the eight tracks... zero, nothing, nada. So the only thing left for me is the acoustic approximation, and that has it all. You can hear a free rhythm that is based on the principles of reggae and yet is influenced by musical avant-garde combined with hard punk ethics. Sonically, “Combat Dub' a largely instrumental affair, with hundreds of effects, distant ringing noise and no discernible vocal samples. Basically, the sound doesn't fit into any particular category. I find the sound experiments with active frequencies, noises that have gotten out of step, rhythms within rhythms and endless tape processing extremely exciting, just like in the old African Head Charge, New Age Steppers and Barmy Army times. Yes, the On .U Sound Addict will be featured on Combat Dub“ easily hear many parallels, nevertheless, the Grapes of Dub more than 40 years after the masterminds from the Berry Street Studio have succeeded in creating a very exciting high-tech rhythm mix of human, animal and machine noises. Unfortunately, you rarely hear such sounds. I think this head music is simply great!

Hoboken is a district on the Scheldt in the south of Antwerp (Belgium) with around 40.000 inhabitants. It was an independent municipality until 1983 and in the 16th century it also gave its name to one of the numerous Dutch settlements founded on the Hudson, directly on the other side of the river from today's New York. Hoboken Studio, wasn't there something?

Kingston Echo, the Spellbrakers' guitarist, producer and sound engineer, sets the tone and says, “I've loved Jamaican music since I was a kid. This project is the result of experimenting with the recording equipment I've collected over the years to record my bands. I've tried to stay true to the raw, unpolished feel of the old Jamaican recordings that I love so much. That means these recordings are all analog and far from perfect." That's how the self-titled debut album of the "spell breakers(Bona Fi Records). The mission is: back to the old playing and recording techniques. The rhythm section is recorded live at Kingston Echo's backyard studio and mixed using vintage 16-track analog gear. The band from the Hoboken district presents their very own, respectful interpretation of roots reggae from the heyday, with sparse allusions to British reggae from the 70s and 80s.

The album begins with the XNUMX+ minute Flame Of Clarity, based on a riddim strongly reminiscent of Bob Marley's "Natural Mystic". Of far greater interest to the Dubblog, however, are the six Dub-Versions of the previous vocal tracks, which is by no means to say that the vocal tracks are worthless. As I said, the “Clarity Dub' Brings back memories of Bob Marley. During the subsequent “Growing Dub' shines a remarkable horn section, the tempo is noticeably picked up and Carlton 'Carlie' Barrett's 'hissing' drum patterns keep coming to mind. Apparently Missing Link, the Spellbreakers' drummer, is an ardent admirer of Carlie's drumming. In the rock-solid “Deliverance Dub“ we hear vocal fragments from the Brazilian-born singer Juli Jupter, whose vocals have developed significantly compared to the previously released 12? singles. Whether it's a slow one-drop or a faster riddim, she sings both with finesse. In addition, Juli Jupter and Missing Link also designed the beautiful cover. With the Spellbreakers, everything from the mixing to the cover design is in the hands of the band. Personally, I particularly like “House of Dub’ with its sluggish rhythm and the flashing horn and organ passages. At "Dub Your Step” you can hear vocal fragments from Missing Link, who did the singing in the original.
All in all a solid album with a lot of classical touches, nothing more and nothing less. Everyone has to decide for themselves whether they still need it.

Guitarist/producer Kingston Echo and drummer Missing Link are both members of the Hoboken Hi-Fi house band, also known as the Hi-Flyers.

Annecy, the Venice of the Alps, is undoubtedly one of the most beautiful small towns in the world. The capital of Haute Savoie is famous for its grandiose monuments and the second largest natural lake in France at 446 m altitude. The attractions of the eastern French region of Auvergne-Rhône-Alpes now also include a band that I had never known before: Some Dub Stories. The four-man crew, who have already appeared as support acts for Zenzile and High Tone, released their debut album almost two weeks ago Some Dub Stories: Chapter One (Alpine Records), an extensive and multidisciplinary project.

The team consists of Etienne Doutreleau on trumpet, flugelhorn and melodica, Boris Lacombe on drums, Clément Gros on guitars and Lucien Leclerc on bass and sound machines, who is also responsible for the mix. Four musicians who share their experiences in formations as different as Hubris, Dub Silence or Lamuzgueul have mastered the arts, pop, psychedelic, and electronic music Dub to connect intelligently. A colorful and powerful hybrid project. The futuristic electronicDub-Universe this group of young musicians offers a naughty Dub Roots mix that is as crazy as it is poetic. The overall concept also includes beautifully animated clips by Lucas Roig, which also illustrate the story and adventures of the cosmic turtle Obaba.

In Dub-The basis of the individual tracks is solidly worked out and opens up towards more traditional ones Dub-Sounds before blending with the group's diverse influences. Carried by a hip-hop rhythm, a meditative bass and a melodious trumpet, an organic atmosphere is created that emits sparks. So offers "Salmon Swing Syndicate' with 'brassy' RootsDub a beautiful journey between summer beach and underwater crab dance. The protagonist Obaba finds herself smoking her pipe in a warm, colorful universe and discovering the island party of the "Salmon Swing Syndicate" - one of my highlights of the album. Or the slow, repetitive melodic bass loops that usher us into the world of "purple tribe' followed by a controlled, familiar one Dub-Beat. Carried by a floating guitar riff, a jazzy trumpet soon joins in. The sounds become more and more diverse and soon the magic of Some unfolds Dub Stories: We are enveloped in an electroacoustic Dub-Symphony performed by top-class musicians. The music is gorgeous, yet the message of "Purple Tribe" remains political, as evidenced by the track's voice samples, which whisper, "Make racism wrong again!"

Some Dub Stories tell the story of Obaba, the cosmic turtle, at the borders of several universes with their music. Back on earth, in a post-apocalyptic atmosphere, Obaba reports on her odyssey and lets us into a successful cosmic story for almost 44 minutes Dub-Epic immersion.