Bazille Noir: Goes Dub

On my occasional forays into new music, I came across the album “Bazille Noir Goes Dub“ encountered.

The project consists primarily of the Hamburg-based producer and musician Jens Paulsen, who has released music under the name “Bazille Noir” since 2001 and in recent years increasingly under the name “Paulsen & Stryczek”. For this Dub-album he has teamed up with bassist and keyboardist Matthias Zoeller. Both are unknown names to me and I did not look for any further information. The music should speak for itself. The album was released digitally on the Lemongrassmusic label, which for me has previously stood for ambient, downtempo, electronic or chillout releases. "Goes Dub“ is very convincing, but the nine tracks unfortunately also contain music that I like to switch away, but more on that later. It is more of an experimental approach to the topic of reggae and Dub, what the two do and that is exactly what produces successful and charming musical results.

The opener “Mutualism” begins with a relaxed, deep reggae groove bass, with bass drum accents on 2 and 4, where I particularly like the hi-hat work. The bass line is also good, but I don’t really need the recorded vocal samples. The wind arrangements dominated by the baritone saxophone, which are added discreetly but delicately from the middle of the song, are top notch. And my heart is happy because the song has an end and no fadeout. It continues with “Rainmaker”, which continues in a similar style, deep bass at its finest. I have to say that the mix and the effects used are very skillful, unobtrusive and serve the song. The wind instrument here is a flute, which is used rather sparingly – just the right amount. The third track is also good. However, the sound design is a bit more electronic and keyboard arpeggios and delays stand out, but a fat Hammond organ, an almost minimalist trumpet and a shy electric guitar also make an appearance. So far I'm impressed and can already sense a candidate for album of the year at the end of May.

"Blues Skank" comes after a minute-long intro, with a house beat that is too clumsy for my ears, otherwise it's still okay, the guitar is quite inspiring, but this beat just doesn't work for me. I know that it's a matter of taste and there will certainly be listeners who like it, maybe even prefer it, whatever. It continues like this (unfortunately) for the next two songs.

The three final tracks are again exactly what I like. Overall, the aesthetics of the work are very well balanced and compact. Everything fits together, I notice a concept, a real album from a single mold, which I have listened to quite often, apart from the three middle songs mentioned. In two or three places I even imagine borrowings from the sound universe of Dub Spencer & Trance Hill. A remarkably well-made work throughout, but one that doesn't get the highest marks from me - but that's purely a matter of taste. In any case, the two creators have my respect and goodwill to a great extent.

Rating: 4 out of 5.

One response to “Bazille Noir: Goes Dub"

Nice !
I'm glad that the album even got a review. It grabbed me and excited me right away. For me it belongs more in the "ambient corner", although I really don't want to push it into any corner. I call it "lounge Dub“, because it is an excellent way to chill out at any time. For me, the biggest part of this is of course the bass lines, which radiate a particularly warm and comfortable warmth without overheating. The sound also bubbles and loosens all the fascias. There is not a single instrument that imposes itself in any way or thinks it is particularly great. Baritone saxophone (!) … “almost minimalistic trumpet” … and “a shy
Electric guitar” support the sovereign ambient atmosphere that is already present due to the type of riddims. I can use solo instruments that are supposed to carry an entire piece of music in Dub nothing to do. In Dub For me, the atmosphere that forms over the foundation of bass and drums always dominates. Too much saxophone or too much flute or even an exaggerated jazz trumpet have a devastating effect, just like too much CO2 and methane in the earth's atmosphere. This is not a matter of taste, but scientifically proven ;-).
Matter of taste but definitely like clumsy ( programmed )
House beats. For me, of course, nothing beats a drummer who knows his way around drum beats in an off-beat style, but if my overall feeling is as good as it is here, then I don't think about it. When I listen to it, I'm reminded a little of the International Observer and I even get a little "wanderlust" a la Nachur... But it could also be that my imagination is overreacting a little. In any case, I'm very happy that the two (main) musicians decided on a baritone saxophone, because that underlines the sensitivity with which they went about their work. It's actually logical. "In Bass We Trust!!!" So a saxophone also needs a quantum of bass!!!

So long ……………… lemmi

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