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Five Star Review

DubVisionist: King Size Dub Special

Dubvisionist

The Dub I still think spontaneously of England and then of France. But if I really think about it, then Germany should actually have to be among the topDub-Nations belong. A label like Echo-Beach alone ensures that in good old Germany one of the most productive sources for Dub-Music bubbles. We also have some highly innovative ones here Dub-Artists at the start that some UK steppers epigones cannot hold a candle to. One of them is Felix Wolter. It is no exaggeration to say of him that he is the father of Dub is in Germany. He started working in the mid-1980s Dub to experiment and in 1987 brought the first German with his band "The Vision" DubAlbum out. Countless albums and sound excursions later, his debut album is only released today King Size Dub Special (Echo Beach), in which Felix does not hide behind band or project names, but as the "Dubvisionist ”emblazoned on the front cover. Echo Beach Label boss Nicolai Beverungen is deeply into the oeuvre of des Dub-Veterans and Studio Masters immersed and has 17 dark Dub-Crystals brought to the light of day, which Felix polished again to shine on the occasion of the publication. “It's the basic atmosphere that makes you Dub matters. Quality Dubs are based on vibes, but bad ones are only based on technology ”, says the master and proves this with his album. Felix ' Dubs are delicately woven acoustic works of art, harmoniously balanced, finely tuned, of captivating precision. The superficial effect is not Felix's business. You have to listen carefully to fully enjoy the subtleties that are in each of the tracks, to immerse yourself in its atmospheric flow and to lose yourself in the vibes. Although Felix emphasizes that atmosphere is his most important quality Dubs, but in no way relies on the mere vibes. Rather, he aims to entertain the listener with his mix, to add a constantly changing, always surprising quality to the repetition of the beat that breaks up the listener's expectations. At Felix, the mix is ​​at the center of the Dubs like a "lead voice". This is where the mixer really becomes an instrument. It is the definition of made sound Dub. Hats off.
Rating 5 stars

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Review

Zeb: Zebstep

Zebstep

Searchdubs The album “The Spy from Cairo” was my discovery in 2012. Oriental melodies played on Oud, Qifteli and Saz combined with such solid music Dubthat I was spontaneously sure: Aradubs roots must be in reggae and Dub lie. The proof of this is now, two years later, with the album Zepstep (Wonderwheel Recordings) by ZEB. Here Moreno Visini, the person behind the pseudonyms who grew up in an Italian gypsy family and now lives in New York, presents his classic Dub-Page. Ten great Dub-Tunes that are characterized by a strong steppers appeal, but go far beyond the stereotypes of the genre. Instead of targeting impact, his Dubs on differentiated listening, instead of stubborn repetition on variety, instead of tech sounds on samples from Arabic music, instead of digital logic on soul and musical spontaneity. His music does not break down into disparate approaches, but rather joins a wonderful flow that unfolds sometimes gently, sometimes powerfully. All in all a classically beautiful, very inspired one DubAlbum that works just as well on Sunday afternoons in the park as it does in the club in Cairo.
Rating 4 stars

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Five Star Review

Rafter: It's reggae

Rafters

It's always exciting - but often frustrating - to hear how artists from other genres are approaching reggae. If this approach comes from the field of rock, I am skeptical per se. If, on the other hand, it comes from the direction of electronic music or from the huge field of world music, then I hope for good. In the present case, an artist who is usually at home with art punk and noise has made his way to reggae. “Urghh” - the spontaneous reaction is - let's call it: cautious. But completely wrong. It's reggae (Asthmatic Kitty) by Rafters is a real find. The cool thing about such reggae experiments by strange musicians is that instead of “same, same but different” they promise real variety, true innovation and fundamentally new things. I am of the opinion: Rafter succeeded in doing this. He describes himself as "The most intense and powerful music nerd you may ever meet", lives in California and discovered his love for reggae on a trip to Maui. He then wrote a love letter to the genre and produced 12 absolutely extraordinary ones Dub-Tracks. (Who asks for a reference: Hey-O-Hansen would most likely fit). It starts with the sound. How can he be described? Brittle? Experimental? Arty? At least it's the opposite of the clean, precise, digital studioDub-Sounds that we are used to. Then there are the compositions and arrangements: their components are familiar, their weird combination, on the other hand, is "strange" in a positive sense. Samples from hits from the 60s meet fat brass sections, ska rhythms meet synthetic sounds, heavy basslines meet ultra-light children's melodies, comb blows meet steel drums. The music deliberately has something naive, ultra-simple, which stands in sharp contrast to the bulky, heady sound, which nevertheless - and this is really remarkable - wonderfully grooved. I have no idea how it all works, but: it works, and very well. I love this album and listen to it all the time right now. And not as an intellectual compulsory discipline, but for the sheer fun of beautiful grooves, beautiful melodies, beautiful brass instruments and generally such wonderfully positive, relaxed, fresh interaction with Dub.
Rating 5 stars

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Review

Dublaw: Suburban Roots

Suburban roots

Behind Dublaw is Jordan Shaw. That much is clear. Everything else remains in the dark. No info, no website, a few tracks on Soundcloud, but nothing about the artist. Anyway, we have the music, and it's not bad at all. It's incredibly simple, but with a lot of oomph, strongly accentuated offbeats and hand-picked catchy melodies. Compared to such finely crafted mixes as one Dubvisionist, works Dublaw on his new album Suburban roots (Svaha Sound) with boxing gloves, but that is definitely beneficial for his steppers tunes. Incidentally, the album was released on the label Svaha Sound, which was founded only a year ago in the UK and which is entirely rooted and Dub and already has six album releases. Let's see what happens.
Rating 4 stars

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Review

Don Goliath: Rootsstep to the world Vol. 1 to 18

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For about a year now I've been finding a download link in my emails every two weeks: "Heavyweight Roots /Dub: Don Goliath, Rootsstep to the world Vol. XX Free Promo “(Rootsstep Division). Behind this are always freshly produced albums with four rhythms each in four versions (vocal, melodica, Dub, Rhythm), a total of 16 tracks. The sound is always the same: Heavyweight Dub with one of the Dubstep borrowed bassline. Very deep, sluggish, gloomy, almost brutal bass. So the name Don Goliath fits very well: the tracks are designed for size and effect. Finely chiseled Dub- You won't find any carvings here. Here a giant trudges through the sound landscape. But I have to admit: despite the giant figure that can be seen from afar, who represents Goliath's unique sound, I'm slowly losing track of things: 18 albums in one year, 72 productions and thus 288 tracks - that is an output that I cannot keep up with. Hence my question to the Don: "How do you do it?" Answer: “I don't do anything else. I spend all of my time in the studio producing my sound. I need a day for the riddim, half a day each for the voicing and the melodica part and two days for mixing. ”So every month one and a half new albums. Uff, even Gregory Isaacs couldn't do that in his prime. Dub-Production in piecework. Can that go well? I do not think so. This enormous quantity not only overwhelms everyone Dub-Fan, but also comes at the expense of the quality of each piece. Instead of routinely loading logic presets, varying drum & bass and knocking out a new track in record time that is confusingly similar to last week's track, concentration, restriction and innovation of the music would do well. Too much of a good thing is just too much. I've now fully understood what Don Goliath's Rootsstep sound is all about. Vol. 19 and 20 pp will not bring me any new knowledge. But that's exactly what I want in my greed for something new: Dub-Works that surprise me, that require my attention and enable me to experience new things. The Don from Berlin would certainly have what it takes - if he wasn't constantly busy producing.
Rating 2 stars

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Five Star Reggae Review

Hollie Cook: Twice

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I have to get rid of it: I'm totally flashed by Hollie Cook's new album right now Twice. Such a wacky, cool combination of superb, ultra-tightly produced Ska and Reggae rhythms and Hollie's bright, floating voice - that just makes me happy. And then there are the strings that totally annoyed me with the Trojan productions of the 70s - here they are used congenially. Then there are just great melodies and beautiful, touching lyrics. But the best thing is that Twice designed as a showcase album, so Hollies songs seamlessly into one Dub- Skip version. Great.
That producer Prince Fatty and Hollie Cook are a winning team, they have already proven on Hollie's debut album. On Twice now outdo yourself.
Rating 5 stars

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Review

Professor Skank: Digital Revolution

Professor Skank

According to press information is Professor Skunk by far the best known Dub-Producer of Greece. Aside from the fact that I had not heard of him before, I am ready to fully believe this statement, as I do not speak any other Greek Dub- I know producers. But the message got through anyway: the professor is important! Let's listen to what this top talent can do: The album Digital Revolution (Pale Records) begins with a signature speech from Mad Professor. Funny !, I think, he starts right away with a self-deprecating comment on his name. Sympathetic. But then I read: Mad Professor is the Greek's mentor. Professor Skank was an apprentice at Mad Professor, worked in the Ariwa studio and supervised productions for Max Romeo, Aswad, Love Grover, African Simba and Zion Train. Interesting, I didn't expect now. It continues with absolutely contemporary, varied, partly traditional, partly breaking new ground Dub-Tunes, all of which I really like. The professor rightly bears his title. No track sounds remotely like Mad Professor. Amazing. I read on: "Professor Skank made a bet with himself to bring two different cultures, the Greek and the Jamaican, together musically". Allegedly played Greek musicians who had never played reggae and Dub had come into contact with the tracks. Respect. The Greeks apparently have an innate talent for fat reggae beats. However, I would imagine two cultures coming together differently. Wouldn't it have been exciting, solid Dubs to connect with Greek folklore? No matter! Even without folklore, the professor has a decent one Dub-Album delivered. From now on I have it on my screen. Promised.
Rating 4 stars

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Review

Sly & Robbie: Underwater Dub

Underwater Dub

Exactly two years ago “Blackwood Dub" from Sly & Robbie and triggered conflicting feelings in me: Recorded in the legendary Harry J-Studio and produced by Alberto “Burur” Blackwood, the album largely avoided the classic one-drop reggae scheme and presented “progressive”, intellectually demanding but ultimately somehow unsatisfactory Dub-Creations. The joy of innovative sounds conflicted with the frustration of having to do without my beloved one-drops. Underwater Dub (Groove Attack) continues at exactly the same point - you could almost think that both albums were made in the same session. Again the old companions of the Rhythm Twins are on board: Mikey Chung, Dalton Brownie, Daryl Thompson, Robbie Lyn, Sticky Thompson and Skully. Concept, sound and setting are identical: Again, a crazy combination becomes more hypermodern Dub-Beats presented with sound samples from Sly & Robbie recordings from the 1980s. Sly had probably unpacked his good old Syndrums and enjoyed loading the sound presets from the floppy disks that were still there. The result is striking: you can hear new, somewhat bulky, abstract beats, between which these familiar bits of sound from the past suddenly flash. A clever maneuver to receive the listener on familiar territory and from there to carry them off into the realms of the unknown. While two years ago I learned about the perfect craftsmanship of “Blackwood Dub"Paid sincere respect, but the overall result left me largely indifferent," Underwater Dub“To be a little more accessible, a little more harmonious and, yes, a little closer to reggae. In the interview, Sly Dunbar is already looking forward to the next album. On the other hand, I look forward to the next one, when the concept is mature and finally a real one Dub-Album will be available that you will not only hear, but also feel.
Rating 3 stars

 

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Review

Dub Spencer & Trance Hill: William S. Burroughs in Dub

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William S. Burroughs and Dub? Why not? After all, Burroughs is THE icon of counterculture, which reggae also feels a part of. In addition, Burroughs' life was determined by excessive drug use. In the early 1950s he was arrested for growing marijuana - here, too, a certain, albeit unfavorable, closeness to reggae cannot be denied. In addition, Burroughs often worked as a spoken word performer, especially in the 1980s and 90s, and so there are many sound recordings of his concise, sharp voice and his very casual, self-confident manner of speaking. Footage that almost demands to be combined with suitable music. And then there's the most important reason of all why the album William S Burroughs in Dub (Echo Beach) had to find its way into existence with cosmic necessity: The birthday of Mr. Burroughs was on February 5th for the hundredth time. This guarantees attention and the prospect that the work will also take place outside the small, conspiratorial community of the Dubheads is perceived. So there are enough reasons for the Dub Spencer & Trance Hill-Quartet came together and created virtuoso fine, psychedelic beats around the magical words of the anti-poet and perhaps the most important US writer of the twentieth century. Somehow the one characterized by rock guitar and analog drums fits Dub-Spencer-and-Trance-Hill-Sound to the beat and rock era of the 1960s and 70s, which was heavily influenced by Burroughs' work. The tenacious, protracted groove of the Swiss, the psychedelic effect of the guitar riffs that fade away in the echo room and the deep and physically pulsating bass are simply the congenial soundtrack to Burroughs' confused monologues. An acoustic drug trip into the screwed-up, brilliant life of one of the most dazzling figures in American history. It was time for reggae to pay homage to her.
Rating 4 stars

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Five Star Review

Dubmatrix: In Dub

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Dubmatix - the name says it all: it's about Dub. After some DubReleases at the beginning of his career, this program seemed to have been forgotten. Dubmatix albums like System shakedown, Renegade rockers or Rebel massive are - although the sound is always Dub is - strictly speaking, none Dub-Albums, as they were voiced by numerous old-school artists. All of them wonderful albums, but secretly I had long wanted that Dubmatix back to his Dub-To find roots back. And finally he has heard my wishes: a pure, pure, genuine one Dub-Album by the mixing console master from Toronto is fresh on the table in front of me - and it has the most programmatic of all possible titles: In Dub (Echo Beach). Who with this title to a DubVersion of the Dubmatix-Back catalog thinks, wrong. In fact, Jesse King (aka Dubmatix) here only original material, especially for In Dub recorded, mixed by hand in the old fashion and subtly decorated by organs, brass or melodica. So it is a full-fledged one Dubmatix album, which is on an equal footing with his other releases and is by no means just a derivative. So it gives up In Dub no compromises either. Every rhythm was created to be a Dub to become - which is why the sound here is even deeper, more powerful, militant and powerful bass than from Dubalready used to matix albums. The King plays virtuously with the steppers scheme without ever becoming schematic. He plays earthquake-inducing beats without using worn-out four-to-the-floor clichés. With a dreamlike security he strikes a path between the genres, makes use of the power and impact of steppers and combines them with sophisticated compositions and arrangements as well as fresh ideas. The result is the best of both worlds: music for the head and stomach alike. Hence developed In Dub also such a fantastic flow. As the mind loses itself in conscious listening and analyzing the details, the body and soul are immersed in overwhelming bass frequencies and gently but decisively into the spheres of the world Dub-Metaphysics kidnapped. That's exactly how I wanted it.
Rating 5 stars