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Others

Dubmix to Dub Evolution January 2009

Tracklist:

solidarity: "Panorama Dub"From the album" Northern Faction 4 "(balanced-records.com)
Analog Mindfield: "Need A Leader (Dub) "From the album" Visions In Sonic Sense "(Malicious Damage / Cargo)
Harmonics 313: "Dirtbox" from the album "When Machines Exceed Human Intelligence" (Warp / Roughtrade)
High tone: "X-Ray" from the album "Underground Wobble" (Jarring Effects / Alive!)
Midnite & Luster Kings: "Really Dub"From the album" Infinite Dub"By Midnite / Luster Kings (Luster Kings / Import)

Download mp3 (23MB): dubmix_1_2009

Categories
Charts Review

My Dub Top 10 of 2008

1. Dubmatix: "Renegade Rocker" (7 Arts / Echo Beach / Indigo)
2. Dubxanne: "Police In Dub"(Echo Beach / Indigo)
3. Clive Hunt: “Clive Hunt & The Dub Dancers "(Makasound / Rough Trade)
4. Prince Fatty: "Survival Of The Fattest" (Mr. Bongo / Cargo).
5. Various: "Dub-Anthology "(Wagram / SPV)
6. Kasbah Rockers: "Kasbah Rockers with Bill Laswell" (Barraka)
7. Vibronics & Friends: “UK Dub Story "(Scoop / Import)
8. Hi Fi Killers: "Turf War Dub"(Mossburg / Import)
9. Lars Fenin: "Been Through" (Shitkatapult / mdm)
10. Jimmy Radway & The Fe Me Time All Stars: "Dub I "(Pressure Sounds / Groove Attack)

Categories
Dub (Revolution Review

Dub Evolution, November 2008

"... One of the hardest dub albums ever released ”, says the Rough Guide To Reggae about the album "Dub I "by producer Jimmy Radway & The Fe Me Time All Stars (Pressure Sounds / Groove Attack). This statement is an excellent argument - about the fact that "Dub I was "one of the hardest albums ever TO GET", but there is no need for a discussion. Published in Jamaica in 1975 with an edition of only 300 copies, "Dub I ”as one of the first Dub-Albums in general - and an early work by master engineer Errol Thompson - something like the holy grail of reggae collectors. The chosen few, whose collection was crowned by one of the rare, remaining vinyl records on this album, now have to accept a sharp drop in the price of their assets, because Pressure Sounds re-releases that Dub-Album now perfectly remastered with five bonus tracks, the original cover and detailed liner notes. As a Dub-Connoisseur of the year 2008, knowing the long history of the Dub (even after 1975), the revolutionary new and above all the “hardness” of the album may no longer be revealed. You have already heard too much of this music, which is not lacking in innovations, you have had tons of heavy bass thrown around your ears and has been whirled through many an echo chamber. From today's perspective, the sound and the arrangement of "Dub I “somewhat conventional. In retrospect, however, one can understand why the dry, clear and straightforward sound, dominated by powerful brass, was perceived as revolutionary back then. If Radway's Micron label hadn't already been broke when the album was released, a higher circulation and a few promos in the mailboxes of Virgin or Island Records would certainly have secured Mr. Radway a place in the Reggae Hall Of Fame. It didn't turn out that way, which is why we are now more than thirty years late listening to the album and granting it the recognition it has been denied for so long.

How innovative Dub can be can be seen in the album "Kasbah Rockers with Bill Laswell" (Barraka) (to acquire z. B. via Amazon or iTunes). Under this title, the musician Pat Jabbar, who lives in Basel, has released an album with some artists from his Barraka label, the Trip Hop Beats, "Rai'n'B", Dub and combines progressive dance sounds with traditional Moroccan influences. Bill Laswell, who plays bass on 11 tracks, grooves here together with musicians and singers like Youssef El Mejjad from Amira Saqati, Abdelaziz Lamari and Abdelkader Belkacem from Maghrebika or Kadir & Erdem from the Swiss-Turkish hip hop crew Makale. It sings in Turkish and Arabic about the life of young Muslims in the western world - or exactly the other way around - the confrontation of the Islamic world with western influences. Incidentally, two tracks on the album, "Bledstyle" and "Shta", were selected by Ridley Scott for the soundtrack of his new film "Body Of Lies". You won't find proven reggae beats at the Kasbah Rockers, but the elements of Dub are ubiquitous. Laswell's heavy rolling bass in particular draws a direct connection to the Dub. Instrumentation, mix and arrangement do the rest. The mood of the music is dark, psychedelic and, last but not least, strange and exotic. An eventful, acoustic excursion into unknown territory.

In order to regain safe ground, let's listen to the new EP of Abassi All Stars, "No Answer" (Universal Egg / Import). Three of the four tracks are based on Mr. Perch's “No Answer” rhythm - an extremely fast steppers beat with the familiar synth sounds. But despite the now really more than worn sound, Neil Perch knows how to screw good rhythms together again and again and - perhaps his greatest achievement - to develop decent melodies. With Minoo, Omar Perry and Carlton Livingston there are three vocalists on “No Answer”, each of whom knows how to contribute a really nice song. Especially the refrain of the latter "I don't have the answers to all those questions" has an insidious catchy tune.

Let's stay briefly in the area of ​​the well-known: Alpha & Omega lay with "Songs From The Holy Mountain" (Alpha & Omega / Import) a new (new?) album. To be honest, I lost track of the two Brits. A&O have remained so consistently true to their style since the 1990s that you cannot tell whether you are listening to new or well-known material. Somehow everything here sounds like deep jungle. The vocals, which are contributed by Paul Fox and Jonah Dan, are definitely new. The two hardly came up with much, so the second part of the album with the DubVersion that is actually interesting. Although I probably own all A&O albums from the last 15 years and have heard them many times, the mystical, dark sound enchants me every time anew. This explains why nothing really good can be said about “Songs From The Holy Mountain”, but I still recommend the album from the bottom of my heart.

The Wackies label, which is carefully maintained in Berlin, is with "Black World Dub"(Wackies / Indigo) a new old work by Bullwackie's All Stars was released. First published in 1979, it offers us DubVersions of reworking old (Studio One) hits like "Heptones Gonna Fight", "Guiding Star", "Skylarking" or "This World". We owe this selection to Leroy Sibbles, who directed most of the recordings on the album and of course also contributed the bass playing. The sound is typical of Wackies: warm, soft and rather fuzzy. Some tracks have little surprises in store, such as the breathtaking percussions on "Skylarking" or the interspersed syndrums on "Morning Star", which at the time were the sensational product of the latest Japanese technology.

Heartbeat Records has just released a nice album for the Revival Selection: Dub Specialist, "Dub"(Heartbeat / in-acoustics). Here you can find Dub-Versions of classic Studio One recordings - which of course is always nice. This time there are among others "African Beat", "Mojo Rocksteady", "Swing Easy", "Mean Girl" and many more. Nice scruffy sound, wonderful basslines, great melodies and all of this, of course, remastered and nicely packaged. What more do you want?

Finally, let's take a quick look at an album from Jamaica: Penthouse All-Stars, "Dub Out Her Blouse & Skirt "(VP / Groove Attack). "Dub from Jamaica “sounds good at first, but in this case it is not very spectacular. The only thing you can hear on this VP release is Studio One reworkings, which Donovan Germain produced for his Penthouse label in the 1980s and 1990s. Digital material in a sound that has unfortunately survived quite a bit and today, whether its simplicity, is no longer quite convincing. You can hear Steele & Clevie, Robbie Lyn, Dave Kelly, the Firehouse Crew and Steven “Lenky” Marsden. By the way, from the album you can immediately understand why with the arrival of digital music in Jamaica the Dub took his leave.

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Others

Dubmix to Dub Evolution, November 2008

Tracklist:

Fe Me Time Stars: "Wicked Have To Feel It" from the album "Dub I "(Pressure Sounds / Groove Attack)
Bullwackie's All Stars: “Skylarking” from the album “Black World Dub"(Wackies / Indigo)
Dub Specialists: "Dubbing Lecturer "from the album"Dub"(Heartbeat / in-acoustics)
Dub Specialists: "Dub Me Girl "from the album"Dub"(Heartbeat / in-acoustics)
Dub Specialists: "Dub It Easy "from the album"Dub"(Heartbeat / in-acoustics)
Penthouse All Stars: "Swinging Dub" from the album Dub Out Her Blouse & Skirt (VP / Groove Attack)
Kasbah Rockers: "Hellou Al Biban" from the album Kasbah Rockers (Barraka)
Kasbah Rockers: "Kafaka Mina Raks" from the album Kasbah Rockers (Barraka)
Abassi All Stars Feat. Carlton Livingston: "No Answer" from the EP "No Answer" (Universal Egg / Import)

Download mp3 (24MB): dubmix_11_2008

Categories
Dub (Revolution Review

Dub Evolution, October 2008

Prince Fatty: Survival Of The Fattest

When the fashion label Stüssy celebrated its 25th anniversary three years ago with a nice reggae collection, they hired the freelancer Mike Pelanconi (who gave Lily Allen a "Smile") to produce a single that fits the fashion. With “Nina's Dance” Pelanconi delivered a nice, relaxed tune in the style of early reggae, which, contrary to expectations, brought it to some popularity in the UK. Inspired by this success, Pelanconi produced under the appropriate name "Prince Fatty“A whole album that could have sprung straight from the early 1970s: "Survival Of The Fattest" (Mr. Bongo / Cargo). Recorded with analog equipment and recorded by some luminaries of the British reggae scene (Carlton "Bubblers" Ogilvie, Style Scott, Winston Francis, Little Roy and others) the album is a unique homage to King Tubby, Bunny Lee and the Revolutionaries. But as meticulously as Pelanconi copied the sound of the 70s, the songs are all originally his work - but this can only be determined if you listen carefully, because the sound quotes always convey the feeling of knowing this piece and being able to hum along that melody. Only at the moment when you purs your lips to whistle along do you pause and realize that these are brand new pieces and previously unheard melodies - even if Dennis Alcapone is doing his well-known toasts, the organ pulsates like Jackie's Mittoo, the guitar seems to be plucked by Ernest Ranglin and the brass section makes you think of Tommy McCook. The fat Prince (who is of course by no means fat) just succeeded in wonderful feel-good pieces, which are actually more instrumentals than Dubs are. In four cases there is even nice vocal accompaniment: Little Roy has taken on two tunes, Winston Francis one and Hollie Cook, the singer of the Slits (and daughter of Sex Pistols drummer Paul Cook) gives the track "Milk And Honey" the right touch . Prince Fatty rules!

Jesse King! A super name. I don't know why Mr. King of all places is Dubmatix had to call. Maybe this should "Dub“Necessarily in the name because Dub is without a doubt the core business of the Toronto master. The son of a jazz and funk producer, Jesse experienced his musical awakening in the early 1980s when an exiled Jamaican gave him the record "King Tubby Meets Rockers Uptown". From that moment on, Jesse King's life moved purposefully towards 2004 when he was his first Dub-Album "Champion Sound Clash" released. Then came "Atomic Subsonic" and now, finally, "Renegade Rocker" (7 Arts / Rough Trade). All three albums are characterized by very powerful, highly dynamic beats. The timing is right here, the offbeats are perfect and the one-drop makes the diaphragm shake. Mr Dubmatix knows how to screw together fat beats. "Renegade Rocker" is now the culmination of this art. Heard it out loud, the album simply blows you away. When music hits you, you feel no pain - fortunately! Many other Dubover would have made 16 albums from the 5 tracks, Dubmatix puts the material on a long player - and is not even satisfied with that Dubs alone, but also packs guest vocalists of the first guard on two thirds of the tunes! Linval Thompson, Ranking Joe, Michael Rose, Sugar Minott, Willy William, Alton Ellis, Pinchers and Wayne Smith take the lead in the studio. The result is an album that really rocks - reggaewise! 

But released alongside the "official" albums Dubmatix also so-called "digital releases", which are available under www.dubmatix.com or can be downloaded from the iTunes Store (but more expensive here). The latest in this series is the album "Dread & Gold" (www.dubmatix.com) published. It gathers Dubs from 2003 to 2008. Some of the tracks hadn't made it onto one of the CD releases at the last moment, others were recorded specifically for live performances or radio shows. But anyone who thinks they will only find scrap here is wrong. Because the tunes are without exception good. Of course they are less elaborately produced and all instrumental - which is what makes them so attractive. The Canadian is much closer to the classic here Dubbut without the clichés of the UKDub to repeat. His tracks are full of ideas, no Dub is like the other and in terms of craftsmanship there is nothing to be desired. The material would easily have been enough for an "official" album. How nice that Dubmatix offers it to us for half the price.

Another digital release is the debut album by Dub Milan, "Dubville Chapter 1 "that under www.reggae-town.de can be downloaded for free. Dub Milan, who I don't know more about than what is written on his Myspace page, presents six nice tracks here. They're really exciting DubBut unfortunately not, especially the rhythms are a bit lacking. The mixes are too dry and the sound is too artificial. But it is interesting Dub Milan's attempt to build his "Bach rhythm" on the basis of baroque harmonies. I would have liked the baroque part to be bigger, but the track has its charms.

I came across a strange album while browsing the MP3 store: The Dub Club, "Soundsystem for All" (Soundsystem1 / download, e.g. iTunes store). A strange album because the omniscient network has no information about it. “Soundsystems for All” seems to exist completely unnoticed, somewhere in the sea of ​​bits and bytes on the iTunes servers. I was probably just the first buyer of this work. It will probably not be the showpiece of my MP3 collection, but I wanted to hear it whole and in good quality because, yes, because it is quite unusual. The eight tracks on this album oscillate between the seemingly opposing poles of club beat, ska and Dub. There are fast ska-offbeats - fully electronic of course - club-like sound atmosphere and of course booming bass lines, samples as well as reverb and echo galore. Three or four tracks do not obey the fast ska rhythm and are pleasantly arranged Dubs with beautiful brass sections. In terms of sound, there is still something wrong here. One or the other track deserves a better mastering - an indication that “Soundsystems for All” is probably the living room production of an avid sound tinkerer and ska friend. Also, a few more pieces would have been nice, because the eight tracks only run for 30 minutes.

Already released at the end of last year (but only now downloadable), the album has it "Dub Harvest "(import or iTunes store) McPullish not made into this column yet. The reason for this is simply that the DubIt's not really exciting. Somehow the groove is not right here, the arrangements are one-dimensional and the sound is quite a mess. McPullish aka Carson Hoovestol started in Seattle in 2002 Dubs to produce. He currently runs a studio in Texas, which probably has a lot of instruments lying around, all of which he actually plays by hand for his recordings. Basically, the album is the result of a one-man show, where Hoovestol does not use a computer or sampler, but plays all the instruments live (and usually uses the first cut). That should explain the deficit of the rhythms sufficiently. On the other hand, it also demands respect - not necessarily for the performance, but for the dedication with which he has dedicated himself to his music. But maybe it's not a blissful dilettantism that I'm implying on him here, but avant-garde, and I didn't notice it.

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Others

Dubmix to Dub Evolution September 2008

tracklist

1.Prince Fatty: "Mr. Freeze "from the album" Survival of the Fattest "(Mr. Bongo / Cargo)
2. Dubmatrix: "Rock and a Hard Place (feat. Pinchers)" from the album "Renegade Rocker" (7 Arts / Rough Trade)
3. McPullish: "Harvest" from the album "Dub Harvest "(import or iTunes store)
4. Dubmatrix: "Killing Dub"From the album Dread & Gold (www.dubmatix.com)
5. Dub Milan: "No Excuse II & Version" from the album "Dubville Chapter 1 "(www.reggae-town.de)

Download mp3 (15MB): dubmix_9_2008

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Others

Dubmix to Dub Evolution, July 2008

Tracklist:

1. Sam Ragga Band: "Water Dub"From the album:" In Dub"(Echo Beach / Indigo)
2. Roots Radics Meets King Tubbys: “The Highest” from the album “More Dangerous Dub"(Greensleeves / Rough Trade)
3. Scientists: "Mr. Babylon Dub"From the album" Scientist At The Controls Of Dub - Rare Dubs 1979-1980 "(Jamaican Recordings / Import)
4. Casualty: "I Want You To Get Mad" from the album "Version 5.2" (Hammerbass / Import)
5. Seventeen Evergreen: "Ensonique "from the album" Steppas' Delight "(Souljazz / Indigo)
6. Michael Rose & Shades Of Black: "Dub Expectations "(Nocturne / Rough Trade)
7. Haaksman & Haaksman: "Na Lathina" from the album "Best Seven Selections 3" (Best Seven / Sonar Kollektiv / Rough Trade)
8. Vibronics: "Congo Natty (Dubplate version) "from the album" Lead With The Bass 3 "(Universal Egg / Cargo)

Download mp3 (25MB): dub-evolution-7_2008

Categories
Dub (Revolution Review

Dub Evolution, July 2008

And again publishes the tireless Hamburger Dub-Label Echo Beach a new one Dub-Album from Germany: Sam Ragga Band, “In Dub" (Echo Beach / Indigo). Anyone who thinks the Sam Ragga Band is Jan Delay's backing band only knows half the job. Since Jan Eißfeld turned away from reggae and turned to funk, the Sam Ragga Band has been operating at its own expense and has in the meantime recorded three (!) Albums of its own. "In Dub“Is now the Dub-Synthesis from these three works, mixed, remixed and gedubbt by three friends of the band: QP Laboraties, Pensi and Martin Rothert. As a Mr. Delays backing band, Sam Ragga couldn't really convince me. Somehow the timing was wrong, the rhythms weren't tight and the basslines didn't have a groove. So I hadn't listened to the following Sam Ragga albums at all. Maybe a mistake, as I now think, because the DubThe s that can be heard on this album don't sound too bad at all. Especially those that come from the last album "Situations" like z. B. "Why Dub“- a nice deeper Dub-Tune with a richly played bassline, minimal effects and a very puristic mix. DubOn the other hand, those that go back to the first album “Loktown Hi-Life” suffer from the less powerfully recorded tracks and the lack of tension in the somewhat more poppy arrangements. From the second Sam Ragga album “The Sound Of Sam Ragga” only the track “Schade Dub". However, this is arranged in such a poppy way that the suspicion arises that the remixers did not find anything on the album, which is probably all too pop. No matter! Despite minor slip-ups, “Sam Ragga In Dub“A good album, not exactly avant-garde, but solid Dub- Food from Hamburg. Ahoy.

Let's listen to a second album from Echo Beach: "Dubstars - From Dub To Disco & From Disco To Dub" (Echo Beach / Indigo). Who here a classic Dub-Sampler expected will be amazed at the latest at the track listing. Instead of Tubby, Perry, Mad Prof & Co. he finds names like: Terence Trent D'Arby, Simply Red, Stereo MC's, Brian Eno & David Byrne, New Order or Cabaret Voltaire. What this compilation offers us is quite extraordinary, namely Dub-Mixes of disco pieces from the 1980s and 1990s, but almost all of which were created during the time of their original recording. For me, this CD reveals a previously unfathomable secret: Why didn't the Madonna, Grace Jones, Gloria Estefan (etc.) hits in the disco run in the version known from the radio? Quite simply: Because the disco producers reduced them to the rhythm - and thus more danceable and also easier to mix Dub-Versions had tinkered. Such disco versions are on "Dubstars ”- but no obscure snippets of disco producers at the time, but the works of remixers to be taken seriously (at the time) such as Chris Blackwell, Adrian Sheerwod or Dennis Bovell (among others, mixer virtuosos unknown to the reggae connoisseur). With reggaeDub Of course, the whole thing has little to do and a part of z. B. Getting through Terence Trent D'Arby takes some self-control. This is offset by really exciting discoveries such as the Chris Blackwell remix of the Grace Jones track "She's Lost Control" or Will Powers "Adventures In Success" from 1983, which sounds like it is the sequencer of a hip dancehall producer sprung from. Because the musical phenomenon is almost more interesting than the music, the CD offers detailed and very amusing liner notes.

It is long overdue that I am on this column "Lead With The Bass 3" (Universal Egg / Cargo) come to speak. After all, this sampler was made in Jamaica for Dub-Album of last year was chosen (and was also released in April). As with the two predecessors, label boss Neil Perch has taken stock of the UKDub put together and tunes from vibronics, Dubdadda, Abassi All Stars, Ital Horns, Dub Terror or Zion Train put together. Each track is available as an original recording and as a remix (Dubplate version or Dub) available a second time. This is how you make a whole album out of 8 pieces! Although the sound production is poor, the first two Vibronics tracks are already a blast. What a bassline! Add to that the powerfully syncopating percussions and there is already one of the strongest rhythms that the UK-Dub had to offer lately. It gets interesting again with track 11 by Prince David, who plays a nice melody here (which somehow reminds me of songs by anti-globalizationists). Unfortunately, the sampler cannot maintain the level of these tracks. The remaining pieces are not bad, but neither are they outstanding or even groundbreaking. UKDubhow to know him and how he is increasingly losing the interest of his listeners.

Much more interesting is the new album by Casualty: "Version 5.2" (Hammer bass / import). It is the second album by the French sound tinkerers and it leaves the narrow boundaries of the UKDub far behind. As if a breath of fresh air had blown through the beats, the album avoids (almost) all of the clichés Dub and convinces with new, exciting ideas. There are almost jazzy tunes with beautiful saxophone sounds that are sometimes fast Dub-House tracks and another time next to almost spiritual-Arabic ones Dub-Grooves stand. In two cases they even ventured to drum & bass and techno. No wonder, that Dub flourished in France, while in England it was losing supporters.

In England, however, is extremely popular Dubstep. Although the formal proximity to classic reggaeDub is not too pronounced so would be Dubstep without reggae and Dub unthinkable. The DNA of the Dub Of course, it shows in the uncompromising focus on the bassline. Also is Dubstep, as well as reggaeDub, relying on sound systems and DubPlates are an essential part of business. But that is where the similarities stop. One looks for onedrop, echoes and mixing desk magic in Dubstep in vain. Allegedly originated from a garage, sounds Dubstep in my ears much more like a derivative of jungle and drum & bass - but without the breakneck fast drum loops. Electronically creaky (by the way, like Scientist!), Subsonic basslines, cool and cold electronic beats: precise, rational, hard and sharp. In contrast, the sea of ​​bass. If you want to get to know this sound, which has now largely been defined, the double CD is for you "Steppas' Delight" (Souljazz / Indigo) recommended. The Souljazz compilers draw the (short) history of the in extensive liner notes Dubstep and bring together all the important protagonists with a total of 19 tunes.

Back to the classic one-drop. Paul Fox has a pretty nice one based on Michael Rose's “Great Expectations” Dub-Album mixed: "Michael Rose & Shades Of Black: Dub Expectations " (Nocturne / Rough Trade). It is not exactly a product of the drive for innovation and avant-gardeism. On the contrary: it's just a good, traditional one Dub-Album that you can just enjoy without any ambition or curiosity. The rhythms are powerful and full, the mixes on tubby level and Michael Rose's vocals a nice relaxing element. Fortunately, Fox does without the typical UKDub-Sound clichés and mixes a clean, neutral sound full of dynamics. The only irritating thing is that almost all tunes do not end, but are cut off in the middle of the beat. Given the meticulous production, this lapse is astonishing - unless Fox thinks the "band-to-end" effect is style.

The Berlin DJ Daniel W. Best runs a flourishing booking agency and also has a small label called “Best Seven”, which he gives to music “somewhere between reggae, soul and Dub“Dedicates. The pieces appearing on Best Seven usually see the light of day as vinyl singles, which the label boss takes as an opportunity to release them on CD from time to time. With "Best Seven Selections 3" (Best Seven / Sonar Kollektiv / Rough Trade) this is the third time. Apart from Black Seeds and Tosca, the names of the artists represented here (Sisters, Kabuki, Cat Rat, Ladi 6, Jah Seal and others) were absolutely unknown to me. Accordingly, I didn't expect much. But what a surprise when playing the first tracks! The pieces gathered here are beautiful. Wonderfully gentle, relaxed reggae with catchy melodies and really good singing. Sometimes it sounds a little like Lovers Rock, then again like Fat Freddie's Drop. Although all the pieces are with vocals, the record somehow fits into them Dub-Column. Maybe it's the warm, relaxed sound, the subdued Dub-Effects of some pieces - or it's simply because I like this compilation exceptionally well.

Recently I came across an idiosyncratic album: Tuff Lion, "Ten Strings" (I Grade / Import). You can hear instrumental reggae with the guitar as the lead instrument. Logical that such a record has to come from America. Label boss and producer Tippy I put together 14 rhythm tracks from the I Grade Back catalog and 4 new rhythms for the album and had guitarist Tuff Lion improvise on them. Instead of screeching rock solos, the lion plays soft, jazzy sounds that are often reminiscent of Ernest Ranglin. The whole thing is very relaxed - and unfortunately a bit boring in the long run. But perfect as background sound when reading or working!

We come to the revival selection. Roots Radics Meets King Tubbys, “More Dangerous Dub" (Greensleeves / Rough Trade) is the name of the successor album to the album originally released in 1981 and re-released in 1996, “Dangerous Dub". With the name "Roots Radics" it should be pretty clear which sound awaits the listener here: Ultra-slow rhythms mixed with a lot of "air", the focus of which is always a beautifully melodious bassline. Mixing engineers were Jah Screw (who also produced), Soldgie and King Tubby (the latter probably only "directed"). As with “Dangerous Dub“This is how the recordings on“ More Dangerous Dub“From 1981 and of course there are many Studio One interpretations to be heard, like z. B. “African Beat”, a fantastic one Dubwith which the album also begins. Allegedly, none of the recordings collected here were ever published - which is hard to believe given the quality of the material.

Not unpublished, but "rare" Dubit gives up "Scientist At The Controls Of Dub - Rare Dubs 1979-1980 " (Jamaican Recordings / Import). It was produced by Ossie Thomas and recorded at Tuff Gong and Channel 1 studios, mixed at Tubby's. Compared to the recordings of “Dangerous Dub“, The Scientist tunes sound rougher, more atmospheric, less clean and are definitely mixed more ambitiously. The original vocals also flash through here from time to time - especially at the beginning of each tune - so that you can always hear small fragments of melody by Dennis Brown, Tony Tuff, Tristan Palmer and others. A very nice album that easily goes with the enthusiasm for the good old Jamaican Dub to awaken again.

Categories
Dub (Revolution Review

Dub Evolution, May 2008

Meanwhile it is Lars Fenin yes a good friend in this column. After “Sustain” and “Grounded” we now turn to his new album "Been Through" (Shitkatapult / mdm), with which he made his mix driven to perfection Dub and techno remains loyal in principle, but still does not stand still. While his earlier beats were warmer, softer and closer to the “four to the floor” pattern, now they mix (DubThanks to step) there are more broken structures in the rhythms. With this, Fenin increases his distance to Rhythm & Sound on the one hand and The Modernist on the other. Extreme minimalism was never Fenin's thing anyway. He has always enriched his tracks with lots of ideas and woven refined arrangements from them. “Been Through” can no longer be grasped at all with the “Minimal” category. Fenin's pieces are developing more and more from “patterns” to full-fledged tunes - in those cases where he is supported by vocalists like Gorbi, even into genuine songs. “A Try” is such a song with beautifully melancholy vocals and a catchy melody. Likewise "Red Wine", a tongue-in-cheek quote from the UB40 hit, which of course has perfect song qualities. But while the British band packed the vocals into soft-washed beats, Fenin's version has rough edges, is far more complex and at the same time has a fat kick that makes the tune unreservedly suitable for clubs. Compared to earlier albums and EPs, Fenin's music now sounds much harder, almost as if the Berliner by choice wanted to end his synthesis Dub and techno add a few sprinkles of dancehall. Why not? Fenin's specialty is new approaches.

What a spring! So many good ones Dub- There were seldom releases in one place. Obviously, the material that was put together behind thick studio doors on dark, rainy winter days is now making its way to the public. How z. B. the great new album from Echo-Beach: "Police In Dub"(Echo Beach / Indigo). There is a detailed article on the subject at the front of the magazine. Here I just want to make an explicit purchase recommendation. The album is one of the best that has ever been done in Germany under the label “Dub“Was produced and plays in the first division even in international comparison. Producer Guido Craveiro and the band Okada recorded incredibly well thought-out tracks that were designed down to the last detail. The rhythms groove, the timing is perfect. The sound is miles and miles from noodled Dub- Clichés removed and still full of warmth and depth. Whenever you think it couldn't get any better, these grandiose, catchy Police melodies emerge from the sea of ​​bass, perform some elegant pirouettes, and then sink back into the depths of drum & bass. You could go into raptures!

The next big surprise is a Dub-Album from Jamaica! Who would have thought that 20 years after King Tubby's death the island would be one again? Dub-Album would make? The father of this project is Clive Hunt, a busy and versatile producer who produced artists like the Abyssinians, Dennis Brown and Max Romeo as early as the 1970s. In recent years he had romped around a lot in France (z. B. he produced Pierpoljak or Khaled). Maybe that's why it's his Dub-Album "Clive Hunt & The Dub Dancers "(Makasound / Rough Trade) also released on the French label Makasound. Well-known musicians such as Sly Dunbar, Leroy Wallace, Earl Chinna Smith or Sticky Thompson worked on the successful, surprising album. Because even if you know Clive Hunt as an innovative (and at the same time very modest) producer who has never really stepped into the light of fame, you would have such a sophisticated, varied and uncompromisingly modern from a Jamaican producer Dub-Album not expected. Clive Hunt is completely up to date with his work, as if Jamaica never had one Dub- Given a break of around 25 years. Fat, perfectly produced sound, fantastic riddims (with a few quotes like Realrock, Cuss Cuss, Cassandra), complex instrumentation, lots of FX and of course - from Hunt himself - extremely inspired mixed. But the greatest strength of the album is its diversity. Instead of pulling through one sound, it consists of 16 individual, very independent and always surprising tracks. Hunt is brimming with ideas. It would be so nice if this album wasn't an isolated case and Jamaican producers did Dub rediscovered. In order for this to happen, one thing would have to get around in Jamaica, namely that you should be with Dub Can make money. So: all nice Clive Hunt & The Dub Buy dancers (and don't download them illegally!)

How to use Dub Phil Harmony shows with the free download that makes no money, but makes the community happy Dub-Samplers "Dubnight compilation Vol. 2 " (http://www.reggae-town.de/Downloads-req-viewdownload-cid-7.html). He has collected 25 (!) Tracks here (that is the equivalent of two CDs) from such well-known artists as Ganjaman, Zion Train, The Okada Supersound, Malone Rootikal, Dub Spencer & Trance Hill, Jahcoustix, Dubmatix, Aldubb and Phil Harmony himself. This selection is supplemented by many (still) unknown, but by no means bad DubProducers. Mr. Harmony not only showed a skillful hand in the selection, but obviously also demonstrated a lot of persuasiveness, because to have so many high quality tracks left for free is a great achievement. Now the only problem is marketing. Such an extraordinary project should be much better known.

Since it fits the topic so well: The other day I went to the Polish net label "Qunabu" (http://netlabel.qunabu.com/) Bumped into where is a gigantic 5-track album called "Sgt. Pepper's Lonely Hearts Dub Tape" can be downloaded for free. Five tracks of the best underwater minimalDubtechno, which - also qualitatively - is not far removed from rhythm & sound.

Categories
Dub (Revolution Review

Dub Evolution, March 2008

They have been mixing since the mid-1990s vibronics from Leicester Dub-Sounds made in the UK - and everyone Dub-Freund knows exactly what that means: powerful steppers beats with booming basslines and bass drums marching through four to the floor. This is accompanied by the typical synth offbeats and loads of reverb and echo. Once synonymous with the great Dub-Revival, which was heralded in the early 1990s by acts inspired by Jah Shaka like the Disciples, Zion Train or Alpha & Omega, this sound is one today Dub-Style among many but one that is inseparably identified with the United Kingdom. The Vibronics have remained loyal to him, vary him within the narrow limits and play as one of the last survivors Dub-Bands of the 1990s undaunted their sound system sessions. Their new record “UK Dub Story "(Scoop / Import) celebrates this UKDub-Sound - not in the form of a compilation, as the title suggests, but with new productions. Of course, no surprises are to be expected here. Conservation of customs fits the purpose of the album better. But there doesn't have to be anything bad about that. The general fixation on innovation is highly questionable anyway. Why not just produce a technically good, solid album without claiming to discover new worlds of sound? Most of the discoveries go in the pants anyway, so fans prefer to enjoy well-made genre food. And this is exactly what the vibronics deliver. No doubt they have mastered their craft after 13 years in Dub-Business perfect and know how to knit massive rhythms and get them right Dub-Treatment administered. Bass galore, shimmering sound particles, torn melodies and a stoically pounding bass drum - what more do you need for happiness?

Mossburg is the name of a US label that now has two thoroughbred Dub-Albums first caught my attention. The first album is from the Hi Fi Killers and is “Turf War Dub"(Mossburg / Import) titled. It contains 12 pretty interesting ones Dubs who play virtuoso with the sounds of the pre-digital age and unmistakably come out the killers as fans of Scientist and King Jammy. There is a lot of love in the details, the sound is warm and rich and the rustling and crackling brings back wistful memories of earlier times. Now that wouldn't matter much if the rhythms weren't good. Not arranged with great attention to detail Dub can be good if the rhythm, the foundation built from drum & bass is not convincing. But the Hi Fi Killers are excellent civil engineering experts, wise men who build their house on rock and not on sand. And so there is a surprising, very beautiful underground label on this unknown underground label, which is only accessible via import Dub-Album that I would like to recommend to everyone who knows how to listen.

The other album released by Mossburg, "Terrible Riddims" (Mossburg / Import), comes from Dub Fanatic and offers a much clearer, cleaner, more precise sound that is less dazzling and more straightforward through the beats. The arrangements is a preference for the Dubs listening to the Revolutionaries and the riddims are of course not terrible at all. If you are served with an album from Mossburg, you should go for the Hi Fi Killers, but if you have the luxury of two Dub-Packages can be given on the label website www.mossburgmusic.com and download the “Terrible Riddims” for only 9 dollars - not as mp3, but as uncompressed AIF files, which can then be burned to CD without loss. That’s an interesting sales strategy!

On the next album I fell for a stupid label fraud, but it turned out to be a blessing. In the order PDF of my reggae dealer, I immediately noticed the typical yellow-red Souljazz cover with the circular image in the middle: "Homegrown Dub - 100% Remixed "(May / Import) was the title, and in a flash I combined: After the two CDs “Box of Dub“1 and 2 Souljazz now brings a portrait of the current British Dub-Scene. Not even close! When I finally got the CD, I found what it was actually about in the small print at the bottom of the cover, where it usually says “Souljazz”: About Dubs the New Zealand band Katchafire. No trace of soul jazz! In a rather bad mood, I put the work into the player and was then somewhat surprised. Instead of making the rip-off perfect with cheaply produced material, hand-played, complexly arranged and thoroughly composed material played Dub-Versions (of the two Katchafire albums "Revival" and "Slow Burning"). The sound is actually a bit reminiscent of Fat Freddie's Drop, even if it's far less casual. Not infrequently, Katchafire sounds like a rock band that plays reggae, but offers beautiful melodies and really exciting, traditionally mixed ones DubEffects. On CD 2 there are seven remixed versions suitable for clubs, with the song "Rude Girl" being remixed three times. All in all, Katchafire wouldn't have needed the fraudulent labeling. The album is good enough to be bought for its own sake.

A tribute to that Dub Syndicate offers us Rob Smith with a mega mix of various tracks by Style Scott's band. "Overdubbed by Rob Smith (courtesy of Smith & Mighty) "(Collision / Groove Attack) is the full title and tries to make the material more diverse Dub To upgrade Syndicate albums with the reference to the magic duo from Bristol. The resulting increased expectations are unfortunately not fully met when listening, because of the overdubbs can't be heard too much. Mr. Smith more or less delivers one here Dub Syndicate-Tunes limited DJ set. Barely worth mentioning if the songs weren't as good as they are. Style Scott has been excellent with the help of great vocalists like Big Youth, Junior Reid, Cederic Myton, Capleton as well as the two Dub-Mixer Adrian Sherwood and Scientist in the Tuff Gong studio simply produced a few superb songs. Perhaps the real sense of the over liesdub-Action in that something originally went under Dub Syndicate albums again in the field of vision Dub- and to move reggae friends. They deserve it.