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Boom One Sound System, 3000 Worlds, B. Davis: Approaching Dub Station Alpha

Boom One Records (BOR) is a small independent label from North Carolina, which specializes in reggae, world and electronic music Dub as a common denominator. With the present album from the small but fine catalog, "Approaching Dub Station Alpha" (Boom One Records), that's it Dub-Pendant of the "Blood Fire" album by B. Davis, a singer who is deeply rooted in the tradition of the 70s roots reggae with conscious lyrics. With the Dub-Album embark on the label's own Boom One Sound System with four and 3000 worlds with three Dub- Remixing on an external, intergalactic sound journey and abducting the listener into the deep realms of the classical Dubs. Scraps of song from the original album float by again and again and lose themselves again in the infinite expanse of the universe of echo, reverb, reverbs and tape delays. Take your time, relax and let yourself be guided by the cosmic vibrations, while space and time are ethereal, dubbigen voyage across the galaxy.
Overall a fat, relaxed album on the American Boom One sound system with its mixture of reggae and electronica combined with classic Dubelements as well as the Tokyo-based reggae / ethno producer 3000 Worlds. Both sound tinkerers delight with a terrific psychedelic sound mix of instrumental reggae and Dub. All good, analog craftsmanship combined with a classic synthesizer sound.

Rating: 4 out of 5.

6 responses to “Boom One Sound System, 3000 Worlds, B. Davis: Approaching Dub Station Alpha "

I really can't do that slow anymore!
Another one Dub(Disc) that knocks me down! The riddims march powerfully and with a lot of momentum against the walls of Babylon. Or they come across as Jamaican, as in “Yes I Dub“! Anyway, with the bassline on “Yes I Dub“Immediately saved in a hammock that was or is stretched between two trees high up in the Blue Mountains with a view of the sea. The phenomenon why basslines sometimes feel like Jamaica to me and others don't, I still have to fathom, if there is a rational explanation for it at all.
In any case, “Yes I Dub"Here my top favorite, closely followed by"Dub Fire “! When an album is two such great Dubs in my luggage, my world is actually fine. But also the others Dubs go in very well with me.
"Dub In The Night “sounds a lot like Jamaica to me.
Dealing with the effects shows me that there are people at the start here who not only season their food with pepper and salt, but also attach great importance to chilly, curry and other exotic, if not extraterrestrial spices, without to spice up the whole work.
But I don't go home without complaining. Occasionally the bass has been recorded too “conservatively” for my taste. That means it is booming. In addition, the whole recording doesn't sound as if the mastering was based on the sound of the Royal Albert Hall. But that does with such good ones Dubs not that much broken in the end. I think you can get used to it very quickly.
I can only say again that it's a very good tip Ras Vorbei !!! Just put it in my playlist! That I myself
I don't need to mention that I would like to build a material basis for this.

Addendum: My comment sounds as if Jamaican riddims are not marching against the walls of Babylon.

Basically, this is not wrong, because Jamaican riddims don't just march, they also dig up the whole ground and ensure that the walls of Babylon literally disintegrate from the inside.

Babylon Shitstim is the Vampire ………………. lemmi

"The bass is booming!"

You're right Lemmi, the sound is really rooted in the 70s or early 80s. Simply a really rich, fat bass that makes every subwoofer really dope.

A little anecdote by the way:
My girlfriend at the time and I saw the Roots Radics in Amsterdam's Melkweg or Paradiso in the early 80s. Flabba Holt's bass and Style Scott's bass drums were so heavy that my girlfriend got really sick. It is actually not an exaggeration that every time you hit the bass or drum you had the feeling that you were getting a kick in the pit of your stomach. Unfortunately, I then had to watch this amazing concert to the end on my own. Later I never saw bass and drums like this at any reggae concert. Incredible!

It's good that the technology sometimes brings an improvement here and there.
I found this bass overkill worst at some concerts on the Loreley.
At that time I also had a really uncomfortable feeling in the pit of my stomach.
Definitely too much bass! I think you can overdo it with the bass.
I've heard that the bass quality is getting worse again with Summerjam. In the form of far too little bass.
I can only say that there was really good sound at the Summerjam (last time around 12 years ago). The bass was already bubbling more than it was booming and if something is bubbling, I'm already very satisfied.
The man / woman ;-) at the mixer is and remains the central control point when it comes to sound. But if the system is simply too bad, they can't do anything more.
I am afraid that with these UK - Dub - Events too much bass is turned in for my taste. When I hear that not only the windows (if they are still there) rattle and even the diaphragm vibrates unpleasantly, that's nothing for me. I am a connoisseur and when the bass gets painful, it's over for me, the enjoyment.
For me it has something to do with taste. To compare it to the food again, I would say this to me Dub Events are likely to be too salted. Eating without salt (how do the Rastas do it?) Is minus but
too much salt is even worse. So people have to sit at the mixer who know exactly how to season which food. Sometimes people just sit at the mixer who have absolutely no plan for spices or sound. I admit, I don't have a plan either, but I don't do it professionally either.

I didn't really want to write that much now, but it just trickled out of me again …… lemmi

Bass and volume seem to be a general problem. Either the halls are too big or the people at the mixing desk just don't understand their business anymore. The sound engineers used to know their mixer inside and out. Usually they put the part together themselves and therefore knew every perfect setting blindly. Today the technology is much better, but the gentlemen are no longer able to control the mixer in such a way that an acceptable sound is produced. It can't be that you are given earplugs at the box office today. This is what happened at the SEEED concert in the SAP Arena in Mannheim. Friends of mine were there and complained bitterly about the unbearable volume and the distorted sound in the stands.
It's not the first time I've heard of something like this. The sound in the interior of the SAP arena is quite ok, but the same problem always prevails in the stands. With these steep prices, you have to be able to expect more.

So the prices are already too salty. I would be interested to know how much the Seeed concert cost.
If it was more than 50 euros, get ready for the next shit storm from me. I'm just saying Dub Syndicate never cost more than 15 euros! If Seeed gets a cent more, all I can say is "Babylon System is the Vampire". Quite apart from that I would have for another Dub Syndicate concert also easily handed 100 euros.
And if there were to be another one, I'll get a thousand out of the box too.
The loudest thing I've ever heard was Asian Dub Foundation. At the mixer was none other than Carlton "Bubblers" Ogilvie. “Support act” was Adrian Sherwood, everything was okay with the sound, but at ADF (you can't allow yourself to turn the letters) I voluntarily asked for earplugs. Actually, that cannot be surpassed in stupidity. Instead of just turning the volume knob a little, we prefer to plug our ears in order to hear it quieter but unfortunately also with a full muffled sound. Sometimes I not only doubt my mind, but I believe that every person only has a certain island talent with which he then struggles to live. Tying shoelaces yourself is a real transfer achievement.

I go into the goal ..................... lemmi

SEEED tickets from just under € 54 to max. 179 € for the business ticket - unbelievable!?!

I am not allowed to say what concerts used to cost. At that time bands were touring to promote their new album. Concert tours were mostly negative for the bands. Today bands finance themselves with concerts. Times are changing.

SEEED are now doing the big “creamy tour” again and it's good.

Babylon Shitstem is a vampire
Sucking the children day by day….
The Babylon system is the vampire
Sucking the blood of the sufferers ...
Building church and university
Deceiving the people continually ...

It was almost 40 years ago and nothing has changed

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