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Dub (Revolution Review

Dub Evolution, January 2007

Hard to believe, the tireless, flimsy Hamburg rap and babble mouth Jan Delay  finally shut up on his new album. Stammheim's sons, the Flashgott and the Ragga Styler have to stay outside because on the new album "Searching ... - The Dubs "(Echo Beach / Indigo) Music alone has the say. While Mr. Delay has already moved on, has left reggae behind and is currently in his funk phase, the estate administrators have set to work and a stylish one Dub-Version of the 2001 hit album "Searching for the Jan Soul Rebels" produced. And since the Hamburg reggae mixed poke likes to stay among themselves, the big one has become Dub-Master Matthias Arfmann accepted the work, chased it through the echo chambers of his Hamburg Turtle Bay Country Club studio and published it on the Hamburg-based label Echo Beach. Anyone who knows Arfmann as the initiator of the Castrated Philosophers and as the producer of Patrice, Onejiru and the Absolute Beginners - and who has heard his remixes of old Karajan recordings two years ago - should have no doubt that Arfmann at the controls the delay -Tracks vigorously revamped. While the voice, lyrics and marketing image of Jan Delay were so much in the foreground on the original album from 2001 that hardly anyone paid any attention to the music, it finally comes into its own under Arfmann's leadership. Although the Sam Ragga Band didn't eat the groove, Matthias Arfmann managed to create a beautiful, solid and very melodic one Dub-Mixing album together. He proceeded quite classically: the well-considered dramaturgy, the virtuoso handling of melody fragments and the precise timing alone are enough to create exciting instrumental pieces that are consciously and gladly listened to over the entire length. It helped a lot that - unlike in Jamaican reggae, where the riddims are created independently of the vocal version - Jan Delay composed simply good melodies for his album, which are now also those Dubs shape. 

A very interesting one comes from Canada Dub-Compilation: Sub Signals Vol. I (Interchill / iTunes). The label assigns the tracks presented here to the (probably self-created) genres “Psy Dub"," Psy Dancehall "and"Dubby Breaks ”. We prefer to call it "Dub with attitude ”, because although all tracks are based on reggae beats, the sound moves in Bill Laswellian spheres, that is to say: heavy bass lines, very slow rhythm, sensitive electronic sounds and a relatively complex, demanding mix. Or, to put it more simply: the exact opposite of steppers. An album to listen to rather than nod your head. Well-known names such as Sub Oslo, Zion Train, Noiseshaper, Creation Rebel, Dubadelic or Manasseh, as well as unknown (perhaps Canadian acts): Mauxuam, Dub Alchemist, High Tone, Almamegretta or Ashtech. Behind the latter is the compiler of the Sub Signals himself, Mr. Gaudi, a white dread from London, who has so far mainly stood out by remixing pop pieces. With his remix of Cool Jack's “Jus' come” he even had a No. 1 hit in the British charts in his vita. In any case, he proves good selector competence with the Sub Signals, because the album not only gathers good music, but also flows homogeneously and closed without becoming boring. Since it is not sold in Germany, it can be downloaded from the iTunes Music Store - where it is known to be available for test listening.

There is also news from Universal Egg. "Bass Matters" (Universal Egg / Cargo) is called the first pure DubAlbum of the Radical Dub Kolektiv, for which the musicians from Zagreb brought Neil Perch, Mr. Zion Train himself, on board as producer. That was a very good idea because that Dub-Thousandsassa has a remarkable result from the live recordings Dub-Album mixed. What takes a long time is finally good, because Perch took over a year for the mix. In terms of sound, he has arranged the tracks on powerful steppers beats, whereby the hand-played character of the tunes pleasantly weaken the 90s steppers appeal. The smoothness of the synth production is replaced here by a certain roughness and directness, which gives the pieces additional energy. In addition, the band and producer tried very hard to diversify and, in addition to a good mix and beautiful arrangements, also repeatedly incorporated small, surprising ideas, such as a choir that can be heard for exactly four bars, or small dialogues or soundscapes that function as an intro . Two pieces have also been provided with vocals. One of the vocalists is Lee Perry's alleged nephew, Omar Perry.

Gussie P has always been out for his minimal Dub-Sound known. With the remix of old Negus Roots recordings from the early 1980s, he has now outdone himself. “Firehouse Dub Volume 1 "(Gussie P / Import) is the name of the Mixwerk and is listed under the artist name Sip A Cup Meets Negus Roots. You can hear bass, bass and more bass here. The drums, occasional keyboard sprinkles and guitar licks ranks under distant Liefen. If you listen carefully, you can still see the early 80s, the typical house sounds of Channel One and Aquarius studios and also Sly Dunbar's militant drumming. But Gussie P has done a solid job: At first glance, the album could pass as a current production. Maybe because the mix wasn't as minimalist as Gussie's way, even in the early 80s. In addition, the good guy must have tinkered with the bass sound quite intensively, because it has an almost eerie presence. Interesting minimalism is - contrary to the ostensible assumption - extremely difficult to achieve. Because if it is not perfectly worked out, it will quickly get boring and will lose all potential that is in it. A trap that Gussie P unfortunately fell into - even if only with one leg. As overwhelming as his sound is on the first few tracks of the album, Gussie doesn't manage to keep the tension over the entire length. By the middle of the album at the latest, you want something more than just bass, bass and more bass.

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Charts Dub (Revolution Review

Dub Top 10 of 2006

1. Root 70, heaps Dub, Nonplace

2. Sandoz, Live In The Earth, Soul Jazz

3. Rhythm & Sound, See Mi Yah Remixes, Burial Mix

4. Noiseshaper, Real To Reel, Echo Beach

5. Mapstation, Distance Told Me Things To Be Said, scape

6. Daniel Meteo, Perfuments, Compact

7. Nucleus Roots, Heart Of Dub, Hammer bass

8. Roots Tonic Meets Bill Laswell, Roir

9. Alpha & Omega, City Of Dub, Alpha & Omega

10. Peter Presto, nice that you are listening again ..., compact

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Dub (Revolution Review

Dub Revolution, November 2006

Matisyahu, ultra-Orthodox Jew from New York, was absolutely hype in the USA with his new album "Youth" at the beginning of the year. A Jew with a long beard and a black hat who plays reggae and cites Bob Marley as a great role model is indeed always worth a story. So it is not surprising that his person is at the center of media interest and not his songs. With the best will in the world, they would not have deserved it either. Because, although the album by Bill Laswell was produced, it did not stand out musically from the average of American pop music. To call it a reggae album at all would be daring, the songs get lost too much in uninspired guitar playing and moderately interesting beats - which could still be lived with if it weren't for Matisyahu's completely awkward vocals, which mercilessly dealt the album its death blow. But that Matisyahu's band, Roots tonicthat she can be really good without her boss, she proves on her "own" album "Roots Tonic Meets Bill Laswell" (ROIR / Cargo Records), that (thank goodness) none Dub-Version of "Youth" is. On the contrary: After "Youth" climbed to number 4 on the Billboard charts and everyone was concentrating on Matisyahu, producer Bill Laswell and the three Roots Tonics Josh Werner (bass), Aaron Dugan (guitar) and Jonah David (drums) the calm and retired to Laswell's Orange Studios in Brooklyn and took a thoroughbred there DubAlbum on. And what one! It's hard to believe that these are the same musicians as on "Youth", because on "Roots Tonic Meets Bill Laswell" there is really good, powerful music to be heard. Instead of Matisyahu's little voice, the bass sets the tone here. The heavy and at the same time melodiously swinging bass lines roll wonderfully powerfully out of the speakers and lay the strong foundation for guitar and mix, while the drums set precise beats either in a slow one-drop or in a tight stepper march. As tight as these rhythms may be, the joy of playing of the three musicians is unmistakable - the momentum of their groove must have inspired them too. Bill Laswell is also showing his best side. His mix is ​​perfectly dosed and sets well-considered accents instead of randomly applying effects to all instruments. Apparently he knew that he could trust the playing of the three instrumentalists. Laswell therefore relied on a classic old-schoolDub-Mix that sometimes sounds a bit like early Adrian Sherwood productions. He doesn't even touch the bassline. It runs through from the first to the last track without interruption. The drums were mixed extremely dry by the master - just as the Americans love it (which, by the way, occasionally gives the sound of the Dub Trios comes very close), while guitar and keyboard mostly swim in a lake of reverb and echoes. Laswell - clearly satisfied with his production - summarized the result of his work with Roots Tonic as follows: “A futurist space /dub transmission in which the spirit of Roots Radics, Sly & Robbie and Scientist gets re-electrified and blown to new proportions. “What else can you add to that?

At the same time last year, the furious album “Don't Stop Dub" from Dude presented. He presented himself as a representative of the hardcore variant of the classic 90s UKDub in front. Brute, electronic basslines, stoic drum machines and reverb-soaked synthie offbeats characterize his sound. Kanka also uses this style on his new album "Alert" (hammer bass / nocturne) consistently continue. In straight "Four To The Floor" - and for Dub maximum permissible top speed - he stomps through his tunes and lets it rattle and thunder all around. Kanka is tough: Warrior Style! And it's fun to see the good old 90s sound so consistently saved into the present day. Despite the photo on the Hammerbass website - judging by the fact that children's songs were sung to Monsieur Kanka in the 90s - his biography claims that he played in a reggae band in 1997 and had around 200 concerts. That should have been enough to familiarize him with the sound. He retired to his living room studio and tinkered his first solo in 2003DubAlbum together. Solo in the truest sense, because Kanka played all the instruments (drum machine, keyboards, bass, brass) himself (although - actually these are all just one instrument: the computer ?!). In 2005 the already mentioned “Don't Stop Dub"And now" Alert ", on which he works for the first time (on three tracks) with a vocalist: Brother Culture from Brixton. By the way, he does his job very well, because his three songs are really good. His “Town Get Vile” in particular is a real catchy tune - a song in which he tells of parts of the city that tourists (better) don't dare to venture into. In addition, a distorted bass hammers notes into the ear canals, which emphatically underlines Cultures' warning. To be on the safe side, this album should only be put on after the first coffee.

Now for the revival selection, back to 1977 as Lloyd "Bullwackie" Barnes the Dub-Album "Reckless Roots Rockers" (Wackies / Indigo) published. He had only recently moved from Jamaica to New York in the Bronx and had these recordings in his luggage. They were from 1974-75 and were recorded by the Soul Syndicate band in King Tubby's studio. So they don't sound like the typical bullwackie productions, even though Barnes mixed them in New York. Compared to the warm, mystical Wackies sound, they are far too dry and spartan - but no less interesting. Surprisingly, the ten tracks also include a vocal tune by Jah Carlos (Don Carlos of course), who was also recorded and voiced in Jamaica. "Prepare Jah Man" is a strong song about an almost even stronger rhythm that later became famous in the showcase version of the song "Moses" on Wayne Jarret's legendary "Bubble Up" album. There are also other rhythms that the Wackies collector should be familiar with as vocal versions, such as Joe Morgan's "Basement Session" or "I Belong To You" by Love Joys. So all in all a nice, if not very typical Wackies album

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Dub (Revolution Review

Dub Revolution, September 2006

Noise shaper they are here again! And exactly where we want them. After their last album, "Rough Out There", which was very much oriented towards reggae mainstream, they take care of the new one "Real To Reel" (Echo Beach / Indigo) again with sophisticated “housey downbeats with a fat reggae flavor”. Despite the numerous vocal tunes included, the focus is again on the sound. The voices are added attributively, like another instrument, instead of dominating the whole track. Besides, there are just as many Dubs represent vocals, which make Real to Reel an album that is as varied as it is interesting. Some of the pieces gathered here like “Rise”, “You Take Control”, “Jah Dub"," Moving Together "," All A Dem A Do "," Dunk "and of course" The Only Redeemer "are already from older Noiseshaper albums (z. B. the great “Prelaunch Sequence” published on Different Drummer) and are now rerecorded and remixed here. In doing so, they even gained in drive and dynamism and increased in complexity - perhaps because the great Adrian Sherwood is responsible for the mix. But the album also offers brand new tunes such as the great "The Creator", a bombastic, ultra-separate roots stepper, garnished with the occasional lyrics by Juggla. Completely different tones sound on "Wake Up". This tune flows warm and infinitely relaxed, accompanied by Jahcoustix's singing, from the speakers. Most typical, however, is the Grace Jones tribute "Love To The Rhythm". The early influence of Rockers HiFi can be clearly felt here, under whose wing Noiseshaper released the first two albums. In general, the two boys from Vienna, Axel Hirn and Florian Fleischmann, have already had a remarkable musical journey into the epicentres of Dub-Music that currently took her to London. The highlight of their career was undoubtedly the use of their song "The Only Redeemer" in the US television series CSI: Miami, which earned them a mainstream single release on Palm Pictures and catapulted their music onto the dance floors around the world. "The Only Redeemer" can also be heard on "Real To Reel" in a newly recorded version, the mix of which is a lot dubis bigger and at the same time clearer and more present. This shows, in direct comparison, the championship of Adrian Sherwood. How good that he and Noiseshaper found each other! Their work together has produced the best fruit in recent months on the Dub-Market to buy goods.

Alpha & Omega have new ones Dubs recorded - although that can't really be said, because the sound of the British couple is so constant that every tune is a single - but very welcome - deja vu. Heavy beats and endless sluggish beats that drag themselves from measure to measure, garnished with bizarre jungle sounds as well as the massive use of reverb and echo are their trademark. As with Lee Perry's Black Ark sound, every clear sound is blurred in a great primordial soup of eruptive beats. Hence her new album "City Of Dub"(Alpha & Omega / Import) do not measure according to conventional quality standards such as production quality or songwriting. What counts here is atmosphere and uncompromising attitude. The City of Dub which was built on 13 tracks, with - with three exceptions - each track appears twice: as a vocal and as a Dub-Version. When it comes to production economics, Alpha & Omega have never given up on issues. The round of vocalists consists of the usual suspects: Jonah Dan, Nishka, Jah Zebbi, Coz Tafari and others. It should be noted on a positive note that they occasionally contribute very beautiful, concise melodies, such as z. B. Coz Tafari on the track “Marching Warriors”, or - really great - the Portuguese singing Valnei Aine on “Massacre In The Ghetto”. And this shows that Alpha & Omega productions can also benefit from good vocals - which was recently clearly heard on the albums by Ryan Moore (Twilight Circus). With “City Of Dub“Maybe the best A&O album of the last few years is available - which, however, does not apply to the cover. Here the old Ethiopian illustrations were much better. It's hard to understand why A&O abandoned their “corporate design”.

Let's stay a little longer in England and turn to the new one Dub- Mad Professor's album too: "Mad Professor Meets Mafia & Fluxy - A New Galaxy Of dub Sci Fi 2 " (Ariwa / Rough Trade). The professor undoubtedly deserves credit for his indefatigable Dub-Albums released. For over 20 years he has been the great constant in the British Dub - yes that Dub at all. Apart from him there is hardly anyone who has stuck to this genre so steadfastly and consistently. While Mad Professor used to have his house band, the Robotics, record all the tracks, in recent years he has brought various guest musicians into the house to bring in new material. Mafia & Fluxy have often connected their computers in the Ariwa Studio and relentlessly copied new rhythms onto the professor's tapes. Maybe a little too often, because the new galaxy of the Dubs does not hold any new discoveries or surprises. The rhythms are unwound here too routinely and although Neil Frazer intensively turns the controls, you can clearly hear that he has simply run out of ideas. But maybe the rhythms were too uninspired for him, too. Mad Prof. last showed that he still has it with his great Sly & Robby album - the second part of which he announced a long time ago. Hopefully it will come soon, because an exciting new one Dub-Album from the house of Ariwa is necessary!

The Mad Prof. album is surpassed in terms of boredom by the new work of Tassili Players, “Ages Of The Earth In Dub"(Wibbly Wobbly / Download) which - probably due to the poor quality - has not brought it to a regular CD release and is only available as a download (iTunes Store). The tunes sound like very early Zion Train recordings and belong to the 90s. If Neil Perch doesn't want to sell us old material here, then the question remains, why does he enjoy still producing this outmoded sound.

The new album by sounds much more interesting Love Grocer "Across The Valley" (Wibbly Wobbly / Import), also from Zion Train. It owes its quality above all to the use of the horn section - typical for Love Grocer. The wind melodies float wonderfully lightly over the gentle and relaxed backings, lose themselves in the tightly woven sound atmosphere, only to be in the foreground again with full presence. So it's understandable that many of the tracks have more of an instrumental character than Dubs have - if it weren't for the typical Wibbly Wobbly sound, which inevitably has the stamp "Dub“Impresses. Although the tunes are extremely melodious thanks to the brass section, singers such as Earl 16, MC Spee and Jonah Dan were invited occasionally, of which the former in particular delivers a very strong tune. So all in all a nice, if not earth-shattering album. 

Comes from France Miniman, aka Roland Rougé, who let us know on his last album that he is now trading under the name Seven Seals. To make the confusion complete, his new album was released "Opus In Dub Minor "(www.hammerbass.fr/Import) again under the name Miniman. So let's stick with it - although I liked him a little better as Seven Seals. His album Stars wasn't exciting, but the quality was good enough to import into my iTunes library. The opus in Dub-Moll this luck will not happen. It's just too boring. Similar to the Tassilli Players, it sounds like it has Dub made no progress since the 1990s. The synth sounds used here are definitely used up. Occasional, somewhat embarrassing samples of classical music and a thoroughly ambitious mix don't help either. If the body, i.e. the rhythm and the sound, are not good, then there is no point in screwing on ornaments. On the contrary, it makes matters even worse since the work cannot deliver what it first appears to be promising.

Burning Babylon should be familiar to the readers of this column. Behind this is Slade Anderson, whose last two albums "Knives To The Treble" and "Stereo Mash Up" were extensively praised at this point. Especially the latter, with its rough, hand-played sound, could convince in full length. Now Anderson lays "Garden Of Dub"(Mars Records / Import) in front. In a sense, it is episode 1 of the trilogy, because the recordings were made in 2001 in Anderson's living room studio and document his first steps in the realm of Dub. Recorded with the most primitive instruments and mastered on compact cassette, the sound does not come close to the quality of the two later albums. Musically it can't quite keep up either, although there are a lot of really good ideas, beautiful melodies and a dark atmosphere in the album. Andersons Dub-Talent sparkles here from every note, even if it was not polished to a high gloss.

Now we come to the revival selection. Take part in the beginning "Roots Radics Meets Scientist And King Tubby In A Dub Explosion "(roots / import?) a brilliant one Dub-Album from the famous Channel One studio, recorded by its house band with Style Scott on drums and Flabba Holt on bass. A typically minimalist work by the Roots Radics. Sparingly orchestrated with seemingly endless pauses between two notes - only the sluggish bass and the rhythmic hitting of hi hats can be heard over and over again - the reggae rhythm has never been more puristic and slower. Scientist and Tubby also took their time and moved the controls rather sparingly, which gives the tracks an extremely hypnotizing effect. If you listen to it quickly, the album may seem boring and unimaginative, but once you have let yourself into the flow of slowness, you can make new discoveries in every corner of the Echo Chamber. As an added bonus, the basslines are often nice classics like “Rougher Yet”, “Mama Used To Say” or “Things A Come Up To Bump”.

The latter is also on the album, by the way "Version Dead" (Studio One / Heartbeat) to hear - in the original, because this is where the men and women of the popular Studio One reissue label “Heartbeat” have put together the “most coveted” B-sides of classic Studio One singles. All (not) mixed from Dub specialist, as Coxsone called himself, because apart from occasionally turning on the vocal track, this can be from Dub out of the question. But who cares with rhythms like “Mr. Fire Coal Man ”,“ Real Rock ”(as a real one, by the way Dub!), “Pick Up The Pieces”, “Declaration Of Rights” and of course “Things A Come Up To Bump”. As usual from Heartbeat, the tunes sound in a beautifully restored version, so that the bass of the Soul Vendors, Soul Dimension and Soul Defenders thunders powerfully from the speakers and can unfold all the charm of these so often copied mini melodies. Here you can hear it, the soul of reggae, pure and direct.

Now for an album that has a very strange story. We're talking about "King Tubby Meets Jacob Miller In A Tenement Yard" (Motionrecords /?). You can hear the rhythms of the famous Jacob Miller album "Tenement Yard" played by Inner Circle. But with rather idiosyncratic synth overdubs and the occasional bell-like sound of a xylophone. While the band's keyboardist, Bernhard “Touter” Harvey, is responsible for the former, the xylophone was in all probability played by Augustus Pablo. They owe their creation Dub-Tracks the Fatman Riddim Section's wish for usable B-sides for the hit tunes of the Tenement album. Although the tracks were never intended for an album, they were brought to Tubby - who mixed them routinely - and then, in 1976, published in tiny numbers and with the wrong label as a long player. No wonder that hardly anyone knew about the album and that Motionrecords now consider it the “rarest Dub Album ever released in Jamaica ”. The album undoubtedly possesses its qualities through the technical mastery of the Inner Circle band and the rhythms undoubtedly belong in the ranks of the best mid-70ties roots productions. Whether the overdubBut s now represent an enrichment is questionable. Quirkiness is not necessarily a quality feature - not even in the Dub.

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Dub (Revolution Review

Dub Revolution, July 2006

Richard H. Kirk is probably best known as the founder of the punk band Cabaret Voltaire. Although punk and reggae were close in the 1970s, it took around three decades for the talented and adventurous Kirk to reggae and Dub discovered for himself. 2002 appeared under the name Sandoz breast Dub-Debut “Chant To Jah” on the label Soul Jazz - actually dedicated to rare grooves - which every Studio One lover should be familiar with as the most prominent reissue label at the moment. But “Chant To Jah” was - despite the prestigious label - not a good one Dub-Album. The tracks were too tricky, the bass kept stalling and the beats just didn't want to groove. Somehow there was still too much “industrial” in it (as is the case with some of Adrian Sherwood's productions) - probably the legacy of Kirk's earlier musical preferences. By now, Kirk had four long years to complete many classic DubRecords to be heard to the British Dub-Revival of the 1990s and not least to work on your own bass lines, to sample Rasta vocals and to tune the synths. Now his new one lies Dub-Album, "Live In The Earth" (Soul Jazz / Indigo) and it leaves no doubt that he has learned his lessons well. "Live In The Earth" is a fascinating one Dub-Album with strong, hypnotic tracks that literally soak up the listener. Endless loops of the same vocal sample, the stoic, strongly emphasized offbeat and the warm, pulsating bass frequencies increase the repetitive moment of the Dubs in dimensions previously only achieved by Mark Ernestus and Moritz von Oswald. His sound is by no means sparse or cerebral. On the contrary: the beats are full of warmth and life. Every detail in them serves to absorb the listener, to synchronize his rhythm with that of the music, to vibrate with it and finally to lose himself in it. “Live In The Earth” is therefore undoubtedly to be classified as an acoustic drug and everyone who puts the record on should be aware of the danger, as Dub-Addict to end. A risk that one is happy to take.

Hopeless Dub-Adddicts are also the two Berlin producers Mark Ernestus and Moritz von Oswald (aka Rhtyhm & Sound). So it was to be expected that she would play her one rhythm album “See Mi Yah” DubVersion would follow. This is now under the title "See Mi Yah Remixes" (Burial Mix / Indigo) published. Since a pure one-rhythmDUB(!) Album even the patience of the toughest minimalDubLover would be put to the test, the production team decided to largely select a crowd Dub-to ask foreign musicians for remix versions and thus tap into a nice spectrum of current club sounds. As a result, minimal electronics engineers, disco house representatives and techno producers such as Carl Craig, Villalobos, Vladislav Delay or Hallucinator used the keyboards and often created entirely new and very exciting pieces suitable for clubs. In addition to instrumentation and genre, the vocals were often left behind. This raises the legitimate (if not particularly meaningful) question of what the remixes actually have to do with the original? Strictly speaking, the connecting element is usually only the dark atmosphere and consistent minimalism - and of course the principle of Dub, which unites the different genres under the primacy of sound.

Let's stay a little longer in club climes, even if the sound changes radically now: "Nice that you are listening again" (Pingipung / Kompakt) is the name of the debut album by Peter Presto aka Nils Dittbrenner and offers the craziest sound mixture that has ever been mentioned in this column, which is not poor in the unusual. And all of this in a completely unspectacular and casual manner in the guise of a thoroughly relaxed summer soundtrack full of sympathetic synth hooklines and catchy tunes. It is an album full of the warmth of the sun, which innocently jumps back and forth between swaying mood and silliness. An album that is in equal parts club electronics, pop kitsch, and reggae Dub as well as unmistakably Schlager. It is undecidable whether this album is pure irony, reggae fooling around, an ultra-cool return to the values ​​of kitsch or simply a beautiful electronic album, in a way the consistent one Dub- Continuation of 2 room apartment. But who needs certainty when making music is simply real fun. Actually, we all want nice melodies and a groovy reggae soundtrack. When the sun is shining, like this summer, then the little arbor happiness is perfect.

Dennis Bovell is perhaps the most influential reggae great in England. In the early 1970s, he and his band Matumbi were among the pioneers of British reggae and began as the first British musician in the middle of the decade Dub to experiment. Later he single-handedly invented Lovers Rock and helped Dub-Poet Linton Kwesi Johnson to international notoriety. At the beginning of this year he released his - completely overlooked by us - vocal album "All Over The World" with Major EMI. EMI / Virgin-Recods took this as an opportunity to bring some of the master's old works from the 1970s and 1980s back to life. The choice fell on the following seven albums: "Strickty Dub Wize " from 1978, "Brain Damage" from 1981, "Audio Active" from 1986 as well as the four albums that Bovell recorded under the name "The 4th Street Orchester" in the 1970s: "Scientific, higher ranking Dubb ”,“ Yuh Learn! ”,“ Ah Who Seh? Go Deh! ", as "Leggo! Ah-Fi-We-Dis ". The latter two were actually recorded by Matumbi, which Bovell hid because he wanted to bring them to the market as “Jamaica imports”. Since British reggae was not considered very much at the time, this was a clever marketing strategy, the success of which also says a lot about the authentic quality of Bovell productions. It's still a lot of fun today to watch these classic old-schoolDubs that could easily pass as tubby mixes. Precisely played, arranged and mixed very inspired, these recordings are the highlights of the reissue series. But they are also very beautiful Dubs on “Scientific, Higher Ranking Dubb ”/“ Yuh Learn! ”, which are based on Bovell's Lovers Rock productions and were very popular with British sound systems at the time. Bovell's achievement was to coordinate the soft lovers rock arrangements with the roots backbone of reggae, which he did very well. "Strictly Dub Wize ”- which Bovell had published under the pseudonym“ Blackbeard ”- also featured Dub-Versions of Matumbi recordings. Here, however, they were mixed in a drier and more puristic manner. The remaining two albums, "Audio Active" and "Brain Damage", offer mostly vocal pieces. Real hits like "Dub Master ”or“ Pow Wow ”can be found on the former. Although “Brain Damage” is the better known album, it cannot convince in comparison. The concessions to the mainstream pop of the time are simply too great here, which is why the album offers not only reggae but also afro pop, rhythm & blues, jazz and soul. Unfortunately a bit too much of a good thing.

In line with the topic, we briefly hear in "King Tubby & Friends: Motion Dub Special " (Motion / Import) into it, a collection of 14 Dubs from the years 1974 to 1978. The strength of this sampler lies in the great diversity of the pieces compiled here, most of which come from the release catalog of the small Motion label. Anyone who knows Tubby mainly from the countless, stylistically very uniform Bunny Lee productions will get to know and love completely different sides of Tubby's work here.

Nucleus Roots have a new one, pretty impressive Dub-Album submitted: "Heart Of Dub" (Hammer bass / import). The sound fits the label name perfectly, because the French hurl the basslines at their listeners with all their might and hit them with the bass drum in the stomach. Uff, that is truly physically noticeable music. Steppers in its purest form - and yet not uninspired or boring, which is simply due to the good vocal melodies that fragmentarily penetrate the musical echo inferno. But also the basslines roll out of the box with a nice melody. Of course there won't be an innovation award for such a consistently classic Steppers album, but the album could certainly hope for the audience award.

The music on the new comes less harsh, downright forgiving and relaxed Alien dreadAlbum "Kortonic Dub - Remixed & Remastered " (www.acl2000ltd.co.uk) therefore. The gentle bass is accompanied by spherical flute sounds and synth star glitter. Which does not mean that we are dealing here with an ambientDub-Album to do. Not at all! The groove is absolutely grounded, extremely solid and tight. The strange dread undoubtedly knows his trade. 

Likewise the guys from Johnstone, With "Eyes Open - Dub"(John Stone / Import) the Americans deliver a notable one DubAlbum built on fast and light beats. As for American reggae, music is hand-played, which always has its own charm. The mix isn't that exciting, but the rhythms are very powerful and solid. The sound is much drier than in the two French and British productions (see above), but the arrangements - despite the minimal cast of the band - are more varied.

The two Englishmen Garry Hughes and Andrew T. MacKay have an interesting project under the pseudonym "Bombay Dub Orchestra " (Exile / indigo) realized. Hughes and MacKay had a 28-piece string orchestra play for them in India and then piled up the recordings in their British home studio in layers until they had the desired “cinematographic-symphonic panorama sound” of superlatives on tape. Add a few sitar, sarangi, tabla and bansuri soloists and the musical ambient triphop was readyDub-Curry. For us, the bonus CD with the Dub-Mixing interesting. But even though all the ingredients are actually just right, the curry does not develop the necessary heat. You manage to listen with concentration for a maximum of five minutes, then your thoughts are elsewhere and the music is just background music. Too bad.

An album that reconciles us is this "Showcase" (Wibbly Wobbly) by Abassi All Stars. There is actually only one person behind the All Stars, namely Neil Perch, label boss of Universal Egg, Deep Root and head of Zion Train. This exciting album shows that he has not forgotten how to produce powerful, inspired and beautifully melodic tracks since the early Zion Train masterpieces. Contrary to what the title suggests, only vocal tracks are presented here, mostly by unknown UK artists. Only Earl 16, Luciano and Dubdadda are known to a larger audience. All participating artists deliver extremely beautiful, concise and excellently sung tunes. Earl 16's opener “Stem the Tide” already sets the bar very high, but the highlight is probably Sis Sana's track “Suffering”, in which the singer confidently contrasts her soft but strong melody with the brutally driving beat. Luciano's tune “What We Gonna Do” is unusually dark and heavy, while Fitta Warri delivers his interpretation of Sizzla over a remarkable up-tempo stepper. Two tracks further he speaks up again with “Never Sell My Soul” and presents another outstanding track on the album. Here Perch has again created a small masterpiece. It is hard to believe that after around 15 years in business, he is still overflowing with ideas. On the other hand, it is all the more disappointing that there will only be one MP3 release (iTunes) of the album. Times are changing. 

Finally one more Dub-Album from local regions: The three Stuttgart musicians Wolfram Göz, Michael Friedler and Gabriel Schütz have under the band name Tokyo Tower her debut album "The Meaning" (www.mutan.de) submitted. It's a quiet, cautiously experimental one Dub-Album that is clearly based on the sound of Leftfield, Dreadzone and Terranova. It is full of interesting ideas such as the musical implementation of Charlie Chaplin's speech in “The Great Dictator”. But, although all songs are well developed and implemented with attention to detail, there may be a bit of timing missing at one point or another.

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Dub (Revolution Review

Dub Revolution, May 2006

It's amazing that Dub Recently it has also aroused the interest of jazz musicians, one would think that they are reluctant to get involved in the Dub Have the typical tight rhythm corset pressed. On the other hand, offers Dub Opportunity for extravagant sound experiments and is also a largely unexplored area for jazz musicians. In any case, the jazz musicians are an enrichment for the genre, as they open up a completely new sphere of sound in which the Dub-typical, fat-stoic beats of hand-played instruments and experimental sounds are contrasted and thus develop a raw and lively-direct charm. The three Swiss Adrian Pflugshaupt, Christian Niederer and Marcel Stalder have mastered this sound perfectly. Under the name of Dub Spencer and Trance Hill deliver them with their debut album "Nitro" (Echo Beach / Indigo) an extremely successful example of the fusion of jazz and Dub. Your psychedelic Dub-Sound, which is often enriched by western guitar riffs or even rock solos, is exactly the balance between grooving belly music and head music created for conscious listening. Repetitive beats and mostly live “mix excursions” - which here take on the function of solos in jazz - alternate in perfect timing and ensure that the album remains interesting and exciting over its entire length. If you can't imagine much under this very theoretical description, think of a (purely hypothetical) collaboration between Adrian Sherwood and Bill Laswell for the Brooklyn-based Word Sound label; Now imagine the whole thing as a live concert recording - and the weird and yet catchy sound of Dub Spencer and Trance Hill rise before the inner ear. And probably also the desire to listen to real live there.

Pioneered the fusion of Dub and jazz - apart from a few Sherwood productions in the 1980s - is likely to be Burnt Friedman, who wrote several between 2000 and 2004 Dub-Albums released on his non-place label. The aim of his fully programmed sound was to come as close as possible to the sound of hand-played instruments. Now the jazz quartet has Root 70 (Nils Wogram, Jochen Rueckert, Matt Penman and Hayden Chrisholm) transformed this almost perfect fake into an actually hand-played "original" with the help of trombone, saxophone, drums and double bass, by creating seven new Friedman compositions and three pieces by Flanger - and completely acoustic - has set to music. The result is the album "Heaps Dub"(Nonplace / Groove Attack) - fascinating and very, very beautiful. Because although Root 70 supposedly specializes in free jazz, everything here sounds well-ordered and harmoniously arranged - yes, it is even less experimental than Dub Spencer and Trance Hill. At the same time, the proximity to jazz is greater due to the acoustic instrumentation. The brass section and the lack of a guitar result in a completely different, less rough, extremely harmonious sound. (The free jazz musicians will probably be horrified to read this ...)

Let's stay a little longer with hand-played music. From Dub Trio was already mentioned two years ago when the minimal band had released their debut album "Exploring the Dangers Of". Now comes the new work "New Heavy" (Roir / Cargo) - and the name is pretty accurate, because while the debut album is a reggaeDubAlbum with certain rock influences, “New Heavy” takes a big step towards metal. Yes, you read that right: metal. But the crazy thing is: it works pretty well - and much better than the Bad Brains, because that Dub Trio has a pretty groovy reggae beat on it. As soon as the listener wants to let himself fall into this beat, wants to be carried by the deep bass and moderately advancing drums, a guitar thunderstorm breaks out, which suddenly pumps adrenaline into all corners of the body. Just before the stress level rises too high, the guitars fade away and the reggae groove takes over again. Between these two extremes, however, there is a wide field of sophisticated and cleverly arranged Dub-Effects that turn the album into a multi-layered musical experience.

The complete opposite is the project of the two Englishmen Garry Hughes and Andrew T. MacKay, which they run under the pseudonym "Bombay Dub Orchestra " (Exile / indigo) have realized. Instead of screeching guitars, there is peace and quiet here. In India, Hughes and MacKay had a 28-piece string orchestra play for them and then stacked the recordings in their British home studio in layers until they had the desired “cinematographic-symphonic panorama sound” of superlatives on tape. Add a few sitar, sarangi, tabla and bansuri soloists and the musical ambient triphop was done.Dub-Curry. For us, the bonus CD with the Dub-Mixing interesting. But even though all the ingredients are actually right, the curry does not develop the necessary heat. You manage to listen with concentration for a maximum of five minutes, then your thoughts are elsewhere and the music is just background music. Too bad.

Quite different with Stefan Schneider and Bernd Jestram, who deal with their project Mapstation on a fine line between minimal techno a lá compact, minimal Dub a lá rhythm & sound and minimal serious music a lá Steve Reich move. Calm, short, repetitive beats, a warm, bass-driven, completely synthetic sound and hidden melodies characterize the multi-faceted productions of the two Berliners. Your new album "Distance Told Me Things to Be Said" (scape / indigo) is perhaps the most recommendable album in this column - even if it is not easy to find it in the category "Dub“To accommodate. Yet how it is for Dub is typical, this music has a strong hypnotic effect. The syncopated beats carry the consciousness, like the clacking of the sleepers on a night train ride. Noises from the real world mix in this twilight state: a child is playing somewhere, an open window, a car drives past. Then the listener is suddenly in Africa and is finally brought back to the here and now by the warm melodies of a trombone - only to start a new journey with the next track. Great!

Finally, two very tangible ones Dub-Albums: The three Stuttgart musicians Wolfram Göz, Michael Friedler and Gabriel Schütz put under the band name Tokyo Tower her debut album "The Meaning" (www.mutan.de) in front. It's a quiet, cautiously experimental one Dub-Album that is clearly based on the sound of Leftfield, Dreadzone and Terranova. It is full of interesting ideas such as the musical implementation of Charlie Chaplin's speech in “The Great Dictator”. But even though all songs are well developed and implemented with attention to detail, there is still a bit of timing missing at one point or another and the rhythms don't groove as they could. The undisputed master of the groove, Sly Dunbar, is up "Skin Flesh & Bones meet The Revolutionaries: Fighting Dub 1975-1979 " (Hot Pot / Indigo) can be heard with his "early work", because behind both names are roughly the same studio musicians, primarily Sly & Robbie, who recorded 18 tracks for Lloyd "Spiderman" Campbell. If you listen carefully, you can already hear the blueprint for Sly Dunbar's typical "Rockers Style" in these recordings, which he later brought to perfection in the Channel One Studio. Those gathered here DubIt's not one of the most exciting productions of the 1970s, but it's still nice to listen to - especially when you hear rhythms like “My Conversation” or “Be My Puppet”.

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Dub (Revolution Review

Dub Revolution, March 2006

who of Dub-Samplern speaks, no doubt thinks of the 1990s, the heyday of the genre, when the music market came along Dubwas downright showered. EFA-Records (God have them seelig) imported what it took and brought hundreds of Dub-Compilations to German stores. But this wonderful time is unfortunately an irretrievable past, and after Echo Beach the appearance of the king size Dub-Sampler has stopped, this species is extinct. Completely extinct? No, a small, unwavering label in the UK is resisting and relentlessly publishing a traditional compilation series. We're talking about Tanty Records (www.tantyrecords.com) - or rather - by Kelvin Richards, the one-man show behind the label facade. Since the early 1990s, he has been wearing selected ones with a highly individual taste DubReleases together and publishes them under the misleading title “Roots Of Dub Wireless". His selection has little to do with funk, but all the more with heavy bass, sluggish beats and 100% one drop. So this is not about crossover, experiment or even avant-garde. No, this is about maintaining tradition in the best sense of the word, it is about what is commonly referred to as UKDub understood, whereby - and this is an extremely exciting development - from the 14 tracks of the new album "Roots Of Dub Radio 5 " (Tanty Records / Import) only 5 actually come from the UK. Dub is now a completely international music, whose protagonists by Kelvin rightly “today's global dub warriors ”. He gathered here, on the 5th edition of “Roots Of Dub Wireless", Dub- Warriors from Canada, the Netherlands, the USA (Groundation), Australia, Sweden, Brazil and France (Peter Broggs). The best-known names come from Great Britain: Vibronics, Alpha & Omega, Abassi All Stars and Mad Professor. What sounds disparate here merges acoustically into a wonderfully homogeneous one Dub-Album at the highest level - on which there is definitely not a single filler. An album that doesn't deserve an innovation award, but an order for maintaining tradition and unswervingly good taste - apart from the miserable cover design - but what about Dub unfortunately it is already a tradition.

An album that perfectly matches “Roots of Dub Funk 5 “(see box) fits, is that "Showcase" (Wibbly Wobbly) by Abassi All Stars. There is actually only one person behind the All Stars, namely Neil Perch, label boss of Universal Egg, Deep Root and head of Zion Train. This exciting album shows that he has not forgotten how to produce powerful, inspired and beautifully melodic tracks since the early Zion Train masterpieces. Contrary to what the title suggests, only vocal tracks are presented here, mostly by unknown UK artists. Only Earl 16, Luciano and Dubdadda are known to a larger audience. All participating artists deliver extremely beautiful, concise and excellently sung tunes. Earl 16's opener “Stem the Tide” already sets the bar very high, but the highlight is probably Sis Sana's track “Suffering”, in which the singer confidently contrasts her soft but strong melody with the brutally driving beat. Luciano's tune “What We Gonna Do” is unusually dark and heavy, while Fitta Warri delivers his interpretation of Sizzla over a remarkable up-tempo stepper. Two tracks further he speaks up again with “Never Sell My Soul” and presents another outstanding track on the album. Here Perch has created another small masterpiece. It is hard to believe that after around 15 years in business, he is still overflowing with ideas. On the other hand, it is all the more disappointing that there will only be one MP3 release (iTunes) of the album. Times are changing. 

Let's change the sound gradually and get a little more experimental: "Negril To Kingston City" (Nocture / Rough Trade) the album is called the Transdub Massivewhose most striking feature is the delightful contrast between the persistence of the beat and the dissonance of interspersed, bulky sound effects. Beat and mix seem to work against each other here. Whenever one of the two sides threatens to gain the upper hand, the tide turns. The scraps of voices and the playing of the melody wanted to take on a life of their own, the calm bass already kicks in and brings them back to the floor. It's very interesting - and also extremely beautiful. Of course, hardly suitable to chatter in the background and spread a warm atmosphere. But if you listen carefully, it offers a fantastic journey through the magical land of sound. Aside from the fact that these are French producers, there is little about trancedub Massively known. But after this album that will definitely change.

The manifest of the experimental Dub wrote the British artist and musician in 1978 (two years before Adrian Sherwood's "Starship Africa"!) David cunningham under the title "The Secret Dub Life Of The Flying Lizards "(Piano). That year he was given a mono-tape of Jah Lloyd's productions to remix it for Virgin Records. Cunningham - a friend of minimal sounds - was desperate because the copied mono material was practically "unremixable". So he went to work with the tools of the minimal musician, cutting, looping and filtering the tape according to all the rules of the art and chasing it through various effects devices. The result is a completely atypical, subtly cerebral, minimalist, but maximally fascinating Dub-Work that was around 30 years ahead of its time - which is why it is being rereleased at the right time.

Finally, a heavy dose of old school: "Soul Syndicate Dub Classics "(Jamaican Recordings). Niney the Observer is known for his heavy, massive and powerful rhythms, about which he produced singers such as Dennis Brown, Barry Brown, Max Romeo and Gregory Isaacs with flying colors. Wouldn't it be exciting to hear these rhythms pure, savor their sound and let yourself be carried away by the energy? Jah Floyd, from the reissue label Jamaican Recordings, now has 14, King Tubby'sdubB-sides of well-known Niney singles, put together into an album. These include some amazing cuts. It is unbelievable z. B. "Dub in Heaven “, the Dub-Version of Horace Andy's "You Are My Angel". This bone-dry, all-dominating bass is one of the most amazing things I've ever heard from the 70s. Stripped to the bone - in the truest sense. "Dub A Long “is similarly fundamental, only the rockers drums bring a certain lightness to the track. “Niney's Dub Crown “, a Dub, which later became world famous as Augustus Pablo's version "555 Crown Street" - the original can be heard here. Seldom have brilliantly played rhythms and highly inspired tubby mixes been so perfectly combined as here.

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Dub (Revolution Review

Dub Revolution, January 2006

Actually, the Trojan-Back catalog of Perry recordings is well known. Therefore the 3-album double CD "Dub-Tryptich ”from last year actually doesn't pull anyone out from behind the stove. According to the same concept, so three Lee Perry-Albums on a double CD will now appear "Dubstrumentals " (Trojan / Rough Trade) and combines three albums that are much more interesting because they are seldom heard: 1. "Kung Fu Meets The Dragon", "Return Of The Wax" and "Musical Bones". At the end of 1973 Perry had completed his legendary Black Ark studio - albeit with minimal equipment - and began producing his first pieces there. 1973 was also the year in which Bruce Lee released his film "Enter The Dragon" and thus spread the Kung Fu pandemic in the West. Perry, who had a lot of fun with good films anyway - just think of his musical homage to the spaghetti westerns - had the chance to write an album with weird Kung Fu sounds, mystical Pablo Far East melodies and, of course, Bruce Lee's signature songs Do not let squeaks pass unused. And this is how instrumental pieces were created that, thanks to the sound effects and the inspired - albeit subdued - mix were definitely considered Dubs may be designated. Compared to later Black Ark productions, the beats are still relatively up-tempo with a strongly emphasized offbeat and peppered with Perry's Bruce Lee imitations. The way to new sounds can be clearly heard here, but Perry has not yet emancipated himself from his late 60s sound. The second album "The Return Of Wax", on the other hand, sounds much darker and deeper and was only released as a white label pressing in England in 1975. Here Perry worked with minimal instrumentation and radically slimmed down the mix. Often there is not much more to be heard than drum & bass, dry and puristic. Even if, as on “Big Boss”, the track begins cautiously melodic with offbeat and trumpet, Perry switches off all instruments after the fourth bar at the latest and lets the pure rhythm continue, only to experiment with the volume level later. In some ways, "Return" is reminiscent of the radical album "Dub Revolution". The third album, "Musical Bones" sounds completely different again. Like “Return…” it only came to England as a white label, but unlike its minimalist predecessor, “Musical Bones” is a true spawn of musicality and enthusiasm, because Perry didn't experiment here, but rather the trombonist Vin Gordon let's do it. He took the chance and delivered a beautiful, melodic instrumental album that uses many classic reggae riddims and does not shy away from interspersed jazz structures that like to transition into disco quotes after a hard break and then back to calm reggae -Beat to make room. Unfortunately, far too few copies of this album were pressed, so that it was quickly forgotten and later also overlooked by Perry in the flood of fresh Black Ark material. Now it can be heard again in brilliant quality - and there are two bonus albums on top of that.

Auralux has made an excellent name for itself among the reissue labels in the two years of its existence. It's also nice that the label's reggae historians also have a vein for Dub-Classics have, as they are now with the re-release of Fatman Dub Contest from 1979 prove again. The album is official "Fatman Presents Prince Jammy vs. Crucial Bunny: Dub Contest "(Auralux) titled and is one of my personal favorites from that golden one Dub-Era. Fatman was a British sound system operator who worked on Prince Jammy until the early 1980s.Dubs imported and distributed in the UK. In the case of "Dub Contest ”- which by the way has not been re-released since its appearance in 1979 - the then Prince mixed the first page of the album, while Channel One in-house engineer Crucial Bunny aka Bunny Tom Tom mixed the second page too much. Of course, the tracks on both sides come from different recording sessions, of which Jammy got the more exciting one. His tracks sound mystical and dark, which is enhanced by Jammy's echo-dominant mix. Jammy was able to draw on excellent material such as Johnnie Clarke's "Play Fool Fe Catch Wise", Black Uhuru's post-rockers version of the Wailers classic "Sun Is Shining" and Johnny Clarke's and I Roy's great re-working of "Satta". Bunny's side can't quite keep up with their lighter Revolutionaries-Rockers sound. By the way, both sides have been supplemented with two bonus tracks each for the CD release.

Most of the tracks are from the same era ScientistAlbums "Dubs From The Ghetto "(RAS / Roughtrade). Compiled by John Masouri, the album offers a small but very interesting look at Scientists' work. Scientists are gathered hereDubs for producers Jah Thomas, Bunny Lee, Linval Thompson and Barrington Levy. Masouri picked out the best productions here; each piece is a little masterpiece, both in terms of the rhythms and the mix. The music flows with calm serenity and the basslines unfold in all warmth. "Heavenless" and "Shank I Sheck" sound in wonderful versions and Scientists' restrained mix allows them to come into their own. With “Baltimore” there is even a production by Scientist from 2003 among the last tracks - astonishingly good by the way.

Now a little jump into New York in the 70s. Here originated "Bullwackiess All Stars: Dub Unlimited "(Wackies / Indigo) a classic one Dub-Album from the early days of Lloyd Bullwackie Barnes New York label. The Bronx studio was so new that Barnes, Prince Douglas and Jah Upton hadn't found time to record when they did a first Dub-Album released. They simply imported the recordings in Treasure Isle Studio and had King Tubby mix them - which explains why the typical Wackies sound cannot be heard here yet. However, Barnes had probably directed in Tubby's studio and was inspired by a variety of things Dubs that are clearly different from Tubby's mass production of this time.

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Charts Review

Dub Top 10 of 2005

1. Matthias Arfmann, ReComposed (Deutsche Grammophon)

2. Mad Professor, Method To The Madness (Trojan)

3. Dub Club, Picked from the Dancefloor (G-Stone)

4. Chinna Smith, Dub It (Nature Sounds)

5. Prince Douglas, Dub Roots (Wackies)

6. Bill Laswell, Dub Massive 1 & 2 (Trojan)

7. Kankal, Don't Stop Dub (Hammer bass)

8. King size Dub 11 (Echo Beach)

9. Fenin, Grounded (shit catapult)

10. Burning Babylon, Stereo Mash Up (I-Tones)

 

Mattias Arfmann's Karajan remixes are among the most exciting Dub-Experiments in recent years. Encore!

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Dub (Revolution Review

Dub Revolution, November 2005

A few years ago St. Germain showed how house can be combined with jazz in an extremely elegant way. Patrick Bylebyl and Guillaume Metenier, also from Paris, applied his method of housing to reggae and suddenly created such an immensely soulful variant of houseDub (Not Dub-House!) That their project name is "Seven Dub" deep in memory more open-minded Dub-Enthusiasts anchored. Their tune "Rock it Tonight" was the initial spark, which was followed by two albums. Now lies with "Dub Club Edition: Rock With Me Sessions " (Echo Beach / Indigo) album No. 3 and fits perfectly into the series. Wonderfully grooving tunes, crowned by the warm voices of great vocalists like Angelique (she sang “Rock it Tonight”), Paul St. Hilaire, Zakeya and DJ veteran Lone Ranger. Beat-technically, Bylebyl and Metenier orientate themselves on the narrow border path between house and reggae, but allow themselves sometimes quite extensive excursions on both sides - without, however, the typical for them Dub-Groove, which runs through the whole album like a red thread, to tear. A good example of this technique is the congenial cover version of Gregory's “My Only Lover”: A very open and easily played one-drop rhythm forms the basis here. Soft synth chords, interspersed guitar picks and restrained jazzy piano sounds and, of course, Angelique's enchanting voice lay over them as if in transparent layers and thus create an extremely fascinating, multi-layered sound - at the same time full of dynamism and relaxed serenity. Very very nice. Here are seven Dub in their element. There is no need to squint for a follow-up hit "Rock Me Tonight", as the title track "Rock With Me" tries to be. This only creates latent déjà vu effects that give the impression that Bylebyl and Metenier are treading on the spot. So the supposedly strongest track on the album actually becomes its weakest. 

At the beginning of last year Ryan Moore surprised us with a vocal artist album from his for pure Dub-Workouts known house "Twilight Circus". This was followed by an excellent solo album by Michael Rose, to which Moore now - how could it be otherwise - under the title "African Dub"(M Records / Import) the fitting DubAlbum submitted. Yet the problem with the Twilight Circus has always been his Dubs lacked that certain flavor - which is why Moore's decision to choose his Dubs to let the lyrics of great foundation artists flourish was exactly the idea that was still missing for the big hit. Inevitably the opposite way leads, namely singing for them Dub-To delete version again, to the old problem: good hard work, but not really exciting in the result. On top of that, Moores Dubs are so present on Michael Rose's album that the Dub-Album is actually obsolete. Anyone who has heard the songs a few times will be on this one Dub-Album didn't discover much new - except for Manasseh's mix of “No Burial”, which has a nice synthetic sounding computer bass under it.

One more word about "computer bass": If you are into it, you will find the ultimate computer bass tune on the Kankal-Album "Don't stop Dub"(Hammer bass / import). After an exciting intro and the well-known Fuzzy Jones announcement, an unbelievable bassline pops out, which lives up to the label name. In general, Monsieur Kanka has an extremely remarkable one here Dub-Album that's so full of energy that you can almost burn your fingers on it. Here it says: "Four To The Floor" in for Dub maximum permitted speed. Like Kong Kong through the streets of New York, Kanka's drum machine stomps through the beats and lets it rattle and thunder all around. So that the bass has a chance, however, it piles up in a veritable thunderstorm of frequencies that effortlessly vibrates the neighbors from across the street to sleep. So, Dubheads, it's worth doing some import research here - this album is a killer!

Let's see if that Bush Chemists with her new work "Raw Raw Dub"(Roir / Import) can hold back. It starts at the very beginning with “New Beginning”. But what is so promising here turns out to be home-style as usual. neo-Dub, or UK-Dub, in its purest form, no more and no less. The next track “Speaker Rocker” builds up a bit more tempo and one more track, in the Love Grocer remix “East Of Jaro” there is a little melody added. No, they do against Kanka DubVeterans are not a very good figure, but the longer you listen to them, get involved with their music, the more the comparison fades and the album unfolds its qualities - and these consist in the fact that it meets the limited possibilities of neoDub (its rhythm, its arrangements and its instrumentation) somehow still finds mostly interesting tunes. 

Let's listen to the original, let's hear how it all began ... 1991 took place Zion Train the debut album "A Passage To Indica" on, a good, unspectacular album that is now together with its successor "Natural Wonders of the World in Dub"(Universal Egg / Import) - a neo-Dub-Milestone - freshly remastered is re-released. Especially “Natural Wonders” is still very worth listening to. The liaison typical of Zion Train between digitalDub and fast acid house rhythms. The album is full of groundbreaking ideas, each track is independent and rhythmic as well as melodious so concise that the Dubs can almost be called “songs”, like z. B. especially on the last track “Zion Canyon” with its gentle catchy piano melody over the inevitably hypnotizing bassline. In retrospect, the album shows itself to be a first manifesto of the new possibilities of the new Dub.

Finally, a historical look at the Jamaican Dub. The American label "Silver Kamel Audio" is dedicated to the oeuvre of Deejay and producers Jah Thomas. The last releases are the sampler "Big Dance A Keep" and that Dub-Pendant "Big Dance a Dub"(Silver Camel / Import). Recorded by the Roots Radics, Mafia and Fluxy as well as the Firehouse Crew at Tuff Gong and Black Scorpio studios, the album offers 14 freshly recorded tracks that sound like they came from the 80s and 90s. The album wouldn't be worth a special mention if it weren't for all the beautiful Studio One riddims that can be heard here in a crisp, pure version. A bow to Nkrumah Thomas' great legacy Studio Ones? Or sheer lack of imagination? Anyway, these riddims are fun and carry any album.