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Review

Best of deep root

Neil Perch is one of the few, tireless sound system operators and producers who dedicated himself to the early 1990s Dub-Sound (instrumental or with vocals) and are still active today. Under the motto "Dubwise - No Compromise ", he has the rise of the UKDub and witnessed its decline, has been at the forefront of the movement with Zion Train, a major deal in its pocket and the fortunes of the Dub had in hand. A true veteran and Dub-Activist. Since 1998 he has been publishing mostly his own productions on his “Deep Roots” label, exclusively vinyl in 7 "and 10" formats. Now is the premiere, because with "Best Of Deep Root" (Universal Egg / Cargo) the first album and CD appear. The title says it all: here are the highlights of the label, 8 in number, always as a vocal version followed by Dub (16 pieces in total). I have a real love-hate relationship with the sound of Neil Perch. Actually, 20 years after its invention, I don't want to listen to a UK stepper anymore. The synth sounds have been used up, the militant beat has marched its feet sore. But! If the DubWhen the bass explodes and the bass drum hits me in the stomach, when the intense energy of the rhythm chases shock waves through my body and sucks my brain into the windings of the echo chamber, then, yes, I'm a big fan of this proud again , time-honored sounds from Mr. Perch!

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Review

Lee PerrySipple Out Deh

Every true reggae fan has a small (or large) extra section in their record collection, which is dedicated to the work of Lee Perry. This is where the fast-bouncing upset recordings from the very early 1970s are located. But the worn records all come from the period between 1974 and 1978, i.e. from the time when Lee Perry lived in his Black Ark studio and created the craziest and at the same time most mystical sounds that could be heard in reggae up until then. The master also produced a lot of crap, which is marketed again and again as "obscure, unpublished cult recordings" to this day. But he also (and above all) created fantastic masterpieces, some of which he licensed to Iceland-Records and some to Trojan. The latter are now on the double CD Lee "Scratch" Perry & Friends "Sipple Out Deh - The Black Ark Years" (Trojan / Sanctuary) published - a total of 44 pieces, nicely arranged in chronological order. Of course you know them all and already have them in your collection, distributed on different sound carriers. But still it is an uplifting experience to hear them again with such concentration and to follow the master through the years of his work, to perceive the change in his style and to witness the condensation of his sound, up to an impenetrable jungle of sound. Above all, it is fascinating that Perry's recordings are still able to cast a spell over the listener almost 40 years after they were made. What is it that makes this music too timeless? Maybe it's the fact that Perry was little interested in commercial success and therefore just created real art regardless of market laws. But perhaps - to argue a little more rationally - it was simply Perry's focus on the sound that makes his music seem too contemporary today. While his competitors were producing real hit songs, Perry buried himself deeper and deeper in the sound world of his Black Ark studio and created an incredibly complex sound structure there that was so far ahead of its time that it now, 2010, perfectly matches ours today , "Sound-oriented" listening habits fit. Be that as it may, listening to the double CD is not only simply beautiful, it also fuels the respect and appreciation of Perry's genius. Unfortunately it burned out too soon.

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Review

Dub Foundation

After Greensleeves with the “Evolution of Dub“Series the story of the Dub recounted, Trojan probably also wanted the benefit of the popularity of Dubstep use the favor of the hour brought about to do the same - albeit in a somewhat reduced framework. Instead of releasing several 4-CD boxes like Greensleeves, Trojan limits itself to a double CD - but with at least 40 tracks: Foundation Dub (Trojan /Sanctuary). And since Trojan doesn't mess up, here is a collection of the best and most important Dubs compiled their archives, beginning in the early 1970s and ending in the early 1980s. All important Dub-Producers and mixers of the era of the classic DubThere are: Augustus Pablo, King Tubby, Niney, Prince Jammy, Scientist, Linval Thompson, Bunny Lee and of course (and above all): Lee Perry. In chronological order you can go through the history of the Dub hearing, following how the sound has changed and how the mixes first became more and more complex and finally very simple again, can penetrate deeply into the Dub-Mysticism of the Black Ark studio, listen to Jammy's virtuosity and of course admire Tubby's routine. It is a journey through time from the instrumental version to pure sound, from the B-side to abstraction, from secondary use to independent art. A journey based on absolutely essential Dubs, by the way, a trip that doesn't come across as academic, but offers exactly what it is for Dub was invented: fun.

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Review

Dubmatrix: System Shakedown

Dubmatix - my current one Dub-Held released a new album: "System Shakedown" (Echo Beach/ Indigo) - and it's not at all Dub! Damn it, such a cool album and it doesn't fit in my column. And actually not in that either Dubblog. But whatever. If Moses doesn't come to the mountain, the mountain will come to Moses! So from today: The Dubblog is expanding its spectrum and now allows everything the author likes - and I really like "System Shakedown". Because the album offers exactly what I do DubMatix adore: very fat, powerful, grandiose arranged and orchestrated old school rhythms. If there were already many tracks with guest vocalists on the previous album, then Dubmatix now nailed it and (with two exceptions) put the entire album at the service of singing. As expected, the veterans of the micro genre pass on here: The Mighty Diamonds, Dennis Alcapone, Gregory Isaacs, Tippa Irie and of course U-Brown. They are flanked by lesser known artists such as the Ragga Twins, Brother Culture or Omar Perry. And, that's better than a pure one now Dub-Album? The purist in me grudgingly admits: yes, that could be, because the singers all deliver great songs. Songs that make the rhythms burn, while the rhythms fire the songs again. So all in all a pretty impressive explosion that bangs our eardrums here. Or, to put it soberly, objectively and without personal judgment: the album rocks as if it had Dubmatix invented the groove.

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Dub (Revolution Review

Dub Evolution, August 2010

Who believed the evolution of the Dub would be finished with the “Natural Selection”, wrong, because Greensleeves now presents us with the “Missing Link”, that is Vol. 5 of the “Evolution Of Dub“CD box series (Greensleeves). Despite advanced evolution, we are still in the middle of the 70s of the last century with the musician and producer Ossie Hibbert. He contributes two of the box's four albums: "Earthquake Dub" and "Crueshal Dub" (Sic!).

"Earthquake Dub" appeared on Joe Gibbs' label after Ossie gave it to him in exchange for a car (Errol Thompson's car!). In “Reggae: The Rough Guide” it is referred to as a “more militant continuation of the“ African Dub“Series” describes what hits the nail on the head. You can hear the classic, well-known and universally popular Professionals / Aggrovators / Revolutionaries sound, dominated by Sly Dunbar's repeatedly fascinating drum patterns. Uptempo, light and yet also determined, determined and straightforward. In keeping with the style of the times, there are mainly re-editions of classic rhythms to be heard like z. B. "Pick Up The Pieces" by the Royals or "Declaration of Rights" by the Abyssinians.

The box's second Ossie album, "Crueshal Dub", is so obscure that even Ossie himself can hardly remember how it came about. In terms of sound, it is clearly ahead of “Earthquake Dub“And focuses on reviving old Studio One rhythms. Less strong and independent than "Earthquake", but knows it through beautiful, artistic ones Dub-Mixes to convince.

The other two albums in the box are a novelty in the series, as they are used to venture into England: "King Of The Dub Rock Part 1 "and" Part 2 ". In this respect, the boxing title “The Missing Link” has been chosen very cleverly. Both albums are produced by British sound man Lloyd Blackford aka Sir Coxsone Sound. In the sixties, many British sound systems named themselves after their Jamaican models. And since Blackford's worst adversary was named after Duke Reid, Blackford consequently chose the name of Clement Coxsone Dodd. "King Of The Dub Rock Part 1 ”was released in 1975 and contained rhythms by Dennis Bovell and Gussie Clarke. Blackford mixed those Dubs itself and gave the very different sounds a certain uniformity. For historical reasons the album is quite interesting as “Missing Link”, but in terms of listening pleasure it lags far behind “Part 2”, which was released seven years later (and thus made the leap into the 1980s). I bought the album in the year it was first released and on the one hand was fascinated by the rich sound, the strong brass sections and the beautiful melodies, but on the other hand I was also quite irritated by the Space Invaders 8-bit sounds that randomly entered the Tracks were mixed. Fortunately, these were overdubs now removed, leaving the original Dubs can be enjoyed here in all its unclouded beauty. The old school was to my liking Dub at the time of this album's creation at its artistic peak - only to die out a short time later in Jamaica. I am curious to see whether the boxing series will continue with Jah Shaka and Mad Professor in England. "Escape To The Asylum Of Dub"Would be a perfect sequel ...

How about a little Dub from Australia? Brian May, who was born in Britain, tinkers down under on various styles of music that all have one thing in common: Dub. He now has the album under the pseudonym Beam Up "Terra Sonica" (beamingproductions.com) published on the he Dubs, which stylistically cannot be grouped into a single genre, but which all comply with the laws of Dub to obey. The spectrum ranges from world music to reggae Dubstep. To my taste, cross-genre experiments are in principle exciting, but the spark doesn't really want to jump out here. The mixes are brilliant, the rhythms alone are lacking. They could use a little more groove.

On the other hand, Al's new album is pleasantly traditionaldubb to: "Aldubb Meets Ras Perez " (MKZwo Records). You know what you have! Beautiful rootsDubs, very calm, without claim to an innovation award, just fat basslines, big echo chambers and a nice old-school sound. The recordings were made during many rehearsal sessions in Al's in-house Berlin studiodubb. He has drums and percussion Dub-Master himself recorded, Ras Perez took care of the rest. An album that was made unintentionally. While jamming, the two simply let the tape run along: “At some point there were so many Dubs that it just had to be put on CD. ”Right decision! It turned out to be a good album.

Dubstep shouldn't be missing - especially when it comes from Kanka, the French steppers king who recently released his album “Don't Stop Dub“Catapulted our neighbors out of bed. Under the pseudonym Alek 6 he now has that Dubstep album "Inside" (Hammerbass.fr), which uncompromisingly delivers what we promise from Kanka, namely bass, bass and bass. However, unlike usual, only a few offbeats can be heard around it - instead of Warrior style there is dark electronics and rigid minimalism. Occasionally a few jungle breakbeats flare up, but otherwise the wealth of ideas is limited. But who needs ideas for a deafening bass drone? The main thing is that the pants flutter.

Finally something slightly obscure, namely a Polish one Dub-Album by a band called DUP !: “Dup! Session In Something Like Studio ”(dupmusic.com). The entire press release consists of these two sentences: “We are called Dup and proudly present our first album. We play Dub-Music and our main influence is the old school sound of old Jamaican recordings ”. Concise but precise. "Old school-Dub"Hits the point quite well: Dubs that sound almost played live, full of atmosphere, with virtuoso percussions and really beautiful bass lines. And of course with tubby-style mixes and an extra-clean sound.

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Dub (Revolution Review

Dub Evolution, June 2010

And there they are again. After 14 years of silence, eight months ago with “Sonn und Mond” there was definitely the most exciting thing Dub- To hear album of the year. And now, with “We So Horny”, another work by Hey-O-Hansen follows! What got into the two Tyroleans and Berliners by choice? Have the muse kissed Michael Wolf and Helmut Erler? If you take the creative content of their albums as a basis, then this question must be answered in the affirmative. I haven't come across anything so unusual, weird and yet absolutely coherent for a long time. Don't worry, we're not dealing with cerebral studio experiments here, but with wonderfully groovy ones, albeit strangely eccentric Dubs. There are Dubs that emphatically show the enormous creative leeway the genre offers and how this can be used convincingly. Unlike “We So Horny”, the predecessor “Sonn und Mond” was the distillate from 14 years DubResearch work and hard to beat in terms of the wealth of ideas. “We So Horny”, on the other hand, contains entirely new material and inevitably sacrifices the diversity of its predecessor to a greater stylistic unity. While "Sonn und Mond" offered a different surprise with every track, "We So Horny" allows you to get into the strange (supposedly influenced by Tyrolean folk music and its idiosyncratic offbeat) Dub- Listen to the sound of the two studio freaks. And what makes the sound so idiosyncratic? Not that easy to say. Perhaps it can best be described with the term “artistic rebellion”. Nothing here sounds “smooth” or conventional. On the contrary. The question is: how much Dub-Convention can be thrown overboard without the music stopping Dub to be? Hey-O-Hansen's answer is: everything except echo, bass and offbeat. And the first thing that goes overboard here is the classic instrumentation scheme. That's why the Hey-O-HansenDubs initially played incorrectly, only to sound logical and compelling in the next moment. The massive use of wind instruments alone is extraordinary. In addition, there is an idiosyncratic mixture of electronic sounds (à la Basic Channel) and hand-played, acoustic instruments as well as a simple, but somehow tricky polyrhythm. Hey-O-Hansen's music cannot really be described. Only one thing can be said very clearly: it is great.

Let's continue with weird Dub-Mucke: "Japanese Dub“(30 Hertz) by Jah Wobble & The Nippon Dub Ensemble. The last I heard from Mr. Wobble was his "ChineseDub”Album“ Mu ”from 2005. With“ Japanese Dub”He picks up where he left off with“ Mu ”. He just moved a little further east. Instead of the Chinese character “Mu”, the Japanese “Ma” now appears on the cover. The meaning is the same: emptiness, absence - an essential term in Zen meditation - and there Dub has a meditative quality per se, it is of course predestined for Jah Wobble's esoteric excursions. This time she leads us to ritual Shinto music, taiko drums and shamisen sounds. The basis of all the pieces on the album is always Wobble's rumbling bass and often beats programmed by him (on Japanese equipment, of course). That doesn't work badly, especially since Wobble often relies on reggae beats. Traditional Japanese singing is really crazy. If you are not open minded here, you should be in shock. The intoned song ("Kokiriko" - supposedly the oldest song in Japan) is actually very beautiful and has an incredibly catchy melody - even for western ears. Jah Wobble was so obsessed with this song that he put it on the album four times, as it were as a version excursion. Besides this song, there are other nice things to discover: pentatonic and chromatic scales, kabuki singing and booming drums for example. Jah Wobble doesn’t go easy on his listeners - but that’s exactly what offers the chance for new discoveries. And for that we thank Mr. Wobble-bass.

Last year the debut album by Dubkasm, "Transform I" (Sufferah's Choice), a dark, mysterious one Dub-Root's work with guest vocalists like African Simba, Dub Judah and, interestingly, also Brazilian singers outside of the reggae scene. Now with “Transformed in Dub“(Sufferah's Choice) the DubVersion of the album. This is even darker, more intense, even heavier and - according to my feeling - has also become even more interesting, because here all attention is given to the music, the sound, the finesse of the mix. Behind Dubkasm are two guys from Bristol, Digidub and DJ Stryda, who since childhood (after attending a show by Jah Shaka) have devoted themselves entirely to the "orthodox" rootsDub have prescribed. Therefore you are not allowed to make any new ones from the two Dub- Expect knowledge, rather the loving care of the good, old ones Dub-Tradition. How much the two BristolDubYou can look forward to your new, analog mixer dubsee casm.com in a nice little film portrait.

Ok, dreadzone. With this name, memories of the early 90s awaken in me, memories of a huge aha moment when I saw the crossover of Leftfield and Roots for the first time on the Dreadzone album "360 Degrees"Dub heard. As a result, Dreadzone released more fabulous albums, which not only represent the next higher evolutionary stage of Dub presented, but on which also great songs and insanely catchy melodies played. So I hardly need to mention that I have the new CD "Eye On The Horizon" (Dubwiser Records / Soulfood) with trembling fingers. What came next can perhaps be described as a result of confusion, disappointment, and ultimately favor. What is certain is that the new album cannot meet the gigantic expectations. It follows on from “Second Light” or “Biological Radio” - especially when it comes to song melodies and arrangements - but it does not reach the level of these albums. While this virtuoso techno / dance, leftfield and pop under the predominance of Dub united, “Eyes On The Horizon” clearly steers through pop and often even rock waters. Even if the title "Eyes On The Horizon" suggests otherwise, Greg Dread & Co have not really developed since the aforementioned albums from the 90s, but also since "Once Upon A Time", which was released in 2005. It's nasty to write something like that, but I have a feeling that Dreadzone was looking a little too much towards chart success on their new album. Surely this criticism is a high level complaint. Countless Dub-Producers would thank heaven if they could only produce anything close to the quality of "Eye On The Horizon". Because: if you leave all expectations and prejudices about pop and rock behind you, it suddenly becomes obvious: The new Dreadzone factory is good. And how do you notice it? Simply because you put it on again and again and have fun listening to it.

After we had the "absolutely last volume" of the King Size a few times DubSeries behind us and last year with “Vol. 69 ”a sampler fluttered into the house“ out of line ”, there is now:“ King Size Dub Chapter 13 “(Echo Beach) - and, that's the beauty of traditions, again with a Ruts DC remix. But - seriously now - I am glad that Echo Beach is continuing the legendary series, because the samplers (Vol. 1 appeared in 1995!) Always offer a highly tasteful selection of current productions. So also Chapter 13, where this time, in addition to a lot of in-house artists such as Noiseshaper, Up, Bustle & Out, Dubxanne, Dub Spencer & Trance Hill or Dubblestandart, also tracks from Dreadzone, The Vision, Aldubb or autumn in Beijing to be brought to hear. An excellent selection - Echo Beach just knows where the bass is playing.

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Dub (Revolution Review

Dub Evolution, April 2010

Behind the beautiful name Jahtari is a small label from Leipzig that started a few years ago as an experiment and, as the name suggests, is initially dedicated to the 8-bit sound of early computers like Atari and the C64 with its famous three-part SID sound chip would have. The experiment consisted in playing music as soulful as reggae with the help of mathematical algorithms. By the way, an experiment that King Jammy and Steely & Cleevie had already succeeded in the mid-1980s. But while Jammy's “Computerized Reggae” sounded retort-like “digital” due to the inability of the computer technology at the time and this stage was soon overcome with the availability of better sound chips, for Jan Gleichmar, the founder and boss of Jahtari, this sound is the goal of all efforts. He tailored the Jahtari label to his body and collects his own productions here as well as the like-minded laptop fricklers. The “Jahtarian Dubbers ”albums, the second chapter of which has just been released, are something like the manifestos of this sound. “Jahtarian Dubbers, Vol. 2 " (jahtari.org/) presents us now 13 tracks of fully synthetic "digital laptop reggaes", chased through several software echo chambers and enriched with space invaders sounds. Some pieces also offer rock-solid vocals such as z. B. “Puff That Weed”, on whose chattering bit sequences the virtuoso Soom T rides like on a speeding bobby car. In the mind's eye you can see cheap netbooks overheating and China iPhone clones vibrate. And this is exactly where the charm of this weird music lies: The (intentionally) primitive instruments really secrete genuine, real and true reggae tunes. Fat bass, stiff offbeat, solid drums and a groovy beat. The whole sound cosmos “Reggae” shrinks to its minimal, constructive elements - and sounds really good at the same time. Super Mario meets Basic Channel, reggaewise. Just an interesting experiment or good music that can survive even without the included theory? The answer is: 42!

Dub-Reworkings of popular pop songs are obviously in vogue. Easy Star Records has already taken on Pink Floyd, the Beatles and Radiohead, and Echo Beach has subjected The Police to a thorough reviewdubexercise and now it hits the former clash singer Joe Strummer with “Shatter The Hotel”. This wave was triggered by "Dub Side Of The Moon ”, an album that has sold an incredible 2003 copies since 90.000. The more stupid the concept, the more successful it seems. And since concepts of this kind are easy to think of, everyone tries their luck. These were roughly my thoughts when I was "Shatter The Hotel" (www.strummerville.com) got my hands on it. Almost reluctantly, I listened. OK, that was passable. After the second listening it was okay. When I heard it for the third time, I found myself singing along. Now - I have to admit - I'm very fond of Joe Strummers posthumously Dub-Tribute. The big plus of the album is, quite simply, the solid song base. These are real catchy tunes! Converted into clean, functional and calm Dub-Versions can't be said against it. Driven by the catchy melodies and more frequent vocal accompaniment, there is something like good popDub-Reggae originated. In contrast to the albums mentioned above, the pieces on “Shatter The Hotel” were not all recorded by a band, but were contributed by well-known and unknown producers from the international reggae scene. So does the infallible Dubmatix from Canada starts with “London Calling”, then from Dub Antenna, the Creation Rockers and the Dub Cats as well as a number of other unknown producers / bands followed. Sound and style are so similar, however, that everything merges into a homogeneous album - to put it positively. Incidentally, the sales proceeds go to the Joe Strummer Foundation, which supports young musicians.

At the beginning of the new millennium, Mafia and Fluxy released a series of albums under the title “Reggae Heights”, in which they copied old vocals onto newly recorded backings. One album in the series was dedicated to Barry Brown's oeuvre and featured seven Dubs as bonus material. If that wasn't enough for you, you now have the opportunity with the album "Barry Brown In Dub"which is only available as a digital release, another six Dubs to acquire. And since the two British Rhythm Brothers have really done rock-solid instrumental and mixing work, this acquisition is highly recommended. And who then even more Dub- You need fabric, he can come with it "Dub Anthems " grab the full boom right away. Mafia & Fluxy are offering 15 of their best Dubs from that time. Fat, fat, fat tracks whose massive basslines vibrate the plates off the table. There is no innovation award, but there is DubChamber of Crafts awards an award for outstanding workmanship (sponsored by the porcelain industry). Many an old, well-known and beloved riddim is brought to the fore here (“anthems”) like z. B. "King Tubby Meets Rockers Uptown", Marley's "Forever Loving Jah", "Open The Gate", "Warriors Charge" and of course "Realrock".

Before our enjoyable Dub-Hour comes to an end, we take another look at the revival selection and find here once again an ultra-rare album that (how could it be otherwise) the Pressure Sounds label dug up for us: "Prince Jammy Presents Strictly Dub" (www.pressure.co.uk). Recorded in the late 1970s and small editions published in New York in the early 1980s, it offers us a glimpse of Jammy's early work, which was created at Tubby's mixer on Dromilly Avenue. It was produced, arranged, mixed and remixed by the Prince himself, recorded by Jamaica's Cream, the session musicians of the time: Sly & Robbie, Ansel Collins, Gladstone Anderson, Bobby Ellis, Deadly Hedley, Sticky Thompson (among others). An illustrious combo that perform beautiful versions of classic rhythms such as "Baba Boom", Ali Baba "or" Shenk I Sheck ". The titles of the pieces are interesting: “Brookly Dub"," Bronx Fashion Dub", "Immigrant Dub"Or" 42nd Street Dub". Marketing jamaica-wise, because the album was finally planned for New York. And how does it sound? Well! Not spectacular, but very beautiful. Thanks to the classics, the basis is right and thanks to the brilliant musicians, the implementation is also right. Relaxed, uptempo played, airy sound, full arrangements with very, very nice percussion. Jammy's mix is ​​nice and appropriate. It gets really exciting with the two bonus tracks, which - according to press information - come from a "somewhat later period". They sound downright experimental compared to the rest. Heavier sound, a lot of pressure and a charming distortion effect that drives between the beats. Jammy has obviously learned a lot in a short time.

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Review

New albums: Umberto Echo and Aldubb

Dub The World

Nachdem Umberto Echo three years ago with the Dubtrain roared through Germany, he is now on a world tour with his new album: Dub The World (Echo Beach). According to his own statement, the young Munich producer and multi-instrumentalist Phillip Winter aka Umberto Echo has worked on more than 80 albums, covered all genres from rock to classical and jazz to reggae and wrote Bavarian reggae history with Jahcoustix, Jamaram and Headcornerstone. Unlike the previous album Dubtrain, This time Mr. Echo takes on third-party productions from various bands and subjects them to a sophisticated verdubexercise procedure. Among the 15 Dub-Tracks you can find pieces from 13 countries among others by Gentleman, Katchafire, Steel Pulse, Dub Inc., Up Bustle & Out, Dubblestandard, Stereo MCs, Seeed, Dub Spencer & Trance Hill. Sound and style of play naturally vary quite a lot, which makes the album a bit inhomogeneous, but at the same time wonderfully varied. Umberto Echo's virtuoso mixes ultimately combine everything into one big, uninterrupted one Dub-Opus together that sounds fantastic and is full of ideas and surprises: rhythm changes, style changes, sound changes, acoustic instruments, then again echo chamber galore, samples and interspersed original vocals - other producers make five albums out of the material. Umberto Echo packs everything into the 15 tracks - but so relaxed and controlled that everything sounds natural, never tried, over-headed or overproduced. An extremely exciting and pleasant acoustic trip around the world, on which the listener is sent, driven by bass plucking deep in the ship's hull. The view wanders over a sea of ​​gentle sound waves in which dolphins perform their tricks. And reggae is played at the Captain's Dinner in the evening!

While Umberto echoed the south of the republic with Dub-Vibes sounded, Berlin vibrates under the sound waves of Aldubb, according to his own statement, “one of the busiest DubRemixer of Germany ". He's really busy, because when he's not behind the mixer in the Planet Earth Studio, he plays with the Digital Roots Band or Dark Light Drums, performs solo in the “Dubliving room ”or mix in with the Irieland sound system, which is called“ Berlin Dub Festival ”. Anyone who dedicates themselves so much to music for which the term “special interest” is almost an understatement, must inevitably be motivated by a mission. And so it is not surprising that Aldubb dedicates his new album to God's Word: “Let There Be Dub“(One Drop). And there was dub! 18 tracks of the finest material in the Steppers spectrum Dubstep, thickly mixed and simply groundshaking. So that the audience doesn't lose consciousness while being shaken, Mr. Dub-It-All mixed in beautifully melodic vocal tracks at strategic points, heavy steppers tunes alternated with softer one-drops and occasionally leaves one distorted Dubstep bass provide the boom. There are also nice sound gadgets, samples and mini melodies. Together a perfect dramaturgy that makes for a very diverse, but also self-contained, well-composed album - although the 18 tracks are actually a best-of retrospective of the last four years and many pieces have already been released on vinyl. Four good years, it seems. But the prospect of four years waiting for the next Aldubb album is a disaster.

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Charts Review

My Dub Top 10 of 2009

1. Hey-O-Hansen: Sun and moon (Pinging)
2. International Observers: Felt (Dubmission)
3. side show: Admit One (From Music)
4. Noise shaper: Satellite City (Cat'n Roof)
5. Dubblestandart, Lee Scratch Perry & Ari Up: Return From Planet Dub (collision)
6. Various Artists: Dub Echoes (Soul jazz)
7. Various Artists: DubVision II (Percussion & electronics)
8. Umberto Echo: Dub The World (Echo Beach)
9. Various Artists: Eevolution Of Dub Vol. 1 - 4 (green sleeves)
10. Various Artists: Northern Faction 4 (Balanced)

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Dub (Revolution Review

Dub Evolution November 2009

"Felt". What connotations does this word have? Warmth, comfort, muffled sound, softness? "Felt" (Dubmission), that's the title of the new one DubAlbums by International Observer (behind which the British producer Tom Baily hides, who led the pop band "The Thomson Twins" in the 1980s). The music to be heard on it is the association of the title that has become sound; beautiful, melodious, warm, cozy Dub- "Songs". "Songs" because the Dubs “feel” like full-fledged songs without actually being able to hear vocals. They are artistic compositions in which every note, every beat seems to be carefully weighed and balanced. Everything flows, bubbles, rolls - infinitely relaxed and yet extremely exciting. “Relaxed” not “shallow” !: The felt-stuffed basses hum powerfully in the 44-heart cellar and the suction effect of the syncopated beats sucks ears, head and stomach inexorably through four-four time. There are interspersed melodica melodies, sounds of an acoustic guitar, contrapuntal percussions, accordion harmonies or the many other, sparingly but effectively used melodious ingredients that make the music seem so relaxed. Tom Baily understands Dub not just as a sound, but as a complex musical structure that needs to be perceived with both gut and head at the same time. It is an example of the art of making complexity appear light and simple. Everything is evident, self-evident, clear and consistent - in one word: perfect!

Evolution continues - with natural selection: "Evolution of Dub, Volume 4, Natural Selection "(Greensleeves). After Greensleeves started the series with the Joe Gibbs production "Dub Serial ”opened in 1971, the fourth CD box is now dedicated to the visionary producer and his brilliant sound engineer Errol Thompson.

The selection begins in 1976 with the album "Joe Gibbs & The Professionals: State Of Emergency" which we 10 enjoy Dubs presented in a loosely played “rockers style”. Garnished with beautiful brass melodies - what the tracks are more like instrumentals than after Dub can sound. Classic riddims such as John Holt's "Up Park Camp", Jackie Mittoo's "Our Thing" or "Heavenless" are cited here. Every melody is suitable for humming along and the militant rockers drum style lets the music fly - I have to admit that I really like the sound of this time. After the rather dry Bunny Lee productions, reggae now gets a certain swing and the rhythms start to roll again - whereupon the “Mighty Two” (Gibbs & Thompson) got along splendidly. By the way: The cover, on which Jamaican security forces search three alleged delinquents, was allegedly quoted in 1977 by The Clash for the album "White Riot".

Album two of the box - “Majestic Dub"From 1979 - was always overshadowed by Gibbs' famous" African Dub"-Series. Wrongly, as it shows here, because the album contains some really remarkable pieces. It's very different from “State Of Emergency”, it's a real one Dub-Factory with scaled-down production and classic Dub-Mix. But Joe Gibbs managed, as always, to arrange his tracks so that they didn't sound too empty or too minimalistic. This was not least due to the fact that he was not afraid to insert modern (and unusual) synth sounds, while Thompson, who was gifted Dub-Mixer, living out his love for samples. The latter is probably responsible for the completely unsuitable, but in its electronic strangeness also typical intro sample from Donna Summers "I Feel Love". Of course, well-known riddims and Sly Dunbar's light-footed drum style are used here again - but who would mind?

A further leap into 1984 leads to the inevitable, namely the “African Dub“Series, of which the less well known fifth chapter is brought to our ears. Released long after the previous four chapters in the series, it hit the market when Dub was already on her deathbed in Jamaica. The sound had changed a lot: instead of “Rockers”, “Dancehall” was the defining style. The pieces were correspondingly slow, heavy and bass-oriented. We get on straight with “Full Up”, shortly afterwards encounter “Heavenless”, “Taxi” and other classics. Nice melodies, rich sound, good mixes - the best in my opinion Dub-Set the box.

But album four is still waiting for approval: "Syncopation" by Sly & Robbie and of course produced by Mr. Gibbs. It closes the box, even though it dates back to 1982, two years before “African Dub Chapter 5 ”was created. As a friend of old Sly & Robbie recordings, I put it in the CD player before the other three - but it disappointed me! On the one hand, because Robbie's bass can hardly be heard - unbelievable! On the other hand, because the rhythm twins gave free rein to their sometimes not entirely stylish penchant for pop songs. So we come z. B. Enjoy the Beatles classic “Ticket To Ride” (garnished with a borderline rock guitar solo) or Leo Sayer's “More Than I Can Say”. In between there is also “decent” material: on “Space Invaders” and “Laser Eyes” we hear Sly's typical syndrum shuffle rhythm for this time.
As usual, there are detailed liner notes in the booklet of the box, which in the first part describes the evolutionary history of the Dub continue and in the second part refer to the history of Joe Gibbs in minute detail.

The return of Dub Spencer and Trance Hill! Two years of work was done on the new album, now it's finished: "Riding Strange Horses" (Echo Beach). The supposedly Italian duo, which was actually a Zurich trio (around bassist Marcel Stadler) and has now grown into a quartet, obviously takes the title literally and presents us mainly cover versions of songs from different genres. As is customary with Echo Beach, there are of course versions of The Ruts and Martha & The Muffins. In addition, we hear (in this context) real “strange horses” that are being ridden here, like z. B. Metallica, deep purple or gray area. This is occasionally accompanied by short vocal passages by Lee Perry, Robin Scott, WS Burroughs, The Catch and others. This makes it clear that we are dealing here with a great rock remix, with an echo chamber that consists of rock- Classics reggaeDubs makes. What is fascinating is that the Swiss guys use the same instruments as the rock greats in the originals. And that is exactly the USP of Dub Spencer and Trance Hill: They actually play rock with a reggae offbeat - which, acoustically, is very similar to the New Yorker "Dub Trio ”brings. Groove, timing and one drop are all right, but there are sound and arrangements that cannot deny their reference to rock. I wouldn't be surprised if everyone DubEffects would also be played live so that the music avoids exactly what Dub what really matters, namely the creative processing on the mixer. The result is idiosyncratic and fascinating - as long as you don't have any problems with hooklines like "Smoke On The Water".

Finn the Giant is a Dub-Producer from Malmö, Sweden, who won the “Heavyweight Roots Dub Reggae ”net label“ Giant Sounds ”(giantsounds.com). Now the time is ripe for the first real, physical CD release: "Dub Pon top“(Import). 14th DubThe giant has gathered s here: powerful steppers beats whose digital origins are unmistakable. Occasionally there are sprinkles of melodica or torn synth melodies, but the main focus is clearly on the basic rhythms, which progress in stoic, meditative rhythm. Finn managed to vary the beat and build melodic and varied riddims. But as inspired as the riddims are, the sound is unfortunately not. The tracks are mixed dynamically so that the groove is right. But Finn doesn't manage to eliminate his synthetic and somehow "tight" sounding studio sound. His Dubs could use a lot more space and space. Let's hope that the proceeds from "Dub Pon Top "will be enough for a new mixer ...

After the melodic reggae basslines, there is now an excursion into the technoid booming bass spheres of the to blow your ears free Dubstep. With "Steppas' Delight 2“ (Soul jazz) another important inventory of the scene is available. 26 bass-filled tracks are literally knocked around our ears and rammed into the pit of our stomach. Track 1, “Grime Baby” by Gemmy, already makes it clear where the journey is going: into an angry bass inferno. If you turn this tune up too loud, you can pick up the scraps of the subwoofer membrane from the floor afterwards. Minimal but huge. In the course of the double CD sampler we also encounter less radical statements as well as some pleasant garage house groove, and we will also notice that Dubstep has meanwhile become more differentiated and has a larger stylistic spectrum. Which, by the way, can also be seen in the new names in the scene. Besides Benga and Appleblim, there are hardly any “veterans” here. But the young vegetables are doing a good job and we can look forward to the future of the genre with hope.

Another, more interesting Dubstep release is "Studio Rockers At The Controls“ (Studio rockers). On this sampler there are some reminiscences of reggae like z. B. Samples, wind melodies or entire reggae vocals. The 23 tracks are mixed together by Tony Thorpe and are largely from the archive of the studio rockers label. I don't remember hearing the name Tony Thorpe, but it's supposed to be for his Dub-Productions and has directed Massive Attacks Meltdown Festival as well as remixes for Amy Whitehouse, Erykah Badu and Lee Perry. Anyway - his parforce ride through the world of Dubstep shows a good feeling for bass and beats. If you want to undertake a first, vague excursion into the new genre, you can start here.