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Dub (Revolution Review

Dub Evolution, March 2008

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

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

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

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

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

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Dub (Revolution Review

Dub Evolution, January 2008

"Dub Evolution "has been the title of this column for some time now (it used to be called"Dub Revolution"). Now there is finally the right CD box for it: The "Dub-Anthology " (Wagram / SPV), which bridges the gap from the 1970s to the present day and traces the evolution of the genre on the basis of 60 (!) Tracks. Four decades Dub on four CDs, whereby the 1970s and 1980s have to share one CD, while the 1990s are divided into “International Dub"And" French Dub“Find space on two CDs. The “New School” will then be presented in full on CD4. Of course, the world already has some anthologies of the Dubs seen - who doesn't know Rodigans "Dub Classics ”, the“ Rough Guide To Dub“Or the Trojan boxes Dub-Material from your own archives. But no anthology has attempted to trace the history of the Dub as comprehensive as the present box. Mostly the border is from the Jamaican old school Dub, to the Dub Revival of the 1990s not to be skipped - let alone a look at innovative productions of the present. This is different here: the journey through time and space of the Dub begins with Augustus Pablo's “Cassava Piece”, leads to King Tubby's “Belly Dub“And some Dubs by Sly & Robbie (also in the reincarnations of the Revolutionaries and Skin Flesh & Bones), then bypasses some rather absurd pieces, (some of which only play very little Dub have to do) to then go straight to the great - from the best Black Ark times - Lee Perry-Dub “Bird in hand” to hold shut. CD 2 then takes a big step into England in the 1990s and presents the usual suspects: Alpha & Omega, Twilight Circus or Bush Chemists. Instead of listing the compelling names like Zion Train, Rootsman, Rockers HiFi, Dreadzone, The Disciples or, of course, Jah Shaka and Mad Professor, the track listing with Rhythm & Sound, Oku Onuora, Burnt Freidman, Thievery Corporation or Tosca is impressive, but this one Context somewhat unexpected names. The journey continues to France, whose Dub-Scene the complete CD 4 is dedicated to. The reason for the detailed presentation of the French Dub-Creation is not because it is so unbelievably rich or style-defining, but simply because the "Dub Anthology ”was produced in France (and of course with a special focus on the French market). Nevertheless, the French CD is the most exciting so far because it is also for busy people Dub-Connaisseurs still hide new discoveries - or does someone already have from Ez3Kiel, Pilah or the Löbe Radiant Dub System heard? CD 4 belongs entirely to the present. The oldest piece is just 2 years old, the newest is (according to the information on the cover) from the year 2023 - it couldn't be more current. The time traveler will find mostly French names here (including the important protagonists of the French label “Sounds Around”, which is very fond of electronic music, Lena, Molecule, Roots Massacre). Then bring a little internationality Dub-Experiments like noise shaper, Dubmatix or Nucleus Roots come into play. Admittedly, if you were to write an official anthology of the Dub put together, then the selection of the pieces would look quite different. But it would be questionable whether this would be as much fun as the present CD box. The official version would of course contain all the really important classics, but - to be honest - who wants to hear them for the thousandth time? I'd rather have a few obscure but exciting French people chased through my ear canals.

The fine English re-issue label Auralux has again its weakness for Dub-Classic of the 1970s gave in and with "Dread At The Controls Dub"(Auralux / Rough Trade) an early one DubAlbum by Gussy Clarke republished. You read that right: Gussie Clarke and not Mikey Dread. The latter was supposedly "somehow" involved, but he didn't play an instrument, none Dub composed and above all: not mixed either. Gussie and Mikey were just friends - and with good friends helping each other, Mikey Gussie just borrowed his "Dread At The Controls" badge so that the album would sell better (according to Mr. Clarke in the very liner notes worth reading). Originally released in 1978, the album features 10 tracks, recorded of course by the Revolutionaries with (unmistakably) Sly Dunbar on drums. The rhythms are tight and the timing of the musicians is perfect. But what use is that if the riddims and the mix are too boring? Great producer, top notch musician and also a brilliant sound - but after 10 minutes nobody is listening anymore, because the tracks ripple smoothly and without surprises. Too bad.

There is "DC Dub Connection "(Auralux / Rough Trade) much more interesting. Behind the 10 recordings gathered here is the Heptones background singer Earl Morgan, who occasionally took a seat in the producer's chair in the late 1970s, recording albums with Earl 16, Alton Ellis and Stranger Cole. Interestingly, he didn't produce the rhythm tracks himself, but bought them from various producers. There are even two tracks by Lee Perry. It is precisely from this circumstance that the (sound-technically not so brilliant) album draws its charm: It simply offers more variety - which is not least due to the fact that Prince Jammy and Scientist have delivered beautifully inspired mixes. 

While the reggae industry is crumbling around the world, the German label "Inakustik" is trying a new reggae line. It starts with a Dub-Album: “Bebo In A Dub Style - Featuring Sly & Robbie "(Tafari / Inakustik). Originally published in 1985, the year of slang tang, “Bebo In A Dub Style “almost antiquated - if it weren't for the championship of the 1A session musicians of the time: Sly & Robbie, Robbie Lyn, Willi Lindo, Dean Frazer and Sticky, Skyjuce & Scully. Their timing is so precise, the rhythms are so tight and the sound so crystal clear that the recordings have something timeless about them. Actually, the only thing missing is the laziness of the Dub-Mixers Peter Chemist. If he had paid a little more attention to the controls on his mixer, then “Bebo In A Dub Style ”deserves its title and would probably also be a milestone in the Dub-History become.

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Charts Review

Dub Top 10 of 2007

Ticklah & Victor Axelrod, "Ticklah Vs. Axelrod", (Easy Star Records / Import)

G-Corp Meets The Mighty Tree, "Dub Plates From The Elephant House Volume 3 "(Endulge / Rough Trade)

Various artists, “Comfy Dub"(Tricornmusic / Mconnexion)

Various artists, “Roots Of Dub Funk 6 “, Tanty Records / Import

Various Artists, "New (dub"Excursion" (Sounds Around / Import)

Abassi All Stars, "Dub Showcase “, Universal Egg

The Revolutionaries, “Drum Sound - More Gems From The Channel One Dub Room - 1974 To 1980 ", (Pressure Sounds / Rough Trade)

Joe Gibbs & The Professionals, “African Dub All Mighty - Chapter 1 - 4 ", (VP / Groove Attack)

Umberto Echo, "Dubtrain ", (19 / Enja)

Dreadzone, "The Remixes" (Virgin)

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Dub (Revolution Review

Dub Evolution, November 2007

Reggae now thrives quite well in the public eye. The delicate ones Dub-Plants, however, grow largely unnoticed in the shade. If you want to find it, you have to go looking for it with a trained expert eye. Then it can happen that you discover a rare, beautiful flower in a hollow in the ground or in a hidden crevice that pays off all your efforts. So it happened to me "Ticklah Vs. Axelrod " (Easy Star Records / Import), a true one Dub- Revelation that recently crossed my click path in the iTunes store. What at first sounded so strikingly like classic Tubby or Perry recordings from the 70s, turned out to be cutting-edge productions on closer listening, which put the Tubby sound at the service of meticulously composed and complexly arranged pieces. The result of this fusion are catchy, surprising and downright exciting tracks that work like a Tarrantino film: formally a post-modern game with historical quotations, but in terms of content completely, fascinating new creations. Behind this virtuoso game is a person who competes against himself: Ticklah and Victor Axelrod are both names of the same young musician (he plays almost all the instruments on the album) and producer from Brooklyn, whose musical work highlights such as the production from “High Fidelity Dub Sessions Presents: Roots Combination ", but also lows such as the co-production of"Dub Side Of The Moon “(with DubCovers versions of Pink Floyd songs). "Ticklah Vs. Axelrod “is his solo debut album on which, besides pure Dub- Recordings, even a few vocalists can be heard like z. B. Mikey General or Mayra Vega. The latter sings on two cover versions of Eddie Palmieri salsa classics, for which Axelrod is a real one Dub-Treatment has let become part. Just cool.

Another discovery that almost passed me by is the “new” album by Dreadzone: "Once Upon A Time" (functional breaks / import). Already released in 2005, I've only just noticed it - even though I'm a big fan of Dreadzone! For everyone who also missed the album, which is only available in England: everything sounds as usual: fast beats, leftfield sound, strong house and techno mixes, Earl 16 singing and merciless catchy melodies. The live album was also released last year "Dreadzone Live At Sunrise" (functional breaks / import) and this year: "Dreadzone: The Remixes" (Virgin UK / iTunes - since "digital release only"). It features 22 remixes of Dreadzone tracks from the early Virgin years. Only 6 songs were remixed, but they were remixed several times. The party includes More Rockers, Underworld, Black Star Liner and Asian Dub Foundation - yes, those were the days!

Speaking of discoveries, one of my all-time favoritesDub-Albums can actually be bought as a remastered download: "Jah Shaka Meets Aswad in Addis Ababa Studio" (Greensleeves / iTunes).

And another discovery: "New (dub"Excursion" (Sounds Around / Import), a double CDDub-Sampler between steppers and electronics. He keeps a perfect balance between the two genres: just the right dose of experiment Dub needs to be exciting. A little bit Dubstep, a bit of Orient, a bit of atonal crackling electronics, and on the other hand the beautifully structured reggae offbeats - and of course: lots and lots of bass. The better known names represented here would be: Fedayi Pacha, Improvisators Dub, Manutension, Vibronic and Disciples. It's amazing that the great, France-based label Sounds Around doesn't have a German distributor. Since his releases are apparently not available for download anywhere, fans of experimental sounds are dependent on one (of the few surviving) well-stocked reggae importers.

Up, Bustle & Out are known to be welcome guests in this column. And the question always arises whether they are at all right here, because what the two Brits intone is not really Dub and often not even reggae. In the case of the present album "Istanbul's Secrets" (Collision / Groove Attack) Various ethnic music styles work together: Flamenco, Latin, North African sounds, a lot of trip hop and of course Turkish music. The latter is obvious, as the first half of the double CD will be played by the Turkish singer Sevval Sam - but with the active support of various male colleagues such as Rob Garza, Benjamin Escoriza or Kalaf. The second CD - and now we're back to the topic - offers the Dub-Versions of the 15 songs from CD1. Steppers and one-drop shouldn't be expected here, but fascinating, sophisticated and complex sound journeys for conscious listening are certain.

Good news comes from VP-Records. A new sub-label called “17 North Parade” was recently founded there, a homage to Vincent Chin's legendary record store “Randy's Record Mart” in Kingston. The label is intended as a platform for the republication of important historical reggae productions such as the groundbreaking ones Dub-Albums "African Dub All Mighty - Chapter 1 - 4 “(VP / Groove Attack) by Joe Gibbs & The Professionals. This little series of albums from the 1970s, produced by Joe Gibbs and mixed by Errol Thompson, is one of the great classics of the Dub-Story. Actually astonishing, as musicians like Sly Dunbar, Lloyd Parks, Bobby Ellis and Tommy McCook only re-enact the well-known Studio One riddims. But the way they do it was unique: Full of pressure and energy in the new Rockers-Style - garnished by the congenial mix of Errol Thompson, who was in no way inferior to Lee Perry when using crazy samples. Compared to previous CD releases by African Dub-Albums, the sound quality is good (given the circumstances). Supplemented by informative liner notes and the reprint of the original cover artwork, the rereleases are highly recommended.

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Dub (Revolution Review

Dub Evolution, September 2007

Although Dub is only a small genre in the large “Reggae” genre, it divides itself into various varieties, which are sometimes nationally influenced, but sometimes limit themselves to a much smaller radius and in extreme cases attach themselves to individual labels. Birmingham is such a radius and the associated label is called “Different Drummer”. A developed here since the early 90s Dub-Sound, whose sonic proximity to house music was formative for an entire school. It all started with the Original Rockers, who renamed themselves "Rockers HiFi" after the first release and founded the Different Drummer label. Even then, Roberto Cimarosti and Brian Nordhoff were in the label's circle. A producer duo that still took care of house in the 80s and under the name at the beginning of the new decade "Groove Corporation" the sound & key of Dub discovered. At the latest with the production of the legendary rocker hi-fi tune "Push Push", they turned to Dub and they knew how to cleverly integrate their affinity for house into the new sound. The result was a new, fresh and very contemporary interpretation of Dubwhose tonal richness far exceeded what the average UKDubsqueezed out of their sythies. And so it is hardly surprising that the Groove Corporation is still at the start with new productions during the Dub-Traditionalists have long since run out of ideas. 

After the successful "Dub Plates From The Elephant House Volume 1 & 2 ”should "Dub Plates From The Elephant House Volume 3 " (Endulge / Rough Trade) Tread new, previously unexplored paths. And so the two electronic tinkerers brought three live musicians into the studio, the "Mighty Tree", led by drummer Conrad Kelly, who already played for Steele Pulse and UB40. He was joined by bassist Jeffrey Wright and guitarist Robert Mullins. The creative potential of the top-class musicians paired with the talent of the gifted producers led to fantastic rhythm tracks that had so much song potential that people quickly found themselves who said: “Hey, I have something that is great about this rhythm would fit". And so the planned changed Dub-Album soon to be a showcase album with eight vocal tunes. The sound of the pieces is less deep, less electronic than on the previous albums. The live recordings make the music sound a little airier and more open, which gives it a special liveliness. There are also catchy tunes, very inspired mixes and a very varied, detailed arrangement. In other words: a perfect one Dub-Album that bridges the gap to a very, very good vocal reggae album - and undoubtedly deserves to be seen by the more mainstream-oriented reggae community. Incidentally, the CD contains the cookbook "Dub Food ”with 24 Jamaican recipes!

Late summer seems to be the season of the year Dub-Releases to be. Seldom has there been so much new to hear - and to buy, which is why, instead of the usual meetings, this time one Dub-Shopping list can be found - sorted by: "Best rating first"!

"Roots Of Dub Radio 6 " (Tanty records / import). Still one of the best Dub-Sampler series in general and one of the very few that has survived since the 90s. Compiler Kevin R. always succeeds in creating the Dub- To filter out pearls from one (or more) years and put them together into a wonderfully closed album.

"Dub Spencer & Trance Hill, "Return Of The Supercops" (Echo Beach). The second album of the Swiss spaghettiDubabout - half of which are now filled. The line-up change doesn't detract from the usual sound: deep, hand-played, sometimes psychedelic grooves with lots of gimmicks, such as rock guitar solos or country & western intros. Well mixed!

Ashtech, "Walking Target" (Subsignal / Interchill). A previously completely unknown to me Dub-Artist from London who has a superb here DubAlbum submitted. A modern take on Dub with various musical influences from London's club scene, but consistently with a reggae beat as the foundation. Unusual, inspired and therefore very exciting. A special recommendation.

Vibronics, "Heavyweight Scoops Selection - Chapter 2" (Soundsaround / Import). A Vibronics showcase album with solid steppers rhythms and various vocalists such as Lutan Fyah or Ranking Joe. Neither of the pieces is a great discovery in itself, but the composition and beautiful rhythm of vocal and Dub make the album a very pleasant overall experience.

Michael Rose, “Warrior Dub" (M-Records / Import). Ryan Moore is a Dub-Freak, which is why one can assume that each of the albums he produces will also be labeled as Dub is published. So also the rather disappointing new album by Michael Rose, which was only released as DubVersion can convince. Since Rose's melodies are based on a minimum of inspiration anyway, it is downright ingenious to extract this and with it the Dubs to pepper. This is how it works very well: Solid beats and short pieces of melody: A new one is ready Dub-Album from the Twilight Circus.

Tommy McCook & The Agrovators, "King Tubby Meets The Agrovators At Dub Station "(Trojan / Rough Trade). The rerelease of the LP released in 1975 with a few bonus tracks. Bunny Lee acted as producer, which can be clearly heard in the dry offbeats. If you don't have enough Lee productions refined by Tubby in your record cabinet, you can access it here.

Prince Jammy Destroy's The Space Invaders (Greensleeves / Rough Trade). Rerelease of the original without overdubs with game sounds.

Bullwackies All Stars, "Free For All" (Wackies / Basic Channel). Very early Bullwackie production with damn poor sound quality. Comparable to Perry productions from the early 70s. A must for collectors, everyone else should choose later productions by Wackies.

"Essential Dub" (Roir / Rattay Music). A rather obscure and by no means understandable as "essential" selection of Dubs. Here Oku Onuora stands next to Bad Brains and Niney next to Alpha & Omega. Better to go to the “Roots Of Dub Funk “(see above) invest!

Dubnight compilation Vol. 1 (Free download). Besides competition, the one runs here Dub-Sampler by Phil Harmony, which doesn't really belong on a shopping list because it is available for free: The album can be downloaded from www.bigvibez.com. The download is worth it, because although there are no well-known artists represented here (which should change in Vol. 2), the selection of pieces is absolutely convincing. It's hard to believe that this quality is available as “freeware”. I am curious whether the "open source" idea in the Dub-Community has a chance. It would be very desirable if the abandonment of commercial considerations offered many opportunities to the development of truly innovative music.

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Dub (Revolution Review

Dub Evolution, July 2007

I can already hear the accusation: “Another Channel One compilation on Pressure Sounds!” That's right, it's the fourth now. But apparently it took chief compiler Pete Holdsworth three albums to practice before he started with "The Revolutionaries: Drum Sound - More Gems From The Channel One Dub Room - 1974 To 1980 " (Pressure Sounds / Rough Trade) succeeded in creating this masterpiece that sums up the Chanel One sound and style more precisely than any of its predecessors. Founded in the early 1970s by four Chinese-born Hookim brothers, Jo Jo, Paulie, Ernest and Kenneth, the studio may not have been a haven for the reggae avant-garde (Lee Perry's Black Ark studio may have led the way), but it was the most popular and by far the most successful reggae studio of the decade. With the best studio equipment and infinite meticulousness in puzzling out the sound, Sly Dunbar and Ernest Hookim developed the richest, deepest and most precise reggae sound of the entire decade. He shaped the reggae of the late 1970s as lastingly as Coxson's Studio One had done a decade earlier - which was only logical, because Coxson's studio on Brendford Road was the great role model of the Hookims - which is why she boldly based her own studio on Channel One ”. When they started to act out Coxsone's riddims and storm the charts, Mr. Dodd's collar burst and he hit Jo Jo on the nose. But since this expression of displeasure did not prevent the Hookims from eagerly earning money with their remakes, Coxsone finally returned the favor with remakes of the remakes by overwriting his old productions with Sly Dunbar's double drum styledubbte.

This compilation now presents some of the most exciting productions of Channel One, all produced by Jo Jo and mixed by Ernest and Barnabas. Most of them had Sly Dunbar on drums and Robbie Shakespear on bass. Sly's light-footed up-tempo drums accompany the listener beautifully through the DubIt's some very, very big Channel One hits. The selection opens up a very special highlight: “Kunta Kinte Version One” is perhaps the one that has been withheld from record buyers the longest Dub Plate special at all. It is now celebrating its official release here - and it is truly awesome (Mad Professors version of the piece aroused my love for Dub-Music). It continues with that Dub to “Them Never Love Poor Marcus” from the Mighty Diamonds and then to “A Who Say Part Two” from the well-known Althea & Donna piece about the “I Know Myself” rhythm. Then comes the Channel One version of “Fade Away,” stripped to the bone in the style of King Tubby. The list could be continued including the crush for each track (like z. B. for "War Version", Sly Dunbar's militant frontal attack on the snarred drum or how z. B. "Back ...:" That's it!). Channel One rules!

The summer brought a real trailer load of Dub. There have seldom been so many releases. Here are the most interesting ones: Let's start with "Studio One Dub Vol. 2 "(Soul Jazz). The soul jazz researchers obviously found a few B-sides in the Studio One archives. Good thing, because it's always nice to hear the beautiful rhythms from Brendford Road pure and clean. Deprived of their singing, the music swings under the sign of the bassline, the rhythm grooves and everything is good. As with Vol. 1, there are very nice versions that surprisingly often already have the name "Dub“Allowed to wear. 

The astonishment that Soul Jazz has two Studio OneDub-Sampler released - and then so quickly in a row - when you get your hands on the following release of the label: "Box Of Dub - Dubstep and future Dub"(Souljazz). That's right: Dub is pretty hip again in England right now - even if Dubstep doesn't have much in common with reggae. The “Box of Dub“But beats out the Dubstep clubs a very elegant arc to the classic Dub, because here, in addition to spherical bass orgies, pieces related to the reggae groove are presented, which create an exciting, post-modern mix z. B. Channel One samples, subsonic drum & bass grumbling and breakbeats. Who as Dub-Friend with the topic "Dubstep ”, you will find a good introduction here with names like Digital Mystikz, Kode 9, Burial and King Midas Sound.

After a five-year hiatus, a new album has just been released Zion Train: "Live As One" (Universal Egg). The once five-man formation that emerged in the 1990s with their highly innovative mix Dub and Dance even got a major deal, has now "shrunk to health" on founder Neil Perch. But he got a lot of support into the studio: Dubdadda, Earl 16, Tippa Irie and a few other vocalists garnish the straight steppers beats from Perch's computer. Solid rhythms, inspired vocalists and - for Dub not self-evident - concise melodies - actually everything is there, what the Dub-Friend likes. But “Live As One” is still not really fun. Just why? Because the sound got a little too stuck in the 1990s? Because the album simply lacks ideas? Or because it sounds too traditional for a Zion Train album? It's a shame - Neil Perch can do other things too ...

Definitely different Fedayi Pachia, which begins with "The 99 Names Of Dub"(Hammer bass / import) presents a truly extraordinary album. His style consists of the mixture of traditional oriental harmonies, sounds and arrangements with the sound instruments of the Dub. While his album "Dub Works ", which appeared two years ago, Dub still gave priority, the 99 names of the go Dub much more economical with the Dub-Ingredients around. In this way, Pachia succeeds in balancing the two elements against each other. The sounds of India, Arabia and the Balkans grab your attention while the Dub-Bassline and occasionally struck offbeats form the foundation for this. Why aren't there more such exciting crossover experiments?

Finally, an album that surprised me and fascinated me for a long time: Dub Rascals, "Volume 2" (Little Rascals Records / Import). Are presented here exclusively Dub-Artists from Australia and New Zealand - and at the latest since Fat Freddie's Drop, these two regions of the globe have been enjoying the special attention of the Dub-Friends. As usual with samplers, the offer is not one hundred percent homogeneous, but what remains, minus two three weaker tracks, is fantastic. The first track alone, "Proicuous" by Dubbo would outweigh 14 following total failures. Anyone who plays "Proicuous" on a home sound system with a strong bass should definitely warn the neighbors beforehand. It doesn't get any deeper, more powerful or tougher. The absolute definition of Dub. Two tracks further on you can hear the song by Jerry Mane, which turns into a furious jungle track in the middle, while two tracks further, Pickle one Dub who also delivers Mark Ernestus and Moritz demanded respect from Oswald. The list is more qualitative DubThis could be continued up to track 15, but the message should already be clear: A clear investment recommendation.

The astonishment that Soul Jazz has two Studio OneDub-Sampler released - and then so quickly in a row - when you get your hands on the following release of the label: "Box Of Dub - Dubstep and future Dub"(Souljazz). That's right: Dub is pretty hip again in England right now - even if Dubstep doesn't have much in common with reggae. The “Box of Dub“But beats out the Dubstep clubs a very elegant arc to the classic Dub, because here, in addition to spherical bass orgies, pieces related to the reggae groove are presented, which create an exciting, post-modern mix z. B. Channel One samples, subsonic drum & bass grumbling and breakbeats. Who as Dub-Friend with the topic "Dubstep ”, you will find a good introduction here with names like Digital Mystikz, Kode 9, Burial and King Midas Sound.

After a five-year hiatus, a new album has just been released Zion Train: "Live As One" (Universal Egg). The once five-man formation that emerged in the 1990s with their highly innovative mix Dub and Dance even got a major deal, has now "shrunk to health" on founder Neil Perch. But he got a lot of support into the studio: Dubdadda, Earl 16, Tippa Irie and a few other vocalists garnish the straight steppers beats from Perch's computer. Solid rhythms, inspired vocalists and - for Dub not self-evident - concise melodies - actually everything is there, what the Dub-Friend likes. But “Live As One” is still not really fun. Just why? Because the sound got a little too stuck in the 1990s? Because the album simply lacks ideas? Or because it sounds too traditional for a Zion Train album? It's a shame - Neil Perch can do other things too ...

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Dub (Revolution Review

Dub Evolution, May 2007

"Comfy Dub"(Tricornmusic / Mconnexion) - You inevitably think of cuddles heredub and cozy sounds, softened and mainstream compatible. But far from it! Comfy Dub is called a new one Dub-Sampler with extremely exciting tunes that belong to the best that the genre has produced in the last few months. The name says it all, of course, because it is actually rather relaxed, soft, chilled tunes that are gathered here. Warm, casually rolling beats, heavy with bass and echoes and despite their deceleration full of drive and tension. So something more to listen to and nod your head to than to cuddle. This is partly due to good craftsmanship, but partly to the consistent reggae groove that runs through all tracks like a red thread. The DJ, music journalist and producer Georg Solar, who lives in Cologne and is responsible for the compilation, presents us with his very personal collection dub-infiltrated favorite songs: 14 Comfy-Dubs from 12 countries, all of them fairly up-to-date productions - in a way the spearhead of the international one Dub-Progression. Also in the party are Waldeck from Vienna, Rubbasol, behind which the Münster-based producer Fe Wolter (Pre Fade Listenig) hides, Federico Aubele from Buenos Aires with a tango-inspired song Dub, Cottonbelly, the producer of Sade who Dubhouse minimalists Salt, Fat Freddy's Drop from New Zealand, Seven Dub in the Noiseshaper remix, Up Bustle & Out with a track from their new album, Zilverzurf and last but not least George Solar himself. All held together by the beautiful dubbig reverb distorted, gentle voice of the Dub-Poetin JEN who at this Dub-Flight over the different continents of the earth acting as our stewardess. Such loving production details as well as the informative liner notes written in a very personal tone underline the high quality of the production. But: As brilliant as the sampler is, its best quality is without a doubt that it is the first in a (hopefully) long series.

There is news from Echo Beach: "Immigration Dub"(Echo Beach / Groove Attack) Dubble standard. After the Viennese guys experimented with vocals on their last album, they are now - on their 10th album, by the way - back to the pure, typically hard, always a little bit like on-U-sound and industrial sounding Dub returned. In addition to the fast beats, it is above all the mixture of dry drums, electric guitar and various speech samples that ensures the On-U similarity. But there are also some completely different pieces to be heard on which well-known vintage riddims sound and flatter themselves with their warm, soft flow into the ear canals. A couple of vocal pieces finally smuggled their way onto the album, such as Ari Ups “Island Girl”, a track that is also on the sampler "King size Dub Vol. 12 "(Echo Beach / Indigo) from the same house. Although Vol. 11 should end, the really last episode has now been released - on popular demand - with the “best of” of the more recent Echo Beach releases such as Tunes by Seven Dub, Dub Syndicate, WetCookies, Dub Spencer & Trance Hill, to name a few.

The third Echo Beach release: "Earthling" (Colision / Groove Attack) by Wet cookies is pretty special. One of jazz like Dub equally shaped album, whereby jazz often leaves the spheres of cozy, relaxed bebop lounges and descends into the depths of various free jazz cellars, which is the regular one Dub-Beats used to demand a lot. But when Dub-Connaisseurs are known to be open to every experiment and whoever listens for a longer period of time will get to know a very varied, albeit weird album, which, however, progressively evolves as the tracks progress Dub away.

The now well-known New Yorker Dub trio submits his new live album "Cool Out and Coexists" (Roir / Cargo) which the label claims is the "hardest hitting to date". You immediately believe that this corresponds to the facts when the brutal, distorted punk / hard rock electric guitar riffs by DP Holmes knock you out of the sofa. Recorded at a concert in Brooklyn, remember that Dub Trio increasingly to the Bad Brains - only the vocals are missing. Your minimally occupied music (bass, drums, guitar) is getting rougher, more uncomfortable and harder - actually exactly the right thing to do to that of ComfyDub To blow spoiled ears really free and bring your head back to the here and now. 

Another album from Roir comes from 10th Ft. Ganja Plant. It has the simple title "Presents" (Roir / Cargo) and is a rerelease of the combo's debut album from 2000. If someone had written "from 1978" in the press release, you would probably believe it too, because the 70s Dub-Sound is 10th Ft. Ganja Plants specialty. It should therefore be clear what to expect on the album: hand-played rhythms, classic arrangement with the occasional brass section, the occasional flying cymbals and also occasional vocal fragments. Not exciting, but very pleasant and relaxed. So it wasn't a bad idea to reanimate this album.

And since we are thematically already in the 70s, we come to the revival selection very quickly. First of all, here is the album Carlton Patterson & King Tubby, “Black & White In Dub"(Hot Pot / Cooking Vinyl) to mention, on the 21 single B-sides are combined into one album, which producer Patterson recorded in the 70s and mixed by Tubby. Who on the dry mid-70ies tubbyDubsound stands, gets its money's worth here. The productions are minimalist, straight and are often introduced by beautiful melodic melodies, which unfortunately lose themselves in echo nirvana after a few bars. What remains is drum & bass at its best - managed by Tubby with virtuosity. 

The grandmaster is also on the album "King Tubby Meets The Agrovators At Dub Station "(Trojan / Rough Trade) Tommy McCook & The Agrovators to listen. This is the rerelease of the LP released in 1975 with a few bonus tracks. Bunny Lee acted as producer, which can be clearly heard in the dry offbeats - even if the overall sound is a bit fluffier than Patterson's. As we are talking about rereleases, it should not go unmentioned that Pressure Sounds has also unpacked a rerelease: Keith's Hudsons Dub-Album "Brand" (Pressure Sounds / Rough Trade). How innovative this work for the Dub The 70s can be seen in direct comparison with the two more ordinary albums mentioned above. A good reason to take another look at “Brand”.

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Dub (Revolution Review

Dub Evolution, March 2007

After the Dub-Album by Jan Delay (review in the last column) is now available again Dub-Work from Germany. Obviously, the reggae scene in this country is now so well developed that special interest sounds now find their place alongside dancehall and gentleman. The 26 year old producer and multi-instrumentalist Phillip Winter, who, despite his young age, has already worked on over 50 albums, grew up in this scene (z. B. Jamaram, Jahcousticx, Headcornerstone). He has often looked outside the box of reggae and dealt with jazz, punk pop or hip hop. However, with the album, he proves that his love belongs to reggae and that he has a lot to do as a sensitive sound mixer "Dubtrain " (19 / Enja). Under the beautiful name Umberto Echo Here he has gathered 12 highly exciting tracks that not only sound fantastic, but are also produced and mixed so diversely that you can run this album in replay mode for hours without getting bored. Each track consists of a firework of ideas: rhythm changes, arrangement changes, style changes and vocal fragments from great singers such as Earl 16, Luciano and Paul St. Hilair - other producers turn the material into five albums. However, Echo's great achievement is not only to have implemented these ideas, but also to have made sure that everything fits together so beautifully - instead of imploding in production overkill. The listener goes to the Dubtrain on a journey through the wide worlds of the Dub, glides through space and time, along boldly curved chains of associations in the gentle ups and downs of the warm waves of the bass. It's a shame that the train arrives at its destination after an hour. I could ride with him forever.

Not long ago, this column was the review of the Showcase album Abassi All Stars to read. Despite the showcase, there weren't any Dubs to hear. However, the sound of the album was so clear Dubthat it rightly found its place in this column. But Zion Train boss Neil Perch, producer of the album, is not a friend of halves, which is why he now, a year later, the pure, unadulterated Dub- presents versions of the showcase. The title of the album is logical - if a bit tautological: "Dub Showcase " (Universal Egg). Yet whoever proves to be hard-nosed Dub-Friend is now looking forward to another increase in enjoyment, let me tell you that the vocal versions of the pieces collected here were definitely more exciting. What might that be? The obvious explanation would be that the Dubs cannot compensate for the lack of consistently strong vocals with good mixes, since the vocals are already over good Dubs ran. Might be. But there is a second explanation for the poor performance of the Dubs: Without vocals, the listener can concentrate solely on the sound - and here he has Dub Showcase its weaknesses: Despite good rhythms and tough basslines, the tracks fail to break away from the steppers sound of the 90s. The entire album sounds like one big dejà vu. In particular, the Love Grocer-like wind sections cause a leap in time into the last century. It's a shame, maybe a little more courage when turning the controls would have been enough to bring the sound closer to the state of the art.

Here there is a transition to other major ones Dub-Protagonists of the 90s. In the limited 4 x 10 “vinyl singles series "Scoops - Rewind & Remixed" make them directed by the vibronics common cause: Alpha & Omega, Bush Chemists, The Disciples and Twiglight Circus. The concept is a bit complicated: there are four tracks of one on every single Dub-Artists, two vocal pieces each followed by Dub-Mix, whereby the A-side was remixed by the Vibronics and the B-side by the respective artist. All right? Actually, it is only important to know that we are dealing with recycling again - and that in a double sense, because we are talking about Dub-Mixing of Dub-Mix. And to whom the names of those united here DubAbout are still familiar from the 90s, he also knows what to expect: steppers, steppers, steppers. Another deja vu - especially the committed one Dub- Collector already knows all the pieces from the original albums.

As is well known, for some time now all Wackie's albums have been rereleased under the skillful hands of Mark Ernestus and Moritz von Oswald in Berlin - and exclusively. The bigger the surprise when I got the album "Wackies in Dub: PartfounderDubstation" (Wackie's / Import) saw. The subline: “A Bullwackies Production” led to the purchase of the album - of course only for purely selfless research reasons, because my skepticism was great. Rightly so, as it turned out. Apparently, Mr. Barnes actually reached into the controls himself, but the material he remixed consists of mostly boring downplayed rhythms of unknown origin. In any case, no trace of the magic of the Wackie's sound. One inevitably feels reminded of the loveless productions with which Scientist, also an old warrior of the Dub, has recently gone public. Probably nothing more than awkward attempts to squeeze a few more dollars out of the familiar name - and I fell for it.

Better to use the originalDubs of veterans like z. B. to those from the 70s who recently wrote King Jammy for the album "Dub Explosion" (Jamaican Recordings / Import). All tracks are Jammy's own productions that he had recorded in the Channel One studio. The album's liner notes rightly point to the precise production and superior sound quality that entices today's listeners to date the tracks to the early 80s. Nice, classic Dubs with nice, classic basslines. Not exciting, but rock solid and perfect background stuff for the office.

Finally, another one Dub-Album from Germany, by a Bedroom producer with the funny, ingenious name Sir Larsie I. (Probably derived from Lars ?!). On the album "Dub Buds Vol. 1 " (www.sirlarsiei.com) he presents 17 steppersDubs that are strongly reminiscent of the synthetic sound of the Disciples. He will certainly not get an innovation award for this, but he will get the respect of the bass junkies, because "Earthshaking" (as the cover promises) are indeed his basslines. My tip: Replace the Atari sounds with good quality samples and the thing is scratched.

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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. Noise Shaper, 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