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With her new Dub-Release On the ground in Dub prove the Black roots It is impressive that it is not possible to turn a boring vocal album into an exciting one Dub-Work to conjure up. Although the sound is excellent and the musicians play cleanly, neither the rhythms nor the melodies can really convince. So they splash in an uninspired way. The mixing is classic old school style and therefore not particularly interesting. Anyway, I'm not amused.

They show how old school works properly Spahni's Dub Dancers with cabareterista. There is great here Dubs to be heard with fat brass, organ solos and a lot of joy in playing. That is fun!

A very nice, just released vocal /Dub-Abum is Walls Of The City, on the Earl 16th in collaboration with Manasseh can be heard. There are four beautiful songs in the classic Earl 16 style, followed by stoic-meditative ones Dubs.

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Review

iLLBiLLy HiTEC: Reggaetronics

Who still remembers the Asian Dub Foundation? When listening to the debut album “Reggaetronics” (Echo Beach) by the Berlin trio iLLBiLLy HiTEC, memories of their fast, aggressive ones come back to me Dub-Sound with singing - or rather: rap. The iLLBiLLYs, it becomes clear, do not take prisoners. Right from the first track, the album exudes pure energy. This is at the expense of groove and bass vibes, but offers a view over the Dub/ Reggae outside the box in the direction of electronics, Dubstep, breakbeat and hip hop. Somehow you can tell from the studio album that the band is above all an experience live - which is perhaps also due to the analog sound of the drums; and the vocal accompaniment: Most of the tracks feature Longfingah, who beats his lyrics over the beats very quickly. Everything here is high energy - with a nonchalant punk attitude. If you need your ears blown free, you should give them to the iLLBiLLYs.

Audio sample on iTunes

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Review

Mind's Eye Dub: Uhuru

Uhuru

Dubkey is one of my favoriteDub-Netlabels. In fact, every album available there for free download is worth adding to your personal iTunes library. Publish here true Dub-Idealists who never even think about selling their music commercially. They're just about sharing their good vibes with so many Dubheads to share as possible. A laudable attitude that gains in value especially when the quality of the music given away can be measured against releases from normal sales. This is certainly the case for the latest album of the net label: "Uhuru" (Dubkey) by the Maltese multi-instrumentalist Mind's Eye Dub is a solid production. Good, original rhythms, nice melodies and, above all, beautiful melodiac playing make up his music. The only problem is that the DubThere's a few rough edges missing. Above all, the sound could be more defined, the mix bolder and the arrangement more varied. In terms of composition, everything is actually right. Only Mind's Eye succeeds Dub not to implement the compositional qualities powerfully enough. This makes the album a bit too shallow and monotonous. But instead of reading a lot of theory here, I advise everyone: listen for yourself http://dubkey.com/dubkey012.html

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Review

Alien Dread In Dub With Martin Campbell & The Hi-Tech Roots Dynamics Vol. 1-3

MARTIN CAMPBELL & THE HI TECH ROOTS DYNAMICS

“These Albums feature ryhthm tracks from the Channel One (Uk) vaults, produced by Martin Campbell” is written on the back of the album series “Alien Dread In Dub With Martin Campbell & The Hi-Tech Roots Dynamics Vol. 1-3 “(Reggae retro). A short sentence that left me confused. "Channel One UK"? And who is Martin Campbell anyway? Researching the internet later, I can now rhyme that Mr. Campbell, born in Germany in 1955 and raised in Jamaica, is friends with JoJjo Hookim and has received permission from JoJjo Hookim to set up a studio in England called “Channel One UK “(Which is also equipped with the same equipment as the Channel One studio in Jamaica). Campbell has been producing roots rhythms in this studio for a number of years, which occasionally see the light of day. Who brings in the Rhtyhms? No idea. Could he use recordings that Hookim gave him? No idea. Anyway, Campbell's sound is very similar to that of the original Channel One studio. The restriction to the style of the early 80s also fits perfectly, because like the rhythms of the Roots Radics, Campbell's tracks are played almost in slow motion, minimalistly arranged and inspired by a dominant bass. Andrew Passey, aka Alien Dread, in his southern English Phat has now become these rhtyhms Dubz-Studio pre-buttoned and chased through the echo chamber. The result is “too conventional” - as a colleague told me. I can't contradict him on the matter, but I can in the judgment of taste. Because I really like the conventional sound. It is simply more ideal Dub. The whole genre could be best explained in a textbook on him. You don't need any crazy ideas. Here a sound has found its perfect realization. It's like a good Margherita pizza: boring but delicious.
Audio sample Vol. 1
Audio sample Vol. 2
Audio sample Vol. 3

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Review

Evolution of Dub - Vol. 7

Evolution of Dub Flight. 7

After about 3,5 years the evolution of Dub - the way Greensleeves sees it - Vol. 7 (Greensleeves) and thus reached its end (according to a blog entry by the record label). As was already foreseeable at the start of 2009, the ladies and gentlemen of the archives had no intention of depicting a real evolution of the genre. Instead they contented themselves Dub- To republish albums from the back catalog as CD - with beautiful reprints of the original covers and more or less detailed liner notes. But the 28 selected albums so far neither followed a chronology, nor were they particularly important milestones in the development of the Dub. Usually a box was dedicated to one or two producers and spanned a few years. After Joe Gibbs & Errol Thompson, Niney, of course Bunny Lee, Linval Thompson, Ossie Hibbert, Lloyd Coxsone and Prince Jammy, Winston Edwards is now the conclusion. The listing of these names makes it clear to any reader who is halfway familiar with Jamaican music history that the evolution à la Greensleeves hardly left the 1970s. For friends of the old school Dub probably a revelation, the large-scale series is a missed opportunity in my opinion. An opportunity, however, that probably never really existed. Because bearing in mind that Dub very, very, very special interest, the effort of a meticulously compiled and well-commented history of the Dub probably never refinancing with sales proceeds. So let's sincerely thank Greensleeves for this great CD box series. - And then let's see what the Evolution Of Dub, Vol. 7 has to offer:

Natty Locks Dub

Four productions by Winston Edwards, the first three recorded in Jamaica, although Edwards had lived in England since 1974. There he ran his Fay Music label and released his first in the same year Dub-Album “Natty Locks Dub“With recordings that were partly made in Perry's new Black Ark studio, partly at Joe Gibbs', and mixed in Tubby's studio. Back in England I added a few brass solos and the album was ready. However, he was granted little success, which is easy to understand from today's perspective, as the tracks sound too shallow and stereotypical.

king-tubby-meets-the-upsetter-at-the-grass-roots-of-dub

"King Tubby Meets The Upsetter At The Grass Root Of Dub“From 1975 is of a different caliber. They were recorded in Joe Gibbs' studio Dubs the A-side by King Tubby and the B-side by Lee Perry mixed. Both sides are - especially in contrast to the previous album - very well done. Almost all rhythms were new compositions, the instrumentation, which is often led by Vin Gordon's trombone, is beautifully varied and last but not least, they are also convincing Dub-Mixes. As part of an evolution of the Dub The real importance of this album lies in its marketing. Because while earlier, imported in small numbers Dub-Albums found few buyers in England due to their exorbitant prices: “King Tubby Meets The Upsetter At The Grass Root Of Dub“Not only was it a proper, decent UK release at a normal album price, but Edwards also promoted the album with a widespread series of ads. The result could be included as a positive example in a marketing handbook of the time: The album sold brilliantly, became a cult among fans of Jamaican music and had one thing above all: the concept of Dub was made known to a large audience.

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"King Tubby Surrounded By The Dreads At The National Arena" came out a year later, in 1976, and came entirely from Dromilly Avenue. In addition to pure Dubs, there are also some vocal cuts to be heard, which the original liner notes justify with the fact that the album tries to recreate a live performance by King Tubby in the National Arena Kingston. But although the new album was also a success, Edwards closed his label in 1977 and instead took care of Joe Gibbs' London branch.

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Three years later when Dub was already about to fall from the audience, Winstone Edwards published his fourth and penultimate Dub-Album: "Dub Conference ". But this time it was a purely British production, recorded and mixed by the central protagonist of UK reggae of the time: Dennis Bovell (aka Blackbeard). The difference to the three Jamaican albums in the box is huge. The three-year time lag to the predecessor is likely to be less decisive than the generally better equipment of the British recording studios. The sound on "Dub Conference “is incomparably more complex, the Dub Mix is ​​much more willing to experiment, while the overall impression is more soulful and "warmer". The "Dub Conference "is a worthy conclusion to the" Evolution Of Dub“Series, because this is where the baton of the Dub from Jamaica to England. What followed is another chapter in the book of evolution.

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Review

The Breadwinners: Dubs Unlimited

The breadwinners

We are obsessed with new things. Nowhere else is innovation valued as highly as here in the western Babylon system (and the Jamaicans are no exception, as is well known). Different to z. B. In Japan, where it is considered a high art to master a craft perfectly and those who for example forge a samurai sword in absolute perfection or can prepare a classic dish to the highest perfection are praised, the quality of craftsmanship plays a completely subordinate role for us Role. A true artist is only considered to be someone who achieves something (even if only supposedly) innovative - regardless of his or her technical ability. The main thing is that the idea is new. This attitude leads to some beautiful things being neglected. On the other hand, it also means that we do not stick to what we have already achieved, but move on in search of something new and discover exciting possibilities. But the urge for innovation and the joy of what is tried and tested do not have to be mutually exclusive. Both can inspire me: The album of an experimentalist who breaks the boundaries of the genre - also at the expense of beauty. But also: the work of a traditionalist (or better: postmodernist) who tries in his music to come as close as possible to the ideal of the sound of a very specific era. I have celebrated Prince Fatty here many times thanks to his masterly mastery of this art. Now he gets company from a compatriot who is not (yet) as productive as Fatty, but just as good: Alan Redfern aka The Breadwinners. The stage name suggests a whole band - and that's exactly what Redfern is. A one-man-band, because he not only plays drums, bass, keyboards, guitar, percussion and harp (!), But also composes his music, records it and also mixes it into great music Dubs. The 34-year-old has recorded hundreds of tracks over the past five years. 15 of them can now be heard on his debut album: "Dubs Unlimited ”(King Spinna Records) - and these 15 tracks are the perfect sound to infect the new year 2013 with the vibe of the 1970s. Because what Mr. Breadwinners is doing here with its 15 short and humble tracks is nothing less than a veritable renaissance of Lee Perry's Black Ark sound as well as the reincarnation of the late 70ies Roots Radics. Why should you listen to this even though the closet is full of original Perry recordings and countless Roots Radics albums? For the same reason why you watch a Tarrantino film: It's just fun to track down the postmodern quotes, to enjoy the "old" sound in a quality perfectly mastered by Kevin Metcalfe and also to listen to extremely beautiful compositions and arrangements.
Audio sample on iTunes

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Zenzile Meets High Tone: Centons

Zenzile meets high tone

Re-release of the original 2006 collaboration between the two French Dub-Acts Zenzile and High Tone on Jarring Effects. In 2005 they went on tour together and the idea of ​​a joint album was quickly born. As expected, the album alternates between flawless Dub and electronic gadgets. Solid quality without flying high, but also without crashing.
Listening

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Brain Damage Dub Sessions: What You Gonna Do?

After the album "High Tone meets Brain Damage - High Damage", released in March, my belief in the French Dub-Duo lastingly shocked, the new Brain Damage album “What You Gonna Do?” Made me breathe a sigh of relief in October, just seven months later. Fortunately, everything is right again: Dub-Music as it should be! Okay, there is one caveat: There are six singers in the party. In the narrower sense, we are not dealing here with a pure one DubAlbum to do. It's much more of a showcase album, which first has six vocal tracks and then six Dub-Versions presented. But is the presence of singing an exclusion criterion for Dub? Not at all, as can be proven on this great album. While the music (often referred to as “backing”) forms the “background” for the vocals in a classic roots production, it is on par with the vocals on the Brain Damage album. Instead of just being rhythm, it stands self-confidently and self-worthily next to the singing. She is so attentive and individually designed that it is impossible not to listen to her with (at least) the same level of concentration and devotion as the six singers' voices. They are simply wonderfully composed Dubs that can (s) completely convince even without singing. However, and this must be frankly admitted here, the vocal melodies of Brother Culture, Learoy Green, Madu Messenger, Zeb McQueen and Sir Jean are so good that it would be difficult to do without them. And that's why it makes much more sense to listen with pleasure instead of worrying your head over drawers.

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Review

Shaky Norman: Universal Love

In reggae, the melodica will forever be associated with the name Augustus Pablo. The symbiosis created by Pablo Dub and melodica shaped a downright hypnotizing sound that continues to fascinate musicians today. So also the French Shaky Norman, who is actually dedicated to punk rock, but for four years Dubs decorated with its melodic melodies. He now presents these works on his album "Universal Love" (http://shakynorman.bandcamp.com). He doesn't even try the high art of Dub-Production, but uses the music more or less renowned Dubheads from all over the world: Dubatak (Brazil), Bandulu Dub (Portugal), Don Fe (Spain), Roots Ista Posse and Les Pigments Libres (both France), Chaves (Malaga / Spain), Mungo's Hifi (Scotland), Jahspora (France), Jiang Liang (China) and Dub Caravan (England). Although the Dubs come from such different sources, the album appears surprisingly closed and harmonious. The sound is soft and warm, and the melodic playing gives it a gently melancholy note. In order to counter the danger of annoying the little modulable melodic sound over the length of 14 tracks at some point, Shaky Norman varied his playing very skillfully: sometimes the melodic is a solo voice, sometimes it becomes a rhythm instrument, then it comes into function of classic reggae brass that only play a small hookline. Occasionally there are even tiny vowel snippets of Ranking Joe, Tippa Irie and Earl 16 to be heard, which also provides variety. - I think Shaky should quit punk rock and get on with the next Melodika album right away.

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Reggae Review

Resonators: The Constant, Dub Collection

Before I start writing this article and face the challenge of an initially shockingly empty document page, I should take a quick look at the Internet. A quick trip to the iTunes store, then a detour to Amazon and finally to my favorite site: junodownload.com. And what do I meet there? An album that I, without hesitation, immediately became the hero of this edition of the Dub Evolution course: Resonators, "The Constant" (Wah Wah). What a find! In the strict sense it is a vocal album, but the instrumental passages are almost more extensive than the vocal part and the band delivers that too DubAlbum "Dub Collection ”to“ The Constant ”for free Download equal to. But vocals or not: the sound behind the vocals is clear Dub - without but with the classic UKDub to be. On the contrary: The music of the nine-piece band from Brighton and London is one hundred percent analogue and hand-played - which is actually not the right material for typical Dub-Sound is - but works absolutely perfectly here. The guys behind the two women at the front just play incredibly inspired music, full of energy and variety. Anyone expecting a typical festival live band a là Jamaram or Irie Révoltés is wrong. The Resonators are miles away from the simple song and music conception of such bands. Instead of shouting along, the trend here is more connoisseur-like leaning back and enjoying, and instead of a one-dimensional orientation towards the singing of the Rampensau, a song by the Resonators is an organic whole, in which song, music and Dub- Effects play equal roles, permeate each other and together result in fascinatingly complex and yet catchy pieces of music. The free one is also fascinating Dub-Version of the album, which only has five tracks. The band's unbelievably present live sound comes into its own here and contrasts excitingly with the typical studioDub-Effects, which sometimes removes me from the old one Dub Syndicate album "Pounding System" remembers. On the other hand, while listening to it, Prince Fatty comes to mind, whose playful, relaxed music, brimming with inventiveness and impetuous love of play, is inspired by the same spirit. Nice! So, now I have to click on “I like” at facebook.com/Resonators.