Lee Perry is a myth. And although - with very few exceptions - he hasn't gotten anything worth mentioning since the late 1970s, his name is still very popular (at least among European and American producers). There are several reasons for this: Perry was undoubtedly one of the most innovative and creative protagonists of reggae in the seventies - but nobody would have been interested if punk had not discovered its weakness for reggae at that time and The Clash had not discovered Perry's “Police and Thieves ”. Since then, the name Lee Perry has been a solid brand in the consciousness of indie rock socialized music fans, which stands for pure (albeit alien) innovative strength. It goes perfectly with the fact that the madness of the eccentric Mr. Perry, which has now lasted around thirty years, is mostly confused with the genius of his early creative period. In addition, Lee Perry is (at least for the target group mentioned above) the inventor of the Dub. And since Dub was known to be the blueprint of remix culture, Lee Perry easily becomes the forefather of modern club music. Against this background, it does not seem surprising that the Lee Perry myth is often instrumentalized by producers and musicians outside the reggae context to enhance their own works. The most recent example of this practice is "The Orb Featuring Lee Scratch Perry Present The Orbserver In The Star House" (Cooking Vinyl / Indigo). Not that The Orb needed to push CD sales with the name Perry, after all, the band, founded by Alex Paterson in 1988, enjoys cult status as the founder of the house subgenre Ambient House. Still, I strongly suspect that Perry's choice was not musically motivated. The electronic orb beats and Perry's sharp, largely melody-free vocals harmonize like apple pie and Tabasco - namely not at all. The Orb (in the incarnation of the duo Alex Patterson and Thomas Fehlmann) approaches the matter just as skilfully as Doubblestandart did two years ago with their album “Return From Planet Dub"By using Perry's" vocals "rather sporadically, like a sample, and giving the music more space - but then Patterson and Fehlmann could have recorded an instrumental album as well. This would not have turned out bad - but then it would have no place in this blog. And that leads us straight to the question, dear readers and friends of reggae, what could be of interest to you about this album? Not much, unless you are also an avid listener of minimal electronics - or really fanatical collectors of Perry material who, for the sake of completeness, also want to incorporate this latest Perry audio document into the collection. If neither is true, then you can safely forget about "The Orbserver In The Star House" and this text and read on with the next review.
If you want to finally escape the eternal, repetitive, dull and stupid, almost mindless reggae offbeat, you can lend your ear to the label sampler “Uno” from the Italian label “Aquietbump” to sink into spherical “low end frequencies” . The sound is included somewhere Dub-House / minimal electronics and really isn't bad. Anyone who owns a voluminous subwoofer can easily provoke structural damage (or body damage, depending on) with this album. I even know two of the minimal artists gathered here: Andreas Tilliander and Hieronymus (which doesn't help you now, does it?). It's best to have a listen, because the album is free.
In the beginning there was Dubullah - a man with a vision. Even more enthusiastic Dubhead (one would hardly have expected otherwise with the name), founding member of Transglobal Underground and Syriana, had the dream, reggae and Dub to connect with the music of Ethiopia. In 2006 he flew to Addis Ababa, met many great musicians there, and founded the band with them Dub Colossus and recorded two albums. But what a real one Dubhead is, he doesn't just record two albums without them through the Dub-Wolf to spin. "Dub Me Tender Vol. 1 + 2 “(Real World) is the result of this process and you cannot avoid Dubullah to attest the mastery of his craft. What was originally a mixture of Ethiojazz and Reggae à La Abyssinians or Mighty Diamonds is now - formally speaking - more pure Dub. Played very lightly, with a sound reminiscent of live recordings. It may not be an album that gives us hardcoreDub-Maniacs, but the target group of the Real World label should be amazed to see music that is so much more playful and musical than what it was used to categorize under reggae. And it is precisely this joy of playing, which literally gushes out of the music, that with the conventions of the (mostly electronically produced) Dub breaks and enables a whole new experience of our favorite genre. But I modestly dare to question whether it is an all-round positive experience. Maybe I like the classic Dub-Convention too much, but it may also be that the conventions are the result of a natural and consistent process and therefore rightly exist; that develops in my ears Dub Colossus in any case not that fascination that the "right" Dub-Sound lives inside. In my understanding means Dub always “less”, i.e. minimalism, repetition and pure sound. Dub Colossus, on the other hand, offers “more”, musical abundance instead of minimalism, variation and joy of playing instead of repetition and instrumental “songs” instead of pure sound. The mix does not have the task of destruction here, but is itself a “more” in that it adds to the music and increases its complexity. In spite of Dub do we have it at "Dub Me Tender “not really with Dub to do - apart from that, with an interesting musical experience.
If there is a name in reggae biz that stands for pure eclecticism like no other, it is Prince Fatty. The man shamelessly plunders the long, glorious history of the genre and tinkers bad homunculi from the stolen goods, which send cold shivers down the spine of every serious reggae purist. But all those reggae lovers who are able to maintain a small, delicately subversive and ironic distance from their favorite music, cannot help but enjoy Fatties' music with a big grin on their face. I belong to this category and I admit it: Prince Fatty is my hero! After his two Dub-Albums "Survival Of The Fattest" and "Supersize", his productions for Lilly Allen, Holly Cook and Little Roy, he has made me a loyal Soldier of Fatty's Army with his new work: "Return Of Gringo" is a crazy one Mixture of surf guitars, ska, spaghetti western soundtrack and (occasionally) Russian tunes. Let's try to evoke the idea of a jam session in our brain, which is already battered by an absurdly chaotic world, in which Dick Dale, the Skatalites, Ennio Morricone and Alessandro Alessandroni (the guitarist and singer whose whistles in countless spaghetti westerns shut down is heard) sit together in the studio by mutual agreement and each of them does his thing (are you still with me?) while Mike “Prince Fatty” Pelanconi and his partner Nick “Mutant Hifi” Colowe with a crazy grin on their lips the “Record "-Press button. Anyone who can imagine that is ripe to listen to the album without the risk of (additional) brain damage.
But joking aside. Let's be serious now. Honestly: The album is actually offered as the “Original Soundtrack” on iTunes. Obviously, the software thinks it is the (Morricone) soundtrack of the 1965 film "The Return Of Ringo" with Giuliano Gemma in the lead role. The Apple servers in Cupertino should listen carefully again: the venerable old Signor Morricone would never have condescended to such a joke! But Pelanconi & Colowe do. The latter (by the way Adrian Sherwood's right-hand man and co-producer of Asian Dub foundation Dub Syndicate, African Head Charge and Little Ax) plays guitar, glockenspiel, bass, keyboard and melodica, while the former mixes the whole thing through vigorously. Not to forget the brave horn section and the sweating drummer who tries to keep up with his bulky instrument. And of course Alessandro Alessandroni, who is actually part of the party as a guest musician. Somebody should make the film, whose brilliant soundtrack can be heard here!
Other reggae protagonists also seem worried about the success of the Dubstep does not really participate. That's why Greensleeves (or VP) thought that they could repeat what has already proven itself at Jungle: simply remix reggae tunes in the trendy style. Busy Signal, Ding Dong, Mavado, Vybz Kartel, but also veterans like Yellowman, Admiral Baily or Barrington Levy find themselves in the wrong context. What Roommate masters brilliantly (see above), namely reggae and Dubstep in a congenial way seems schematic, careless and inappropriate on the Greensleevs sampler. Ultimately, we are dealing with pure ones Dubstep productions that mostly only use fragments of the original reggae vocals as decoration. So the result is the combination of a sterile bass-booming beat with dancehall vocals chopped up to hectic staccato. Not really exciting. However, there are exceptions: The up-tempoDubstep interpretation of Yellowman's “Zungguzungguguzungguzeng” from the studio of Housepower Productions is already awesome, while the VIVEK remix of Johnny Osbourne's “Fally Ranking” is familiar dubsounds big. But that doesn't save an entire album. While Roommate was combining the best of both worlds into something new, Greensleeves created a hybrid in which the components of the genres suddenly stand side by side. This is unlikely to be friends of reggae either Dubstep fans can convince.
Dubstep - the big hype of the last few years. After initial enthusiasm, I quickly became disillusioned: Compared to Dub war Dubstep is often simply boring. In addition, the reggae offbeat is missing, which makes the matter questionable anyway. But now I'm on a very, very exciting and, to my taste, very, very good one Dubstep sampler: “Generation Bass Presents: Transnational Dubstep "(Six Degrees). What the presented here Dubstep so extraordinary is the eponymous "transnational" sound. Because here the wobble bass and the percussion loops mix with elements of traditional world music, such as Arabic chants, cumbia, Balkan beats, gipsy swing, Sufi music or even Far Eastern harmonies. The result is an absolutely organic compound of Dubstep and world music. Usually rather monotonous Dubstep becomes a veritable firework of polyrhythmics, syncopated beats, strange melodies and weird instrumentation. The sampler was compiled by the operator of the influential Dubstep blogs generationbass.com.
Let's go one step further and cross the line of with “Last Band Standing” (Enja) from Forty Thieves Orkestar Dub and reggae towards world music completely. Since 1994 there has been the mixed combo from London and Istanbul, the Balkan gypsy beats and belly dance with strong reggae and Dub-Influences connects. Brass, clarinets, violins, accordion and percussive beats become a fascinating mélange, where you always think you can hear a reggae beat. The rhythms are wonderfully complex and yet unreservedly groovy, the melodies are catchy and yet strange and the studio mix reserved and yet full of finesse. I think there is no hiding that I fell in love with this album - even if it was close to it Dub can only be attested with good will. But the album offers everything that is good Dub must have: good instrumental music, interesting beats, virtuoso studio work, great musical ideas and, last but not least, a fat groove. Only the bass dominance and that are missing Dubeffects - the for Dub are, however, confirming. Well, I can twist and turn it: Dub it isn't - but it's still great!
1. Lee Perry & Adrian Sherwood: "Yellow Fever" from the album "Dub Setter"
2. Alborosia: "Can't stand Dub"From the album"Dub Clash "
3. Dubmatrix: "Deep Dark Dub"From the album" System Shakedown "
4. Carlton Jackson & The Upsetters: "Dub History "from the album" Sound System Scratch "
5. Hey-O-Hansen: "Jungle" from the album "We So Horny"
6. The Revolutionaries: "Fancy Dub Up ”from the album“ Crueshal Dub“(Part of Evolution Of Dub volume 5)
7. The Revolutionaries: "Earthquake Dub"From the album" Earthquake Dub“(Part of Evolution Of Dub volume 5)
8. Sir Coxson Sound: “Born To Love” from the album “King Of The Dub Rock “(part of Evolution Of Dub volume 5)
9. Sir Coxson Sound: "Zion Bound" from the album "King Of The Dub Rock Part 2 “(part of Evolution Of Dub volume 5)
10. Dubble standard: "Optimism (Subatomic Sound System Dubstep Refix) "from the album" Marijuana Dreams "
11. Dubcash: "Seven Times Seven" from the album "Transformed In Dub"
12. Ras Amerlock: “Troubled Again” from the album “Jahtarian Dubbers Vol. 2 "
13. O'Luge & Kornerstone All-Stars: "Spanish Bombs" from the album "Shatter The Hotel"
Download (MP3, 61MB): Dubblog_Top_Ten_2010
Im DubTo write a blog about Cumbia is a bit absurd. I am aware of that. But on the other hand, I can only explain my enthusiasm for the newer Argentine variety of cumbia with the fact that reggae and cumbia may not be as far apart musically at second glance as it initially seems. Cumbia was created on the Caribbean coast of Colombia, so to a certain extent across from Jamaica. Like the forerunner of reggae, mento, cumbia comes from the time of slavery and consists of a mixture of African and European rhythms. Like reggae, cumbia is played in 4/4 time, is strongly syncopated and has a polyrhythmic structure. In contrast to salsa, there is a clearly emphasized bassline in the cumbia - this is also a common feature with reggae. In the 1970s, cumbia became popular in Argentina, first with the working class, then with the middle class kiddies and finally the upper class also danced to the highly commercialized "Cumbia Romántica". The break with the mainstream followed in 1999 when Pablo Lescano single-handedly turned Cumbia upside down and made music the gangster rap counterpart of Argentina. His “Cumbia Villera” was played faster, adapted various “urban sounds” such as hip-hop and electronic music and was given a fat, heavy beat, which was often crowned by a trashy-sounding MIDI lead melody. In 1996, Dick el Demasiado from the Netherlands initiated a series of festivals called “Festicumex”, which was devoted to the experimental manifestations of cumbia. From 2003, a new focus of the scene in the Argentine capital Buenos Aires emerged when the Festicumex series was revived there. And from now on it will be exciting, because in 2006 the mashup DJ Villa Diamante organized a series of parties under the label “Zizek”, which eventually became the club and the record label ZZK records should emerge. That was the birth of Cumbia Digital, a hybrid style in which Dub, Reggae, Reggaeton, House, Minimal Techno / Electronics and Cumbia come together in a fascinating way. The result is an incredibly grooving experimental hybrid that sometimes sounds to me as if the Cologne compact artists had slipped their rhythm tracks.
If you want to be hooked, the two samplers are: "ZZK Sound Vol. 1 - Cumbia Digital"And"ZZK Sound Vol. 2“Recommended, both by Geres' main label. If you are then ready for a real solo album, "Rodante“(ZZK) from Chancha Via Circuito. Chancha's stoic-repetitive beats are fantastic minimal music - on a cumbia basis, beautifully intricate and still groovy. It then continues with "Freestyle de Ritmos“(Soot / Cargo) by El Hijo De la Cumbia. His music is not as radical as Chancha's and sometimes even reminds of classical Cumbia Villera, which is by no means less exciting - especially since El Hijo always garnishes his beats with grandiose melodies. It gets really weird with "Space cumbia“(24 Hour Sounds), a curious sampler with pieces that sound like Kraftwerk is playing Cumbia. Three other good samplers are: "Arriba la Cumbia!"(Crammed / Indigo),"Sonido Martines Presents: Nueva Cumbia Argentina, The Buenos Aires Implosion"(Soot) and"Cumbia Bestial!“(Chusma). The offer a completely free insight into the world of modern cumbia from Argentina ZZK mix tapeswhich can be downloaded from the ZZK website.
Anyone who discovers Cumbia Digital for themselves will inevitably become a hunter and gatherer, because information on this subject is rare and finding new records is real detective work. Therefore: if you have tips for me - always bring them on!
Out of the box: Evolution of Dub, Volume 4, Natural Selection:
- Joe Gibbs & The Professionals: Tribute To Donald from the State Of Emergency album
- Joe Gibbs & The Professionals: King Of Dub from the album Majestic Dub
- Joe Gibbs & The Professionals: Full Moon Iky from the album African Dub Chapter 5
- Sly & Robbie: Laser Eyes from the Syncopation album
International Observer: Popcorn Slavery from the album Felt
Finn The Giant: Dub Pon top from the album Dub Pon top
Gemmy: Grime baby from the album Steppas' Delight 2
Jazz Steppa: Taylor Rain from the album Studio Rockers At The Controls
Download Mp3 (28MB): dubmix_11_2009
Hey-O-Hansen: Sun and moon from the album Sun and moon (Pinging)
Zion train: Boxes and Amps - Vibronics Remix from the album Live As One Remixed (Universal Egg)
Dub Terror: 31st Century from the album Dub Terror (Universal Egg)
Salt: Accusation vs. Rhythm Collision from the album Rhythm Collision Re> loaded (Echo Beach)
The vision: Mental Healing Dub from the album DubVision II (Percussion & electronics)
The Dynamites: Dub Star from the album King Tubby & The Clancy Eccles All Stars, Sound System International Dub LP (Pressure Sound)
Avatar: Sunrise Dub from the album Like River To Ocean (Amaru Music)
The Dub Machinist: kikkoman Dub from the album World Wide Dub (control tower)
Download Mp3 (36MB): dubmix_10_2009