Dreadlock Tales: Years 2000-2006

Today there are Dub from the far north, more precisely from Finland. As the title suggests, the recordings are not brand new. Nevertheless, it is worthwhile to take a closer look at this (free) retrospective. Dreadlock Tales is (today) a DubProject by Kimmo Ilmari Tyni, a musician and sound engineer from Helsinki. Together with Kasper Philström he founded "Dreadlock Tales" in 1999 as a studio project, about reggae and preferred Dub record. The project can look back on more than 20 years of musical development and history. Perhaps it was also obvious because of the anniversary, the very first Dubs from the early years, "Dreadlock Tales: Years 2000-2006“To be published as a complete work lasting over 40 minutes. We hear an exemplary compilation of very early “Dreadlock Tales” titles, including the very first track ever recorded by the two musicians. Most of those gathered here Dubs were still played in analog. But even in the early days, Kimmo Ilmari Tyni had this “analog vs. Digital thing ”going on, in which he likes two different Dub-Versions made. First an analog version recorded with instruments, which was then followed by the digital version produced with "machines". A very nice example at “AmBush Dub # 1 & # 2 ″ to hear out. Those gathered here DubThey were recorded and mixed together with Kasper Philström. Kaspar Philström sat on the drums and took over a number of other instruments. Kimmo Tyni dedicated himself to guitar, bass and keyboard instruments. The melodic basslines and dynamic riddims were recorded and mixed in analogue old-school style. References to the old ones Dub-Masters cannot be ignored here either. What is particularly considered a curiosity in the Dub What has to be emphasized is the use of a didgeridoo or harmonica on some tracks. The melodic was used relatively sparingly on only one track. I was very excited about the in advance Dubversion of "Wild Child", a Doors cover from the 1969 "Soft Parade" album. At the end of the title we get a fat pound of rocky, groovy guitar riffs on our ears, which unfortunately have nothing in common with Robbie Krieger's guitar sound and therefore seem rather (dis) disturbing to me. That is why especially Dubheads the last two minutes of “Wildubchild “confidently.
Nevertheless, we can say on the whole positive: Even if these tracks were possibly created during the pitch-black Finnish winter, they still exude enough warmth to make the studio the only place of refuge where you can protect yourself from the frost and the mood swings of a winter depression could.
Conclusion: I personally like the recordings from the early years much better than the current works by Dreadlock Tales.

Info: Kasper Philström, who also appeared as a co-producer and on the controls at the beginning of Dreadlock Tales, left the project after the recordings for “SynchroniCity” (2007), which has since been continued by Kimmo Tyni alone.

Rating: 3.5 out of 5.

4 replies to "Dreadlock Tales: Years 2000-2006"

I'm excited again here too Ras Vorbei !

I think the show is really great! However, once again I am very sorry for my vocabulary with all the many Dubs that exist hardly makes new variants available. Personally, it's always about basslines, DubAtmosphere, effects and ultimately the whole groove. All aspects have been implemented so well here that I can only be thrilled. The effects are consistently on my wavelength and especially above the drums there are sometimes more, sometimes less, real effect thunderstorm cells, which once again creates fantastic space-time curves in my head. Yes, there is a certain “astrophilia” for many too DubHeads unavoidable. Hence my comparison to cosmic phenomena again and again. In any case, the reverb effects on the drums show what is in such a mixer, among other things, everything. For me it creates “images” of
visible "gravitational waves", which float like streaks over all seven mornings through all the hills and valleys and pick up speed every morning until they finally change into a special - possibly through aurora borealis - fantastic glow on the horizon and a lasting, magical impression leave. And if you multiply my attempt to describe this feeling or this experience by 5 times 10 to the power of nine, you get roughly an impression of how it works for me and why I always spin around a bit or have no problem with it to get mad about it. But that remains speculation.
Every now and then I am beguiled by a very nice keyboard or synthesizer "melody", for which the word melody seems a little too long, because the "melodies" are very short and only consist of a few tones, but these tones hit my innermost and become Played in just the right order to light up my soul. I especially like that with “South from here”, where fine percussions join in and round off the sound experience wonderfully. With "Dub Rider “, both the sound of the RiddimKeyboard and the effects on it hit my nerve! Fantastic !
Yes and "WildDubChild “actually suits me very well. I can't help but take revenge on the Doors by bitching around here a little. The guitar solo (ver)
doesn't bother me that much and the keyboard only hints at how extremely annoying these miserably long, quacky keyboard passages in the Doors have made even the best tunes unbearable. Nothing against "Riders On The Storm" and of course "The End" (in both versions)! For me that is and will remain a "VERY BIG CINEMA" !!!
And once again I lean a little bit far out of the window by admitting that I don't hear a single digitally produced recording here. Even with “Ambush Dub"
the instruments - especially bass and drum, of course - sound like the finest organic chocolate from Rapunzel. Only at DubRider the bass sounds sythetic, but it is an A
bubbles and also has a very cool bass line.

Well, a few more words have turned out than I initially thought, but I have formulated a lot of things in this way or something similar. It could be that this happens more often ;-) Always exactly when good to very good Dubs are recommended.

Something like that ………………………… .. lemmi

Thank you lemmi,

I knew that, the doors always go with me. As you put it correctly: “Great cinema” what this band delivered back then. I would like to mention “LA Woman”, the last regular album with Jim Morrison, for which the Doors even got a bass player. As I said, the guitar at the end of “WildDubChild ”doesn't fit at all in my opinion. This "snappy" guitar sound then destroys the cozy atmosphere built up by the track. Such beautiful elements are interwoven in the track: flute, harmonica, neat DubEffects and then that guitar steamroller that irons everything smoothly. But that's the only disturbing thing.

Oh yes, I really want to experience Aurora Borealis live!

I especially like that good one Dub arises around the globe. Whether in Finland or New Zealand is completely sausage. In so many countries it will be good Dub produced, only Jamaica - the mother country - is not able to do this. What a shame!

To AmBush Dub # 1 & # 2:

I listened again, # 2 was only created digitally. No drums, no bass, all synthesizers and sequencers - the result is amazing.

Yo! Ras Vorbei !

That's why good René always likes to rave about that Dub meanwhile a kind
Has become world music.
I would - as my way is - expand it and say, DUB IS THE
That with the Dub from Jamaica I don't accept it like that. Even if it should actually be true. But I don't have time for my “conspiracy theory” on the subject at the moment ……………. (They really want me to work here ;-))

So ! I'll be back ……. no question ……………… lemmi

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