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.