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Dub (Revolution Review

Dub Evolution, May 2011

At the moment I am most impressed by the new work by chris Dubflow: "Echostream" (myspace.com/chrisdubflow). The Swiss plays my secret favorite variant of Dub: repetitive, driving, slightly technoid, electronic Dub à la Zion Train, Dreadzone, Rhythm & Sound, Rockers HiFi…. I am obsessed by the minimalist groove of this music: Carried by warm chords and a deep, deep, deep bassline, the beats shuffle and syncopate through pleasantly long tracks and let the listener sink into a meditative state - until the music becomes a pure state of consciousness . It is no longer an acoustically perceptible "object". Rather, it dissolves and becomes a pure present. This is a fascinating process that, by the way, can be experienced entirely without the influence of mind-expanding aids. Music like Christ's Dubflow, is completely sufficient for this. The "flow" of his music is overwhelming. Perhaps it's because his tracks are not works of art that have been elaborated and finely adjusted down to the last detail, but rather rhythms recorded in one take with reduced equipment, without overdubbing and post-production. Direct, analog and simply fascinating.

To Chris Dubflows "Echostream" fits another album quite well: "Boudub" (The Studio Stereo / Download) by Otis Readingalthough we are not dealing here with the inescapable hypnotic (Dub) Flow have to do. The Belgian is much more experimental, breaking off the flow as soon as you start to feel comfortable in it. His new album reminds me a little of Hey-O-Hansen, although Reading's sound is much more technoid. He is not easy to classify, especially since his new work is partly close to Dubstep - but without swapping the reggae offbeat for the typical, bad synth pads. "Techno", "Dubstep ”- that sounds like brutal, superficial music now, but“ Boudub" is the opposite. The tracks are complex, full of breaks, full of tempo changes and, last but not least, full of surprises. All of this still seems quite relaxed and lives from the contrast to the occasional harder passages. So if you have your gray cells again with an intellectual one Dub- If you want to enjoy the experience, you should focus on the fascinating Boudub-LetJourney in, sit back and perk up your ears.

And there it is again: the new king size Dub-Compilation! Started in the 1990s and now at "King size Dub, Chapter 15 " (Echo Beach), it is the longest serving as far as I know Dub-Compilation series of the world. And label owner Nikolai is rightly proud of a total of over 100.000 copies sold. Congratulations! In its younger days, the series was more of an inventory of the turbulent times at the time DubScene of the 1990s, so it has now developed into an Echo Beach and Collision label showcase. Therefore, on "Chapter 15" you will find the well-known and highly esteemed names from the beach of echoes: Ruts DC (as a Rob Smith remix), Noiseshaper, Martha & The Muffins, Up, Bustle & Out, Tack >> Head, Dubblestandart, Dubmatix, Dub Spencer & Trance Hill, Umberto Echo, Jamaram and others. The selection is wonderfully harmonious, relaxed and at the same time sufficiently varied. The Dubmatix track “Deep Dark Dub“, Which is presented to us here as a remix by Felix Wolter (already a small preview of the superb, soon to be released remix album by Dubmatix), is my personal highlight of the sampler, closely followed by the extraordinarily peppy track “Rootsman” from the Dreadzone headquarters and Aldubbs remix “Wa Doo Dubb “- a funny version of the Eek A Mouse classic im Dubstep style.

And then there is another edition of Greensleevesschen "Evolution Of Dub" (Greensleeves), who deal with the work with “Volume 6” Prince Jammys has prescribed. My initial enthusiasm for the “Evolution Of Dub“-Project has since given way to a little frustration, as the evolution at Greensleeves is a bit on the spot. What initially looked like a fundamental review of the history of the genre is increasingly turning out to be a vehicle for the mere re-publication of the label back catalog. Of course, Jammy is one of the major protagonists of the Dub, but all four albums are “Crucial In Dub"," Kamikazi Dub"," Uhuruh in Dub"And" Osbourne In Dub“Equally important milestones in the genre? In my opinion, only “Kamikazi Dub“Deserved a prominent place in evolutionary history. The album shows Jammy in top form - both in terms of the productions and the fantastic mix. The track "Throne Of Blood" named after the Kurosawa classic belongs to the gallery of the ten greatest masterpieces of the Dub. This track saves the whole 4-CD box.

A man with his Dub-Works rightly an essential chapter of the Dub-Evolution is Neil Perch. With his 1991 founded Dub-Project Zion Train he invented it in the mid-1990s (almost!) single-handedly (Dreadzone was still there) Dub-House and thus opened up an audience far beyond reggae and Dub. Now the label Nascente is dedicating it under the title "Dub Revolutionaries: Zion Train - The Very Best Of " (Nascente) a two-CD retrospective, from the more traditionally oriented beginnings to the Dub-House phase up to today's status as guardian of the original UK-Dub-Sounds is enough. Hearing the Zion Train oeuvre in such a condensed form makes it clear how incredibly progressive Neil Perch was at the time. In contrast, it's almost a shame that he sticks too much to the classic UK sound in his more recent work.

Bill Laswell is something like the East Coast Godfather of Bass. If music outside of the mainstream is made in New York and the surrounding area - the center of which is the bass - then Laswell almost certainly has a hand in it. In the present case, however, his busy fingers had to limit themselves to the buttons and controls of the mixer: David Solid Gould & Bill Laswell, "Dub Of The Passover " (Tzadik.com) is the Dub-Version of the instrumental album "Feast Of The Passover" by David Gould, which - unusual for a reggae album - was released on the label of John Zorn. “Feast Of The Passover” is an attempt to cross Jewish holiday songs with reggae, which is not so bad at all, since the slightly melancholic, Jewish melodies are extremely beautiful and harmonize well with the slow reggae beats. But as beautiful as the pieces on the original album are - it's not the dry and somewhat wooden sound that is typical of US reggae. And this is where Laswell comes in and mixes the boring template into a wonderfully fluffy one Dub-Album. It is always fascinating how much the character of music can be changed with the help of the mixer alone. Laswell's mix is ​​quite calm and classic - but the man knows the meaning of the sound and is able to master it with virtuosity. So is "Dub The Passover ”to a wonderful, relaxed Dub-Work that impresses above all with melodies and a wonderfully warm, harmonious sound.

Finally, the "Berlin Sessions " (Irie-ites) from Aldubb, Dubmatix and Mighty Howard mentioned. The three had each other during the last Dubmatix tour for a weekend in the Berlin studio Aldubbs included and three songs included Dub-Version produced. These have now been released as an EP by Irie-Ites and prove that reggae can also be produced here at a Jamaican pace.

 

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