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Dub (Revolution Review

Dub Revolution, May 2006

It's amazing that Dub Recently it has also aroused the interest of jazz musicians, one would think that they are reluctant to get involved in the Dub Have the typical tight rhythm corset pressed. On the other hand, offers Dub Opportunity for extravagant sound experiments and is also a largely unexplored area for jazz musicians. In any case, the jazz musicians are an enrichment for the genre, as they open up a completely new sphere of sound in which the Dub-typical, fat-stoic beats of hand-played instruments and experimental sounds are contrasted and thus develop a raw and lively-direct charm. The three Swiss Adrian Pflugshaupt, Christian Niederer and Marcel Stalder have mastered this sound perfectly. Under the name of Dub Spencer and Trance Hill deliver them with their debut album "Nitro" (Echo Beach / Indigo) an extremely successful example of the fusion of jazz and Dub. Your psychedelic Dub-Sound, which is often enriched by western guitar riffs or even rock solos, is exactly the balance between grooving belly music and head music created for conscious listening. Repetitive beats and mostly live “mix excursions” - which here take on the function of solos in jazz - alternate in perfect timing and ensure that the album remains interesting and exciting over its entire length. If you can't imagine much under this very theoretical description, think of a (purely hypothetical) collaboration between Adrian Sherwood and Bill Laswell for the Brooklyn-based Word Sound label; Now imagine the whole thing as a live concert recording - and the weird and yet catchy sound of Dub Spencer and Trance Hill rise before the inner ear. And probably also the desire to listen to real live there.

Pioneered the fusion of Dub and jazz - apart from a few Sherwood productions in the 1980s - is likely to be Burnt Friedman, who wrote several between 2000 and 2004 Dub-Albums released on his non-place label. The aim of his fully programmed sound was to come as close as possible to the sound of hand-played instruments. Now the jazz quartet has Root 70 (Nils Wogram, Jochen Rueckert, Matt Penman and Hayden Chrisholm) transformed this almost perfect fake into an actually hand-played "original" with the help of trombone, saxophone, drums and double bass, by creating seven new Friedman compositions and three pieces by Flanger - and completely acoustic - has set to music. The result is the album "Heaps Dub"(Nonplace / Groove Attack) - fascinating and very, very beautiful. Because although Root 70 supposedly specializes in free jazz, everything here sounds well-ordered and harmoniously arranged - yes, it is even less experimental than Dub Spencer and Trance Hill. At the same time, the proximity to jazz is greater due to the acoustic instrumentation. The brass section and the lack of a guitar result in a completely different, less rough, extremely harmonious sound. (The free jazz musicians will probably be horrified to read this ...)

Let's stay a little longer with hand-played music. From Dub Trio was already mentioned two years ago when the minimal band had released their debut album "Exploring the Dangers Of". Now comes the new work "New Heavy" (Roir / Cargo) - and the name is pretty accurate, because while the debut album is a reggaeDubAlbum with certain rock influences, “New Heavy” takes a big step towards metal. Yes, you read that right: metal. But the crazy thing is: it works pretty well - and much better than the Bad Brains, because that Dub Trio has a pretty groovy reggae beat on it. As soon as the listener wants to let himself fall into this beat, wants to be carried by the deep bass and moderately advancing drums, a guitar thunderstorm breaks out, which suddenly pumps adrenaline into all corners of the body. Just before the stress level rises too high, the guitars fade away and the reggae groove takes over again. Between these two extremes, however, there is a wide field of sophisticated and cleverly arranged Dub-Effects that turn the album into a multi-layered musical experience.

The complete opposite is the project of the two Englishmen Garry Hughes and Andrew T. MacKay, which they run under the pseudonym "Bombay Dub Orchestra " (Exile / indigo) have realized. Instead of screeching guitars, there is peace and quiet here. In India, Hughes and MacKay had a 28-piece string orchestra play for them and then stacked the recordings in their British home studio in layers until they had the desired “cinematographic-symphonic panorama sound” of superlatives on tape. Add a few sitar, sarangi, tabla and bansuri soloists and the musical ambient triphop was done.Dub-Curry. For us, the bonus CD with the Dub-Mixing interesting. But even though all the ingredients are actually right, the curry does not develop the necessary heat. You manage to listen with concentration for a maximum of five minutes, then your thoughts are elsewhere and the music is just background music. Too bad.

Quite different with Stefan Schneider and Bernd Jestram, who deal with their project map station on a fine line between minimal techno a lá compact, minimal Dub a lá rhythm & sound and minimal serious music a lá Steve Reich move. Calm, short, repetitive beats, a warm, bass-driven, completely synthetic sound and hidden melodies characterize the multi-faceted productions of the two Berliners. Your new album "Distance Told Me Things to Be Said" (scape / indigo) is perhaps the most recommendable album in this column - even if it is not easy to find it in the category "Dub“To accommodate. Yet how it is for Dub is typical, this music has a strong hypnotic effect. The syncopated beats carry the consciousness, like the clacking of the sleepers on a night train ride. Noises from the real world mix in this twilight state: a child is playing somewhere, an open window, a car drives past. Then the listener is suddenly in Africa and is finally brought back to the here and now by the warm melodies of a trombone - only to start a new journey with the next track. Great!

Finally, two very tangible ones Dub-Albums: The three Stuttgart musicians Wolfram Göz, Michael Friedler and Gabriel Schütz put under the band name Tokyo Tower her debut album "The Meaning" (www.mutan.de) in front. It's a quiet, cautiously experimental one Dub-Album that is clearly based on the sound of Leftfield, Dreadzone and Terranova. It is full of interesting ideas such as the musical implementation of Charlie Chaplin's speech in “The Great Dictator”. But even though all songs are well developed and implemented with attention to detail, there is still a bit of timing missing at one point or another and the rhythms don't groove as they could. The undisputed master of the groove, Sly Dunbar, is up "Skin Flesh & Bones meet The Revolutionaries: Fighting Dub 1975-1979 " (Hot Pot / Indigo) can be heard with his "early work", because behind both names are roughly the same studio musicians, primarily Sly & Robbie, who recorded 18 tracks for Lloyd "Spiderman" Campbell. If you listen carefully, you can already hear the blueprint for Sly Dunbar's typical "Rockers Style" in these recordings, which he later brought to perfection in the Channel One Studio. Those gathered here DubIt's not one of the most exciting productions of the 1970s, but it's still nice to listen to - especially when you hear rhythms like “My Conversation” or “Be My Puppet”.

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