Dub (Revolution Review

Dub Revolution, November 2004

The name "Dub Funk Association " is cleverly chosen, as it leaves an interest group with many influential members to promote Dub- and suspect funk music. The spearhead of a movement that Dub proclaimed the universal principle of modern dance music and promotes the merging of the two styles. None of this is true. The "Dub Funk Association “actually consists of only one man, Kelvin Richards, who, while in fact, is his idea of ​​contemporary Dub-Music that doesn't have much to do with funk. Since the 90s he has been producing (in addition to his own productions) Dub-Compilations together that showcase his take on the genre. Now his point of view is by far not as progressive as he himself assumed, but what the quality of his “Roots Of Dub Funk “albums doesn't do any harm. Nothing more and nothing less than simply really good are gathered here Dub-Tunes that Richards brings together from around the world. For "Roots Of Dub Radio 4 " (Tanty / Rough Trade), which has just been released, he has 14 pieces out of around 125 Dub-Albums selected - and not made a single mistake. Because in addition to fat basslines and inspired mixes, it is above all melodies that Richards cites as a quality criterion. And how much we, enlightened beat junkies who we are, love harmonies and beautiful melodies is amazing. And believe it or not: Dub offers plenty of space for melodies. Be it the bassline, be it brass samples or well-placed keyboard chords - there is actually no excuse to forego melodies in the polyrhythmic of the beats, as Mr. Richard proves once again.

Harry Mudie - Jamaica's veteran producer, from whom z. B. the legendary Dub-Conferences originating with King Tubby is obviously still active. A new episode of his "In Dub Conference“Series came out, which was no longer held in the presence of King Tubby, but a certain one in his place I-Tek Paul (Moodisc / Import) sat down at the conference table or mixer. In complete contrast to the rather questionable quality of his name, I-Tek Paul shows some dexterity at the mixer and delivers a consistently interesting, very active and inspired mix DubAlbum off. His mix material, however, is not about classic Mudie productions, but new, digitally recorded rhythm tracks - even if they like to reanimate one or the other Mudie bassline. The album is only available in Germany through Irie Records in Münster (

Dubmatix is called Jesse King, sound freak from Toronto, who is now with "Champion Sound Clash" (MPLA / Import) presents his debut album. Its title is to be taken literally, because different people meet on this album Dub-Sounds on each other. Be like that z. B. pure steppers Dubs in the style of the UK school, contrasted with heavily dancehall-influenced up-tempo pieces. But also melodic rootsDubYou can find s with sung hooklines up to sugar-sweet lovers backings here. Mr. King is not so confident in all "sounds", but it is fun to see him on his way through the Dub-To accompany the universe - one can only argue about his sporadic singing skills.

The album sounds completely different "Conquering Dub"(Reggae Retro / Import) alien dreads (a name unknown to me about which nothing can be found out). The beats flow calmly and calmly, place themselves modestly in the background and seem to have no more in mind than wanting to fill the room with warm vibes. I often heard the album while working - as an anti-stress agent, so to speak. It worked wonderfully. However, the album does not stand up to conscious listening. On the other hand, the pieces may be uniform and uninspired.

Sound empire is also one of those previously unknown Dub-Projects that is now coming to the public for the first time with an album. There are three Minneapolis names behind the Sound Imperium: Paul Harding, Dave Park and Aaron Bellamy. For years they have worked on their album with various artists from Jamaica, Cuba, Sierra Leone, Costa Rica and the USA "Pre-Emptive Dub Attack "(Revolucion Disks / Import) worked. Correspondingly many influences can also be heard on the album, with the cumbia track “Mi Gente” in particular standing out positively. This Latin American orientation, in combination with song titles such as "Dub Annihilation (State Terror Mix) ”,“ CIA ”, or“ No Dub for Babylon “the political message of the sound empire clearly: With drum & bass it goes against neo-conservative America under the Bush administration. Since this message hardly deals with exclusively instrumental Dub-Music can convey, the Dub-Excursions supplemented by four vocal pieces. Stylistically, the album can hardly be grasped due to its diverse influences. Dub seems to have been the lowest common denominator here. Therefore, the individual pieces are often quite disparate. In terms of sound, too, little goes together here. In that sense, we are dealing with a bad album, but a good compilation that brings together interesting but very different pieces. But no concept is also a concept.

Now we come to a very simple, but absolutely effective concept: Live Dubs. We're talking about three American musicians, DP Holmes (guitar and keyboards), Stu Brooks (bass and keyboards), and Joe Tomino (drums and melodica) who go by the name Dub trio on their album "Exploring The Dangers Of" (ROIR / Import) want to print their individual DubPlay in completely analogue and live in real time. Even the effects like reverb and echo are produced live. This concept represents the production method of Dub on the head. Defined as pure studio music that reworks previously recorded material Dub the exact opposite of a live gig like him Dub Trio practiced. According to this definition, the pieces of the Dub Trios no Dub. From a purely phenomenological point of view, however, they are, because they are damn good Dub-Tunes sound. The whole concept of the live game wouldn't be worth mentioning if the resulting music didn't have a very unique quality. A very interesting one: the music sounds rough and coarse, powerful and direct and it breathes a real live atmosphere by listening to the room in which it was played. This becomes particularly clear with the three concert recordings, where the response of the audience was captured. Through the applause, the extraordinary virtuosity of the musicians suddenly becomes very noticeable. What sounds like a wall of sound are just three musicians! A fascinating album, then, which in the end is unfortunately only the "documentation" of the live action, which this is actually about.

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