Dubmatix: Riddim Full

This is not a Dub Album. It's not even a new album; Dubmatix '"Riddim Full"(Renegade Recordings) was released last November and is the successor to"Riddim Driven Vol. 1"(Aka"Versions Vol. 1") Marketed. The title says it all: 11 more riddims from the house Dubmatix, as they emerged over time and became known in the community as vocal versions. 

So far, so bad: that's it and not But ... why not listen in when the opportunity is good? Relieved by voices, the individual tracks provide deep insights into the arrangements and production technology of Dubmatix; sometimes surprise with beautiful brass sections (Can't Keep Us Down Riddim), sometimes disappoint with unimaginative loops (Rock N Hard Riddim). Reliable, however, the typical Dubmatix sound: the offbeat pushes itself into the foreground, the bass holds back a little, the drums can sometimes be mistaken for a steam hammer. Right, someone keeps squinting in the direction of the dance floor.

In a direct comparison, “Riddim Full” draws the shorter one from the reviewer; the predecessor "Riddim Driven Vol. 1" is a bit more varied. The album mastering is annoying with both releases, if there was one thing at all: It can't be that difficult to miss 10 or 11 tracks at a reasonably similar volume level. Come on, Dubmatix ... do it for me.

Rating: 3 out of 5.

10 replies to "Dubmatix: Riddim Full "

DubI also got to know matix through vocal versions. Renegade Soundwafe was the real reggae revival for me !!! At a time when Sizzla to Capleton to chuck fenda were all shouted and riddims only came as a "necessary evil" especially from vp-records - very quietly in the background Dubmatix like the new reggae messias to redeem my tortured reggae soul. Finally reggae again, where it was about the music and not about endless text babbling. At Dubmatix, the vocals and the music were in harmony again. I was blown away with almost all vocal discs. But I tend to revenge and just have to get rid of the fact that "the french sessions" - to put it mildly - make me really sick. This record triggered terrible aggression in me because singing on it is unbearable for me. Unfortunately, I only noticed that when the windshield was long running at home. No no no friends, not everyone who dares can really sing! That has to be done by the boys (and girls) he recorded until shortly before these “Trubadurs from France”. As mentioned before, at Asterix and Obelix they always hang in (not on) the tree. Alton Ellis, Horace Andy and all the fantastic singers from Jamaica are simply better at it, or have they been blessed by JAH when it comes to singing. I don't even know what all this singing is supposed to bring. That was a suggestive question of mine that I would like to answer myself right away. I think all the vocal discs (except the frenchteile) are fantastic because the vocals are used like another instrument and are not pushed over the music in an obtrusive and annoying way. Perfect for me !!! And if I write now
I wouldn't have needed the riddims individually, that wouldn't be entirely correct.
The "Detonator Riddim" alone !!! So far I only knew him from the remix version on the " Dubmatix King Size Special ”. I find this Riddim HAMMERGEIL! For me, it's a perfect symbiosis between reggae and hip-hop! In the last minute it sounds like the disc has cracked, it's so monotonous but what is a minute in the infinity between space and time. I also like to listen to all the other riddims without the vocals, although I always fully celebrate most of the vocal versions
can if it's your turn again. This is perfect material for the dance floor, with or without singing. In any case, I cannot sit still there. I have to hotten there
like the "Hottemax" from Helge.
That I did one before “Renegade Soundwafe” Dubmatix was home, I only realized years later. Stand by my samplers.

"Champion Sound Clash" …………………………. lemmi

Once it's out, it's too late!

Of course I meant “Renegade Rockers” …………………………………. lemmi

hey lemmi,

I can easily top the “French Sessions”; I can recommend the first two Mato albums for the very daring and for those who like to face the vocal derangement: "Il est Cinq heures" Vol. 01 and Vol. 02. Both typically Mato and consequently very, very good studio productions - but the singing that sometimes whimpers at you ... how do these people get the idea of ​​standing in front of a microphone, let alone entering a studio?

Perhaps both of us, as non-French, lack the connection to such vocal performances (and pompous lyrics).

High gtkriz!

I don't even need to “check” that with Mato. I don't believe you heard that.

But I would like to make it a little clearer that I am not interested in “French”. It's about the type of performance and the balance between vocal and music or riddim. If so, they should make the singing quieter than the sound
but not the other way around. When I want to hear arias I go to the opera, but with reggae and music in general, it's the riddim that flashes me. I just can't dance to the text and I've never danced my name either.

In general, we all don't have it that extreme with singing here. Otherwise we wouldn't want to Dub Listen ……

"Hey DJ! Drop That Needle “…………………… .. lemmi

I am for Dub came because I no longer wanted to hear the unspeakably stupid and inhuman texts of the 90s and 00s. I also had very little new material left for the radio show because the majority of the productions were in one way or another racist, homophobic, misogynistic, glorifying violence or otherwise violated fundamental (human) rights. That was important to the broadcaster, but above all to the listeners ... Sizzla, Buju Banton ... "Do you want to offer these people a platform?" Oh well ... of course not. I learned and realized for myself: It's not about individual tunes, it's about the life-despising basic attitude of such "artists".

And then there was this loudness war that continues to this day, which VP in particular fought out in reggae. Bad mastering, full volume until the highs and lows cliff or are castrated. What remains are the mids ... the voice. Dub was the solution for me: Here the bass and the hi-hat were still where they belong and in between the much-quoted “Acres of Space”. Heart, what do you want more?

Now I've got bogged down ... at least: I can understand that with the voice very well, lemmi.

PS: I was already concerned with the peculiarity of French chansoners :-)

As for the vocals and lyrics, I have to totally agree with you. Not only are many of the lyrics “homophobic, misogynistic and glorifying violence” - almost equally, I was always annoyed by the narrowness of the lyrics. Because of "rebel music"! Slackness, herb and religion are the dominant themes of reggae. That is not enough for me and is irrelevant for my life. In short: the real quality of music lies in the music. I want to hear them undisturbed. But of course there are exceptions. "Night Nurse" is z. B. my favorite reggae song.

"I also had very little new material for the radio show because the majority of the productions in one way or another were racist, homophobic, misogynistic, glorifying violence or otherwise violated fundamental (human) rights."

Oh oh risk! Now I may gamble away part of my sympathy or part of my acceptance in this block.
I am not at all surprised that a radio station ticks this off for itself, but at least I think that you can look at everything in a more differentiated way, if not even have to.

We colonialists in particular should be very quiet when it comes to human rights violations, racism, violence (not just glorification) and homophobia.
Not every person with dark skin likes to hold out his left AND right cheek. I can understand their anger here and there very well.

But that's about it from me, because I definitely don't want to open this barrel all over again. I just lifted the lid to check if it still stinks.

I don't need these lyrics and I don't celebrate them either, but I still differentiate between action and text. For me it makes a difference whether a Sizzla “sings” something like that or whether some Faschokopp with a European “migration background” says something like that. Nevertheless, both have nothing to do with the radio ...

Maybe I should have swallowed that rather than make myself unpopular, but I couldn't have answered myself for that.

So sorry if I should be completely wrong here ............................................................................. lemmi

Hey Lemmi, you have to be able to stand by your opinion, withstand the headwind or change your mind - nothing should be there if the ego is halfway normal.

I would like to tell you on the subject that not only the broadcaster ticked it off, but me too. Such texts do not work at all and it does not matter how they are meant because the only thing that matters is how they affect the listener and what they trigger in you. Especially since men like Buju Banton or Sizzla weren't / are not innocent lambs in their everyday lives.

However, I strictly reject the generalization “we colonialists”; I am not a colonialist, I have no guilt about this and I take no responsibility for what any ancestors did. I am only responsible for my own doing or not doing.

Nor do I make a distinction between people of this skin color and that; Haters are haters and altruists are altruists there and there. The (heart) education, the mind, but also the (often imposed) morality make the difference ... and that imo regardless of the life situation.

Jo gtkriz!

I can understand your point of view very well and fully accept it.

"Let's talk about Dub“………………………. lemmi

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