(This text has been machine translated.) As if everyone had just been waiting for spring, tons of exciting dub productions have tumbled in over the past few weeks. But maybe it's just the yield of several months of homeOfficeStudio
In any case, this album gives me the most joy at the moment: "Obudubz"(Culture Dub) from HabooDubz. Yes, it's easy to mix up artist and album names. Behind the cute HabooDubz - the name would make a good title for a children's book - is the globetrotter Gabor Polaak. He was musically socialized in Budapest, emigrated to Manchester, then moved to London, then emigrated to Cambodia, traveled extensively through Mexico and finally returned to his Hungarian homeland. During his circumnavigation of the world he absorbed a variety of musical influences, which now, at Dub-Producing have to go out again and give his music this wonderful cosmopolitan flair. Actually it is about Worldmusic inna Dub-Style. In the truest sense of the word: Heavy bass and steppers usually form the solid base on which exotic instrumental tricks are built. Sounds like a classic pattern, but Polaak's art is precisely characterized by the organic connection between the two levels. He succeeds in avoiding exactly what we do with Dub not infrequently heard: a run-of-the-mill beat and above, completely detached, a melodica (or another stereotypical solo instrument). The opposite is with HabooDubz the case: Exotic harmonies and rhythm bases fuse in virtuoso arrangements to form highly exciting music trips, which are wonderfully analytical to listen to, but which also really get into your body and trigger the urge to move. In order not to restrict the fascinating world sounds to exotic melodies or samples, Polaak often adds typical percussions or uses unusual melody instruments rhythmically. Last but not least, the mix ensures that the tracks follow a proper dramaturgy that always creates surprising twists and turns and changes of mood. The best for last: Since the Hungarian cosmopolitan wants to do good to the world, he offers his brilliant music through culture Dub-Page at Bandcamp free to download. Crazy, but extremely personable.
6 replies to “HabooDubz: Obudubz "
High René!
You should also like to receive a comment for such an exciting review. Although I mostly comment on the reviewed albums. But you really managed to "make my mouth watery" so that I listened to the album full of tension. And then it goes straight through the (skull) ceiling with such an ingenious intro, so that I can write the album for the "Dub-Oscar ”wanted to nominate. I think the elephant is real, but I could well imagine that it is a programmed elephant. No matter ! Flashed me a lot.
You write about “exotic instrumental sparrows” and I'm really into sparrows of this kind. If then “musical influences from all over the world” are added to the DubIncluding production, I'm actually already fully involved. But you also write of “A run-of-the-mill beat and above, completely detached, a melodica (or another stereotypical solo instrument)” was avoided. As far as the instruments are concerned, I fully agree. But the beats - and now it's over with our beautiful "togetherness" ;-) - I feel for the most part as "0815" ...... especially related to the entire length of the album. But now I consciously make the "mistake" (?) And relate the beats to the rhythm. The beats are also a basic requirement for the percussions and the drums in general. The drums are probably programmed here, too, although I have to admit that I can't say for sure. But I assume very strongly. It is very clear to me, however, that the BassLine was not plucked by Aston Familyman Barrett, but rather was programmed by a program within a program itself. That’s really bad with “Sandy Sound”, for example. I even trust a Dieter Bohlen with such “BassLines”.
I'm out of there feeling betrayed. Cheated out of my favorite music. Cheated of my future and cheated of the future of Dub.
But I absolutely agree with you that the “virtuoso arrangements” and the exotic harmonies ”make the album at least exciting. For me, “high-tension music trips” need a rhythm base that is much more pure magic. So I put “Technote” (if only because of the intro) and Clandestino, because “Luci” goes really well there, in my (still rather short) steppersDub-List packed. Representing everyone else Dubs here on “Obudubz ". Knowing that I also have one or the other Dub nor could have taken to it. But the dreary bass lines make it very difficult for me to fall completely into ecstasy here.
Ok, I'm not offended and I hope you and everyone else might even appreciate it very much if I don't keep picking up the slack basslines in the future.
But I've decided - for today at least - not to write any more comments in the future on albums that (basically it is) don't have a bassline.
So if no comment comes from me in the future, it is not because I am no longer in the mood, but I do it out of consideration for everyone who cannot see any problem in my "problem". Then it is simply the rhythm carpets that were no longer woven with love and devotion and boring me. But I don't have to keep writing that over and over again. I think this is in everyone's interest.
We have a poster like this in the hallway. It says, "Zoom and home office is not a solution either". The many productions from the home studio that are supposed to be lurking for us are also not a solution for me. Of course, I'm looking forward to the exceptions to the rule.
Homegrown would be more my thing ……………………… lemmi
Hi Lemmi, your demands on basslines can hardly be met. It's a shame when a suboptimal bassline spoils every listening pleasure. Of course, fantastic basslines are fantastic. But so that they can stand out from the crowd, there has to be this crowd too. If you limit yourself to the absolute top selection, then your record cabinet should be quite empty. I see it more like this: For me, the entire work counts. If everything fits perfectly, then so much the better. If not, then not everything is bad either. In between there are many shades of gray. Of course, I also love great basslines (see my review on Big Man Sound), but that's exactly how I like the sound of a rolling bass - even if the bass notes are not always the ultimate. HabooDubIn my opinion, it succeeds quite well in compensating for any weaknesses in the bass with other qualities. But ultimately the quality of Dub do not discuss “objectively”. That's why we're always very happy to receive your comments, because there are many well-founded looks at a release. Putting them against one another, reading good arguments and then listening to an album with “different ears” is a lot of fun for me.
High René!
I don't think it's a shame when I Dub or music with "suboptimal basslines"
so to speak exclude. There are also disks in my record and CD cabinet
partly slack basslines and even slack sound. But there are also things like Natural Numbers, lots of Scientist and On .U-Sound, bullwackies
and and and ...... all music with fantastic basslines. And that's how I was literally shaped, stamped and punched. For me - and I write everything from my point of view, which does not have to have general validity - every piece of music stands on the unshakable foundation of a bassline. Then the beat of the drums is very important to me and everything that comes after that is just the freestyle of a piece of music. Yes, that sounds very simple, but personally I get along very well with it.
We've had that before. Due to the many homegrownDubs, it's getting too much for me. So I have to limit myself and yes, of course I would as well Dubs with suboptimal basslines are happy if there weren't any others. But
I or you still find enough DubDiscs that allow me to sit firmly in the saddle and not have to worry about the ground.
As far as I'm concerned, there really doesn't need to be any music with new, magical basslines.
I can easily get to the end of my days with what I have. And I already have enough suboptimal basslines in all variations. So I don't do anything other than a selection from the pool, which is getting bigger again and again DubFor me, s and suboptimal basslines are a good exclusion criterion so as not to overload myself with too much music. I can't do it otherwise.
So don't worry, I can't keep my opinion to myself anyway.
So I will definitely still “blow my horn” in the future, but I don't want to talk about slack basslines anymore. Slack basslines don't motivate me. Slack basslines "don't kick me in the ass" but that's exactly what I like so much ;-)
And as I said, I don't want to bore anyone with "slack basslines" ;-) (I probably like the ambiguity of this sentence best myself ;-))
So, how do you say "everything is fine" keep it up …………… .. lemmi
Oh René! One more thing. I hope that doesn't go too far wrong now, but I'm just up for it.
In your book, which I also think is great and that you are making it available to us as a pdf, I find it not only sympathetic, but also really great, it says, you studied art history AND (!) Film studies AND (!) Philosophy. From this I conclude that our perception is based on enormous, if not exorbitant, differences. I wouldn't even have gotten the material from one subject into my pear and you do it with three different subjects. Here with us I also got to know people who studied medicine in addition to physics or law. Which planet are you from? How does it work ? I will put it plainly and simply as it is. I'm definitely too stupid for that. I say quite openly, because there is no profile picture of me ;-)
In addition, you listen to at least as much music, if not more, than I do, write books, create DubBlogs and you already know a lot about computers.
That's why I always go into the goal of my own free will if there is too much information to process. And so your horizons and the horizons of many others are probably much larger than mine, which also affects the capacity for a lot of music. I dared to write this like that and possibly come out as a dork, because I know that everything is fine as long as I can still tie my own shoes. (I'm still doing NEN
Knot and have to cut the shoes each time with a scissors and then new shoelaces ....... ;-))
Until ………………………. lemmi
;-))) Don't put your light under a bushel. To over Dub- Writing and judging music doesn't help at all when studying art history. All that really helps is a lot of listening experience - and you have a lot of that at your disposal. But I can understand you well because I don't have much more than years of listening experience. I have not studied music or sound engineering and do not know Dub only from the reception. This is definitely a handicap. From other contexts I know how much the view of an art changes when you do it yourself. It is not for nothing that only trained chefs work as critics for the Michelin Guide restaurant guide. Just because I took intensive photos myself, I can judge the quality of photos better than that of paintings. As an art critic, I would therefore specialize in photography. That's why I understand mine Dub-Reviews are always purely subjective comments that cannot claim to be general. I am only giving my subjective opinion and my personal thoughts here. The intention behind this is to get readers to read certain releases to heart, perhaps to listen a little more closely and to sharpen their own judgment on my judgment. And only because it's fun. So in the end to do exactly what the two of us, Lemmi, are doing right now in the comments.
Yeah man
And what's the most fun ?!
Weekendeeeeeeeeeeeeh ;-)
Greetings ……………… .. lemmi