Dub Poetry is a paradoxical hybrid of two opposing components. First Dub: An instrumental music that focuses the listener's attention entirely on rhythm and sound. Second, poetry: spoken poems, a sophisticated text form that demands the greatest attention from the listener. Dub and poetry - actually, the two competitors cannot fit together for the ears of the listener. And there is another problem: Dub is also demanding, and not least because of that very special interest. The same goes for poetry. It is not a bestseller either. Minus and minus in this case does not result in plus, but minus two, which - poetically speaking - is the perfect explanation for the genre's almost non-existence Dub Is poetry. All the more astonishing that now, 200 years after the work of a Linton Kwesi Johnson and 300 years after that of a Mutabaruka, actually, truly and really a new one Dub-Poetry album appears: “Share the Flame” (Universal Egg) by Jazzmin Tutum. It sounds as if the poet, who was born in Japan to a Jamaican mother and a Gabonese father, grew up in Jamaica and now lives in Freiburg, is single-handedly reanimating a genre that is so fascinating despite (or perhaps because of) its implicit contradictions . Well, “going it alone” is not entirely true, because she has chosen exactly the right partners for her project with a very sure hand: Neil Perch (also executive producer), Ralf Freudenberger (Jazzmin's long-time musical collaborator), Madtone, Brain Damage and - it couldn't be more congenial - Hey-O-Hansen! Five different styles - held together by Jazzmin's haunting speaking voice and her clever, committed, sometimes puzzling but always strong association lyrics. How to confirm my above mentioned thesis that Dub and poetry compete for the attention of the listener Dub and sometimes the poetry wins. With the three Hey-O-Hansen pieces - which are definitely my favorites - this is it Dub: the weird TyrolDub-Sound of the two Austrians in exile is so idiosyncratic that Jazzmin's voice inevitably has to fit into the total work of art. The German folk song "Hejo, Spann den Wagen an", which she recited over and over again, thus becomes a partly surreal, partly magical-mystical, but definitely grandiose unique listening experience. For the other productions, the Dubs let the charismatic poet take the lead. For example, in the impressive “Dis Ya Time” recorded by Madtone & Neil Perch – a much simpler but musically and lyrically extremely fascinating production, which has a peculiar fatalistic-aggressive mood. Braind Damage's oriental-sounding track “New World Order” with a political accusation that is, by Jazzmin's standards, downright explicit and formulated in plain language, is also one of my favorite pieces on the album. Even Jazzmin's recitations without musical accompaniment are fascinating and exciting thanks to their haunting intonation. Anyone who feels like really immersing themselves in an album again, listening carefully to every note and every word, will be richly rewarded with “Share the Flame”.