Five Star Review

Kanka: Interaction

Perhaps the most uncompromising sound systemDub today comes from Rouen in France, where Kanka sits in his basement studio and tweaks the controls. He just doesn't touch the button for the bass. It is turned all the way to the right by default. In November of last year he released his new album "Interaction“, Which - as usual with him - can be downloaded free of charge from Bandcamp. Why the title "Interaction"? Perhaps because it is played in the sound system and requires a physical reaction from its listeners? In any case, the bass makes the lungs vibrate and the pant legs flutter. I love that and I also recommend the album for the living room at home - provided there is a tower of subwoofers.

Rating: 5 out of 5.

19 replies to "Kanka: Interaction"

"Dub = Bass “………… .. I would say that this is exactly where he was wrong. And possibly the whole Dub Sound system scene. As someone who has been reggae for over thirty years and Dub Fan, I take the right to judge that. The question is not whether I can judge it. I always ask myself why that is some of the digital ones Dub I really like it (e.g. Philipp Greter) and something like this Kanka disc just gets stuck in my throat because of sheer sterility. How come?
I have no idea but a guess. Could it be that Philipp Greter uses his digital Dubs, sent it through an analog mixer again and made it sound warmer and more musical?
No question about it, the bass is really good with Kanka, but that's not enough for a good one Dub feeling
It's a shame that I'm even in the Dub-Scene I'm something like an outsider …… lemmi

I think the strongest, catchiest, most effective Kanka tracks came out around 10 years ago. The best, of course, with Brother Culture or Ranking Joe on the mic - babble babble brrrrr babbylon: D
Some of the newer songs do sound a bit sterile, but the impression is gone when played through a sound system.
At home about mine at least Dub- played a suitable system (currently Canton GLE100, which makes no real sense in my worker's locker), Kanka is somehow more straightforward than Greter, but also more danceable.

Equating digital = sterile does not work anyway. Already in the 80s there were a lot of albums that were recorded and mixed completely analogue and that sound incredibly bloodless and cold. "A mixer is not a sewage treatment plant" still applies, things should add signals, not color them ... a mixer that makes "warmer" is simply defective.

What for me "analog warmth": creates: tape saturation (!!), (slightly) straining tube amps / compressors, spring reverb. And of course the various influences of vinyl playback (crackling is great, needle clinking and limited dynamics / displacement of other frequencies when the bass doesn't kick in).
Everything is also available as a digital plug-in: p

Back to Kanka's latest work; the album (like “Cool it” before) doesn't have the long-term quality and recognition value of “Sub.Mersion” or “Dub Communication ". Somehow the good guy (he's a bass player!) Has to allow a little more “dirt” in the channels. This music does not live from crystal clear production and a noise-free sound design!

In retrospect, I also felt a bit sick with my choice of words “warmer sound”. I can tell you have a better idea than I do. "Band saturation", yes and even spring reverb (I don't know what spring reverb is, you have to take a look at that, there is something with reverb and I have no idea) tell me nothing, but I'll google it right away.
From my point of view, it could have stayed with vinyl forever and ever, but the crackling (especially from Jamaica pressings)
I miss the least.
Perhaps it is also the straightness of Kanka (or Uk-Dub general) that bores me. I like it to be playful and as imaginative as possible. For example, I also have no respect for the Iron men and women of this world, who incomprehensibly enjoy swimming, cycling and then running after the time. Whether it makes more sense to chase a shuttlecock or a leather ball, I leave it to the philosophers, but I can confirm that it's more fun. You also have to use your brain a bit in badminton, yes and even in football, and a bit of talent and physical intelligence can do no harm. Swimming, running and cycling, on the other hand, primarily only require straightforwardness. So I am all the more surprised that academics in particular do this sport so often. Probably because of the discipline that academics have ahead of me in the first place (well and they seem to have more brains too).
So, I hope there are no joggers or marathon runners around here, with whom I have now made myself unpopular, but I always have great fun expressing my opinion about stupid, hard-working straightforwardness.
I used to go jogging too, but only because of my fitness, it was never fun ;-)

With all this, I would still like to say that Kanka and Uk-Dub are still better than, for example, David Getter or skrillex and all those other useless, unmusical taugenixe who earn their money with a straight-lined audience, which only feels something like a twitch in their legs during "Foxtrott stampfe". And if it's just the flutter of your pants.

I have nothing of imagination and creativity in me either. I'm just not artistically gifted. But I have the impression that the creativity of all artists in the world is decreasing. Bob Marley, for example, brought out a milestone every year in terms of reggae and thus in the field of music in general. Timeless and still unmatched. After ten years, his son Julian puts out a single floppy disk. Anyway, that's my first impression of “As I Am”. Kabaka Pyramid, and whatever they are called, don't seem to me to be as creative as artists used to be.

So much for my apocalyptic mood on this Monday ……………………. lemmi

With regard to most of the sons of Marley (is that already a dirty word?) And New Roots Artists (is that a permissible summary?) Broad agreement. The problem, however, is the “album” format, which in the streaming Ex & Hopp era seems to have somehow been out of date.
So now young artists have made a couple of singles, maybe a mixtape or an EP, and then an album has to come out. With all kinds of features, of course, you're networked. Of course not a mini-album of 7 beautiful tracks plus intro, but at least 60 minutes straight away. And then as a (prospective) fan you torment your way through, looking for the hit, or at least something that sticks ... on the one hand there is a lack of creative newness, on the other hand you also expect reggae and not a black metal-synthwave-offbeat hybrid.

You could say this is not a good time for the album format.

Albums that captivate from beginning to end weren't too common in reggae even in the past.

I see:
Tape saturation: non-linear sonic artifacts that cause a kind of compression in analog recordings. Knows us (over 30) maybe from too far controlled cassettes.
Spring reverb: simple electromechanical method to generate reverb, built into many guitar amplifiers. How exactly it works is a mystery to me to this day. There's a lot of reggae /Dub where it can be heard, sometimes it is plucked or knocked on the device, which then sounds like thunderstorms. I'm just looking for an audio sample ...

of course the versions are seldom on Youtube ... I don't think so. Roberto Sanchez - Holy Land / Earl 16 - Mankind on Lone Ark, of which the version has exactly the sound I mean ...

Yo rop up!

For me there is so much explosive in your words that could make my head explode.
Nowadays, albums are often just an alibi so that the artists can go on a world tour in order to at least earn some money live. Which, of course, I grant them with all my heart. Now you can not fill a whole concert with just a few singles, since you have a really good band with you, at least 10 minutes per tune Dub - the version can be attached without the many people who like to “dance” to the text getting bored. In the past (I can often no longer hear the word myself) the Jamaicans came by with their musicians from the island and you (I) were just completely fascinated by their groove. Today even an I JAH Man is playing with a band from France with lots of white heads. They can play too, that's not the way it is, but they'll never get the flow of I JAH Man's original band. That's what frustrates me the most. There seems to be no more money here in Germany and in Europe “worldwide” for real culture (what is that again?). Jahcoustix came to Göttingen with a three-man band, which made me feel dizzy a long time ago. The old (mind you the old) Robotix from Mad Professor might have managed to bring a fat sound to the stage with three people, but even they were four !!! It annoys me that you are only fed cheaply and that you always have to have a large portion of GoodVibes with you in order not to go completely mad.
For all that, of course, neither the Jamaican artists nor a Jahcoustix can do anything for it. They are the victims of our cultural poverty. When I think of Mark Foster or Helene playing in a full stadium, I doubt all of humanity. It has to and not everyone is into reggae, but it could have been a little more. Sometimes it seems to me that there are more reggae artists than fans. I alone cannot support them all by buying a record from them, especially since in the "EX and Hopp - Streamig - Age" there are often no more records to buy. Babylon Shitstim dat!
Yes, and then I also hear that reggae (especially from Jamaica) is messed up with trap (or what is the name of this unmusical nonsense) in order to create creative “new things”. I understand the minus. For example the NEW record by Oku Onuora sounds like the good old days. Solid fat riddims (especially at the beginning) and somehow I often read between the lines that this is exactly what reggae fans want. And still, just like, yes EARLIER (!!!) just like that.
Reggae doesn't need trap or any other black metal synth wave off beath hybrids.
Since then, one wants to sneak in on the unmusical but unfortunately in the exorbitant excess of people who like to listen to the radio. Reggae is an art form that is unfortunately only financed by the general Babylon music business. Reggae unfortunately needs a lot of subsidies in order to really be presented in full strength. So there should be some kind of foundation for reggae from which every reggae artist and especially the musicians (because they are the heroes in this world) can be properly paid.
I accuse the whole world that they let themselves be fooled and that almost everyone would rather have the latest smartphone instead of wanting to watch a really fat reggae concert again, which is so good that even the lemmi likes it.
I know that a lot of things I write here are nonsense again, but I “have” far from finished. At the moment, unfortunately, the time is ready ...........................

Until then …………… .. lemmi

(certainly a lot of errors but proofreading is really no longer possible, sorry)

High René!
I could now also write “Well, it works” but that wouldn't be entirely honest. Meets my taste, especially Cuss Cuss twice, but I'm sorry if I have my grumbling days because I don't think the record is really fresh. We have all known Cuss Cuss, Sleng Teng and Co. "since the birth of Christ" and yes, I still like it like on the first day but there is no longer soooo much adrenaline. The effects are also a bit too serious for me. At the moment I'm looking for “absolute madness”…. whatever that may be then. "Mad Professor" shreds Bob Marley "goes in the direction in which I feel really comfortable. Although this example already limits the search for insanity (positive insanity, mind you). Oh, I can't say exactly either… .. I'm just a little annoyed, it'll be fine.
But the really great concerts such as Mad Professor and The Robotiks with no matter who, will unfortunately no longer take place. Dub Syndicate will never play again… .. sorry I just soaked my keyboard with my tears …….

You have to move with the times, there is nothing left but to do Dub Fan, I'm used to swimming against the current and the zeitgeist and I can't help telling people that not everything that is new is good and worth striving for. Soon we will all be watched around the clock with our own TV (if that's not the case anyway) and I would like to log off the TV for that reason alone and shoot in the outaspace, but a life without TV is beyond my imagination.

Believe me, the fact that I rattle around so much gives me the most to think about.

In this sense …. bye first …………. lemmi

Just for the sake of completeness. I found your audio samples on Spotify and I think I understood what you mean. Earl Sixteen doesn't give his voice for every kind of sound either. I don't know everything about him by a long way, but only good to very good.
You wrote “albums that captivate from beginning to end were not too common in reggae, but even earlier”. I don't want to contradict you, but at this second I can think of too many albums that still captivate me from beginning to end and still positively maddened with enthusiasm.
I can't spare you and you a small list now, because I'm still "ready" here at work (40 hours a week ... .. is also such a topic, but let's be fine).

First of all I have to say that I can't think of a single weak song from Bob Marley and The Wailers, even if I can only hear “No Woman No Cry” about every three years, I really think every record of them is good.
Peter Tosh is awesome from front to back and is only topped by himself in his unsurpassed interviews. For me, interviews with Peter Tosh are the finest "Dub-Tunes “that exist. “Nuclear War” doesn't work for me anymore. Unfortunately Peter Tosh was out of the window.
Blackheart Man from Bunny Wailer !!!
Then all those Black Uhuru discs (with Michael Rose and Puma Jones). Is just awesome.
Steel Pulse / Misty In Roots / Israel Vibration / Gladiators / Wailing Souls / Itals / Black Roots / Linton Kwesi Johnson …… is silly, you all know them but even at the Viceroys I recently had to learn that I still have their best record didn't even know.
Why didn't I mention BURNING SPEAR now? That just makes it clear how creative and blessed Jamaicans used to be. The nice thing is, I have all of their discs at home and can always check them out, regardless of whether Spotify still exists or not. But electricity should always be available.

Actually, I just wanted to write something about your audio samples so that you don't think it was in vain, but now it has become more.

"Every Move Of The Individual Shakes The Cosmos" (Revolutionary Dub Warriors) …… lemmi

I find this bloodless synthDub á la Kanka about my boxes at home, terribly sterile and boring. But I've never heard something like this via a large sound system ... it's more about the physical experience, where the bass pressure tends to turn the stomach and intestines through the ironers, and where it is more peripheral about the quality of the production .

What current Dub or Reggae from Jamaica in general… here, with very few exceptions, one treads on the spot. The music is boring, the lyrics are sometimes stupid, the whole thing is almost overproduced, and VP Records does the rest with their cruel mastering. Thank God European musicians have their tracks voiced by Jamaican artists for little money, that sounds a little better. And yet ... if someone like Perfect or Luciano and others are voicing what feels like 150.000 tracks per year, what do you expect in terms of quality, innovation and further development?

I'm more on the non-Jamaican track ... Groundation, Mato, Prince Fatty, Umberto Echo, Paolo Baldini and whatever their name is, they make excellent music. For me personally, this Jamaican madness also plays a role á la how can you give a homophobic, convicted drug dealer such a welcome party ... there was a line-up of Jamaican artists, including people like Marcia Griffiths ... unbelievable for me, such stories are a real turn off for me. And if no one should come to me with “he has served his sentence”… people won't come to life again.

Oh well ...: - /

I have to disagree with the first paragraph - maybe because I love long sound system nights with bass overkill. But with paragraphs 2 and 3 I am fully with you.


I only know sound systems from Jamaica, and of course they don't play Kanka & Co. there. I heard "Return of the Mack" once ... the bass almost tore me apart and the highs filled my brain ... and it wasn't even a reggae track :)))) I was really physically overwhelmed , and those constant, almost incomprehensible screams from the MCs got me the rest. I rather like the one or two large boxes that are sometimes in front of the poorest huts and still roar tolerably through the roots / dancehall.

Maybe I should really visit such a sound system event here or at your place in Germany and see how it comes and whether I can survive it halfway unscathed :)))

"Maybe I should really visit such a sound system event here or at your place in Germany and see how it comes and whether I can survive it halfway unscathed :)))"

I once hooted so eagerly that I almost tore my Achilles tendon. Still, this will probably never be my favoritedub. By the way, I'm with gtkriz for all three paragraphs ;-)
(in case my opinion on this should still not have become clear).

Greetings ……… .. lemmi

Oh yes, that yelling from the Mc's ……. tssssssssssssssssss?!

I don't know if he was really the very first, but with U-Roy the "commenting" on the music started, so to speak (as I've read it many times). He was followed by many highly talented Dj'sa la Big Youth (it just has to be mentioned here) and my special agent Prince Jazzbo but also many more. But they didn't just roar around like a stupid deer who kindly wanted to pop the whole harem, but they had a flow and a feeling that has been looking for its same in vain since then. In addition to this, rap and ultimately hip-hop developed from it, but there has only been fap since then. Ugh devil and today's youth can be fobbed off with it, I understand least of all …….
(well, in my youth they were fobbed off with the doctors and the dead pants / there are also people who like broccoli but that doesn't belong here now).

In this sense ……………… .. lemmi

Lemmi, you are talking about the DJs (U-Roy, U Brown Big Youth & consorts), I about the MCs (those are the ones who are constantly “Puuuuuuuuull uuup” and “Liiiightaaaa… light up unu liiightaaa” and then along the way verbally slaughter one or the other Batty Bwoy and rattle through the Punannys with at least 12 inches ... also verbally of course :)))

And no, I have no idea why U-Roy & Co. are called "DJs" in JA ... I prefer the old expression "toaster".
Renè you know what? DJ because they ride a tune?

Sure they are called DJ's in Jamaica? Maybe I've scratched it together a little superficially. I just thought that U-Roy and Co. had the same function back then as the Mc's today, only that they had real talent. Today they still have really "big eggs" but mostly just "puuuuulup"
When the sound systems really boomed here in D-Land and the ex-hiphop dj's had to get into reggae because they only got eminem and “every breath you take” left with hiphop, they also started shouting and they always pitched the singles so high that they ran almost twice as fast. In the beginning I always wondered why I always puke at a reggae / dancehall event.
I always thought, I'm a reggae fan, why can't I get along here ?!
Well, time heals all sores and today's sound systems, as far as I can tell, are much better off.

Today is the day of verbal vengeance against all those commoners …… .. lemmi

hmmm ... that makes sense that U-Roy & Co. started out as MCs ... at Coxsone & Co. How else could they babble over the music and become known ...

Selector, MC, DJ ... everything a little different in JA.

I have no idea why the term “DJ” is used differently in Jamaica than in the rest of the world. But I think the Jamaican distinction between “Selector” and “Disc Jockey” is more accurate. The former selects the plates and the latter rides them.

By “sound system” I mean, of course, European ones Dub-Sound Systems. Somehow it has become common to use the term for UK sound systems (Jah Shaka, Channel One, Aba Shanti, etc.) and all of its epigones, while the Jamaican variant is more likely to be called “dance”.


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