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Lone Ark Meets The 18th Parallel: Showcase Vol. 1

For some time now it seems to have been an international trend to give current productions a clear timestamp - in the sense of "back to the past": the item may sound like it was from the 1970s or 1980s, but it is brand new. Sometimes you get the impression that you are dealing with music that sounds more original than the original. All the ingredients that once accompanied reggae on its way to its zenith are called up to offer the listeners a very special kind of déjà vu experience: vintage instruments and studio equipment, classic arrangements and songwriting as you would expect no longer knows in the genre today. Voilá: Everything like the good old days, only much better.

Anyone doing such a production must have done their homework and dealt intensively with the historical recordings; has to know how to get that special sound out of instruments and mixer; must have immersed himself in the classical genre-specific voice guidance or its arrangements - reggae compulsory subjects, so to speak. That is roughly equivalent to a university degree in "Vintage Reggae 101", and I take my hat off to anyone who deals so thoroughly with the subject.

Chapeau in front of Roberto Sanchez aka Lone Ark, who mastered this task perfectly and internalized it as a producer - as one can find on Earl Sixteen's "Natty Farming"Or Ras Teo's"Ten Thousand Lions“Can listen, including wonderfully earthy Dub Versions. Now Sanchez is not only an instrumentalist and sound engineer with his own studio, he also stands in front of the microphone as a singer - just remember his somewhat stiff vocals, which he fronted his Basque Dub Foundation has sung. He has since remedied this shortcoming, as can be seen on his new release "Lone Ark Meets The 18th Parallel: Showcase Vol. 1"Can listen to:

Wonderful, the reviewer couldn't be happier: Superb production; clear, down-to-earth and powerful mixing; Echo & Hall fly wonderfully low and last but not least: Beautiful, soft vocals transport harmonies in the typical vocal trio style. And yet, especially with the above "Build an Ark (Extended Mix)" a strange feeling arises. Haven't I heard that before? The chorus seems to be from the Wailing Souls, the verses from Black Uhuru ... isn't that the vocal line of "Shine Eye Gal"? The text even begins similarly: "I rise early looking some tea ..." (Michael Rose) vs. "Early in the morning while I make i-self a cup of tea ..." (Roberto Sanchez). Hmmm ... frowning is the order of the day - is anyone else like that?

Intentional or not, repetitions or similarities arguably inevitable in the historically accurate evocation of the glorious old days. Ultimately, however, it can never be too much of a good thing, and with the Lone Ark / The 18th Parallel Showcase Vol. 1 we have a very successful release in front of us, which can be recommended without reservation - especially what the Dubs concerns: Sanchez lets the snare roll through the soundscape, the singing spits out staccato-like echoes - KingTubby would probably not have done it differently. It dawns on me: You don't have to keep reinventing the world; Sometimes it is also beneficial to process the old qualities and thus celebrate a piece of history in the here and now. That means: After Vol. 1 comes Vol. 2, and I'm already looking forward to it.

Rating: 4.5 out of 5.

5 replies to "Lone Ark Meets The 18th Parallel: Showcase Vol. 1"

Heyii gtkriz
Thanks for the comments and links ... I didn't really notice the whole retro and vintage imitation ... to me the disc sounds quite up-to-date, although of course I know that Roberto Sanchez works very analogously and traditionally ... my favorite song Get You and the one that goes with it Dub fit in well with a fat sound system of the now and despite all the borrowings from the 70s, the sound in my ears is fresher and fatter than it was back then. Like you write a very good piece of music that already gives me hope for a Vol. 2 ... mine DubIn any case, the heart beats faster when listening ...
I would be very happy if a dubblog reviewer to the Tropical Dub Connection (Outtanational Steppas Mixtape Vol.1) or the showcase album Tsadiq Nyahbinghi Section by Tsadqan… have been rotating for a long time and both can be found on Bandcamp… I would be very curious about a different, more decided opinion and analysis !

Thanks for the feedback, Philipp.
The release catapults me straight back to the late 70s ... Flashback of the best kind.
I listened briefly to your Bandcamp suggestions via notebook - they sound fine, let's see if one of the colleagues here would like to strike!

Reply

I know I wasn't meant, but I couldn't help but listen to the suggestions. And of course I have an opinion about it ;-)

In any case, the outtanational mixtape did not induce me to put it in the monotonous “steppers corner”, a little disparagingly. But the work is too extensive to be able to judge it correctly now. All in all, these are more like SteppersRiddims, which made a positive impression on me.
The Tsadiq Nyahbinghi Section felt a little strange to me at first. Sounds a bit like a German sings Egyptian. You can maybe get used to it.
But the DubI can only describe it as really BOLD (!). "Strangely," they knock me out of every seat more than any ambitious Steppers record. It's like flies with a large wingspan, like pterosaurs. In contrast, Stepper's riddims still flutter like hummingbirds. However, I will probably have to reconsider this comparison.
I swear I will DubI thought it was great before I read that Nick Manasseh'sdubbed, mixed and mastered. Nevertheless, for me that explains even more why the record is so good. There is even a disc!

So long ……………………… lemmi

Well everyone Dubhead is meant somehow ...;)

yes, the two discs are very different and the Tsadiq Nyabinghi Section is something like the discovery of the year for me ... and believe me Lemmi, the lyrics bothered me a little at first, because a German speaker really does have his own English pronunciation lays… sings, for example, in “Geneva Jugdement” Europe pronounced in full German… in terms of content, however, I find the lyrics to be good, original and very conscious… and just… by now I've got used to the pronunciation and the whole thing feels very irish to me… and like you, I only discovered Nick Manasseh's contribution later ... what is special about it Dub-Aura adds.
I especially like the acoustic approach in the sound, which comes along without drums, only with percussive Nyabinghi drums (kete, bass drum ...) and still grooves and sounds fully. Definitely stands out from the crowd of releases ...

The same can be said of the Tropical Dub Connection say ... that has little or nothing to do with monotonous UK steppa à la Vibronics or Jah Shaka and the like (this should not be meant derogatory now, I really like this steppa in a dance, especially when I'm in the bass whole body ... at home it is often a bit clumsy and boring) ...
What is being made of the long mix stories (by whom, actually? So far, I haven't seen who or how many are behind the Dub Hide connection ...), as suddenly a Latin piano takes over, mixed so smoothly and smoothly, then almost drum & bass rhythms again, but never annoying, never brutal ... and all the other mixes of styles, this record is really a grab bag of these styles and anyway somehow always with a straight dubby Feeling ... but really now, I'd rather just listen than keep tapping my fingers for a long time ...
greetz ...

High gtkriz!

Above all, I am a person who is in need of harmony. But also for the craziest DubExcursions to the limits of any acoustics is open minded. And so I am always very happy when the harmony is also shown in perfect unity. That's the case here again. It is also the most beautiful when the disc, which is rightly so highly praised, is actually available as a disc (!). In such cases my little ideal world is completely in a state of harmony and something like happiness sets in.
The disc is ordered!
How small the world is again. To be honest, I didn't know that Roberto Sanchez used to be the front man of Basque Dub Foundation was. For me, that also explains why I usually like his productions very much. What I don't like very much, I still like it a lot! Basque Dub Foundation belonged and still belongs to High Grade Reggae or High Grade for me Dub. Occasionally I think Roberto could be with the DubMix a little more "spinning around" but that doesn't matter here, because that's lamenting on a very high level.
I also think that the singing was recorded extremely well balanced to the rhythm carpet and I also find the vocals very beautiful and soft, but not in the sense of softness, but in the sense of harmony. Above all, they snuggle up to the riddim like a woman newly in love couldn't snuggle up to much better. AND (!) They are not "brutally" imposed on the music by excessive volume. Everything just fits! For me, this is a very important quality criterion and it is implemented here in an excellent manner. I don't know yet whether this is really the case with every tune from start to finish, but it was initially a very clear argument for my purchase decision. Especially since the Dubs are really good too.
Then there is the question about "Shine Eye Gal". My answer comes from my gut and I have to admit that I can perceive a certain similarity there, but it's still very far from a cover version (which nobody said anything about either ;-)).

“It dawns on me: You don't have to keep reinventing the world; Sometimes it is also beneficial to process the old qualities and thus celebrate a piece of history in the here and now. That means: After Vol. 1 comes Vol. 2, and I'm already looking forward to it. "

This sentence creates the greatest harmony for me! It could come from me 1: 1! Except that it not only dawns on me, but that is an irrefutable truth for me.

The reggae of "back then" was and is perfect! It couldn't be better! It works - if at all - only as well. And Lone Ark and The 18th Parallel did that really well.

And I am almost limitlessly happy that this is not just against my opinion ;-)

Greetings Phylipp K (rs one) ………………………… .. lemmi

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