It's impressive how much captivating music keeps coming out of the small Alpine republic of Switzerland. Dublerone, Dubment and of course Dub Spencer & Trance Hill are a household name here. If my research is correct, because basically, there's nothing new about the album "MARSIAM: Du-b is everything!"If you can find virtually no information about them, then the origin of this project lies with the 12-member brass band Traktorkestar. A progressive brass band from Bern and the surrounding area, whose wild mix of Balkan brass, yearningly plaintive melodies, fast rhythms, and powerful 'winds' has been causing quite a stir for 16 years, not only in Switzerland. It sounds strange, it is strange, but it's simply good because these dozen trained musicians truly master their craft."
MARSIAM appears to be composed of this conglomerate of musicians, as I was able to identify three protagonists: the multi-instrumentalist Samuel Zingg (SiAM!); the saxophonist and arranger Thierry Lüthy; and the trombonist and horn player Maro Widmer, who also appears on “DubI heard "Kailash" playing the trombone. Until now, MARSIAM was completely unknown to me. But with the twelve relatively short and entertaining tracks, they manage to win me over, because "Du-b ist alles" is a truly intelligent evolution and a successful homage to the important brass players of Jamaican music history. Why the album actually came about, I have no idea. Perhaps Lüthy, Zingg, Widmer, and whoever else is behind MARSIAM – SiAM! is definitely in there – wanted to leave well-trodden paths and explore new musical avenues. The result is impressive; it's a harmonious, relaxed, brass-heavy album. Dub-An album with slight jazz influences, mixed by Bachelor of Arts Thierry Lüthy.
8 replies to “MARSIAM: Du-b is everything!”
This is nitpicking at a very high level again. But I can't unanimously agree with it.
"It's a harmonious, relaxed, brass-heavy sound." Dub-An album with slight jazz influences,"
That pretty much sums it up for me. The original is a twelve-piece brass band. If I had only read that, I would have simply ignored it. However, I listened to it a few days ago, before any reviews had even been posted, and was actually at least a little impressed, so I listened to it again recently. My impression is that the brass section doesn't overdo it overall, and that the saxophone rarely takes center stage. So far, I think it's really good. A large portion of the bass lines also sound very familiar from Jamaica. But I don't think they're all from Jamaica, if I'm not mistaken. So, what's my complaint?
Well, it is Dub I wouldn't object to that either. It's an essential part of... Dub, namely the fading in and out of instruments,
That's noticeable to me too. But I'm also an effects junkie. I like it when things sound like they're from another planet. Sounds that really give my brain a good workout and make my synapses go on a merry-go-round. Unfortunately, there's nothing like that here. Or there's so little of it that I didn't really notice it. Nevertheless, the riddims are good and everything has a good punch. My musical taste buds always seem to be searching for something special, perhaps even unusual. And that's why the "Operator" really blows me away. DubTune is by far my number one here! Unfortunately, Marsiam seemed to think of it more as a kind of "interlude" and, in my opinion, made it far too short. But it's okay, because they immediately launch into another massive track afterwards.
So far, so good! It's a good album, even if it doesn't exactly blow me away.
The question remains whether one wants to adapt to the general madness of the world, or whether one would rather keep a clear head in these times. I believe, once again, the healthy middle ground is the answer.
As long as ………………. lemmi
"It's impressive how much captivating music keeps coming out of the small Alpine republic of Switzerland." Dublerone, Dubment and of course Dub Spencer & Trance Hill are a household name here.”
That's right! And that raises a question for me. What about "our" musicians, who have also been involved in matters... Dub They tried it and, in my opinion, did a pretty good job. There were, firstly, the "Senior Allstars" and, secondly, a two-man live band from Stuttgart called... DUBYLON! Especially DubYlon created such a surreal soundscape that really resonated with me intellectually. And the Senior Allstars also had a very good man at the mixing desk in Umberto Echo, who really gave the Allstars' riddims a good shake-up. Even if he wasn't involved in their last project (Related?), if I'm not mistaken. Furthermore, we also... DubVisionary and, not least, with AlDubYes, there are also people in this country who have internalized the art of using a mixing console.
What's missing are musicians like the ROOTS RADICS, who record, or have recorded, at least 10 riddims in a day, each one more exciting than the last.
Here with us, one sparkling riddim a day would be perfectly sufficient, because we have time.
Okay, it's not really important.
But it just occurred to me... Lemmi
aDUBI think that would also be worth mentioning as an addition!
Good Vibez out of Germany!
https://marcusimeetsadubta.bandcamp.com/album/fullness
As a matter of fact !
It's a very charming album! I hadn't heard of it before.
Ras Vorbei She's already presented it with two other albums, and I think I was at least there for "A Tale of DubI wasn't 100% convinced by the BassLines again, according to "bing Horns". However, I still thought they were pretty good, from what I can tell from what I've read.
I didn't even write a comment on "Cut A Wire Showcase". What was wrong with me...?
Perhaps I was having another "originality crisis" and didn't want to accept that I now only had to rely on Euros.Dubto limit s. EuroDubThe idea of a world without the British and without the Windrush generation and their children still sticks in my throat from time to time.
Marcus I simply doesn't have the charisma of a Michael Rose or someone like Winston Rodney. If reggae had evolved to the level of those singers, I could have been okay with the direction, but the fact is, there are only fans of those musicians left, who are trying their best but just don't have the same calling. And I keep noticing that even the Jamaican heroes need a superband so I don't have the slightest reason to complain. And sometimes even the "superband" plays without any verve, and then I just go to the goal or jump in the shower.
Until ……………… .. lemmi
hi lemmi,
Switzerland has a population of just 9 million – Germany has 83,6 million. I find the relative differences in terms of reggae quite significant. Dub Switzerland is in a much better position. I too have some artists like z. B. The 18th parallel was omitted.
One more thing, Lemmi, you really never stop learning. A saxophone, although made of brass, is not a brass instrument. Because of a small reed at the mouthpiece, it belongs to the woodwind family.
Oh yeah Ras Vorbei I actually knew that once, but I'd long since forgotten it. However, I would have ticked it if it were a million-dollar question ;-)
I also have an 18th Parallel album. Big Youth is on it, and he makes the only truly magical track. For me, that is. Oh, "friends," I'm so sorry that I have these feelings and don't quite click with Lone Ark Riddim Force and/or his friends. I've really got it in for Roberto Sanchez because he seems so ordinary to me. I don't like myself for writing this, but it's just how I feel. The problem is, I've gotten a bit carried away with it. It's all good, honest reggae produced by him and his friends, but it just doesn't excite me the way I'm used to, or rather, the way I've grown accustomed to. I miss that feeling and that enthusiasm with new releases more and more often. I'm looking for reasons why, but maybe I should ask myself if it's because of my age. That can't be right, because I still listen to the albums by Bob Marley and The Wailers and all his Friends very often,
I get that feeling, which is what I find so exciting about reggae.
Okay, I'm sorry. Maybe one shouldn't always say everything one thinks. Even if it's just to keep the good mood going.
Mol gugge! …………………… lemmi
"I'm missing that feeling and that enthusiasm with new releases more and more often. I'm looking for reasons why."
No, Lemmi, everything's fine and normal. There are also plenty of studies on the development of musical taste, almost all of which come to the same conclusion.
There is no fixed age at which musical taste is "complete," but there are typical patterns:
a: Youth (13–20): rapid development — peer influence, search for identity, strong openness to new styles.
b: Early adulthood (20–30): Stabilization — preferred genres become clearer, but exploration continues.
c: 30–50: Tendency towards more stable tastes; new discoveries less frequent, but possible through life events, social circles or targeted curiosity.
d: From age 50 onwards: Preferences are usually established, however life changes, nostalgia or targeted curiosity can still change tastes.
Influencing factors include: cultural environment, music exposure, personality (openness), education, travel, partnerships, technology/streaming algorithms and life events.
In short: Taste stabilizes primarily between the ages of 20 and 40, but remains changeable throughout life — especially with high openness or new exposure.
I feel the same way, reread my review of "Scientist: Direct-To-Dub“I think that first impression is clearly evident there as well. And that's exactly the feeling I miss today; I've simply come to terms with the fact that time is irreversible.”
But, if it works, it's possible to revive old images in your mind's eye. That's exactly what happened to me recently when I listened to the new 2025 mix of "Pink Floyd at Pompeii" (thanks, Hans Bärtsch). Like a time machine, images, impressions, and emotions surfaced that had been buried for decades. It would fill an entire chapter to describe my visual impressions when I first heard "Careful with that Axe, Eugene," and in a very far-flung state at that. In short: everything was bathed in red from one moment to the next, and I was on the verge of a nightmare. A friend immediately grasped my state and helped me out. Nevertheless, I still listen to the album, and especially "Careful with that Axe, Eugene," with growing enthusiasm. "Yes, those were the days, my friend!"
High Ras Vorbei !
First of all, thank you for your kind words. Both your sympathy and new insights are greatly appreciated. DubAlbums like Mr. Woodwicker's, for example, push the "inevitable end" a little further into the distance. Just for fun, I'm already tempted to have a few words of dissent regarding the studies.
My experience was completely different. I discovered reggae when I was 15. After that, all other musical tastes were a complete mystery to me. And as I've often mentioned, I especially couldn't understand the diversity of tastes. First it was punk, then reggae, and then punk again. It's absolutely baffling to me how that works. But "No problem!" I like the punks who also like reggae. Reggae so firmly established my will that I essentially skipped all the other developmental phases examined in studies. I didn't need an adolescence (or whatever it's called) and I didn't need a peer group to open myself up to new influences. I never felt like I was in a phase where I was searching for my identity. It was all there from birth. (Including my occasional delusions of grandeur). I'm just bragging a bit here, because of course I was definitely influenced by friends and my clique. Otherwise, I certainly would never have listened to Pink Floyd, for example. For me, and perhaps also for Style Scott, the first "DubThe best band ever in the world. I didn't know the original Pink Floyd at all and I'm still pretty green behind the ears when it comes to that stuff. So I had to Google "Careful with that Axe, Eugene" on YouTube first. And yes, it's good stuff. Even the guitar solo, which might even trigger a "tipping point" for me in a "deeply ecstatic" state, is very much to my taste. Good guitar solos aren't considered part of reggae by many, and maybe they're far too rare in it, but I love good guitar solos! Even in reggae! Listen, for example, to "The Heathen" on "Babylon by Bus." That's pure ecstasy for me (without any pills).
Openness to music is also a somewhat contentious issue that I haven't quite resolved yet. I would ask who is more open to music. Is it those who always say "I listen to everything" (except reggae, African dance music, and what is generally called "world music"), or are you more "open" if you prefer music that comes from Africa and around the world? Well, the statement "I listen to everything" isn't quite complete, because it should really be "I listen to everything that's played on the radio."
“Yes my friend, we de a street again.
Yes my friend, my good friend,
"They say we're free again." (Just a side note, because of "friend"... ;-) ...)
Cheers ……………. lemmi