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Mysticwood: The Mystic Way of Dub

An album with a good cover is definitely a big plus for me. Because a good cover is a sign of the appreciation of the music. Musicians who don't bother with good cover design seem to think that their own music isn't worth it. Of course, we all know counterexamples from Jamaican music history. But when we think of the really great works that have survived the trends and fads, they're mostly albums with good artwork. If "The Mystic Way of Dub' by Mysticwood will be a great work is debatable, but the cover certainly fulfills the requirement. And I have to say: I like the music too. A lot. Everything here sounds like the good old 70sDub-Sound has never gone astray and has been consistently developed into the present. The classic Dub-Principle, reloaded. In other words: full arrangements, beautiful bass lines, classic ones Dub-Techniques and production on analogue equipment - but now with full dynamics, super clean bass sound and a dash of steppers. It is a Swiss quality production by Charlie Mystic, 22 years old, multi-instrumentalist and Dub-Fanatic from Geneva, whose studio is in the immediate vicinity of OBF. "The Mystic Way of Dub' is his debut – which, by the way, is an album with eight tracks, but only four rhythms, because each piece can be heard twice: once as dubbig instrumental and once as a full-grown one Dub. The press info aptly comments: “Strictly instrumental and dubwise, no compromise, no vocals, because there's no need!"

Rating: 4 out of 5.

3 Responses to “Mysticwood: The Mystic Way of Dub"

If something like curiosity still develops in me at all, then it's with music and especially with reggae and Dub. That's why I listened to it right away without reading the review first. I like it when I let the music affect me unbiased, so to speak, without the "influence" of the reviewer's perception. Most of the time, however, I'm so curious about new reviews that I don't use the unbiased approach after all.
When I then started the music data, I immediately had to grumble inside again. "What a nasty keyboard" I thought when I heard "Big Program". My ears stood up on end again. Furthermore, I immediately had a comparison variant in mind. The sound and the way of playing immediately reminded me of Pickout Allstars. And I'm particularly fond of them. So of course I continued to listen to the "disc" and after the "Big Program" went into the "DubProgram” was transferred, I knew again why Dub is so "awesome". Here this ( from my point of view ) awful keyboard was sent to the "OutaSpace" and replaced or supplemented by a - indeed - mystical looking guitar. I'm in the Dubversion anyway, no keyboard badly bumped. It may be that there are still leftovers "hanging around" somewhere, but I haven't examined that more closely yet ;-)
I'm very comfortable with both versions of "Bass It" and "Bass That". The BassLine is very closely based on a BassLine I know very well from the good old Jamaican reggae era, without being exactly the same. In any case, it is a BassLine that I mainly know from Augustus Pablo. ( I could just keep banging my stupid head against the wall because I don't even have a keyword on the tip of my tongue. The tune or Dub more than just known ). As soon as I click "send comment"
clicked, it will probably come to mind. Should that happen, I'll deliver my "association" later.
"The mystic way of DubI like it with and without the word DUB also very good. I have the Dubversion right away in my still rather short but steadily growing SteppersDub-Playlist packed what for this Dubs quite an award (almost equivalent to a Grammy ;-) ).
I would like to contradict the "PresseFuzzies" and at least mention that the vocals in the Dub can be a very effective element or instrument if the Master of Dub knows how to im with that Dub has to deal with.
"The mystic way of Dub ... Dub ... Dub .... Dub ……” is a line of text that even I understand right away and it is also what makes the Dub additionally mystical. Used correctly – and in the Dub if it is ALWAYS (!) used correctly – even Al Campbell's voice becomes mystical and everyone for me Dub enriching natural event. (Otherwise his squeaky voice is an impertinence for me). in the Dub she ALWAYS has a magical effect on me. The dose is – again – the poison.
Yes, I'm almost done with that. Only thing missing is "Keep On Mooving" / Dubbing". There's also a messed up keyboard at work again. I even know this strange sound from On .U Sound or even from the first (?) Dubtrying from "my" Dub Syndicate. I've heard a lot of "keyboard accidents". But pssst, don't tell anyone..... That Dub Don't criticize Syndicate. That is sacred to me.
Well, at “Keep on Dubbing" the good Charlie Mystic took my sensitivities into consideration again and skilfully leaves the keyboard to the space between the space ;-)
So all in all a very successful debut, if I may say so myself.

( If someone wants to know what the "space between the space" is or should be, I have to say that it is inexplicable because it is just mystical. In the digital world that would be the "space-time" between the ones and zeros. Unfortunately, this is still not possible with the current technical possibilities, because there is nothing in the digital world or maybe even just a black hole, and we think we know that nothing comes out of a black hole nothing can come of it).

;-) ………….. I've probably read or watched too much about quantum physics lately and of course didn't understand anything. You can read my results here. A crazy theory can only drive you crazy ………..

In the beginning there was no light! at the beginning there was DUB ! and DUB warps spacetime! May someone prove me wrong ;-) ………….. so long ………… lemmi

(If I think about it correctly, it is DUB also nothing else than light = so once again all nonsense that's rumbling around in my head. But what should I do, I can only write down what tumbles out up there and rationality has never been my thing ………….. echo and out ….. )

https://www.youtube.com/watch?v=wbCrYBWh62Y

That was the Dub or rather the BassLine that came to mind. I wrote "it's ajar," but even that seems a bit far-fetched right now. Nevertheless, I think I can see a certain similarity in the scheme and maybe that's also the answer to my frequently asked questions about "good and bad BassLine". If the scheme is right, the groove is also right …….

I continue to question the goal …………………. lemmi

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