Nazamba: Nazamba

In March we were shaken by a track that was almost a manifesto of the Dub could apply: "The Grove" from Dub-Poeten Nazamba and the French producer / Sound System O. B. F. - released in combination with a breathtaking Dub-Mix as 12 ". The complete album has been available for a few weeks, with 9 tracks - but unfortunately none Dubs (which, however, suggests a future pure DubAlbum gives hope). No matter, Dub-Poetry is yes Dub and therefore belongs here. And Rico, mastermind of the OBF-Dub-Imperiums (sound system & Dub Quake Records label) is probably one of the most prolific French producers at the moment Dub-Sound system scene. With the album for Nazamba he presents his most radical and experimental work to date. Perhaps Nazamba's strikingly reminiscent of Prince Far I style inspired him to follow Adrian Sherwood's desire for extreme sounds. The album "Nazamba"Is divided into two parts: Part 1 offers classic outer space reggae /Dub (and with “Play Sweet” even an interpretation of Jackie Mittoo's “Drum Song”). Part 2 remains with the sound of Dub, but says goodbye to reggae and ends up somewhere with electronic noise. Above it - like a rumble of thunder - the voice of George "Nazamba" Scott. The Jamaican made his debut a few years ago on the Pressure label of des Dubstep producer Kevin Martin (The Bug) with a no less extravagant Dub-Poem. I like “Nazamba” because it uncompromisingly embraces the extreme positions of Dub and Dub-Poetry explores without losing its basic accessibility and sound system compatibility. Oh yes, almost forgotten: Linval Thompson and Soom T are still on top as guests (this selection alone brings the album concept to the point).

Rating: 4 out of 5.

2 replies to "Nazamba: Nazamba"

Until a few years ago I always made the mistake of eating a pizza from the edge in. With the result,
that I was already quite full before I got to the - now strongly cooled - treats in the middle of the pizza. In the meantime I eat the brim last. I feel the same way with Nazamba. It was probably in March that I "purely by chance" had a look at Irie Ites' after a long time and at that very moment (someone) was reviewing Nazamba's maxi single. "The Hills" and "The Groove" with the respective DubVersions !!! For me something like the world record in terms of groove.
DubIt's not bad, but Linval Thompson and Nazamba are so outstanding (for my taste) that I do them Dubs
didn't really need it. And to shorten it even more, I write that I stayed with the Maxi, because the edge of the pane was just too cold for me from the start. I would have expected a lot more after the Maxi and could only have been disappointed. Sure, the stuff is not that bad, but in times of oversaturation I just leave the edge behind more and more often.

"The Pizzaman from Switzerland" ………………………………. lemmi


after my first euphoria about the voice of Nazamba, disillusionment quickly set in. Nazamba actually sounds like a reincarnation of Prince Far I and his conscious lyrics can convince me too. Not that I find the very short album (very) bad, but this synth bass from OBF is more and more on my mind. Especially with “People” the shortcoming “thin sound”, the synth bass and the Casio sounds get really annoying for me.
Unfortunately this is a general problem - which has not only been discussed frequently and vehemently at this point - whether an album made digital or analog sounds richer and better ... a matter of taste. I am still more in favor of organically created sound.
Maybe Nazamba was badly advised with OBF, spontaneously I think of an Englishman ;-) who already enjoyed working with Prince Far I from the end of the 70s and brought out really good things.

Nevertheless, Nazamba stands out positively - mainly vocally - among the new releases in 2019.

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