7 replies to “Kali Fat Dub Meets Balkan Voodoo Orchestra”
…..Ha-Ha
Why should I pretend and act as if the “malicious” laughter about my DubHero Haris Pilton is completely unfazed. It's quite obvious that I don't agree with the laughter, as I'm posting my second comment of the day.
But I can relate to it in a certain way, as I've also spoken out in a rather arrogant manner about some "well-intentioned" attempts. And unfortunately, in this case, I have to admit that only "Green Mirage" and "Rain Ritual" really get into my veins. To be honest, I can't really do much with the "folklore" from the Balkans. There are some pretty good dancehall riddims in there, but even dancehall is only second or third choice for me. Nevertheless! "GREEN MIRAGE" blows me away. There's real POWER in it, and the joy of playing and incorporating special sounds makes me happy and gives me the strength that I so often lack, especially on Mondays.
The little monkey, or monkeys, in the background also deliver an excellent vocal part. This seems to be a recurring theme throughout the entire album, but without it dragging!
The more I listen to the tunes, the more I ask myself what it is about the Balkan sound that bothers me. I honestly can't say, and if I ever heard this music at a festival, I'd definitely go wild. Only at home on my DubCouch I don't necessarily have to hear it first.
The "Rain Ritual" has a truly spectacular, hypnotic effect on me. The sound, samples, and effects create a kind of spiritual transmigration of the soul, where the music becomes a magic carpet. It feels as if I'm floating on this very magic carpet through the jungle, being cheered on by all the jungle creatures, from birds of paradise to bonobos. And if anyone is wondering how I could find bonobos and birds of paradise in the same forest, all I can say is, Haris Pilton makes it possible ;-) It is, after all, a transmigration of the soul.
and no pink schmonzette. If you know what I mean!?
I don't like pink! But I love Pink Panther! …………………… lemmi
From the logo to every single sound, the arrangement is boring to me and seems thrown together!
My tip: more quality over quantity and once again approach it with love and passion. Consumers would notice and be happy. I would call it EDM music, not dub or let alone the reggae/dub.
I know that you and Haris Pilton will probably never be friends again.
And here with “Desert Jungle” you can see and hear quite clearly that there is no Dub based on reggae. For me, it's much more of a dancehall album with a good portion DubDancehall and reggae used to be almost the same thing, until the "Jamaican kids" started dancing to more frivolous lyrics. Just like the Germans, who also prefer to dance to the lyrics. The riddim then becomes secondary. The main thing is that your ass shakes. Whether or not it's in time doesn't seem to matter at all. But Haris Pilton doesn't make it that easy for himself. He also makes no secret of the fact that he's a seeker. Of course, it's daring to reinforce Balkan folklore with Jamaican rhythms, and then to do it with a beautifully colorful Dubtinsel. If it doesn't suit you and perhaps many others, then that's just how it is. That's the risk of every artist and every scientist. Scientists, in particular, have always had problems defending their findings against the dogmas of the Catholic Church. Even though they were absolutely right. Whether Haris Pilton, you, or I are right in any way remains to be seen. But that the music was made neither with love nor passion, I cannot, even with the best will in the world, recognize. I hear pure joie de vivre, without knowing for sure whether joie de vivre is the true driving force behind Haris Pilton's creativity. In any case, it brings me great joy, because I sense a great joy in playing and very good taste in the selection of bass melodies and in the application of Dubelements. And if he actually just spouted it off, my respect for him is even greater. Because a Dub In Jamaica, it didn't take longer than an hour, or rather, no longer than the length of the respective song or tune. It was all "spit out," so to speak. The miracle, however, was that Jamaicans (not all of them) had such a good feeling for reggae and everything you can do with it. Therefore, they never needed much time. Sly and Robbie, as well as virtually all other riddim makers with Jamaican roots, recorded entire albums in a single day, and it was fantastic. Scientist and King Jammy finished entire albums in a single day.dubbed and it was and is MAGIC!
So some people just need to spit somewhere and it becomes a “Picasso” and others tinker, do and make and it always remains a “silbermond” and it goes “Hurrrz”.
I write all this even though I may be mistaken. If so, please clarify.
Well, and because I'm so honest, I'm going to write a few lines from my sewing box.
I've long since realized that I'm pretty much the only one here who celebrates Haris Pilton. I also have weak moments and wonder if I'm maybe praising Haris Pilton too much. I sometimes wonder if he's really as good as I think he is. Or do I like him even more because Anonymous doesn't like him at all? Well, that's all nonsense! I do what Luke Skywalker does and let my feelings guide me.
May the DUB be with you …………………. lemmi
No, lemmi! You're not the only one.
An example from my own experience: Yesterday, during a long round of table tennis, I played three albums in a row. This gave my partner a good dose of motivation (probably because I was enjoying the sound between each rallies).
The genre has gained a new dimension thanks to HP. At least for me, a very positive one (even if the sound is occasionally, and rarely, too funky for me). However, there are also many other facets and phenomena in "Dub“ (all of them recent) that don’t appeal to me at all. And one could always discuss where the limit is for a tune to still Dub assign.
What exactly is Kali Fat Dub As for the Meets Balkan Voodoo Orchestra album, there's another facet that I really appreciate about HP. He simply experiments. Whether he does this as a seeker or a finder, who knows. But with the laughing seagulls, he's gone way over the top for my taste. And the DubMy ears also have to work hard to find or search for the elements. That's why I probably won't be listening to this album again anytime soon.
In general, I am a big fan of Dub in and from all parts of the world. Especially the mix with Cumbia (tropical dub connection) or the Havana meets Kingston in dub Album (Mista Savonna) are a good example. Avocado Boy (I only know the YouTube channel so far, but I would love to be part of a live session) has two mega dubs with a distinctly South American style. But all have one base: the Dub with a catchy bass line takes center stage. And that's what I miss on this HP album (too much percussion).
I am definitely curious to see what fine ear treats this Dubuniverse still gives me in my life. And a main ingredient for this comes from the dubblog. Big up!
Yo Giovanni!
Normally, I don't care if I'm the only one who feels this way, because my opinion is my opinion. But it's actually quite nice to know you're not the only one who feels it. Shared sorrow is half the sorrow. Shared joy is double the joy. If I'm not mistaken.
I also really like Cumbia Dubs from Tropical Dub Connection and also the “Savona Dubs" (and also the vocal disc) are excellent. Unfortunately, there are only data files available. But ultimately, data falls by the wayside. At least for me.
No CD or vinyl LP and I get forgetful. But hey, sometimes space and time are so well aligned that the playlist comes to mind at just the right moment. Dubs remembers.
From Avocado Boy I particularly like the “Ateni Bosa Dub".
I don't think there are any catchy bass melodies in "Desert Jungle" either. I hardly find them anywhere in dancehall. The good, magical bias lines all come from roots and rocksteady, as far as I've noticed. In the past, these good bias lines were also mixed into the occasional dancehall riddim. But I simply don't understand how the Jamaicans, over time, even "absorbed" trap, or was it grunch (?), into dancehall, thereby definitively transforming dancehall into duncehall, or rather, musically atrophied. If I'm wrong, I'm not even sorry, because especially these "duncehall artists" like mavado and vibes kartell have only made "hurrrrz" so far, and strangely enough, these are, or were, particularly celebrated. One reason why I've lost interest in riddims for a long time. Do they even still exist? Whatever, I don't need an answer to that.
Yes, and so there are small or sometimes even larger differences in the taste of music everywhere – and especially DubConnoisseurs. I find percussion in Dub very important, even if I don’t necessarily do it in every DubTune must have. But especially with the percussion, I always find really crazy DubEffects, even if it’s just the reverb and echoes, that really put the percussion into “quantum dynamic” vibrations.
From this perspective, the (very boring) album
"Strings of Dub" has a whole new meaning for me. I always thought it was about the violins, but it is the strings that are Dub are part of the cause of the effect anyway.
Yes, I wouldn't understand it either if one of you wrote something like that. But I love it when rationality
no longer plays a role.
Instinct is more important (if I'm not mistaken) ………. lemmi
dubblog
7 replies to “Kali Fat Dub Meets Balkan Voodoo Orchestra”
…..Ha-Ha
Why should I pretend and act as if the “malicious” laughter about my DubHero Haris Pilton is completely unfazed. It's quite obvious that I don't agree with the laughter, as I'm posting my second comment of the day.
But I can relate to it in a certain way, as I've also spoken out in a rather arrogant manner about some "well-intentioned" attempts. And unfortunately, in this case, I have to admit that only "Green Mirage" and "Rain Ritual" really get into my veins. To be honest, I can't really do much with the "folklore" from the Balkans. There are some pretty good dancehall riddims in there, but even dancehall is only second or third choice for me. Nevertheless! "GREEN MIRAGE" blows me away. There's real POWER in it, and the joy of playing and incorporating special sounds makes me happy and gives me the strength that I so often lack, especially on Mondays.
The little monkey, or monkeys, in the background also deliver an excellent vocal part. This seems to be a recurring theme throughout the entire album, but without it dragging!
The more I listen to the tunes, the more I ask myself what it is about the Balkan sound that bothers me. I honestly can't say, and if I ever heard this music at a festival, I'd definitely go wild. Only at home on my DubCouch I don't necessarily have to hear it first.
The "Rain Ritual" has a truly spectacular, hypnotic effect on me. The sound, samples, and effects create a kind of spiritual transmigration of the soul, where the music becomes a magic carpet. It feels as if I'm floating on this very magic carpet through the jungle, being cheered on by all the jungle creatures, from birds of paradise to bonobos. And if anyone is wondering how I could find bonobos and birds of paradise in the same forest, all I can say is, Haris Pilton makes it possible ;-) It is, after all, a transmigration of the soul.
and no pink schmonzette. If you know what I mean!?
I don't like pink! But I love Pink Panther! …………………… lemmi
From the logo to every single sound, the arrangement is boring to me and seems thrown together!
My tip: more quality over quantity and once again approach it with love and passion. Consumers would notice and be happy. I would call it EDM music, not dub or let alone the reggae/dub.
I know that you and Haris Pilton will probably never be friends again.
And here with “Desert Jungle” you can see and hear quite clearly that there is no Dub based on reggae. For me, it's much more of a dancehall album with a good portion DubDancehall and reggae used to be almost the same thing, until the "Jamaican kids" started dancing to more frivolous lyrics. Just like the Germans, who also prefer to dance to the lyrics. The riddim then becomes secondary. The main thing is that your ass shakes. Whether or not it's in time doesn't seem to matter at all. But Haris Pilton doesn't make it that easy for himself. He also makes no secret of the fact that he's a seeker. Of course, it's daring to reinforce Balkan folklore with Jamaican rhythms, and then to do it with a beautifully colorful Dubtinsel. If it doesn't suit you and perhaps many others, then that's just how it is. That's the risk of every artist and every scientist. Scientists, in particular, have always had problems defending their findings against the dogmas of the Catholic Church. Even though they were absolutely right. Whether Haris Pilton, you, or I are right in any way remains to be seen. But that the music was made neither with love nor passion, I cannot, even with the best will in the world, recognize. I hear pure joie de vivre, without knowing for sure whether joie de vivre is the true driving force behind Haris Pilton's creativity. In any case, it brings me great joy, because I sense a great joy in playing and very good taste in the selection of bass melodies and in the application of Dubelements. And if he actually just spouted it off, my respect for him is even greater. Because a Dub In Jamaica, it didn't take longer than an hour, or rather, no longer than the length of the respective song or tune. It was all "spit out," so to speak. The miracle, however, was that Jamaicans (not all of them) had such a good feeling for reggae and everything you can do with it. Therefore, they never needed much time. Sly and Robbie, as well as virtually all other riddim makers with Jamaican roots, recorded entire albums in a single day, and it was fantastic. Scientist and King Jammy finished entire albums in a single day.dubbed and it was and is MAGIC!
So some people just need to spit somewhere and it becomes a “Picasso” and others tinker, do and make and it always remains a “silbermond” and it goes “Hurrrz”.
I write all this even though I may be mistaken. If so, please clarify.
Well, and because I'm so honest, I'm going to write a few lines from my sewing box.
I've long since realized that I'm pretty much the only one here who celebrates Haris Pilton. I also have weak moments and wonder if I'm maybe praising Haris Pilton too much. I sometimes wonder if he's really as good as I think he is. Or do I like him even more because Anonymous doesn't like him at all? Well, that's all nonsense! I do what Luke Skywalker does and let my feelings guide me.
May the DUB be with you …………………. lemmi
No, lemmi! You're not the only one.
An example from my own experience: Yesterday, during a long round of table tennis, I played three albums in a row. This gave my partner a good dose of motivation (probably because I was enjoying the sound between each rallies).
The genre has gained a new dimension thanks to HP. At least for me, a very positive one (even if the sound is occasionally, and rarely, too funky for me). However, there are also many other facets and phenomena in "Dub“ (all of them recent) that don’t appeal to me at all. And one could always discuss where the limit is for a tune to still Dub assign.
What exactly is Kali Fat Dub As for the Meets Balkan Voodoo Orchestra album, there's another facet that I really appreciate about HP. He simply experiments. Whether he does this as a seeker or a finder, who knows. But with the laughing seagulls, he's gone way over the top for my taste. And the DubMy ears also have to work hard to find or search for the elements. That's why I probably won't be listening to this album again anytime soon.
In general, I am a big fan of Dub in and from all parts of the world. Especially the mix with Cumbia (tropical dub connection) or the Havana meets Kingston in dub Album (Mista Savonna) are a good example. Avocado Boy (I only know the YouTube channel so far, but I would love to be part of a live session) has two mega dubs with a distinctly South American style. But all have one base: the Dub with a catchy bass line takes center stage. And that's what I miss on this HP album (too much percussion).
I am definitely curious to see what fine ear treats this Dubuniverse still gives me in my life. And a main ingredient for this comes from the dubblog. Big up!
Links avocado boy:
https://www.youtube.com/watch?v=uEbGvzIC348
https://www.youtube.com/watch?v=7FsELmWKdeM
https://www.youtube.com/watch?v=KaYpXOSAwPY
Yo Giovanni!
Normally, I don't care if I'm the only one who feels this way, because my opinion is my opinion. But it's actually quite nice to know you're not the only one who feels it. Shared sorrow is half the sorrow. Shared joy is double the joy. If I'm not mistaken.
I also really like Cumbia Dubs from Tropical Dub Connection and also the “Savona Dubs" (and also the vocal disc) are excellent. Unfortunately, there are only data files available. But ultimately, data falls by the wayside. At least for me.
No CD or vinyl LP and I get forgetful. But hey, sometimes space and time are so well aligned that the playlist comes to mind at just the right moment. Dubs remembers.
From Avocado Boy I particularly like the “Ateni Bosa Dub".
I don't think there are any catchy bass melodies in "Desert Jungle" either. I hardly find them anywhere in dancehall. The good, magical bias lines all come from roots and rocksteady, as far as I've noticed. In the past, these good bias lines were also mixed into the occasional dancehall riddim. But I simply don't understand how the Jamaicans, over time, even "absorbed" trap, or was it grunch (?), into dancehall, thereby definitively transforming dancehall into duncehall, or rather, musically atrophied. If I'm wrong, I'm not even sorry, because especially these "duncehall artists" like mavado and vibes kartell have only made "hurrrrz" so far, and strangely enough, these are, or were, particularly celebrated. One reason why I've lost interest in riddims for a long time. Do they even still exist? Whatever, I don't need an answer to that.
Yes, and so there are small or sometimes even larger differences in the taste of music everywhere – and especially DubConnoisseurs. I find percussion in Dub very important, even if I don’t necessarily do it in every DubTune must have. But especially with the percussion, I always find really crazy DubEffects, even if it’s just the reverb and echoes, that really put the percussion into “quantum dynamic” vibrations.
From this perspective, the (very boring) album
"Strings of Dub" has a whole new meaning for me. I always thought it was about the violins, but it is the strings that are Dub are part of the cause of the effect anyway.
Yes, I wouldn't understand it either if one of you wrote something like that. But I love it when rationality
no longer plays a role.
Instinct is more important (if I'm not mistaken) ………. lemmi