Thanks to the "City Squad" samplers, we know that almost every French town has at least one brilliant sound system. That's why I wasn't at all surprised when I looked at the impressive album "Reconciliation’ (Subsquad) by Ras I Mothep – the work of a sound system from Aix-en-Provence, a town steeped in history smaller than Herne. After all, around a third of Aix's residents are students (which perhaps helps explain why Herne doesn't have a sound system). Doesn't matter. In any case, “Reconciliation” is worth recommending here. Even the track after the intro has it all. He starts out cautiously, almost shy. A nanosecond before you think nothing is going to happen here, then such a fat bassline kicks in that a nanosecond later it's already unequivocally clear that this is a great album. I also don't know why some Steppers productions flash me so much. Although I'm such a fine-spirited art connoisseur. Maybe I'm schizophrenic, but "Reconciliation" really picks me up. I love the dynamics, the brutal kick, the simple - mostly oriental sounding - melodies, the super deep bass and I'm really into the virtuoso percussions. What should I do? When I listen carefully to the music (like now) I realize that there isn't much artistry to it, that there's not the slightest bit of intellectual justification for my enjoyment of the album. But I stand by it! "Reconciliation" kicks ass!
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Ras I Mothep: Reconciliation
One Response to “Ras I Mothep: Reconciliation”
Sometimes reading the review is more fun than the music itself. No, I can even understand it in a way. With the French steppersDubs happens "above" (I got the expression from the DubBlog ) just a whole lot more than the Uk-SteppersDubs the case. AbdR ......both in one direction and in the other. I also like the recorded or sampled instrumental snippets and the way different sounds and effects are created here. Last but not least, the oriental melodies with the oriental-sounding instruments. As soon as it sounds oriental, we're already very close to 1000 and one night, which in turn leads us more quickly to Alibaba, to the genie in a bottle and other magic that goes with the Dub belong to fries, like ketchup AND (!) mayo.
As a result, the whole thing doesn't seem as "dull" and by far not as stoic and "narrow-minded" as in so many other Steppers productions, where even the effects are used very sparingly and minimalistically or, due to the overly great emphasis on steppes in the bass, are almost completely lost. The "bass steppe" doesn't really sound charming to me here either and really isn't particularly "intellectual" and certainly not intelligent, let alone imaginative. Basically, I always find most SteppersBass(Lines) to be an additional bass drum that just "kicks" on top of it. But that's obviously enough to "kick the ace".
In addition, there is sometimes a completely different understanding of “timing”.
I would be inclined to quote "Cool down your pace for me little Mothep" because I feel the same way as Gregory did with the ( sweet ) little woman. "Fyah Bingi" is a nice little play on words, but it comes across as quite hyperactive. Something like this was always too fast for me and I would like to ask: Stop! Where are you going so quickly? I haven't even tied the laces of my DancingShoes yet and you're already walking around like Luzie ...... but I've also noticed that it depends a bit on my shape on the day and I can even follow it occasionally.
Music can hardly be justified rationally or even intellectually and I'm very touched that it's not just me.
“Music is like a butterfly” ………………………. lemmi