With "Dub Foundation“ (Slimmah Sounds) Tim “Slimmah Sound” Baumgarten presents a new, extremely beautiful Dub-album. The Dutch drummer and producer, whose roots lie in roots and DubReggae, once again demonstrates his craftsmanship and creative vision with this work. His style, which combines live instruments with digital production, sounds more mature than ever and carries a palpable depth that runs through all of his tracks.Dub Foundation" is (once again) a homage to the golden era of roots reggae. The heavy basslines and clearly structured riddims are reminiscent of the great masters of the 70s and 80s—Sly & Robbie, Yabby You, and Linval Thompson—but at the same time, Slimmah Sound incorporates modern production techniques that place his music in the current Sound System vibe. Influences from Zion Train, Vibronics, and Alpha & Omega are clearly recognizable. Now things get complicated: "Dub Foundation” is the Dubversion of "INI Foundation" – which is a showcase album with 12 tracks. Five of the six Dubs on this album, can now be found on “Dub Foundation" again. Doesn't sound like a good deal, but the sound on the "small" album seems much better to me. The tracks on "Dub Foundation” unfold slowly, leaving room for echo, reverb and finely tuned Dubarrangements. Particularly impressive is the rhythmic structure of the Dubs, which always remains exciting. In addition, the classic Dub-mix is excellently done – it creates an almost magical effect. Particularly impressive is the attention to detail with which Tim Baumgarten recreates classic Dub-techniques without falling into a retro habitus. The sound is warm, deep, and organic; each element has its place and contributes to the overall effect. The fusion of analog feel with digital precision is undoubtedly particularly successful. However, the album is quite short, with only five tracks. Those who want more should pick up "INI Foundation," which, in addition to the Dub-versions also includes the vocal interpretations of Idren Natural.
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Slimmah Sound: Dub Foundation
3 replies to “Slimmah Sound: Dub Foundation "
I have already written and meant it (unfortunately) that the DubI liked Mad Professor's songs better than JAH Shaka's.
That is still true – for me – but there are many Dubs by JAH Shaka, which I find fascinating. I just have to say that in advance, because I felt from the beginning that JAH Shaka had returned to DubIt's so exciting here and
magical. I also like to refer to the formulation in the review, in which René speaks of a tension-generating rhythmic structure of the Dubs writes or speaks. I can't help it but I imagine I find JAH Skaka in it, especially regarding the details of the classic DubTechniques are concerned. For me, this is not just "almost magical," but actually something like the pure incarnation of magic. And "secretly," I also contradict the content of the review a little, because if one finds a connection between JAH Shaka and Tim "Slimmah Sound" Baumgarten, there is probably also a little
"Retro Habitus" in the game. I'll look up what retro habitus actually means, but if that's what I suspect, then it's not a bad thing at all, and certainly not a bad thing at all.
However, if I am completely wrong in my perception of JAH Shaka, I ask everyone – especially “diehard” JAH Shaka specialists – for revenge or, better yet, forgiveness.
(Nevertheless, I “hear” JAH Shaka ;-) ……….. )
And basically, there is always a little bit of “Hadji Halef Omar Ben Hadji Abul Abbas Ibn Hadji Dawuhd al Gossarah” floating over all my comments ……… ;-)
Just in case I'm wrong ……………………. lemmi
“Doesn’t sound like a good deal, but the sound on the ‘small’ album seems much better to me.”
“The sound sounds much better on the “small album”!”
You're not supposed to tell me something like that. I get the album in its classic form on vinyl, and then there's supposed to be a better sound somewhere!? That's unacceptable, but sometimes it can't be changed. What I've also "learned" is that "Dub Foundation” is even a little different DubVersions than those that were etched or pressed into the groove on the showcase album.
Already in the first Dub “Human Rights Dub“/ “Dub Rights" the beginning is completely different. In "Dub Rights” starts with some brass ( digital ? ) and a bit of riddim, while “Human Rights Dub“ after the short drum intro
(Seems to be the same for both) first transitions into a really deep bass line, or rather, starts. The riddim guitar comes in at different points with varying intensity, sometimes with a few vocals, sometimes not.
At “Onword To Zion Dub“ the echoes on the reggae rhythm are short and fast and on “Promised Land Dub"The echoes are longer-wave but not boring at all. Effects are not placed the same way in all versions (but nowhere out of place ;-) .... ) and are a bit more intense here and there but nothing that really makes a big impact. At least not for me. I like both versions of the respective Dubs on the respective album.
The top hit on the album (“The Corner”) is on both the showcase and the “Dub Foundation“ except for a few vocals in the Dub from "Dub Foundation" is almost identical. And I wouldn't want to miss the vocal version on the showcase album either. When I then read in the text that there are 5 alternative or supplementary Dubs, I realized why the sound might have been tweaked a bit. The album has received quite a lot of praise and recognition, so for us DubHeads a little extra portion Dubs, which perhaps gives one or the other an even better finish in the back of the “aural palate”.
What always makes me happy is when reggae and Dub Connoisseurs come to the same “realization” and, as in this case, discovered “The Corner” as their favorite title ;-) ….
Greetings ………………… .. lemmi
lemmi, with your absolute pitch you have for us "Dubblogger" has really done a great job. It's amazing what you've managed to figure out. The different titles also puzzled me. Still, I haven't found the time to follow up on these open questions.
Thanks, lemmi.