The Echo Beach label has always had a preference for historical Dubmaterial in the crossover area, and I must say, the tracks on the album “In Dub, vol. 1“ by Statik Sound System fit perfectly into the label’s repertoire. Statik Sound System was a trip-hop band from Bristol that released four albums and a few singles in the mid-90s. Echo Beach has dug through this archive, the nine dub-compatible tracks and put them on an album. Most of them are not classic reggae (although there are four drum 'n' bass tracks), but if you - like me - z. B. If you like Dreadzone or More Rockers, you can also do a lot with Statik Sound System. Their most famous track, "Revolutionary Pilot", which became known worldwide through the DJ Kicks compilation by Kruder & Dorfmeister, is also a central point here. Several remixes, including one by More Rockers and a version by Rob Smith, provide variety. For me, the album is a sentimental, nostalgic journey into the past, to a time when these sounds were truly avant-garde. Tracks like "Secret Love", "Free to Choose", "Vacuum" and the emotional "So Close" sound so beautifully like the 1990s - and at the same time show the band's full range. "In Dub, Vol. 1” is a reminder of an era in which fat beats, dreamy melodies and playing with Dubrhythms enchanted the music world. Yes, the sound is definitely historical, but somehow the tracks still sound fresh to my ears. Maybe it's because it's not a classic Dub but rather a stylistically not so easy to locate Dub-Experiment.
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Statik Sound System: In Dub, vol. 1
2 Responses to “Static Sound System: In Dub, Vol. 1 "
Their best-known track, “Revolutionary Pilot”, which became known worldwide through the DJ kicks compilation by Kruder & Dorfmeister, is also a central point here.
The track is chewed seven times until vomiting. Nobody really needs something that is so superfluous. A completely unnecessary album to forget.
I have to admit, I don't think this album is bad either.
I also liked the TripHop era, although I always wondered why it became world famous again – like Kruder and Dorfmeister, for example – and why RealDubMusic has remained a complete insider tip. The only explanation I could find for this was the skin colour of the musicians and producers and the resulting financial injection, which brought this music forward without really remembering the magic of Dub to get close.
But I don't think the path from trip hop to hip hop is that far. I particularly like the drum rhythms. "Secret Love" and "Valantine" are very good examples. I've often complained about the "drum fidgeting" in "drum and bass" music and my choice of words today should be enough to convey my aversion to this rhythm. And there is an exception to the rule, because with DreadZone even "drum and bass style" became very enjoyable for me. But here too, the dose makes the difference between poison and medicine.
“A completely unnecessary album to forget.” That actually sounds a bit harsh to me, but I will probably forget the album very quickly…
Never mind ……………….. lemmi