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Subdub: Digital Africa

Subdub is a well-known venue in Leeds (UK) that has been running since 1998 Dub, Roots, Dancehall, Jungle, D&B and Dubstep prescribed. How wonderful it would be to have a club like this in my city! Instead, there are clubs here that give me the choice every Saturday between techno, hardcore techno and tech house. mainstream instead Dub liking would definitely make my life more enjoyable. But somehow Mother Nature gave me this Dub-Gen donated and then put me on a deserted island where Dub is only available as canned food. This is exactly what the makers of Sub wanted Dub To give myself and countless fellow sufferers around the world some relief and planned to publish a sub in 2001dubcompilation album entitled “Digital Africa”. But when the “Digital Africa” test pressings finally arrived, the project was put on hold. Why? Well, dear vinyl friends, it's your fault, because pressing and distributing vinyl was so expensive back then that Subdub couldn't raise the necessary money for it. So the compilation disappeared on the shelf for a while - until 22 years later Dubquake team made a pilgrimage from France to Leeds and discovered the test pressings there: unreleased and exclusive titles by Iration Steppas, Jah Warrior, Vibronics, The Disciples, Tena Stelin, Nucleus Roots, The Bush Chemists and Freedom Masses. 12 UKDubs from the 90s, hard-hitting, uncompromising Sound System stuff curated by Simon Scott and Mark Iration. Since the financial situation of DubQuake is sufficient (and a digital publication is now available almost free of charge), the decision was made to “Digital Africa” (Dubquake) just in time to celebrate Sub's 25th birthdaydub to be released (of course also on vinyl ;-). “And” – the question now arises – “has the music passed the test of time?” I have to admit: Hell, yes, it has. Why “damn”? Because it raises a number of questions when music that was created a quarter of a century ago doesn't sound historical today, but still sounds up to date - and that in a genre that claims to be progressive. Okay, sound system music doesn't exactly represent the avant-garde Dubs, but the considerable historical distance should be more clearly audible than is the case with “Digital Africa”. Was the compilation way ahead of its time, or could it be that the UKDub hasn't really developed further and is stuck in the early two thousandths? The last thesis isn't quite that hypothetical, because... Dub in the UK is still influenced today by the actors of that time. But fortunately there are many Dub-Musicians who stand on the shoulders of the UKDub but have overcome it stylistically and are breaking new ground. Only on Sound Systems is he still alive, the good old UK-Dub-Sound – and there it is unsurpassed. Good things remain!

Rating: 4 out of 5.

One reply to “Subdub: Digital Africa”

Once again I find little “taunts” that make me feel pricked. Sure, I understand, you definitely shouldn't put the words on the scales, but a little bit of penny-pinching can perhaps contribute a little to the entertainment.
I would like to take up the “judgment” that we vinyl fans should or could be to blame for the fact that this album was put on ice back then. To be honest, I have the feeling that vinyl pressings are much more expensive these days than they were in the old millennium. Sometimes I feel like it's a real punishment to "love" this old medium so much when I'm in favor of just ordinary reggae or... DubDisc should cost more than 30 euros.
There is also the fact that these “sub(optimal)Dubs” in 1998 or 2001 couldn’t be put online for free and certainly couldn’t be streamed, as far as I know. I have to admit that I love this subDubI can certainly hear it from time to time, but I feel the same way about all this digital music production from England as I do about the computer riddims from Jamaica that emerged in the mid-80s and have evolved ever since
(strangely) enjoy great popularity. For me this is only second choice. A bit like analogue cheese….
However, I can't generalize completely, because I also found a real highlight for myself with Celt Islam, for example, music that was largely created with a computer.
I just don't like the sound of Disciples, Iration Steppers and Co. that much. Above all and especially the sound from the “snare” always sounds to me as if a jam sandwich was slapped on the wrong side. I didn't like this drum sound at all with Exterminater from Jamaica. Ok, it's my thing and can't be generalized, but it still doesn't make it any better for me.
I would probably never have thought of such a thing myself, but the fact that this “sound system stuff” is still so popular, especially in the sound system style, shows me that I am definitely not part of the hard core of the group Dubfans belong. And vice versa, most of them probably belong to HardCoreDubFans don't like reggae - or Dub Connoisseurs. At least that's what I've read several times and for me it has a certain logic. Exceptions prove the rule again!
Is that right, René?
I am now also an advocate of the fact that DubFor me, music is the most progressive style of music that has ever existed and will ever exist. Progressive doesn't just mean “advanced”, but also “gradually increasing, developing in a certain proportion”...
If you compare the old ones Dubs from King Tubby with those from Yabby You to Scientist and Prince Jammy (I didn't like him as King Jammy) to Mad Professor and the Master Of Innovation Adrian Sherwood, you should see a constant development, I agree. And also a Paolo Baldini, a Prince Fatty and Victor Rize and and and... develop DubMusic continues slowly but steadily, even if it's just to DubMusic to enrich one facet or another. Even a single effect that hasn't existed before, at least for me, contributes to innovation and makes DubMusic continues to be progressive. The most progressive and even “avant-garde”. DubAbove all, I think that music is not, as usual, looking for the next hype and the next quick mark, but rather that you do what you feel like doing. “Progressive independence” from screwed-up opinions and the need to be a recognized member of the bleating flock of conformist society. Yes, it even becomes the (narrow-minded) desire of SoundSystemDubfans ignored, monotonous stomping as possible, without being able to consume sound and sound experiments. Ok, a little exaggeration, because also in SteppaDubIn style there are sometimes more and sometimes less small sound experiments. I don't want to come across as if I'm for SteppaDub I have absolutely nothing left. That's not true, but as a connoisseur and both reggae and Dub Steppa is gourmet for meDub just too dry.
For me, it always depends on who makes the music. There is so much African music (which I also got to know and love through René) that was completely “screwed together” on the computer. Of course, for me this includes Eddy Kenzo, but also Spice Diana and the high-flyer Sheeba from Uganda and many more. This is totally “computer music”, but is enhanced by African “guitar strumming” and various other African instruments and especially by the extremely melodic melodies of the African singers, making it a real feast for the ears
everyone can become a music connoisseur. That doesn't mean that I can fully enjoy every tune, but every now and then I'm really blown away.
So “Digital Africa” is again not a favorite for my top 5 list in terms of things Dub But for me it's still progressive in that it's music that doesn't come across as the mainstream's ever-rehashed tearjerkers.
And as already mentioned, for me it is not progressive at all if you reduce music that is based on powerful riddims to simple synthesizers without a drum beat and without a bass line and try to discover something “new” in it. For me, this is not only a step backwards, but also a rip-off of my “musical palate” because it has absolutely nothing to do with my favorite dish.
And for me, King Tubby remains 40+ years old Dubs still much more progressive than “Aunt Helene” with her pop music, which for me doesn’t become more progressive with a cereal rapper. (No! I didn't bet that stared but I still know the "through" case).
Did I really compare King Tubby with Helene? I apologize, but I think there is no better way to explain progressiveness and conservative fear of something new or even foreign.
But well, the conservative fear of something new or foreign is the gene that we Germans in particular were born with.
Question to myself:
Then why am I so negative about the whole other thing and especially all the computer crap?
Well, as far as the computer is concerned, I have seen many advantages. You can do a lot with it, but unfortunately it has also opened a lot of doors for fascism and you really don't know anymore which information is really true and which isn't.
The other thing…….. well, I can’t and don’t want to stop it and if it helps ensure that one day there will be peace all over the world, then just keep talking like that, a lively person………
This isn't against you, René. I would like to be firmly convinced that you are subject to a certain kind of compulsion and that it is part of writing public texts, but if it really is a kind of compulsion to write or even speak like that, then I seriously ask myself to what extent that has something to do with democracy if you have to be taught something like that.

Otherwise I have nothing more to complain about…………. lemmi

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