Five Star Review

Joe Yorke: Noise and Emptiness

Of course, falsetto isn't for everyone. That's why there isn't a single Cedric Myton track in my playlists, let alone one of his albums. The situation is different with falsetto backing vocals in the style of the early Aswad, Steel Pulse or Tamlins recordings - it just fits there, harmonic and tonally reliable head voice singing was delivered. See "Baltimore" - what would the track be without those harmonies?

Also Joe Yorke's debut "Noise and Emptiness' (Rhythm Steady) delivers flawless, accurate falsetto at times - both on lead and wonderfully accomplished backing vocals. But now that's us and voices interest us only peripherally; therefore it should be pointed out that the album with dubis interspersed with big instrumentals. It's all in the mix; it frees the release prophylactically from the dreaded falsetto overdose. Undoubtedly, Yorke's diverse responsibilities as singer, producer and composer contribute to the production's success; one or the other collaboration with mid-range vocalists will also play their part.

So there is a fresh wind blowing from England towards the international reggae community, which is particularly evident in the excellent production - everything is clean and, above all, not excessively arranged. This gives the sometimes almost sparse instrumentation room to breathe - similar to what we saw in the bone-dry Rub-a-Dub of the early 1980s. And yes, you can hear some fat bass here too:

Of course, “Noise and Emptiness” is an offer that values Dub-Connoisseur has to let in first - it wasn't love at first sight for me either. But: The tunes have enormous potential for growth and have clung to the reviewer's ear canal. And so it is that the album is one of my personal favorites of the year and deserves a big recommendation.

Rating: 5 out of 5.
Dub (Revolution Review

Dub Evolution, November 2010

I am a big fan of the minimal, which is perhaps my preference Dub explained, because Dub is a minimalist music. The great on Dub but is that this minimalism does not get boring, because within its narrow limits, offers Dub a true cosmos of possibilities. In a composition made up of a few elements, the change in one of the elements has a much greater relevance to the whole than in a composition made up of a large number of elements. Dub To produce therefore means to compose and manipulate the musical elements very precisely. Instead of spicing up an existing piece of music with effects, it's about the exact opposite, namely about reducing music to such an extent that every single component, every instrument, every tone, its sound and context gain meaning. Because of this, listening to Dub a different experience than enjoying a “normal” piece of music. While we follow a normal piece of music like a narrative, so to speak “representational” with a clear focus on vocal melody and text, we enter Dub an abstract acoustic space in which our attention cannot cling to a preferred object, but rather applies to each individual and at the same time to the whole. Perhaps this is where the meditative character comes from Dub: It evokes a state of complete openness and mindfulness in the listener.

While listening to alborosies new album "Dub Clash "(Shengen / Import) I felt the same way again. It is music that the listener immerses himself in and experiences it in an almost meditative state, but with a wide-awake mind. Here every detail is carefully selected, placed and arranged. Everything is in the right place, nothing should be missing without destroying the balanced balance of the composition. Here we have the lucky case that excellent productions are a congenially ingenious one DubProcedure, with the result that the Dubs are better than the vocal originals. While Albo's songs are undoubtedly good, it remains so Dubs reserved to turn the musical experience into a truly fascinating, rich experience. An important reason for having this experience is Alborosie's predilection for good, old, analog studio technology, which gives his music an incredibly rich, warm and harmonious sound, full of complexity and depth. His other preference is for classic riddims like z. B. “Bobby Babylon”, “Full Up” or “When I Fall In Love”, which not only guarantees beautiful bass lines, but also an interesting aspect of the dem Dub the inscribed principle of minimalism. “Analog studio technology” and “classic riddims” sounds like old school - and that's what it is, and a full pot. It is not without reason that Albo dedicates the album to King Tubby. The first track in particular, which is tellingly titled “Tribute To The King”, could have been mixed by that very same track. But in the further course Alborosie emancipates himself from the original and finds his own sound, one leg in the classical music, but with the other in the here and now. The further the album progresses, the more reduced and mesmerizing they become Dubs, gain grounding and intensity and pull the listener deeper and deeper into their spell, until finally the last notes of the sixteenth track fade away and one awakens from the musical meditation - refreshed and satisfied and a little amazed about why this great music is Dub extinct in Jamaica and first a European has to bring them back there.

The comes from Alborosie's homeland, Italy Wicked Dub Division, a typical representative of the very strong Dub- and roots scene beyond the Alps. The division's first album has just been released: "The Singles Collection" (WDD / Download). In a certain way they offer a real contrast to Albos "Dub Clash ”, because instead of sophisticated compositions and sensitive mixes, this is the place to go dubtechnically full on the 12: steppers galore, massive, brutal, uncompromising. Built up as a showcase album, there is always the A-side of the single first and then the Dub. But not infrequently the vowel version is also a Dub and the vocals are rather rudimentary. Anyone who likes this kind of UK steppers reinterpretation could also check out the somewhat older album by R.estistence in Dub, "Avampuest Dub"(Alambic Conspiracy / Download) listen to.

In 2003 the Pink Floyd remake "Dub Side Of The Moon ”. At that time I wrote in this column (yes, it has been around for so long!): “It's a shame that a lot of energy and an even greater amount of innovation has been wasted on the wrong project. Perhaps it had to be tried in order to be able to tick off the topic - because failure is also the chance to gain knowledge ”. So one can be wrong. As for a judgment on failure in a musical sense, I take nothing back. In a commercial sense, however, the project is anything but a failure. Countless (probably) rock fans pounced on the album and made it one of the most successful of the decade. Reason enough for that Easy Star All Stars to Lem Oppenheimer to relaunch the relaunch. In addition, the Americans have mainly British Dubhired by Groove Corporation, Dreadzone, Adrian Sherwood or Mad Professor to make remixes of "Dub Side ". The result is now "Dubabout Side Of The Moon "(Easy Star / Broken Silence) titled and, in my opinion, suffers from the same shortcomings as "Dub Side ”, namely because the Pink Floyd rock songs just don't harmonize with reggae. The productions are often not that bad, but incomprehensibly many remixers have the vocal passages in theirs Dubs taken over and thus made the result inedible. But maybe I'm alone with my opinion. In any case, my reggae Facebook friends said they were pretty positive about the album and especially praised Mad Professor, who is supposed to find his way back to his old greatness here. Well, I just wanted to mention it ...

By the way, Easy Star also serves the American market with the productions of the New Zealand band The Black Seedswho now - as appropriate - also present a remix album: "Specials - Remixes And Versions From Solid Ground" (Best Seven). As the title already makes clear, we are dealing with a remix of their last album, whereby it should be mentioned that the remixes are by no means exclusively about Dubs acts. In general, the Black Seeds with the classic term of Dub not really to get over it. Their musical mix of reggae, funk, soul, afro beat and quite atypical (and funny way, strongly reminiscent of Fat Freddy's Drop) vocals, simply doesn't leave any deep Dub-Mix too. The music sounds too airy, too good-humored and is always more of a song than a sound. So if you are looking for a rather unconventional, soulful reggae album with the occasional Dub-Excursions, he should check out the specials. Otherwise, “Solid Ground” is completely sufficient as accompanying music for Sunday breakfast.

I haven't had the Danish chill-out label Music For Dreams on my screen, although label boss Kenneth Bager has been with EPs for a long time Dub-inspired electronic music released. Now the compilation of the EP compilations has been released: "World Dub Pastry Vol. 1-5 "(Music For Dreams / Download). There are 20 tracks on it that are perhaps best described as Ibiza chill-outDubs and can be stylistically somewhere between minimal house and reggaeDub arrange with occasional world music sprinkles. The music has a nice warm sound, gentle beats and a relaxed flow. I actually like it quite well, although I can't concentrate on the music for more than ten minutes. I've heard the album five times and still can't find my way around it. The pieces, which are consistently produced very sensitively, simply lack corners and edges. Instead of pushing forward into consciousness, the tracks strive into the background, forming a soundtrack that wants to be felt rather than consciously perceived. Which is almost a shame, because the beats, sounds and samples that are used here are really good in themselves, only when they play together do they lose their conciseness and become a sound texture. But since that is exactly what Chill-Out-Music wants, there is really nothing to complain about here. There are always situations in life where you can use this kind of music.

The Netlabel Subbass offers pretty much the opposite of Chill Out (, that I Dubsptep from Germany. Label boss Uwe Heller published the first label compilation back in August "Subbass - Dubstep Made In Germany ". On it you will find consistently high-quality, well-produced, energetic tracks that are full of ideas and together result in an extremely varied album. Instead of reading about it, listen to it for yourself. It is available for download free of charge:

Charts Review

My Dub Top 10 of 2010

1. Adrian Sherwood & Lee Perry: Dubputs
2. Alborosie: Dub Clash
3. Dubmatix: System shakedown
4. Lee Perry: Sound System Scratch
5. Hey-O-Hansen: We So Horny
6. Various: Evolution Of Dub Flight. 5
7. Dubble standard: Marijuana Dreams
8. Dubcash: Transformed into Dub
9. Various: Jahtarian DubBers, Vol. 2
10 Various: Shatter The Hotel


Italian Dub Community

The European torch Dub and Roots was passed on from the United Kingdom to France years ago. In the meantime it is Dub-Fire already arrived in Italy and blazes there like a mighty forest fire. The proof is available as a free net release: "Italian Dub Community - Showcase Vol. 2". This is a joint project between various Italian roots bands and Dub-Producers who have thrown together an incredible 45 tracks from their oeuvre. The quality of the album is extremely good - without a doubt the best net release I've ever come across. It's amazing at what level the Italians produce roots - miles away from the smooth Jamaican roots of today, in the tradition of UK-Dub standing and yet a consistent further development. Follow here in showcase style DubVersions on the songs and offer a terrific, fat steppers sound throughout. Fascinating that the Italians Dubber - under the motto "Cooperation No Competition" - are so in agreement about where they want their sound to go. If you don't listen carefully, you might think you're hearing the album of a single band. In fact, the bands and producers come from all parts of the country and were mine - apart from the BR. Stylers and R.esistence - so far unknown. Nice that that Dub-Universe still holds surprises in store.
If you need more material after the 45 tracks, you can still use the "Showcase Vol 1“From 2008 download.

Reggae Review

Fat Freddy's Drop: Live At Roundhouse

Fat Freddy's Drop are definitely one of the most interesting reggae bands on the globe according to my taste at the moment, which is simply due to the very idiosyncratic, hardly classifiable style of the New Zealanders. In the lowest BPM speed range you cross a puzzling landscape, where the ground comes from Dub, the mountains are reggae, the trees are jazz and the sky is soul. Perhaps it is even an underwater landscape through which fat Freddy, with lead-weighted shoes, trudges in slow motion. The sound is dampened by the water and turns into a dark rumble, while slowly rising air bubbles release voices and sounds. Yes, that is a beautiful picture. If you mentally transport it into the unique world of New Zealand, you get an idea of ​​what Fat Freddy's Drop is all about. And now let's do another thought experiment by imagining that we're not enjoying this sluggish, casual, heavy sound in 4-5-minute bites, but in a continuum of 10 minutes and up. Because that's the quality of "Live At Roundhouse" (The Drop / Rough Trade), a concert recording from December 2008, in which we can listen to the seven-piece band improvising a song for 15 minutes or more. That this is the real, authentic and only true Fat Freddy's Drop experience hardly needs to be mentioned (especially if you were allowed to experience it live). The then unheard material served a year later as the basis for the album “Dr. Boondigga & The Big BW ". So we mainly hear pieces from this album, which is known to have deviated a bit from the reggae foundation of its predecessor. Still: I'm thrilled.


Lee Perry: Sound System Scratch

There are always reasons to make an album with material by Lee Perry to publish. Often they are flimsy pretexts to commercially exploit old material again. But Pressure Sounds has now had a new, surprising idea: you have old ones Dub-Collected plate specials that Perry had cut for various sound systems in the 1970s, these partly smooth-planed acetate discs were extensively restored and made into the fascinating album "Sound System Scratch" (Pressure Sounds / Groove Attack) compiled. It turns out that Perrys Dub Plates were by no means just a copy of a mere rhythm track, but rather that the creative dervish that he was made an exclusive remix for each assignment. It's easy to imagine that with a product as ephemeral as one Dub Plate, a product for a limited audience and with a short half-life, Perry's thirst for experimentation got hot. The aim here was not to achieve commercial success, i.e. sanding down corners and ironing away edges. On the contrary, anything was possible here; a broad field of experimentation, the limits of which were no obstacle to Lee Perry. And so he used the studio technology not only extremely creatively, but also far beyond its possibilities - which often came at the expense of sound quality. But it was only the endless copying of various audio tracks and samples into one another that produced the typical, multi-layered complex Black Ark sound. The present ones pay homage to this sound Dub Plates. They take us on a fascinating excursion through the multiple dimensions of the sound space of the Black Ark, with their typical bouncing bass, non-stop phasing and of course the clanking cymbal sounds. Before the inner eye emerges an image of the Black Ark Studio, which was an apartment for Perry, crammed with instruments, studio equipment, voodoo utensils and all kinds of things. The walls are paved with pictures and prints. Heat, ganja smoke and the aroma of Jamaican rum that permeated Perry's bloodstream. The music that was created in that atmosphere was out of this world. Maybe it was a direct outflow of Perry's genius at the time, without the controlling influence of consciousness: a direct materialization of Perry's unfathomably confused mind. Mystical, obscure and mysterious, and that is exactly why it is so extremely fascinating. Music that has retained its value to this day and which I fall for every time I listen to it. After some seemingly academic releases, Pressure Sounds has once again succeeded in a really fundamental compilation with “Sound System Scratch”. An album that wonderfully brings to mind the beauty and unbelievable innovative strength of reggae of the 1970s and that doesn't belong in the collection, but in your ears!


DubBlestandart: Marijuana Dreams

Joy: another new album by Dubblestandart: "Marijuana Dreams" (Collision / Groove Attack). This is now the twelfth and barely a year behind the last, rightly acclaimed “Return From Planet” Dub". The Viennese guys really have bumblebees up their asses. They just want to play! And you can hear that in their music too. Because most of the programmed, synthetic ones Dub-Music of our days, the four-piece combo sets itself apart with its virtuoso, hand-played sound. A sound, by the way, that often reminds me of Adrian Sherwood's style of the 1990s. It's an urgent, fast, and in a way even aggressive sound that can't deny its proximity to industrial. Powerful beats, peppered with vocal scraps from illustrious guests like Lee Perry or David Lynch - with which “Marijuana Dreams” seamlessly ties in with the previous album, because some of the tracks like z. B. the Jean Michel Jarre remix or Perry's “I Do Voodoo” and “Chase The Devil” come from the planet Dub and are fired again at the assembled audience in a remixed form. If you add the four bonusDubVersions, then the collection of new material with seven pieces turns out to be reasonably clear - but this should not be understood as a negative criticism, because with Dub the remix is ​​known to be a virtue. Which brings us to the second quality of the Viennese, namely theirs Dub-Mixing skills. They do that really well. Your Dubs have a good dramaturgy, are variedly instrumented, quite lavishly arranged and peppered with many FX and samples. It's not exactly minimalism - but I wouldn't enjoy playing the tracks myself first, only to then strip them to drum & bass. However, I enjoy the few but outstanding vocal tunes. While Dubblestandart knew how to cut the non-stop blabbering of Mr. Scratch to small vocal snippets, two “real” singers or deejays appear in their marijuana dreams: Anthony B and Elephant Man. I have to admit, I'm not really into Elephant Man Dubblestandart-Sound could have imagined - but has to admit that Ele is a really good service provider and that the Viennese have a perfectly fitting song for them Dub-Beats made. Anthony B is even a touch better. Then there is David Lynch, who is more of a marketing gag than a real vocalist. It's cool though Dubstep remix of his "song", fabricated by the New York Subatomic Sound System, which closes the album. In conclusion, let's summarize: album = good!


Best of deep root

Neil Perch is one of the few, tireless sound system operators and producers who dedicated himself to the early 1990s Dub-Sound (instrumental or with vocals) and are still active today. Under the motto "Dubwise - No Compromise ", he has the rise of the UKDub and witnessed its decline, has been at the forefront of the movement with Zion Train, a major deal in its pocket and the fortunes of the Dub had in hand. A true veteran and Dub-Activist. Since 1998 he has been publishing mostly his own productions on his “Deep Roots” label, exclusively vinyl in 7 "and 10" formats. Now is the premiere, because with "Best Of Deep Root" (Universal Egg / Cargo) the first album and CD appear. The title says it all: here are the highlights of the label, 8 in number, always as a vocal version followed by Dub (16 pieces in total). I have a real love-hate relationship with the sound of Neil Perch. Actually, 20 years after its invention, I don't want to listen to a UK stepper anymore. The synth sounds have been used up, the militant beat has marched its feet sore. But! If the DubWhen the bass explodes and the bass drum hits me in the stomach, when the intense energy of the rhythm chases shock waves through my body and sucks my brain into the windings of the echo chamber, then, yes, I'm a big fan of this proud again , time-honored sounds from Mr. Perch!


Dub Foundation

After Greensleeves with the “Evolution of Dub“Series the story of the Dub recounted, Trojan probably also wanted the benefit of the popularity of Dubstep use the favor of the hour brought about to do the same - albeit in a somewhat reduced framework. Instead of releasing several 4-CD boxes like Greensleeves, Trojan limits itself to a double CD - but with at least 40 tracks: Foundation Dub (Trojan /Sanctuary). And since Trojan doesn't mess up, here is a collection of the best and most important Dubs compiled their archives, beginning in the early 1970s and ending in the early 1980s. All important Dub-Producers and mixers of the era of the classic DubThere are: Augustus Pablo, King Tubby, Niney, Prince Jammy, Scientist, Linval Thompson, Bunny Lee and of course (and above all): Lee Perry. In chronological order you can go through the history of the Dub hearing, following how the sound has changed and how the mixes first became more and more complex and finally very simple again, can penetrate deeply into the Dub-Mysticism of the Black Ark studio, listen to Jammy's virtuosity and of course admire Tubby's routine. It is a journey through time from the instrumental version to pure sound, from the B-side to abstraction, from secondary use to independent art. A journey based on absolutely essential Dubs, by the way, a trip that doesn't come across as academic, but offers exactly what it is for Dub was invented: fun.

Dub (Revolution Review

Dub Evolution November 2009

"Felt". What connotations does this word have? Warmth, comfort, muffled sound, softness? "Felt" (Dubmission), that's the title of the new one DubAlbums by International Observer (behind which the British producer Tom Baily hides, who led the pop band "The Thomson Twins" in the 1980s). The music to be heard on it is the association of the title that has become sound; beautiful, melodious, warm, cozy Dub- "Songs". "Songs" because the Dubs “feel” like full-fledged songs without actually being able to hear vocals. They are artistic compositions in which every note, every beat seems to be carefully weighed and balanced. Everything flows, bubbles, rolls - infinitely relaxed and yet extremely exciting. “Relaxed” not “shallow” !: The felt-stuffed basses hum powerfully in the 44-heart cellar and the suction effect of the syncopated beats sucks ears, head and stomach inexorably through four-four time. There are interspersed melodica melodies, sounds of an acoustic guitar, contrapuntal percussions, accordion harmonies or the many other, sparingly but effectively used melodious ingredients that make the music seem so relaxed. Tom Baily understands Dub not just as a sound, but as a complex musical structure that needs to be perceived with both gut and head at the same time. It is an example of the art of making complexity appear light and simple. Everything is evident, self-evident, clear and consistent - in one word: perfect!

Evolution continues - with natural selection: "Evolution of Dub, Volume 4, Natural Selection "(Greensleeves). After Greensleeves started the series with the Joe Gibbs production "Dub Serial ”opened in 1971, the fourth CD box is now dedicated to the visionary producer and his brilliant sound engineer Errol Thompson.

The selection begins in 1976 with the album "Joe Gibbs & The Professionals: State Of Emergency" which we 10 enjoy Dubs presented in a loosely played “rockers style”. Garnished with beautiful brass melodies - what the tracks are more like instrumentals than after Dub can sound. Classic riddims such as John Holt's "Up Park Camp", Jackie Mittoo's "Our Thing" or "Heavenless" are cited here. Every melody is suitable for humming along and the militant rockers drum style lets the music fly - I have to admit that I really like the sound of this time. After the rather dry Bunny Lee productions, reggae now gets a certain swing and the rhythms start to roll again - whereupon the “Mighty Two” (Gibbs & Thompson) got along splendidly. By the way: The cover, on which Jamaican security forces search three alleged delinquents, was allegedly quoted in 1977 by The Clash for the album "White Riot".

Album two of the box - “Majestic Dub"From 1979 - was always overshadowed by Gibbs' famous" African Dub"-Series. Wrongly, as it shows here, because the album contains some really remarkable pieces. It's very different from “State Of Emergency”, it's a real one Dub-Factory with scaled-down production and classic Dub-Mix. But Joe Gibbs managed, as always, to arrange his tracks so that they didn't sound too empty or too minimalistic. This was not least due to the fact that he was not afraid to insert modern (and unusual) synth sounds, while Thompson, who was gifted Dub-Mixer, living out his love for samples. The latter is probably responsible for the completely unsuitable, but in its electronic strangeness also typical intro sample from Donna Summers "I Feel Love". Of course, well-known riddims and Sly Dunbar's light-footed drum style are used here again - but who would mind?

A further leap into 1984 leads to the inevitable, namely the “African Dub“Series, of which the less well known fifth chapter is brought to our ears. Released long after the previous four chapters in the series, it hit the market when Dub was already on her deathbed in Jamaica. The sound had changed a lot: instead of “Rockers”, “Dancehall” was the defining style. The pieces were correspondingly slow, heavy and bass-oriented. We get on straight with “Full Up”, shortly afterwards encounter “Heavenless”, “Taxi” and other classics. Nice melodies, rich sound, good mixes - the best in my opinion Dub-Set the box.

But album four is still waiting for approval: "Syncopation" by Sly & Robbie and of course produced by Mr. Gibbs. It closes the box, even though it dates back to 1982, two years before “African Dub Chapter 5 ”was created. As a friend of old Sly & Robbie recordings, I put it in the CD player before the other three - but it disappointed me! On the one hand, because Robbie's bass can hardly be heard - unbelievable! On the other hand, because the rhythm twins gave free rein to their sometimes not entirely stylish penchant for pop songs. So we come z. B. Enjoy the Beatles classic “Ticket To Ride” (garnished with a borderline rock guitar solo) or Leo Sayer's “More Than I Can Say”. In between there is also “decent” material: on “Space Invaders” and “Laser Eyes” we hear Sly's typical syndrum shuffle rhythm for this time.
As usual, there are detailed liner notes in the booklet of the box, which in the first part describes the evolutionary history of the Dub continue and in the second part refer to the history of Joe Gibbs in minute detail.

The return of Dub Spencer and Trance Hill! Two years of work was done on the new album, now it's finished: "Riding Strange Horses" (Echo Beach). The supposedly Italian duo, which was actually a Zurich trio (around bassist Marcel Stadler) and has now grown into a quartet, obviously takes the title literally and presents us mainly cover versions of songs from different genres. As is customary with Echo Beach, there are of course versions of The Ruts and Martha & The Muffins. In addition, we hear (in this context) real “strange horses” that are being ridden here, like z. B. Metallica, deep purple or gray area. This is occasionally accompanied by short vocal passages by Lee Perry, Robin Scott, WS Burroughs, The Catch and others. This makes it clear that we are dealing here with a great rock remix, with an echo chamber that consists of rock- Classics reggaeDubs makes. What is fascinating is that the Swiss guys use the same instruments as the rock greats in the originals. And that is exactly the USP of Dub Spencer and Trance Hill: They actually play rock with a reggae offbeat - which, acoustically, is very similar to the New Yorker "Dub Trio ”brings. Groove, timing and one drop are all right, but there are sound and arrangements that cannot deny their reference to rock. I wouldn't be surprised if everyone DubEffects would also be played live so that the music avoids exactly what Dub what really matters, namely the creative processing on the mixer. The result is idiosyncratic and fascinating - as long as you don't have any problems with hooklines like "Smoke On The Water".

Finn the Giant is a Dub-Producer from Malmö, Sweden, who won the “Heavyweight Roots Dub Reggae ”net label“ Giant Sounds ”( Now the time is ripe for the first real, physical CD release: "Dub Pon top“(Import). 14th DubThe giant has gathered s here: powerful steppers beats whose digital origins are unmistakable. Occasionally there are sprinkles of melodica or torn synth melodies, but the main focus is clearly on the basic rhythms, which progress in stoic, meditative rhythm. Finn managed to vary the beat and build melodic and varied riddims. But as inspired as the riddims are, the sound is unfortunately not. The tracks are mixed dynamically so that the groove is right. But Finn doesn't manage to eliminate his synthetic and somehow "tight" sounding studio sound. His Dubs could use a lot more space and space. Let's hope that the proceeds from "Dub Pon Top "will be enough for a new mixer ...

After the melodic reggae basslines, there is now an excursion into the technoid booming bass spheres of the to blow your ears free Dubstep. With "Steppas' Delight 2“ (Soul jazz) another important inventory of the scene is available. 26 bass-filled tracks are literally knocked around our ears and rammed into the pit of our stomach. Track 1, “Grime Baby” by Gemmy, already makes it clear where the journey is going: into an angry bass inferno. If you turn this tune up too loud, you can pick up the scraps of the subwoofer membrane from the floor afterwards. Minimal but huge. In the course of the double CD sampler we also encounter less radical statements as well as some pleasant garage house groove, and we will also notice that Dubstep has meanwhile become more differentiated and has a larger stylistic spectrum. Which, by the way, can also be seen in the new names in the scene. Besides Benga and Appleblim, there are hardly any “veterans” here. But the young vegetables are doing a good job and we can look forward to the future of the genre with hope.

Another, more interesting Dubstep release is "Studio Rockers At The Controls“ (Studio rockers). On this sampler there are some reminiscences of reggae like z. B. Samples, wind melodies or entire reggae vocals. The 23 tracks are mixed together by Tony Thorpe and are largely from the archive of the studio rockers label. I don't remember hearing the name Tony Thorpe, but it's supposed to be for his Dub-Productions and has directed Massive Attacks Meltdown Festival as well as remixes for Amy Whitehouse, Erykah Badu and Lee Perry. Anyway - his parforce ride through the world of Dubstep shows a good feeling for bass and beats. If you want to undertake a first, vague excursion into the new genre, you can start here.