Winds of Matterhorn

(This text has been machine translated.) I have the impression that reggae instrumentals are currently experiencing a revival. Just think of the latest releases by Clive Hunt, the Root Makers, Addis Records or z. B. to the beautiful Gregory Isaacs Tribute by Megumi Mesaku. The brass section often plays a major role in this. This is also the case with this impressive EP from the Swiss mountains: "Winds of Matterhorn". With just four tracks, it's actually a 12 “single. It is known that such short formats are useful dubblog not of interest. But in this case we have to make an exception. Because the four tracks make up a complete album. Produced with Swiss precision, it is by no means just a matter of rhythms that were actually recorded as song backing, but rather of completely composed instrumental “songs”. In other styles of music, such as jazz, it is actually a matter of course, but unfortunately largely forgotten in reggae. That's why we're miles away from the typical at the Winds of Matterhorn Dub-Instrumentals in which a solo instrument (such as the melodica) runs through an uninspired soloing without any reference to the pre-produced rhtyhm. It is quite obvious that the Winds of Matterhorn tunes were planned, composed and executed as instrumentals from the start. A function as vocal backing was never intended. The arrangements are as artistic as they are powerful and follow a clever dramaturgy. Instrumental solos and rhythm are closely interwoven, as if they were in close dialogue. There are good contrasts: Sensitive, calm passages collide with a wall of sound and the elegiac sounds of flute and cello meet thunderous brass sections. There is no boredom here.

Behind the Winds of Matterhorn are trombonist Matteo D'Amico and producer Jean-Baptise Bottliglieri, as well as a number of other accomplished musicians. Because in the old fashioned way, all instruments were played by hand. The sound is simply brilliant, maximally dynamic and simply beguiling. The only drawback: four tracks are far too few. When is the album coming? Until then, we are comforted by the knowledge that the European Wareika Hills are in the Swiss Alps.

Rating: 4.5 out of 5.

6 responses to "Winds of Matterhorn"

Only recently did I think that my playlist contains a lot of tracks with a brass section - not to mention the solo instrumentalists. The "Winds of Matterhorn" (what a name) stand out: Composition, arrangement and above all musical versatility are the finest ... very nice, more of them pa-lease!

Oh oh, slowly I have to reveal “my secret” that I don't really appreciate virtuoso and skilfully performed music. Yes, I realize that there have to be good musicians at the start here. Everyone here seems to know their trade. The sound and the riddims are also very appealing. Some solos grab me too, but all in all the fan is way too much for me to begin with Dubto let the feeling arise. But it's not about here either Dubbut instrumentals. So everything will be okay. But I have to admit, the fan distracts me too much. Unfortunately, I also had to put the Clive Hunt window in the corner, because in the end the fan annoys me too much. Well, I can literally feel how hard you are pulling your hair out with my views, but I just don't need that much fan. There is no magic in me.
Maybe the four tunes will still be through DubVersions added, so that we can all look forward to "more of it" and I also get something for mine Dubget heart.
And then I now venture very far and ask a question that could end up leaving me completely clueless. Very often and also here on “Fire” I have the feeling that the bassline is more reminiscent of polka than ska. Somehow I can't get rid of the feeling that something doesn't quite fit here. In any case, I always have a different, much better Ska feeling with the Ska from the Skatalites than with the many imitators “outside of Jamaica”.

So I don't have to run out when the EP is out, but I don't have to be sad that I can't buy vinyl or CD from it.

I can understand you well. If there is not such a latent aversion to too much fan, one can surely enjoy these instrumentals very well. For me it's a bit like there are way too many apples and pears on an almost perfect pizza. You could also do it on a "DubPizza “greatly reduce it or, if you like, remove it entirely, or ideally with an imaginative one DubCover effects with delicious brittle leaves or - as in the Dub common - to ennoble, so that they come across more like a mystical appearance and also do not overwhelm my synapses. In my opinion, the phrase “less is more” fits perfectly with the blower.

So much from my perspective …………………………. lemmi

"Polka" :-)))
That's roughly how I feel, reminds me somewhere of the Balkan wind ensembles. The track is too hectic for me and therefore it was the only one of the EP's to be dropped from the playlist.

About the winds ... I love the trombone and its sound, as well as the flute; I also like the trumpet when it comes across as a bit jazzy - I don't like the saxophone, it usually comes across as a trumpet. My ideal brass section would be two trombones and a trumpet; and at least one of the three should also be able to play the flute.

I mean that in reggae /Dub the brass is usually not characterized by exact playing and timing, but that certainly has its charm. Would be interesting what the Phenix Horns would have peppered about reggae riddims.

Yes gtkriz ;-)

I think I know by now that you don't have it that way with Ska anyway. I've noticed several times, or I'd rather say, noticed a couple of times that you don't include ska tunes in your deep in Dub List, even if it is actually on the list DubAlbum were on.
I have nothing against ska and nothing against ska eitherDub but I often have the feeling that I confuse European ska with polka. And then there are those who still find the original Ska too slow but I don't talk to them ;-)
A question occurs to me that you don't have to answer. "Shark attack Dub“It's not a ska, but it's also kicked out. Why that?
Did I trigger some kind of gag reflex with my enthusiasm about the tune?
Basically, that would interest me, but as I said, it's not that important.
We actually agree with the winds. I also think the saxophone is quite good, but these things are too big. You can saw through it from the middle so that the high, extremely penetrating notes cannot be played. But it is precisely on these notes that they buzz around too often, because they may consider it particularly virtuoso. Dean "Martin" Frazer sends his regards.
I also like to hear the sweet Youtie (Nomad Skank) and I almost always manage to listen to her in one go.
Yes, then I have to look again to see who the “Phenix Horns” are ……….

Greetings ……………… lemmy

The "Shark Attack Dub“Was kicked out because of the drum computer (cruel 08/15 hi-hats) and the penetrating cheap keyboards. Marie Kondo would say "Doesn't spark a joy" :-)

Mmmmh yes ....... but I can understand it well.

Give thanx …………… lemmi

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