• http://www.kompaktkiste.de/cd/_label/maurizio/bmd2cd1.jpg

    http://basicchannel.com

    http://www.lastfm.fr/music/Rhythm%2B%2526%2BSound

     

    Origine du Groupe : Germany , U.K , Jamaica
    Style : Minimal , Electro Dub
    Sortie : 2003

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    Like writer Thomas Pynchon, Berlin producers Mark Ernestus and Moritz von Oswald notoriously maintain an invisible media profile by refusing to allow photos of themselves and direct quotations to be published. This self-effacing stance is, however, indirectly proportional to the degree of influence they’ve wielded over the past ten years, as their work has single-handedly transformed the electronic dub landscape since the early 90s. In addition to their landmark series Basic Channel, the other label projects with which they’ve been involved include M (Maurizio), Main Street, Chain Reaction, Rhythm and Sound, and Burial Mix. To therefore state that Ernestus and von Oswald have had a profound impact upon the evolution of electronic music styles and production methods over the past decade would be an absurd understatement. Basic Channel and Chain Reaction releases fashioned magnificent takes on Detroit-influenced Berlin techno heavily inflected with 70s reggae and dub elements that must now be considered seminal.

    In recent years, Ernestus and von Oswald have shifted their focus to a purer invocation of reggae dub, one that overtly resuscitates a 1970s style but reanimates it by infusing it with modern electronic production techniques. In terms of CD releases, the 1998 Burial Mix album Showcase featured Tikiman’s (Paul St. Hilaire) vocals, and was followed by 2001’s Rhythm & Sound, a sublime collection of ten tracks highlighted by a single vocal cut, ‘Smile,’ featuring Savage. Fans of those releases will be overjoyed by the joint release of Rhythm & Sound w/ the artists and Rhythm & Sound the versions, with each offering eight stunning tracks of electronic reggae-dub. The hook here is that the first recording deploys the talents of seven different singers (Lloyd Barnes adopting The Chosen Brothers guise appears twice) while the second presents the same set of songs as dubbier instrumentals with only ghostly echoes of the vocals retained. As in the past, Rhythm & Sound w/ the artists compiles tracks released on vinyl over the past three years and recorded in New York, Berlin, and Jamaica. It features Paul St. Hilaire again, but now joined by reggae legends like Cornel Campbell, Shalom, The Chosen Brothers, Love Joy, Jennifer Lara, and Jah Batta.

    Typically, huge textural waves of hiss envelop and surge amongst the tracks’ elongated, supple grooves. Classic echo and dub treatments infuse the songs alongside submersively deep bass, snare hits, basic hi-hat patterns, and offbeat keyboard accents. Ernestus and von Oswald restrainedly use minimalistic arrangements which thereby make the subtlest enhancements (like Paul St. Hilaire’s guitar on ‘Jah Rule’ and the saxophones on ‘Mash Down Babylon’) assume greater significance. ‘King In My Empire’ begins things on a stunningly high note with Cornel Campbell’s gorgeous, often multi-tracked vocals paired with a majestic backing track. ‘Queen In My Empire’ follows, essentially a variation of the first song with its faster arrangement offset by Jennifer Lara’s laconic delivery. At times, the vocals resonate through waves of echo and delay; the ominous ‘We Been,’ for example, features Shalom’s vocal lines not merely doubled but tripled, even quadrupled, while the multiple layers of Love Joy’s sublime vocals form a veritable chorus on ‘Best Friend.’ Certainly the seven singers possess different styles and timbres yet the unifying instrumental conception, so consistently maintained throughout, tends to underemphasize those differences.

    The two Rhythm & Sound recordings fascinatingly testify to a stunning convergence of Berlin electronica and Jamaican reggae which comes off sounding completely natural. The lyrical content covers familiar reggae territory (with repeated mentions of Jah, suffering, prophecy, and Babylon) and consequently firmly anchors the sound, distracting the listener’s attention away from the seductively subtle instrumental touches. While the compelling presence of its vocalists makes Rhythm & Sound w/ the artists understandably register as the more distinctive of the two releases, Rhythm & Sound the versions is strong too. Naturally the focus shifts to the production and engenders a greater appreciation thereof. With the vocals removed, the literal connection to reggae recedes and the Berlin electronic dimension moves to the forefront, tension thereby generated by the tracks subsisting in a suspended interzone between the two. One’s attention fixates more clearly upon the blurred, aquatic density of the sound and its rippling, atmospheric depths, and suddenly the distance separating Rhythm & Sound the versions from Chain Reaction releases like Porter Ricks’ Biokinetics and Fluxion’s Vibrant Forms II begins to seem small indeed. How strange and wonderful it is that in 2003 two Berlin producers should prove so adept at breathing such incredible new life into a decades-old style whose roots are so deeply embedded in Jamaican culture.

    by: Ron Schepper
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    Tracklist :
    01. King In My Empire - w/ Cornel Campbell
    02. Queen In My Empire- w/ Jennifer Lara
    03. Jah Rule - w/ Paul St. Hilaire
    04. We Been Troddin - w/ Shalom
    05. Mash Down Babylon - w/ The Chosen Brothers
    06. Music Hit You - w/ Jah Batta
    07. Best Friend - w/ Love Joy
    08. Making History - w/ The Chosen Brothers

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  • http://4.bp.blogspot.com/_8DiRa5-3WZA/S3hVwLi9PgI/AAAAAAAAC08/tA4EJ5HYuCM/s320/Certified_Dope.jpg

    http://www.sacreddub.com

     

    Origine du Groupe : V.A World
    Style : Electro Dub
    Sortie : 2004


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    Nine years ago, a loose collective of rebel souljahs calling themselves the Crooklyn Dub Consortium launched a new movement in sound with the seminal Certified Dope, Volume 1 (WSCD003), a compilation which defined a burgeoning style from the underground dubbed "Illbient" by the press. Once again, one-upping the downtempo dummies, the crooked knights--including Spectre, Scotty Hard, HIM, and Bill Laswell-- return to prove that good music will always outlive the hype. Certified Dope, Volume 4 (WSCD048) stands as a testament to the awesome power of the Sound. Count on the expanded Crooklyn Dub Outernational to define these crucial times with this latest slate of dubwise illtronica. Babylon's Burning, ya heard? Or do the powers that be want you to party and bullshit till oblivion? Crooklyn Dub has the sonic cure to get you through the commercial blues. And as always, all styles and flavors represented here ripple with originality. French dub powers Brain Damage and Lab lead the charge with the haunting collabo, "Ph neutre," sounds from the Other Side. From the deviant dub-hop of Philosophy Major's "The Soundless Hum of Prayer" to the digital roots of Zion Train's "Modimo," the kaleidoscopic mix is seamless yet unpredictable. Twilight Circus suprises us with the world class dub-funk of "Twlight Circus Meets WordSound Inna Crooklyn 2003 Style," while Bill Laswell takes it back to the old school with Sly & Robbie riding shotgun on "Finite State Machine Dub." Roots Control rides the crushing backbeat of "Boombastic" to dubwise glory. And Doug Scharin's HIM outfit has grown in leaps and bounds as they display adept musicality on "Disco Lips." Meanwhile, left coast assassin King Fader treats a Systemwide beat like Adrian Sherwood on "Eyupsultan" as bonny Prince Charming treats us to his delightful dub rendition of "A Touch of Romance." For the hard stuff, look no further than Scotty Hard, who's coughing up chunks of suspicious dub matter on "Smoke Damage." Teledubgnosis, too, lends some earth-shaking dub-rock to the set with "Ladies &Gentlemen.... Always." World famous DJ/Rupture represents with the tweaked out madness of "Pleasure Ruin Dub," and bass terrorist Spectre never disappoints with the all out low-end assault of "Al Quaida." Always light years ahead of the pack, the genre-bending, boundary-breaking WordSound proves, once again, that Crooklyn keeps on making it HOT. Much more than music, this is a sonic tonic for survival as Babylon burns.

    by http://www.wordsound.com
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    Tracklist :
    01      Ph Neutre
    Brain Damage and Lab°     4:31
    02     The Soundless Hum Of Prayer (Remix)
    Philosophy Major     4:04
    03     Finite State Machine Dub
    Bill Laswell     4:49
    04     Modimo
    Zion Train     5:08
    05     Eyupsultan (The King Fader Mix)
    Systemwide     6:55
    06     Disco Lips
    HIM     5:32
    07     Twilight Circus Meets WordSound Inna Crooklyn 2003 Style
    Twilight Circus     4:02
    08     Boombastic
    Roots Control     4:25
    09     A Touch Of Romance
    Prince Charming     3:28
    10     Smoke Damage
    Scotty Hard     7:52
    11     Ladies and Gentlemen… Always
    Teledubgnosis     4:01
    12     Al Qaida (The Bass)
    Spectre     4:51
    13     Pleasure Ruin Dub
    DJ /rupture     3:24 

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  • http://2.bp.blogspot.com/_j2wXLbpHeM0/Rz8n4g1eLDI/AAAAAAAAAJ8/bud6L-LCRSg/s320/babylonfallcollectionix4.jpg

    http://avantroots.com

    http://www.myspace.com/pulshar

    http://pablobolivar.wordpress.com/pulshar

    Origine du Groupe : Spain
    Style : Electro Dub , Deep Dub
    Sortie : 2007

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    Hypnotic And Deep Soundscapes, A Bass-Line Full Of Soul And Sensuality, Contemporary Ambient-Dub… Highly Addictive Music From The Very First Listen. Pulshar Is Influenced By Hip-Hop And Blues, Dub Reggae And Psychedelic Rock, Showing Exquisite Taste Playing With Loops And Samplers, And Great Skill In Creating Distinctive Catchy Melodic Rhythms. The Music And Voice Of Pulshar Are Unique. Layers Of Evolving Sounds And Rich Ancestral Textures That Take Us On A Journey Where Space And Time Become Intertwined And Confused. Are Pulshar A Divine Revelation? The Foundations Of A New Era Where Soul And Electronic Music Stay Together Thanks To This Solid And Advanced Musical Performance.

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    Tracklist :
    1. Mr Money Man
    2. Ashmatic
    3. No Meditation
    4. KMS (Pablo Bolivar Space Edit Remix)
    5. KMS
    6. Dub By The River

     

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  • http://www.wobblyweb.com/uploads/1549b62ff4e443d484955117.jpg

    http://www.dubterror.co.uk

    http://www.myspace.com/dubterror

    Origine du Groupe : U.K
    Style : Electro Dub , Reggae
    Sortie : 2009

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    Projet expérimental, Dub Terror nous emmène aux confins d’un univers entre electro dub, trance et dubstep. Après trois EP confidentiels et quelques singles en éditions limitées, Dub Terror a sorti en mai 2009 son premier album, éponyme, sur le label Universal Egg. Ce premier essai né de la folie d’une unique producteur est une belle découverte.

    Derrière Dub Terror on retrouve Simone Lombardi, un étudiant italien en production sonore. Après avoir été introduit au sein des milieux dub et converti au son des sound system anglais par King David Warriors, Simone Lombardi va rencontré les principaux leaders de la scène anglaise (Iration Steppas, Channel One, Aba Shanti-I, Alpha & Omega, Mad Professor …). Le jeune étudiant décide alors de poursuivre ses premières expérimentations sonores à Londres. Il remixera les productions du pionnier de l’electro dark John Foxx, d’Adrian Sherwood ou de Zion Train

    Inspiré par les artistes roots, Dub Terror mélange tout en subtilité les sonorités traditionnelles avec les beats massifs de l’electro moderne. Dub Terror s’est d’ailleurs entouré de Warrior Queen, Echo Ranks et Brother Culture pour renforcer les instrumentations electro de parties vocales reggae. Ce premier album est captivant et se laisse écouter du premier au dernier titre sans interruption. Le single « Shinobi » nous invite dans un voyage avec Echo Ranks vers des contrées lointaines. « Reload Warrior » exprime tout à fait ce mix parfait entre chant roots et rythmique massive avec le featuring de Warrior Queen. Sur « Digital Terror » King Tubby rencontre Coki Killer dans une confrontation de sound systems où les basses font vibrer l’ensemble du corps. « 31st century » capte l’attention grâce à une succession de breaks electro hypnotiques. Puis l’album se termine sur une dernière expérimentation, un enivrant remix du thème de Tetris, « Tetradis dub ».

    Ce premier essai de Dub Terror est un album essentiel pour tous les steppers à la recherche de sonorités dubstep londoniennes originales !

    par Cap'tain Planet,
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    Tracklist :
    1. Final Judgement
    2. Shinobi
    3. Digital Terror
    4. Stormloop Lightning
    5. Mr Terror
    6. Technology
    7. 31st Century
    8. The Plucky Italian
    9. Reload Warrior
    10. Push The Tempest By
    11. Supa Dupa Style
    12. Turn The Tide
    13. Tetradis Dub

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  • http://i101.photobucket.com/albums/m63/boom_selecta/l_9f30c081d044438eb21c3e940f211ee4.jpg

    Note :

    http://www.redearthmusic.co.uk

    http://www.myspace.com/soothsayers

    Origine du Groupe : U.K
    Style : Electro Dub , Dub
    Sortie : 2010

    With their outstanding third album One More Reason, rootsjazzical south London horns-men Soothsayers and musical spars the Red Earth Collective gave us authentic-sounding, vintage roots reggae with enough of their jazz, funk and afrobeat influences to avoid stale nostalgia. Now, their follow-up set of dub versions supplies that record’s ideal companion.

    Rest assured, the group has far too much exuberance to make the kind of sparse repetitive dub that's incomprehensible to the sober mind. Comprising six remixes from the One More Reason sessions, one from second album Tangled Roots and some unreleased material (all mixed live by UK dub eminence Manasseh), these dubs are as busy and melodic as those of Treasure Isle and Tuff Gong’s Errol Brown, with the power and UK moodiness of reggae-jazzmaster Dennis Bovell.

    The repositioning of Red Earth Collective before Soothsayers on the cover is no accident. For while the horns are prominent – check Robin Hopcraft’s militant trumpet and Idris Rahman’s swooping, eddying sax on new track The Brixton Pound – the other players have a lot more room to be heard. This is particularly true of Idris’s sister Zoe, who was quite low in the mix last time but whose electric piano and organ runs now take on a new life amid the spacious grooves.

    There's an instrumental to the Johnny Clarke-inspired Music (shorn of its English Capital Letters-style harmonies to reveal its Aggravators-based structure) and a more traditionally one-drop retool of the Clarke collaboration Bad Boys.

    Conversely, the flip to another fresh tune, Hard Times, is suffused with guest violinist Sami Bishai's strings (a big no-no in traditional UK roots) encapsulating the philosophy of a band who, unlike many non-Jamaicans, know exactly how to play reggae yet want something more. Meanwhile, West African-tinged efforts such as Benin City Dub and a timely cover of Fela Kuti’s Africa (with spoken word by percussionist Adesose Wallace) pick up the pace as and when required.

    Few modern dub albums can sustain interest across an entire disc. Red Earth Dub, the work of a group still on the rise, is a member of that exclusive club.

    by Angus Taylor
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    Tracklist :
    01 Intro 01:24
    02 Bad Boys Dub (Manasseh Remix) 03:34
    03 Cant Live Without IT (Music) 04:27
    04 Hard Times Dub 03:28
    05 Benin City Dub 01:54
    06 Heavymore 03:47
    07 We Better Dub 05:24 [--split--]
    08 The Brixton Pound 04:54
    09 Dubirie 03:43
    10 Melodical Medicine (Interlude) 01:37
    11 Never Give Up (Manasseh Dub Remix) 03:02
    12 River Effra Dub 03:53
    13 Cant Slow Down (Interlude) 00:58
    14 Dub Africa 05:39

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