The Wire
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THE WIRE – adventures in modern music
HEAVY HEAVY MONSTER DUB/ECHO BEACH CD
Dating back to 1988 Paul Zasky and Robbie Ost are part of the underground Austrian axis of dub that now circles Vienna’s Dub Club in times just as paranoid. Dubblestandart gorge on a living feast of rhythm pals for this ‘international dub stardom or bust’ album - Sly & Robbie, Keith le Blanc, Dreadzone, Manasseh, Mikey Dread, Dillinger and Mad Professor are just the names that come readily to mind. The title might be borrowed from Madness but the sound is more derivative of Dub Syndicate and the multiples of their UK progeny, with the emphasis on up-tempo steppers and one drops sprinkled with sampled vocals, vintage or contemporary. Any remix of ‘Kung Fu Fighting’ can only be preferable to the original and this set works best past halfway when we get to le Blanc’s remix shot of ‘Terrarists and Inhalers’ and Camel’ vocals on "Watch the Future’ and by which time we have already met the incredibly monikered Sonic Colin! Like many other bands across Europe Dubblestandart have taken risks in attempting to raise awareness of and combat their own country’s high degree of racism, so some of the painfully earnest lyrics must be forgiven.
a weekly digest from the staff
and contributors of www.brainwashed.com
"Heavy Heavy Monster Dub"Echo Beach
Despite the increasingly dangerous political climate in today's world, especially George W. Bush's America, the majority of major label and underground acts seem almost universally mired down in creating meaningless yet pleasant noise with a groovy beat, catchy vocal hook, or some other attractive characteristic. Altogether rejecting the powerful crosscultural tradition of music as social megaphone, music has turned its back on not only history but the present and future as well. With only a select few independent acts expressing their outrage or concern via creative means, those of us yearning for something with a message often have to look far and wide for something even remotely addressing national/international crises and controversies that truly matter. While 'Heavy Heavy Monster Dub' may not be the most potent cry for social change, that it takes time even referring to the issues is a welcome break from ignorance and apathy. Musically, the group's "positive" sound is refreshing and forward-thinking, with live downtempo breaks and programmed loops acting as backbeat to instruments both traditional and synthesized. Adorning their tracks with thoughtful and provocative names ("Evil Empire" and "Preempive Dub", to name a few) in the footsteps of experimental peers Muslimgauze or Richard H. Kirk, Austrian dub lovers Dubblestandart try to use their time to convey alternative ideas and promote futher exploration and investigation on the part of the listener. "Streets Of Dub" opens the album with an Eastern introduction that quickly meets with a head-nodding rhythm, funky bass guitar line, and carefully placed vocals from Camel. The title track benefits from contributions from dub legends Sly & Robbie and Dillinger, balancing time-honored Jamaican elements with loungey Viennese house beats. Two more remixes of it appear on the album, from Dreadzone and Nick Manasseh respectively, each one pulling their favorite parts together to create two vastly different versions. Mikey Dread and Sonic Colin lend their voices to the funky "Dub Is The Roots," though the Mad Professor mix sounds far more bright and crisp for some reason. Keith LeBlanc's mix of "Terrorists & Inhalers" is more orthodox than most of the cuts here, as is to be expected from this On-U Sound and Tack>>Head veteran, though it still benefits from a few sonic twists and tweaks. Camel reappears towards the end, contributing cautionary vocals to "Watch The Future", an atmospheric delectation with an infectious beat and uplifting melodies and flourishes. Arguably the best new dub album that has come across my desk this year, those of you on the proper "wavelength" or who still haven't ventured beyond The Bug or, dare I say, Bob Marley should seek this one out. - Gary Suarez
HEAVY HEAVY MONSTER DUB/
Label :Creative Vibes
In the last few weeks I saturated my brain with trance. Not sure what that was about, but in reaction to that I'm now saturating my brain with dub, and HHMD is on high rotation. In short, it's excellent. It's big, phat, intricate, layered with trippy, erm, layers, occasionally light-hearted, sometimes political and frequently ponderous, man, really ponderous. Basically it's got the whole yin and yang thing going on a number of levels. With titles like Streets of Dub, Dub Is The Roots, Pre-emptive Dub and Terrarists & Inhalers, you get the impression that maybe the boys from Vienna believe dub (and its implied accoutrements) is The Answer. And maybe they have a point; light up, kick back and chill the fuck out. There are recurring refrains and themes (Evil Empire and Heavy Heavy Monster Dub) with remixes and appearances by the likes of Sly & Robbie, Dillinger and Carl Douglas. Who is Carl Douglas? "Everybody was kung fu fightiiiiing…" that's who. Dubblestandart breathe new life into this 70s dollop of pop kitsch and even make it sound cool. A moody album staying faithful to the dub sound whilst drawing on a range of other influences, this is definitely worth checking out for a quality dub hit.
Heavy Heavy Monster Dub
http://www.twoblock.net
reviewed by ThorSince 1990, Vienna's Dubblestandart have been combining the sounds of their surroundings of middle Europe and their love for dub reggae music. While I am not familiar with their back catalogue, I do know that their latest CD, Heavy Heavy Monster Dub would be as good a place as any to start loving this band (i'd even go as far to say dub in general!) as they really deliver hard with this release.Dubblestandart's strength lies, as mentioned above, in mid-European influences with an authentic dub vibe to create some truly haunting and trance-invoking pieces. "Evil Empire" (and its featured remix), "This Is Life," and "10 Tons of Dope" are especially noteworthy; all three having both really ominous moods - accented with spare piano - and well-placed, sometimes jarring delayed vocal samples all the while fusing some great chill-out beats with spaced-out pop song formats. "Heavy Heavy Monster Dub" in its form mixed by Dreazone, um, mixes a indietronic dance-floor beat with some deep bass grooves. In its original form, it's a swirling disco-ed out dub tune. Throwing in a light, "cool-jazz" piano lick doesn't hurt the mix either. They even throw in a remix of Carl Douglas' classic, "Kung Fu Fighting," which normally I can't stand. Dubblestandart make it dubbly cool. The last few tracks of the CD are quite amazing as well. "Terrarists & Impalers" features a haunting guitar solo line against a gentle reggae beat, the word "terrarists" dissipating into thin air like aerosol spray. "Watch The Future" takes a shoegaze-like guitar loop, adds it to a funky beat, and throws in some weird MC'ing (and also some great sampling from "Heavy Heavy Monster Dub"!). The CD ends with a totally psyched-out, acid-drenched version of "Heavy Heavy Monster Dub": just spectacular. The only things that weigh down Heavy Heavy Monster Dub are some of the vocalists. Man, do all dub have to include annoyingly Jamaican-accented vocals somewhere? "Dub In The Roots," an otherwise ace track, suffers from its grating refrain about "postive, positive vibration." "Preemptive Dub" is another example of greatness ruined by singing. The female singer on this track is like all female singers that you dread. Yeah, you know the type, like the ones in high school. Again, really too bad because the track is really damn cool otherwise.Either way, this doesn't stop Dubblestandart from achieving their magnificient goal of mixing the cultures and coming out with incredible results. Other than the occasional irritating vocal, it's another "best of 2004" for me. I highly recommend it to anyone interested in dub music and, well, anyone. Zone out, kick back...
Keith LeBlanc remix for Dubblestandart
http://www.keithleblanc.org
Keith LeBlanc remixed a track for the new album 'Heavyheavymonsterdub' by Dubblestandart from Vienna, Austria.
Keith did a remix for the track Terrorists & Inhalers. Dubblestandart: "Tracks like Terrorists & Inhalers (feat. Keith Le Blanc), Evil Empire or Watch The Future (feat. Camel) have been inspired by a critical mind. We don't consider our music being just easy listening stuff, more than that our sound shall give an impression about the real power of dub, healing the western world mind fuck with music."
Heavyheavymonsterdub is out now on the German dublabel Echobeach. Other artists present
http://www.infratunes.com
http://www.radio404.org
Fondé en 1996, Echo beach a eu l’art de présenter des productions au dub peu caractéristique. On retrouve des enregistrements souvent teintés d’inspiration mi-européenne combinée aux dub reggae originel et à l’électro tendant vers la house. Ce label est, entre autres, l’auteur des fameuses et nombreuses compiles King size dub ou des grands noms comme Dub syndicate.Dubblestandart travaille depuis 1988 sur des modèles dub relativement atypiques, rentrant en parfaite corrélation avec ce label. Dubbles’ expérimente des tracks pur dub à des featuring mêlant Mc et autres Dj des contrées lointaines. Notons des collaborations avec Dillinger, Lee scratch perry, Topcat ou Lilian Allen.Heavy heavy monster dub est un opus très hétérogène aussi bien au niveau du style que des invités en présence. Le souci de l’originalité souligne l’intérêt pour cette production qui parvient à convaincre avec des titres de très bonne facture. De l’électro rétro (Kung fu fighting) au dub actuel (Streets of dub, Evil empire, 10 tons of dope), en passant par une house mal léchée (heavy heavy monster dub feat sly and robbie and dillinger), pour tous les goûts à toutes les sauces. Les collaborations avec sly and robbie sont de loin les plus médiocres mais très vite relevées par les featuring avec Mad professor, Mikey dread, Sounds from the ground.L’album défile, avec quelques ratés mais les expérimentations sont bel et bien là, réunissant la scène underground européenne et les vieux roots Jamaïquains. Ma seul véritable déception revient donc à Sly and robbie, quasiment impalpable sur les tracks. Je m’attendais à des titres nettement plus roots et plus prononcé par leur grande expérience. Mention spéciale à Sounds from the ground, duo dub ambiant anglais, qui délivre un remix de Evil empire de grande classe et à la conclusion de Manasseh qui nous offre un remix de dub is roots.Au final, cet album principalement constitué de feat et de remix, est de bonne qualité mais comme souvent le tracklist est hétéroclite. A la carte !
Chroniqué par Kiteklat
http://www.audioglobe.it
Nuovo album per il combo viennese dopo l’ottimo “Streets Of Dub” del 2002. I nostri hanno invitato in studio Mikey Dread (adesso che si parla di nuovo di The Clash, l’uomo del dub di Sandinista!), Sly & Robbie e Dillinger per lavorare a delle tracce che dovrebbero ridefinire il significato della parola dub. Molto forte il messaggio politico dell’album che si intuisce già dai titoli delle canzoni: Terrorists & Inhalers (feat. Keith Le Blanc), Evil Empire oppure Watch The Future (feat. Camel) sono stati ispirati da una mente critica. Vienna
Dub is overal
Oostenrijk, zelfs daar is dub. De jongens van Dubblestandart pakten het meteen groot aan. Niet alles zelf doen, maar gebruik maken van bewezen talent, en daarna dan zelf alles afmixen in de eigen studio in Wenen, zodat de cd toch een onmiskenbaar eigen geluid krijgt. Je hoort Britse nu-dub als Zion, maar dan wel met gewone instrumenten, maar ook funky urban uitstapjes, zoals in de cover van Carl Douglas’ Kung Fu Fighting.
http://www.westzeit.de
Echo Beach / Indigo
Ein wunderbares Sounderlebnis, einmal mehr aus dem Hause Echo Beach. Aber angesichts der aufgefahrenen Dub-Prominenz ist das auch kein Wunder: Sly & Robbie, Dillinger, Dreadzone, Mad Professor, Manasseh, Keith Le Blanc - sie alle geben sich die Klinke in die Hand und es entsteht eine wunderbare Zusammenarbeit mit den alten Haudegen Dubblestandart. Da sind formidable Stücke dabei wie "Evil Empire", "Preemptive Dub" oder "10 Tons of Dope", die alle daher kommen wie alte Freunde, die man lange nicht gesehen hat. Besser kann eine Dub-Scheibe kaum sein. Kein Durchhänger, kein Lückenfüller - nein, das sind 15 Tracks, die nie langweilig werden. Und jedem Party-DJ kann ich nur "Kung Fu Fighting" ans Herz legen. Fucking groovy. 5
http://www.radio19-4.de
Der neue Standard des Elektro-Dub kommt, so scheint es, aus Österreich. Beats von stoned rollend bis flippig shuffelnd bringen es auf den Punkt. International sind sie schon längst eine Bank, was Größen wie DILLINGER, LEE PERRY und TOPCAT sicher bestätigen würden. SLY & ROBBIE oder MAD PROFESSOR wohl auch. Wer es mir nicht glauben will, sollte einmal "dub is the roots" feat. MIKEY DREAD anhören und sich überzeugen lassen. "to enjoy reggae music, dubbing is a must". "YEAH man - IRIE"!
http://www.irieites.de
Heavy Heavy Monster Dub
Wie bereits der Vorgänger, das hervorragende Debut-Album
'Streets Of Dub', kommt 'Heavy Heavy Monster Dub' dunkel-urban mit Eigenproduktionen und Remix-Versionen befreudeter Dub-Acts daher. 15 Tracks zum Steppen und Chillen: Wahre Monster kommen nicht aus den Speakern gekrochen.
Der Opener 'streets of dub' tunt überraschend wie ein Song der 80er Pop-Helden FLASH & the PAN ob seines akkordeonartigen Synthithemas wie der Übernahme deren typischen Vocal-Mixings. Ja, FLASH & the PAN waren nicht undubby. Auch der folgende Remix des Mittsiebziger One-Hit-Wonders 'kung fu fighting' von CARL DOUGLAS will nicht so recht in Flow und Anliegen der Platte passen - ist aber gerade ein aktuelles Thema, das Remix-Album des 'kung fu fighting'-Songs, dem diverse Mix-Artists Tribut zollen. Typisch wird das Album erst mit den folgenden 'evil empire' und 'this is life', zwei kraftvoll-spacigen Chillout-Nummern, die als reine Eigenproduktionen in der Minderheit bleiben, denn die meisten Bänder wanderten zwischen Wien und New York, London, Paris und Kingston hin und zurück. So wurden drei Tracks in Kingston von SLY & ROBBIE prima unterlegt, von denen 'pre-emptive dub' über Paris - remixed by SEVEN DUB - den Weg zurück fanden. Viele Bänder landeten in London, bei SOUNDS FROM THE GROUND, DREADZONE, MAD PROFESSOR und NICK MANASSEH. Ausgezeichnet die Arbeit von SOUNDS FROM THE GROUND (tracks 8+9), deren oszillierende Affinität zu DUBBLESTANDART prima zur Wirkung kommt. DREADZONE, eh bekannt für gute Remixe, machen hier für meinen Geschmack ein paar elektronische Mätzchen zuviel, der MAD PROFESSOR Mix fällt im Vergleich zu anderen Tracks recht spröde aus und will nicht grooven, aber auf (s)eine Art, die immer wieder gefällt. Auch die Mixe von NICK MANASSEH, KEITH LE BLANC sprechen sehr an. Die trotz des verwirrenden Hin- und Hers beeindruckende Homogenität des Albums bis zum Schluss muss letztendlich nicht erstaunen, schließlich tauchen viele Einspielungen doppelt und dreifach auf. Die Originaleinspielungen der Crew sind bereits durch den Erstmix in Dub verfremdet und werden durch die Remixe noch einmal neu getunt. Programm bei DUBBLESTANDART, die diese Bodenlosigkeit von Originalem betont nutzen, um den Praxen der internationalen Weltwirtschaft musikalisch skeptische Faszination wie grundtiefe Beängstigung gegen zu setzen.
So entspricht der Titel der VÖ auch gar nicht dem musikalischen Anliegen der Mittneunziger, dubtechnisch alles in Einzelteile zu zerlegen und in unterschiedlichen Portionierungen Takt für Takt neu zusammen zu fügen, sondern eher einer Gesellschaftskritik der internationalen Vernichtung von allem Originalem zugunsten des werbewirksam Vermarktbaren. Als Globalisierungsgegner wie als Befürworter der Hanf-Freigabe in Österreich haben DUBBLESTANDART politisch eindeutig Schlagseite, in der Wahl ihrer internationalen Musikerfreunde wie in ihrer Musikalität eindeutig Klasse, sind aber nicht eindeutig gegen den Einwand gefeit, mehr Nutznießer ihrer internationalen Freundschaften als selber ideeller Quell zu sein.
DUBBLESTANDART sind bisher mit ihren VÖs im aktuellen Dubgeschehen noch lange nicht entsprechend ausgelobt worden. Nicht nur von daher wünsche ich mir von Ihnen in Zukunft etwas mehr an Anlitz. /Bernhard Groha
Österreich und Dub gehen sehr gut zusammen. Das hat nicht zuletzt auch das Album "Streets Of Dub" von Dubblestandart aus Wien bewiesen. Nun liegt endlich der Nachfolger vor und setzt das fort, was schon seit je ihr Markenzeichen ist: satter Dub neuer Prägung - mal klaustrophobisch dicht, mal hüpfend tanzbar! Dabei schielen sie nicht nur nach den Wurzeln auf Jamaika, sondern beziehen auch andere musikalische Einflüsse mit ein. Zwischen den Eckpolen Pink Floyd und Lee "Scratch" Perry entwickeln sie ihren ganz eigenen Sound, den sie auch live auf die Bühnen bringen. Bei dem Track "10 Tons Of Dope" gibt es sogar ein Wiederhören mit Dillinger. Zudem gibt es Remixe und Kooperationen von und mit Manasseh, Dreadzone, Mad Professor und Sly & Robbie. Ein weitgehend gutes Album. Lediglich am Einsatz eines etwas unzeitgemäßen Keyboardsounds, der zudem viel zu intensiv und durchgängig zu hören ist, beim "Streets Of Dub" Remix 2004 hätte ich zu nörgeln. Lohnt sich!
Karsten Frehe
GRAMMY Magazine
http://www.grammy.com
Once A Chiefly Jamaican Export, Reggae Being Taken Up By European ArtistsTired of techno, European musicians and their fans embrace reggae and dancehall beats
Associated Press Stevenson Jacobs
With his shaved head, pale skin and velvet-soft voice, Tilmann Otto looks anything but a reggae artist. Hunched over a mixing board in a cramped recording studio, the 29-year-old German, better known as "Gentleman,'' is putting a new spin on the music made famous by Bob Marley.
Germany's best-selling reggae artist, Otto is among a growing number of European musicians embracing Jamaica's best-known cultural export and exposing it to new fans on the other side of the Atlantic.
"When we first started playing this music like 10 years ago, people (in Germany) would come up and request Bon Jovi,'' Gentleman said during a recent trip to Kingston to record his third album. "The people just didn't know about the music. Now they've really got the vibes going.''
And going strong, by all accounts. From Spain to Belgium to the Netherlands, dozens of reggae-themed magazines, radio programs and Internet sites have sprung up.
Throbbing "dancehall'' beats — the modern, hip-hop version of reggae — pulse from packed discotheques in Paris and London. Some of the world's biggest reggae concerts no longer are held in Jamaica or the United States, but in Cologne, Germany, and Lyon, France."Reggae is international now,'' said Benoit Collin, manager of the Internet site Reggaefrance.com, which has seen its traffic triple to more than 90,000 visitors a month since its debut in 1999.
In Belgium, reggae has become an alternative for younger listeners tired of the repetitive, mechanized beats of the 1990s techno music craze. At least 20 reggae bands can be heard on any given night, up from only a couple a few years ago.
"It's definitely growing,'' said Tommy B., frontman for the Brussels-based group Jaman!, which draws crowds of up to 15,000. "People are getting conscience that there's something else besides techno music.''
A mixture of Afro-Caribbean folk music and American R&B, reggae was first introduced to Europe in the 1960s by Jamaican migrants settling in Britain. Its popularity exploded a decade later with the rise of Marley, who used the beat to promote messages for social justice and universal unity and love. His music influenced future artists like the British reggae group UB40, Sting and Eric Clapton.
More recently, reggae has spread with the help of newer artists like Jamaican dancehall singer Sean Paul, judged best new act at the 2003 MTV Europe Awards.
Many European reggae artists perform songs in English, though a few like French singer Pierpoljak sing in their native tongues. Paul Zasky, bass player for the Austrian dub-reggae band Dubblestandart, said his group mixes English with German to reach a wider audience.
"This brings the music much closer to the people,'' Zasky said."We are not from Jamaica. We can only play the music the way we see it and feel it.''
As a kid, Gentleman got turned on by reggae after stumbling upon his older brother's dusty record collection, which included classics by Marley and fellow reggae legend Dennis Brown.
"I didn't understand the lyrics at first,'' said Gentleman, the son of a Lutheran preacher who speaks in fluent Jamaican patois. "It just gave me a good feeling when I heard the music. It's timeless and universal.''His discovery led to a yearlong sojourn in Jamaica, where he began developing his own sound with some of the island's best producers.
Many foreign artists come to Jamaica for inspiration or studio work. Gentleman is one of the few who performs regularly on the island, having made his debut in 1999 at the famed Reggae Sunsplash concert before a cheering crowd of 20,000.
"These guys are just as good as Bob Marley,'' said Clive Hunt, a Jamaican producer who has worked with dozens of international artists, including Pierpoljak and Alfa Blondie of the Ivory Coast.
Hunt credits foreign artists with sparking a renewed interest in reggae after a steady decline in popularity after Marley's death in 1982.
"The overseas artists are the ones that actually brought reggae back,'' he said. Not all Jamaicans are enthusiastic.
In a 2002 review of Gentleman's sophomore album, Journey To Jah, the Web site reggae-reviews.com praised his lyrics but called his voice too "flat'' and "Caucasian.'' "He puts on a credible Jamaican patois when he chants, but you can't fight genetics,'' the review said.
Such criticism comes with the territory, said Tommy B. of Jaman!, all of whose members are white. That's why he says it's important for European artists to use reggae to highlight their own culture, not Jamaica's.
"There's a lot of groups preaching about Jamaica and they've never even been there,'' he said. "We sing about our country, our problems. We don't claim to be Jamaicans.''
www.musiktipps24.de
Real Grooved Dub inspired by Electronic Relax Effects...
Vienna !Einer wie ich freut sich, wenn da 'mal einpaar Leute zusammnen kommen und wirklichen "NewOldRealDub" zusammen einspielen.... -Ein geniales Album, da hier der "old" Dub mit den "new" elektronischen Vienna-Einflüssen zusammenspielen und nicht überproduziert klingt ! Hier kann man zum Dub grooven, oder aber auch nur einfach relaxen.... -Empfehlenswert für Leute, die statt dem manchmal "anstrengenden" Víenna-Material à la SofaSurfers richtig locker dahin dubben wollen, ohne jedoch gleich bei den new Styles à la Elektroniker-DJs K&D o.ä zu landen (was ja natürlich auch 'great' ist!) -Hier bekommt ihr elektr. 'real' DUB vom feinsten.....! Enjoi it !(Tip zB: "return from..." und "player hater")
THE WIRE – adventures in modern music
HEAVY HEAVY MONSTER DUB/ECHO BEACH CD
Dating back to 1988 Paul Zasky and Robbie Ost are part of the underground Austrian axis of dub that now circles Vienna’s Dub Club in times just as paranoid. Dubblestandart gorge on a living feast of rhythm pals for this ‘international dub stardom or bust’ album - Sly & Robbie, Keith le Blanc, Dreadzone, Manasseh, Mikey Dread, Dillinger and Mad Professor are just the names that come readily to mind. The title might be borrowed from Madness but the sound is more derivative of Dub Syndicate and the multiples of their UK progeny, with the emphasis on up-tempo steppers and one drops sprinkled with sampled vocals, vintage or contemporary. Any remix of ‘Kung Fu Fighting’ can only be preferable to the original and this set works best past halfway when we get to le Blanc’s remix shot of ‘Terrarists and Inhalers’ and Camel’ vocals on "Watch the Future’ and by which time we have already met the incredibly monikered Sonic Colin! Like many other bands across Europe Dubblestandart have taken risks in attempting to raise awareness of and combat their own country’s high degree of racism, so some of the painfully earnest lyrics must be forgiven.
a weekly digest from the staff
and contributors of www.brainwashed.com
"Heavy Heavy Monster Dub"Echo Beach
Despite the increasingly dangerous political climate in today's world, especially George W. Bush's America, the majority of major label and underground acts seem almost universally mired down in creating meaningless yet pleasant noise with a groovy beat, catchy vocal hook, or some other attractive characteristic. Altogether rejecting the powerful crosscultural tradition of music as social megaphone, music has turned its back on not only history but the present and future as well. With only a select few independent acts expressing their outrage or concern via creative means, those of us yearning for something with a message often have to look far and wide for something even remotely addressing national/international crises and controversies that truly matter. While 'Heavy Heavy Monster Dub' may not be the most potent cry for social change, that it takes time even referring to the issues is a welcome break from ignorance and apathy. Musically, the group's "positive" sound is refreshing and forward-thinking, with live downtempo breaks and programmed loops acting as backbeat to instruments both traditional and synthesized. Adorning their tracks with thoughtful and provocative names ("Evil Empire" and "Preempive Dub", to name a few) in the footsteps of experimental peers Muslimgauze or Richard H. Kirk, Austrian dub lovers Dubblestandart try to use their time to convey alternative ideas and promote futher exploration and investigation on the part of the listener. "Streets Of Dub" opens the album with an Eastern introduction that quickly meets with a head-nodding rhythm, funky bass guitar line, and carefully placed vocals from Camel. The title track benefits from contributions from dub legends Sly & Robbie and Dillinger, balancing time-honored Jamaican elements with loungey Viennese house beats. Two more remixes of it appear on the album, from Dreadzone and Nick Manasseh respectively, each one pulling their favorite parts together to create two vastly different versions. Mikey Dread and Sonic Colin lend their voices to the funky "Dub Is The Roots," though the Mad Professor mix sounds far more bright and crisp for some reason. Keith LeBlanc's mix of "Terrorists & Inhalers" is more orthodox than most of the cuts here, as is to be expected from this On-U Sound and Tack>>Head veteran, though it still benefits from a few sonic twists and tweaks. Camel reappears towards the end, contributing cautionary vocals to "Watch The Future", an atmospheric delectation with an infectious beat and uplifting melodies and flourishes. Arguably the best new dub album that has come across my desk this year, those of you on the proper "wavelength" or who still haven't ventured beyond The Bug or, dare I say, Bob Marley should seek this one out. - Gary Suarez
HEAVY HEAVY MONSTER DUB/
Label :Creative Vibes
In the last few weeks I saturated my brain with trance. Not sure what that was about, but in reaction to that I'm now saturating my brain with dub, and HHMD is on high rotation. In short, it's excellent. It's big, phat, intricate, layered with trippy, erm, layers, occasionally light-hearted, sometimes political and frequently ponderous, man, really ponderous. Basically it's got the whole yin and yang thing going on a number of levels. With titles like Streets of Dub, Dub Is The Roots, Pre-emptive Dub and Terrarists & Inhalers, you get the impression that maybe the boys from Vienna believe dub (and its implied accoutrements) is The Answer. And maybe they have a point; light up, kick back and chill the fuck out. There are recurring refrains and themes (Evil Empire and Heavy Heavy Monster Dub) with remixes and appearances by the likes of Sly & Robbie, Dillinger and Carl Douglas. Who is Carl Douglas? "Everybody was kung fu fightiiiiing…" that's who. Dubblestandart breathe new life into this 70s dollop of pop kitsch and even make it sound cool. A moody album staying faithful to the dub sound whilst drawing on a range of other influences, this is definitely worth checking out for a quality dub hit.
Heavy Heavy Monster Dub
http://www.twoblock.net
reviewed by ThorSince 1990, Vienna's Dubblestandart have been combining the sounds of their surroundings of middle Europe and their love for dub reggae music. While I am not familiar with their back catalogue, I do know that their latest CD, Heavy Heavy Monster Dub would be as good a place as any to start loving this band (i'd even go as far to say dub in general!) as they really deliver hard with this release.Dubblestandart's strength lies, as mentioned above, in mid-European influences with an authentic dub vibe to create some truly haunting and trance-invoking pieces. "Evil Empire" (and its featured remix), "This Is Life," and "10 Tons of Dope" are especially noteworthy; all three having both really ominous moods - accented with spare piano - and well-placed, sometimes jarring delayed vocal samples all the while fusing some great chill-out beats with spaced-out pop song formats. "Heavy Heavy Monster Dub" in its form mixed by Dreazone, um, mixes a indietronic dance-floor beat with some deep bass grooves. In its original form, it's a swirling disco-ed out dub tune. Throwing in a light, "cool-jazz" piano lick doesn't hurt the mix either. They even throw in a remix of Carl Douglas' classic, "Kung Fu Fighting," which normally I can't stand. Dubblestandart make it dubbly cool. The last few tracks of the CD are quite amazing as well. "Terrarists & Impalers" features a haunting guitar solo line against a gentle reggae beat, the word "terrarists" dissipating into thin air like aerosol spray. "Watch The Future" takes a shoegaze-like guitar loop, adds it to a funky beat, and throws in some weird MC'ing (and also some great sampling from "Heavy Heavy Monster Dub"!). The CD ends with a totally psyched-out, acid-drenched version of "Heavy Heavy Monster Dub": just spectacular. The only things that weigh down Heavy Heavy Monster Dub are some of the vocalists. Man, do all dub have to include annoyingly Jamaican-accented vocals somewhere? "Dub In The Roots," an otherwise ace track, suffers from its grating refrain about "postive, positive vibration." "Preemptive Dub" is another example of greatness ruined by singing. The female singer on this track is like all female singers that you dread. Yeah, you know the type, like the ones in high school. Again, really too bad because the track is really damn cool otherwise.Either way, this doesn't stop Dubblestandart from achieving their magnificient goal of mixing the cultures and coming out with incredible results. Other than the occasional irritating vocal, it's another "best of 2004" for me. I highly recommend it to anyone interested in dub music and, well, anyone. Zone out, kick back...
Keith LeBlanc remix for Dubblestandart
http://www.keithleblanc.org
Keith LeBlanc remixed a track for the new album 'Heavyheavymonsterdub' by Dubblestandart from Vienna, Austria.
Keith did a remix for the track Terrorists & Inhalers. Dubblestandart: "Tracks like Terrorists & Inhalers (feat. Keith Le Blanc), Evil Empire or Watch The Future (feat. Camel) have been inspired by a critical mind. We don't consider our music being just easy listening stuff, more than that our sound shall give an impression about the real power of dub, healing the western world mind fuck with music."
Heavyheavymonsterdub is out now on the German dublabel Echobeach. Other artists present
http://www.infratunes.com
http://www.radio404.org
Fondé en 1996, Echo beach a eu l’art de présenter des productions au dub peu caractéristique. On retrouve des enregistrements souvent teintés d’inspiration mi-européenne combinée aux dub reggae originel et à l’électro tendant vers la house. Ce label est, entre autres, l’auteur des fameuses et nombreuses compiles King size dub ou des grands noms comme Dub syndicate.Dubblestandart travaille depuis 1988 sur des modèles dub relativement atypiques, rentrant en parfaite corrélation avec ce label. Dubbles’ expérimente des tracks pur dub à des featuring mêlant Mc et autres Dj des contrées lointaines. Notons des collaborations avec Dillinger, Lee scratch perry, Topcat ou Lilian Allen.Heavy heavy monster dub est un opus très hétérogène aussi bien au niveau du style que des invités en présence. Le souci de l’originalité souligne l’intérêt pour cette production qui parvient à convaincre avec des titres de très bonne facture. De l’électro rétro (Kung fu fighting) au dub actuel (Streets of dub, Evil empire, 10 tons of dope), en passant par une house mal léchée (heavy heavy monster dub feat sly and robbie and dillinger), pour tous les goûts à toutes les sauces. Les collaborations avec sly and robbie sont de loin les plus médiocres mais très vite relevées par les featuring avec Mad professor, Mikey dread, Sounds from the ground.L’album défile, avec quelques ratés mais les expérimentations sont bel et bien là, réunissant la scène underground européenne et les vieux roots Jamaïquains. Ma seul véritable déception revient donc à Sly and robbie, quasiment impalpable sur les tracks. Je m’attendais à des titres nettement plus roots et plus prononcé par leur grande expérience. Mention spéciale à Sounds from the ground, duo dub ambiant anglais, qui délivre un remix de Evil empire de grande classe et à la conclusion de Manasseh qui nous offre un remix de dub is roots.Au final, cet album principalement constitué de feat et de remix, est de bonne qualité mais comme souvent le tracklist est hétéroclite. A la carte !
Chroniqué par Kiteklat
http://www.audioglobe.it
Nuovo album per il combo viennese dopo l’ottimo “Streets Of Dub” del 2002. I nostri hanno invitato in studio Mikey Dread (adesso che si parla di nuovo di The Clash, l’uomo del dub di Sandinista!), Sly & Robbie e Dillinger per lavorare a delle tracce che dovrebbero ridefinire il significato della parola dub. Molto forte il messaggio politico dell’album che si intuisce già dai titoli delle canzoni: Terrorists & Inhalers (feat. Keith Le Blanc), Evil Empire oppure Watch The Future (feat. Camel) sono stati ispirati da una mente critica. Vienna
Dub is overal
Oostenrijk, zelfs daar is dub. De jongens van Dubblestandart pakten het meteen groot aan. Niet alles zelf doen, maar gebruik maken van bewezen talent, en daarna dan zelf alles afmixen in de eigen studio in Wenen, zodat de cd toch een onmiskenbaar eigen geluid krijgt. Je hoort Britse nu-dub als Zion, maar dan wel met gewone instrumenten, maar ook funky urban uitstapjes, zoals in de cover van Carl Douglas’ Kung Fu Fighting.
http://www.westzeit.de
Echo Beach / Indigo
Ein wunderbares Sounderlebnis, einmal mehr aus dem Hause Echo Beach. Aber angesichts der aufgefahrenen Dub-Prominenz ist das auch kein Wunder: Sly & Robbie, Dillinger, Dreadzone, Mad Professor, Manasseh, Keith Le Blanc - sie alle geben sich die Klinke in die Hand und es entsteht eine wunderbare Zusammenarbeit mit den alten Haudegen Dubblestandart. Da sind formidable Stücke dabei wie "Evil Empire", "Preemptive Dub" oder "10 Tons of Dope", die alle daher kommen wie alte Freunde, die man lange nicht gesehen hat. Besser kann eine Dub-Scheibe kaum sein. Kein Durchhänger, kein Lückenfüller - nein, das sind 15 Tracks, die nie langweilig werden. Und jedem Party-DJ kann ich nur "Kung Fu Fighting" ans Herz legen. Fucking groovy. 5
http://www.radio19-4.de
Der neue Standard des Elektro-Dub kommt, so scheint es, aus Österreich. Beats von stoned rollend bis flippig shuffelnd bringen es auf den Punkt. International sind sie schon längst eine Bank, was Größen wie DILLINGER, LEE PERRY und TOPCAT sicher bestätigen würden. SLY & ROBBIE oder MAD PROFESSOR wohl auch. Wer es mir nicht glauben will, sollte einmal "dub is the roots" feat. MIKEY DREAD anhören und sich überzeugen lassen. "to enjoy reggae music, dubbing is a must". "YEAH man - IRIE"!
http://www.irieites.de
Heavy Heavy Monster Dub
Wie bereits der Vorgänger, das hervorragende Debut-Album
'Streets Of Dub', kommt 'Heavy Heavy Monster Dub' dunkel-urban mit Eigenproduktionen und Remix-Versionen befreudeter Dub-Acts daher. 15 Tracks zum Steppen und Chillen: Wahre Monster kommen nicht aus den Speakern gekrochen.
Der Opener 'streets of dub' tunt überraschend wie ein Song der 80er Pop-Helden FLASH & the PAN ob seines akkordeonartigen Synthithemas wie der Übernahme deren typischen Vocal-Mixings. Ja, FLASH & the PAN waren nicht undubby. Auch der folgende Remix des Mittsiebziger One-Hit-Wonders 'kung fu fighting' von CARL DOUGLAS will nicht so recht in Flow und Anliegen der Platte passen - ist aber gerade ein aktuelles Thema, das Remix-Album des 'kung fu fighting'-Songs, dem diverse Mix-Artists Tribut zollen. Typisch wird das Album erst mit den folgenden 'evil empire' und 'this is life', zwei kraftvoll-spacigen Chillout-Nummern, die als reine Eigenproduktionen in der Minderheit bleiben, denn die meisten Bänder wanderten zwischen Wien und New York, London, Paris und Kingston hin und zurück. So wurden drei Tracks in Kingston von SLY & ROBBIE prima unterlegt, von denen 'pre-emptive dub' über Paris - remixed by SEVEN DUB - den Weg zurück fanden. Viele Bänder landeten in London, bei SOUNDS FROM THE GROUND, DREADZONE, MAD PROFESSOR und NICK MANASSEH. Ausgezeichnet die Arbeit von SOUNDS FROM THE GROUND (tracks 8+9), deren oszillierende Affinität zu DUBBLESTANDART prima zur Wirkung kommt. DREADZONE, eh bekannt für gute Remixe, machen hier für meinen Geschmack ein paar elektronische Mätzchen zuviel, der MAD PROFESSOR Mix fällt im Vergleich zu anderen Tracks recht spröde aus und will nicht grooven, aber auf (s)eine Art, die immer wieder gefällt. Auch die Mixe von NICK MANASSEH, KEITH LE BLANC sprechen sehr an. Die trotz des verwirrenden Hin- und Hers beeindruckende Homogenität des Albums bis zum Schluss muss letztendlich nicht erstaunen, schließlich tauchen viele Einspielungen doppelt und dreifach auf. Die Originaleinspielungen der Crew sind bereits durch den Erstmix in Dub verfremdet und werden durch die Remixe noch einmal neu getunt. Programm bei DUBBLESTANDART, die diese Bodenlosigkeit von Originalem betont nutzen, um den Praxen der internationalen Weltwirtschaft musikalisch skeptische Faszination wie grundtiefe Beängstigung gegen zu setzen.
So entspricht der Titel der VÖ auch gar nicht dem musikalischen Anliegen der Mittneunziger, dubtechnisch alles in Einzelteile zu zerlegen und in unterschiedlichen Portionierungen Takt für Takt neu zusammen zu fügen, sondern eher einer Gesellschaftskritik der internationalen Vernichtung von allem Originalem zugunsten des werbewirksam Vermarktbaren. Als Globalisierungsgegner wie als Befürworter der Hanf-Freigabe in Österreich haben DUBBLESTANDART politisch eindeutig Schlagseite, in der Wahl ihrer internationalen Musikerfreunde wie in ihrer Musikalität eindeutig Klasse, sind aber nicht eindeutig gegen den Einwand gefeit, mehr Nutznießer ihrer internationalen Freundschaften als selber ideeller Quell zu sein.
DUBBLESTANDART sind bisher mit ihren VÖs im aktuellen Dubgeschehen noch lange nicht entsprechend ausgelobt worden. Nicht nur von daher wünsche ich mir von Ihnen in Zukunft etwas mehr an Anlitz. /Bernhard Groha
Österreich und Dub gehen sehr gut zusammen. Das hat nicht zuletzt auch das Album "Streets Of Dub" von Dubblestandart aus Wien bewiesen. Nun liegt endlich der Nachfolger vor und setzt das fort, was schon seit je ihr Markenzeichen ist: satter Dub neuer Prägung - mal klaustrophobisch dicht, mal hüpfend tanzbar! Dabei schielen sie nicht nur nach den Wurzeln auf Jamaika, sondern beziehen auch andere musikalische Einflüsse mit ein. Zwischen den Eckpolen Pink Floyd und Lee "Scratch" Perry entwickeln sie ihren ganz eigenen Sound, den sie auch live auf die Bühnen bringen. Bei dem Track "10 Tons Of Dope" gibt es sogar ein Wiederhören mit Dillinger. Zudem gibt es Remixe und Kooperationen von und mit Manasseh, Dreadzone, Mad Professor und Sly & Robbie. Ein weitgehend gutes Album. Lediglich am Einsatz eines etwas unzeitgemäßen Keyboardsounds, der zudem viel zu intensiv und durchgängig zu hören ist, beim "Streets Of Dub" Remix 2004 hätte ich zu nörgeln. Lohnt sich!
Karsten Frehe
GRAMMY Magazine
http://www.grammy.com
Once A Chiefly Jamaican Export, Reggae Being Taken Up By European ArtistsTired of techno, European musicians and their fans embrace reggae and dancehall beats
Associated Press Stevenson Jacobs
With his shaved head, pale skin and velvet-soft voice, Tilmann Otto looks anything but a reggae artist. Hunched over a mixing board in a cramped recording studio, the 29-year-old German, better known as "Gentleman,'' is putting a new spin on the music made famous by Bob Marley.
Germany's best-selling reggae artist, Otto is among a growing number of European musicians embracing Jamaica's best-known cultural export and exposing it to new fans on the other side of the Atlantic.
"When we first started playing this music like 10 years ago, people (in Germany) would come up and request Bon Jovi,'' Gentleman said during a recent trip to Kingston to record his third album. "The people just didn't know about the music. Now they've really got the vibes going.''
And going strong, by all accounts. From Spain to Belgium to the Netherlands, dozens of reggae-themed magazines, radio programs and Internet sites have sprung up.
Throbbing "dancehall'' beats — the modern, hip-hop version of reggae — pulse from packed discotheques in Paris and London. Some of the world's biggest reggae concerts no longer are held in Jamaica or the United States, but in Cologne, Germany, and Lyon, France."Reggae is international now,'' said Benoit Collin, manager of the Internet site Reggaefrance.com, which has seen its traffic triple to more than 90,000 visitors a month since its debut in 1999.
In Belgium, reggae has become an alternative for younger listeners tired of the repetitive, mechanized beats of the 1990s techno music craze. At least 20 reggae bands can be heard on any given night, up from only a couple a few years ago.
"It's definitely growing,'' said Tommy B., frontman for the Brussels-based group Jaman!, which draws crowds of up to 15,000. "People are getting conscience that there's something else besides techno music.''
A mixture of Afro-Caribbean folk music and American R&B, reggae was first introduced to Europe in the 1960s by Jamaican migrants settling in Britain. Its popularity exploded a decade later with the rise of Marley, who used the beat to promote messages for social justice and universal unity and love. His music influenced future artists like the British reggae group UB40, Sting and Eric Clapton.
More recently, reggae has spread with the help of newer artists like Jamaican dancehall singer Sean Paul, judged best new act at the 2003 MTV Europe Awards.
Many European reggae artists perform songs in English, though a few like French singer Pierpoljak sing in their native tongues. Paul Zasky, bass player for the Austrian dub-reggae band Dubblestandart, said his group mixes English with German to reach a wider audience.
"This brings the music much closer to the people,'' Zasky said."We are not from Jamaica. We can only play the music the way we see it and feel it.''
As a kid, Gentleman got turned on by reggae after stumbling upon his older brother's dusty record collection, which included classics by Marley and fellow reggae legend Dennis Brown.
"I didn't understand the lyrics at first,'' said Gentleman, the son of a Lutheran preacher who speaks in fluent Jamaican patois. "It just gave me a good feeling when I heard the music. It's timeless and universal.''His discovery led to a yearlong sojourn in Jamaica, where he began developing his own sound with some of the island's best producers.
Many foreign artists come to Jamaica for inspiration or studio work. Gentleman is one of the few who performs regularly on the island, having made his debut in 1999 at the famed Reggae Sunsplash concert before a cheering crowd of 20,000.
"These guys are just as good as Bob Marley,'' said Clive Hunt, a Jamaican producer who has worked with dozens of international artists, including Pierpoljak and Alfa Blondie of the Ivory Coast.
Hunt credits foreign artists with sparking a renewed interest in reggae after a steady decline in popularity after Marley's death in 1982.
"The overseas artists are the ones that actually brought reggae back,'' he said. Not all Jamaicans are enthusiastic.
In a 2002 review of Gentleman's sophomore album, Journey To Jah, the Web site reggae-reviews.com praised his lyrics but called his voice too "flat'' and "Caucasian.'' "He puts on a credible Jamaican patois when he chants, but you can't fight genetics,'' the review said.
Such criticism comes with the territory, said Tommy B. of Jaman!, all of whose members are white. That's why he says it's important for European artists to use reggae to highlight their own culture, not Jamaica's.
"There's a lot of groups preaching about Jamaica and they've never even been there,'' he said. "We sing about our country, our problems. We don't claim to be Jamaicans.''
www.musiktipps24.de
Real Grooved Dub inspired by Electronic Relax Effects...
Vienna !Einer wie ich freut sich, wenn da 'mal einpaar Leute zusammnen kommen und wirklichen "NewOldRealDub" zusammen einspielen.... -Ein geniales Album, da hier der "old" Dub mit den "new" elektronischen Vienna-Einflüssen zusammenspielen und nicht überproduziert klingt ! Hier kann man zum Dub grooven, oder aber auch nur einfach relaxen.... -Empfehlenswert für Leute, die statt dem manchmal "anstrengenden" Víenna-Material à la SofaSurfers richtig locker dahin dubben wollen, ohne jedoch gleich bei den new Styles à la Elektroniker-DJs K&D o.ä zu landen (was ja natürlich auch 'great' ist!) -Hier bekommt ihr elektr. 'real' DUB vom feinsten.....! Enjoi it !(Tip zB: "return from..." und "player hater")
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