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Dubblestandart, "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 andunderground acts seem almost universally mired down in creatingmeaningless yet pleasant noise with a groovy beat, catchy vocal hook,or some other attractive characteristic. Altogether rejecting thepowerful crosscultural tradition of music as social megaphone, musichas turned its back on not only history but the present and future aswell. With only a select few independent acts expressing their outrageor concern via creative means, those of us yearning for something witha message often have to look far and wide for something even remotelyaddressing national/international crises and controversies that trulymatter. While 'Heavy Heavy Monster Dub' may not be the most potent cryfor social change, that it takes time even referring to the issues is awelcome break from ignorance and apathy. Musically, the group's"positive" sound is refreshing and forward-thinking, with livedowntempo breaks and programmed loops acting as backbeat to instrumentsboth traditional and synthesized. Adorning their tracks with thoughtfuland provocative names ("Evil Empire" and "Preempive Dub", to name afew) in the footsteps of experimental peers Muslimgauze or Richard H.Kirk, Austrian dub lovers Dubblestandart try to use their time toconvey alternative ideas and promote futher exploration andinvestigation on the part of the listener. "Streets Of Dub" opens thealbum with an Eastern introduction that quickly meets with ahead-nodding rhythm, funky bass guitar line, and carefully placedvocals from Camel. The title track benefits from contributions from dublegends Sly & Robbie and Dillinger, balancing time-honored Jamaicanelements with loungey Viennese house beats. Two more remixes of itappear on the album, from Dreadzone and Nick Manasseh respectively,each one pulling their favorite parts together to create two vastlydifferent versions. Mikey Dread and Sonic Colin lend their voices tothe funky "Dub Is The Roots," though the Mad Professor mix sounds farmore bright and crisp for some reason. Keith LeBlanc's mix of"Terrorists & Inhalers" is more orthodox than most of the cutshere, as is to be expected from this On-U Sound and Tack>>Headveteran, 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 beatand uplifting melodies and flourishes. Arguably the best new dub albumthat 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 Isay, Bob Marley should seek this one out.
Despite the increasingly dangerous political climate in today's world,especially George W. Bush's America, the majority of major label andunderground acts seem almost universally mired down in creatingmeaningless yet pleasant noise with a groovy beat, catchy vocal hook,or some other attractive characteristic. Altogether rejecting thepowerful crosscultural tradition of music as social megaphone, musichas turned its back on not only history but the present and future aswell. With only a select few independent acts expressing their outrageor concern via creative means, those of us yearning for something witha message often have to look far and wide for something even remotelyaddressing national/international crises and controversies that trulymatter. While 'Heavy Heavy Monster Dub' may not be the most potent cryfor social change, that it takes time even referring to the issues is awelcome break from ignorance and apathy. Musically, the group's"positive" sound is refreshing and forward-thinking, with livedowntempo breaks and programmed loops acting as backbeat to instrumentsboth traditional and synthesized. Adorning their tracks with thoughtfuland provocative names ("Evil Empire" and "Preempive Dub", to name afew) in the footsteps of experimental peers Muslimgauze or Richard H.Kirk, Austrian dub lovers Dubblestandart try to use their time toconvey alternative ideas and promote futher exploration andinvestigation on the part of the listener. "Streets Of Dub" opens thealbum with an Eastern introduction that quickly meets with ahead-nodding rhythm, funky bass guitar line, and carefully placedvocals from Camel. The title track benefits from contributions from dublegends Sly & Robbie and Dillinger, balancing time-honored Jamaicanelements with loungey Viennese house beats. Two more remixes of itappear on the album, from Dreadzone and Nick Manasseh respectively,each one pulling their favorite parts together to create two vastlydifferent versions. Mikey Dread and Sonic Colin lend their voices tothe funky "Dub Is The Roots," though the Mad Professor mix sounds farmore bright and crisp for some reason. Keith LeBlanc's mix of"Terrorists & Inhalers" is more orthodox than most of the cutshere, as is to be expected from this On-U Sound and Tack>>Headveteran, 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 beatand uplifting melodies and flourishes. Arguably the best new dub albumthat 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 Isay, Bob Marley should seek this one out.
