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Posted: Sat Jun 25, 2011 2:55 am
Helix Resonator said it all...and well! Also, I've seen dub evolve into Beardyman and DubFX too. Don't forget that all the technology there is now can allow you to create dub with your voice as the only instrument.
Posted: Sun Jun 26, 2011 10:21 pm
yea i think dub has spawned all of dance and club music culture its perpetual in its influence on all electronic music it is eternal.
Posted: Thu Jun 30, 2011 1:01 am
I would like to see more dub versions of other non-reggae genres. Re-mixes (which are usually more of a re-construction than just a re-mix) are common, but I do not know of any "dub versions" of non-reggae tracks.
The effect and power of removing instruments and adding a little effects can be just as powerful for other genres as it is in Jamaican music.
I hope with all the multitrack master tapes that are appearing online, more people have access to well known tunes in many genres, and will not just re-mix by using selected samples from the tracks and sounds of their own creation, but will actually literally re-mix "versions".
And as for the constantly evolving/stuck in the past debate, I for one am very happy that some people continue to strive for the sound of the 70s or other periods they like. I dont think it is always necessary to be trying to create something new, though that is of course very important. We should not forget what has gone on in the past, just because it is not "cutting edge" or "on the forefront of human/musical development". I personally find that a lot of the music that pleases me most is from the 70s, so why not create more in that style in modern times? To me that is no different from searching out music from the period that you have not yet heard.
The crime is not trying to re-create a past we no longer live in, but ruling-out past ideas and assuming they can be bettered, just because they have already been thought of.
If something is not broken, why try to fix it? as the saying goes.
Posted: Wed Nov 09, 2011 3:16 am
I would suggest that this form of kulcha (as long as it remains within the structuralist delimitation of reggae as a genre) rests on an underlying substrate of a phenomenological ontology, which a historicist might attribute to its late 20th century genesis (although it's arguable that there is something perennialist about the didactic and reproductive transmission of rhythmic patterns) and that for this reason it does not make sense to try to identify a single, cohesive narrative thread within it.
Posted: Sun Nov 13, 2011 1:02 am
Hey Zutao, you need more echo on that last statement mate. A nice little triplet groove would spice up your words nicely! (and a big splash of spring reverb on the last two words.)