#rubadub

[culturedub]

TONIGHT🔥🔥🔥 CULTURE DUB RADIO SHOW PLAYLIST #800 #playlist 📻 Tune in Tuesday, March 28th 2023 inna Culture Dub Radio Show on Radio Pulsar from 9pm to 11pm (GMT+1) to listen lot of fresh tunes Roots, Reggae, Digital, Dub, Steppa, Electro Dub, lot of Exclusives tracks, few extracts of the new release of Culture Dub Records, and Win your tickets for Concert DUB Assembly @ Poitiers, Mahom + Ondubground + Tetra Hydro K @ L'Escapade and Festival de la Meuh Folle #20 @ Alès, hosted by AlexDub : 🔊 Playlist : https://culturedub.com/blog/culture-dub-show-800-28-mars-2023-radio-pulsar/ 📻 Win your tickets for Dub Assembly 📻 Win your tickets for Electro Dub Night @ L'Escapade 📻 Win your tickets for La Meuh Folle Festival #20 Large Up, AlexDub 📻 www.radio-pulsar.org // 95.9 FM (Poitiers) #radio #radioshow #culture #culturedub #culturedubradioshow #emission #playlist #fm #webradio #radiofm #roots #reggae #rubadub #digital #dub #steppa #electro #bass #alexdub #radiopulsar #soundsystem @culturedub @radio.pulsar.95.9 @lescapadeheninbeaumont @festival_meuh_folle @gamers_assembly @micronomade @antzonirubio @ruddandwood_bigroux (à Radio Pulsar) https://www.instagram.com/p/CqUYQA2KGdv/?igshid=NGJjMDIxMWI=

[camphorfreya]

Subterranean Saturday Night

Live Now on twitch.tv/camphorfreya

[crucialwhynicotics]

Fire Burn

Play with fire you get burn...

[davebrownsound]

If you know #rubadub #reggae you’ll get a giggle from this. #clinteastwood #junjo #volcano #sound https://www.instagram.com/p/CouxpkQLqTh/?igshid=NGJjMDIxMWI=

[msdroppinit]

REGGAE’S CANADIAN LEGACY

SPEXDABOSS -  CANADA’S REGGAE EMBASSADOR

#music, #entertainment, #musicians, #celebrities, #canadanews, #reggae, #torontoreggae, #reggaemusic, #reggaedj, #kingturbosound, #spexdaboss, #scarborough, #canada #msdroppinit #debbiedropit  #dancehall #rootsreggae #dub #dubplate #rootsrockreggae #reggaeriddim #reggaeartist #torontoreggae #ska #rocksteady  #rootsreggaemusic #rubadub #radio  #torontodancehall #416 #Bingedancehallarchives #Dancehallarchives #vintagesound  #riddim #reggaebeat #reggaedj #singer #stageshow #soundsystem #vintagesoundsystem #soundclashfraternity #torontoclash #soundclash #soundclashculture #soundsystemculture #soulsupreme #bassodyssey #stonelove #killamanjaro #downbeat #KINGADDIES #kingturbo #redflame #rebeltone #blackreaction #rootsman #sturgav #channelone #saxonsound #Canada #ontario #toronto #scarborough #india #usa #unitedstates #unitedkingdom #uk #japan

[foggysilverfeathers]

Now that Skizz is on Hermitcraft, we can expect nicknames for every single hermit, so I've taken it upon myself to make a masterlist of all of them so far (but I've probably forgotten some so please tell me if so):

Impulse: Dipple Dop

Tango: Top (Tango Top?)

Gem: Gemstone

Grian: G sharp, G spot, G

Pearl: Pearlie Pop

Cleo: Clerbert, Cleaver

Scar: Scarface, Face

Bdubs: B double down

Zedaph: Zeddlebop

Cub: Rubadub Cub

[jahbillah]

Max RubaDub & Natty Campbell - Good Ses

Max RubaDub & Natty Campbell – Good Ses

Remix machine Max RubaDub comes with original tune featuring Natty Campbell praising the real highgrade. Version on the flip. Nah miss!

[juxtaposedpunk]

RUBADUB

[bmwiid]

I thought you guys might wanna see the beans. Pike is sleeping on the windowsill and the radiators are on so she's all toasty warm and relaxed.

I couldn't help but give em a lil rubadub!

[0nigum0]

Had to make sure to crop out the nipnop

Some new pics up on patreon

[joemuggs]

Future's Passed

Apropos of a conversation I was having with my mate Bashford about his design visions, I dug up a couple of ramblings about futures past, from the WIRE, one from 2015 and one from 2016. More on this theme to follow....

👇🏻

Model 500

Digital Solutions

Metroplex LP / CD / Download

Can it be that a musician doing exactly the same as he was doing 30 years ago still sounds futuristic? Because for large sections of this album, Juan Atkins is making music that, bar a few aspects of finessing on the mixdown, could have come from the same sessions as 1985's Model 500 electro track “Night Drive (Thru Babylon)”. Though he has latterly shown he's still happy experimenting – take 2012's intensely psychedelic remix of Psychic Ills for RVNG Intl. – here, he is returning to the roots of his craft, much like his co-producer here Mike Banks, another Detroit originator who seems similarly satisfied with outsider status and immune to demands for aesthetic progression. And for large sections, it still sounds not like a capitulation but like visionary sonic fiction, and not in a kitschy way either. 

When, in 1990, the the film critic Philip French wrote that "nothing dates the past like its impressions of the future,” it was taken as a truism – and indeed by that year Atkins's early music was already starting to sound as archaic as Dr. Who in comparison to what was happening around it. I was in my mid-teens then, and to me electro as such meant the music of kids' TV soundbeds, or body-poppers in shopping arcades. With its robot voices and simple melodic hooks it sounded cute and silly, like a primitive prototype for the British rave music, the more serious-seeming and compositionally complex techno of Derrick May, or the more martial electro of Underground Resistance. The same applied when I discovered Kraftwerk and YMO soon after: in the white heat of the rave moment, they just sounded a bit rinky-dink, a bit novelty.

It took quite some time to start to understand the music's appeal. As I absorbed more of what came before and after those records – P-Funk and Throbbing Gristle, Drexciya and Wax Doctor – their place and their value became clearer. But I'd even go so far as to say that it wasn't until reading Kodwo Eshun's poetic analysis of “Night Drive” in More Brilliant than the Sun in 1998 and re-listening that I really felt the power of that track's modernity: the descriptions of “bachelormachines... rearing up on their hindquarters” and the voice as “a subliminal shadow that creeps along the skin, stalks you with its lightbreath” bringing it to life as a synaesthesic futureworld vision, not simply as a set of musical motifs or references. And once heard, that cyborg modernity couldn't be unheard: that track remains as startlingly capable of rewiring and rebooting the imagination now as ever. At that moment it became glaringly clear that the shock of the new doesn't actually have to be new. To use another popular statement, generally attributed to William Gibson, “the future's already here, it's just unevenly distributed”: and sometimes that future has to be winkled out from where it's folded into the past and present.

Since then, Detroit's 1980s electro has only become more contemporary as it is folded back in to the cultural fabric again and again from different directions: via the Glasgow hybrids spawned by the Club 69 and Rubadub hub via Rustie and the Numbers crew; via the ominpresence in 21st century culture of Daft Punk; via the electro diaspora of Miami bass, crunk, juke, jit, snap, baile funk, kuduro, hyphy, trap, club; via succeeding generations discovering the endless mysteries of Drexciya. Which leads us to a point where Atkins can deliver an album – his first in 16 years – that contains precisely no innovation, yet it can still sound like a distillation of modern elements from right across today's music, and like an elegant representation of a fast-changing technological society to boot.

Unlike Mind and Body, the last Model 500 album from 1999, which diverted into drum'n'bass and hip hop, everything from the classic Atkins sound is present and correct on every track: the robotic voices flatly intoning things about technology or consumer society (the Teutonic-sounding one on the title track being the most simultaneously hilarious and deathly serious example), the angelic vocoder voices in the background, the laser zaps and squacks as percussion, the syncopated 808 kickdrum subsonic foundation, the bulbous and shiny synth notes playing layered funk melodies in interplay with more discordant tone clusters. There are zippy tempos as on the opener “Control”, digital slow jams like “Electric Night” and “Encounter”, and one track that flicks between the two: “The Groove”, which provides the only obviously non-computerised sound of the album in the elegant prog rock guitar soloing in its half-speed sections. Rhythmically, even on the couple of tracks with a four-to-the-floor kick, it is always electro – which in fact means that it is always essentially funk.

It works not only because of its resonances in more recent musicians' work. It works because funk is still relevant to the proportions of the human body, to the speeds at which our limbs can move relative to one another. It works because a subsonic kickdrum still makes your innards tingle as it did whenever you first heard it. But it also works because that unevenly distributed future still needs visions like this for us to find it and parse it. It felt for a little while like the snowblindness of everything-available-all-at-once bitstorm information society meant that the future was on hold, and we were just immersed the infinite cultural past, and that the significance of different cultural movements was being eroded into a slew of undifferentiated nostalgia and marketing algorithm fodder. But as we barrel ever onward, precipitous inequalities and mind-frying volumes of information and all, it turns out that past visions of the future aren't so very dated at all. 

Gibson, McLuhan and the Detroit pioneers favourite Toffler can all look a bit silly, a bit naïve and jerry-rigged now – but they all can also be startlingly relevant, and you can still discover the shock of the new in them as in Atkins's music. In a time of cyborgs, drones, driverless cars and the infinite hall of mirrors of surveillance and social media, the future-shock thrill of taking a night drive through Babylon can be as bracing and ever, and so can the musical techniques for understanding what you see on that drive that were honed so long ago. While others might use vastly more complex computing power to try and musically interface with the present and future on a nano level, in fact that the simpler, clunkier, funkier patterns mapped out here might just have something even more profound to say about the fundamental relationships between us and our technological world, if you can feel and participate in their vision.

---

Various Artists

Star Wars Headspace

Hollywood Records CD / Download

Space Dimension Controller

Orange Melamine

Ninja Tune 2LP / CD / Download

Bwana

Capsule’s Pride

LuckyMe LP / Download

“If we view it as a kind of sociology of the future, rather than as literature,” wrote Alvin Toffler in his 1970 book Future Shock, “science fiction has immense value as a mind-stretching force for the creation of the habit of anticipation. Our children should be studying [it], not because these writers can tell them about rocket ships and time machines but, more important, because they can lead young minds through an imaginative exploration of the jungle of political, social, psychological, and ethical issues that will confront these children as adults.” 

As is well documented – most vividly in Kodwo Eshun's conception of “sonic fiction” – music, and especially club music, can be science fiction too. Each new generation encounters the musical environment as technological-imaginative space outside the quotidian thanks to the visual/social/chemical/durational/sonic assemblage of the dancefloor and associated spaces – and that too can lead minds through exploration of past, present and possible futures. Of course there are waves and shifts in how styles and techniques facilitate this, but none completely replaces those before: past sonic fictions – past futures – retain functional value and are continually re-incorporated into the circulating library of usable forms. Always, too, from the Mothership to Metalheadz to Mumdance , there are explicit sci-fi signifiers woven into the sound and vision.

This is done in the most glaring possible way in the Rick Rubin-compiled Star Wars Headspace album. Sound design and dialogue from the Star Wars franchise are sampled liberally through 15 tracks that span a large chunk of what currently works for North American ravers, from the crassest martial trap-rap-derived beats through thumping house to subtler and more psychedelically dense grooves by Flying Lotus, Shlohmo and Bonobo. There's a conspicuous lack of the Ed Banger / dubstep-derived hyper-compressed aggro you'd have expected even two or three years ago: mainstream EDM is getting funkier and more genial. Combined with the thickly-layered chirps, whistles, animal grunts and the jaunty kitsch of the dialogue snippets, this creates a deliriously infantile playhouse of sound.

Star Wars was never about any future: it set “long ago”, and built on Saturday matinee westerns, Buck Rodgers and George Lucas's “Hero With a Thousand Faces”-derived belief in eternal narrative archetypes. And its sounds as much as its iconography have achieved a depth and breadth of penetration into the collective unconscious that goes way beyond modernism or retro: unless you have lived in extraordinary isolation for decades, noises like the chirrups of the R2-D2 droid which form motifs in this record are like Proustian keys to the fantastical. So the most fratboy-friendly rhythms here, from GTA and Baauer, take on a psychedelically transporting quality just as much as do the humid complexities of FlyLo; in this context Rustie's typically deranged “EWOK PUMPP” feels absolutely at home, even emblematic of the project. And among all this Rubin himself makes a deliciously naïve attempt at zippy techno in “NR-G7”, against all odds ending up sounding like Ozric Tentacles's rave offshoot Eat Static. It might be silly, but this album is much more than a cynical franchise tie-in: it's a explicit, deliberate opening up of 2016's most commercial rave music to mythic space.

Young Northern Irish producer Space Dimension Controller, as you'd probably guess from the name, is well versed in musical sci-fi, with Parliament, Drexciya, Jonzun Crew as standard reference points. His lo-fi Orange Melamine side-project, though, is about something far more esoteric. If the Star Wars album reaches to a collective mythic space shared by billions through decades, Orange Melamine opens up a tiny trapdoor to a cultish communal dreamworld around the turn of the millennium where internet and music culture first began to seriously create their own forms. It's the sound of third-generation copies of animes and UFO conspiracy VHS tapes (present here as sampled dialogue) arriving in the post after newsgroup discussions, of swapping obscurities by Team Doyobi, Req, Oval, MDK with strangers across the world on Audiogalaxy, of lo-res RealPlayer rips, of falling down rabbitholes on alt.culture messageboards. The braindance, illbient, outsider rap and indietronica evoked here was already humming with the broken rave nostalgia that would later be codified by Burial and hauntological thinking – as well as the shimmering dissipated data global collages of cloud rap, vaporwave and other waves of digital culture to come. Its reference points might be hyperspecific, but this too opens out into a wide imaginative world.

In the interzone between these two is Toronto techno producer Bwana's 43-minute love letter to Akira, the 1988 cyberpunk anime of psychic bikers and apocalyptic visions set in 2019 “Neo-Tokyo”. This movie sits in the midpoint between Orange Melamine's occulted cultural reference points and the near-universality of Star Wars: within club and rave culture, it's such a late-night staple that its sounds and rhythms – and the strange cadences of American actors dubbing their lines to Japanese speech rhythms – are woven into the very neurons of generations by repetition within the nightlife ritual. On this album which interpolates film dialogue and music, even the sound of the characters' names – Kay, Kaneda, Tetsuo, Akira – become incantations of, and ways into, the movie's fever-dream future. 

The music, which is realised in the highest definition, crisper and glossier even than the big-money EDM of the Star Warsalbum, has ripples of Rimini and Dusseldorf of the 1970s, Hollywood of the 1980s, London of the 2000s, Atlanta of the 2010s, but mostly it is just techno: not exactly ahistorical or from a non-place, but certainly cut loose from spatial-temporal specifics. Techno has never been about the future, it always pooled together futures past – P-Funk, Blade Runner, Toffler, Kraftwerk – to build a generalised future dreamtime into its sound: that Tofflerian “habit of anticipation” coded as rhythmic psychedelia. Techno as expressed on this album is no more retro or dated than watching Akira after a night out is rendered obsolete by Metal Gear Solid. We are now in Toffler's future – deep into the uncanny valley of laser surgery, virtual reality, gene editing, drones, machine learning, mind reading, microsecond-sensitive global trading, face transplants, our neighbouring planet being populated by robots, meme culture, Anonymous, Kanye West – and occasionally it's desirable, even essential, to revisit those old tools and “mind-stretching forces”.

[culturedub]

🔥🔥🔥 Dubmatix – ReWired – Un magistral et éblouissant kaléidoscope de ce riche sillon de la Bass music d’inspiration Dub ! 🔥🔥🔥 5 ans après la sortie de l’album « Overdubbed » avec Sly & Robbie qui lui a valu le prestigieux et convoité Prix Juno 2019, Dubmatix revient avec « ReWired« , un nouveau LP studio sur lequel le producteur canadien tout en s’attachant aux racines du Reggae et du Dub, explore de nouveaux horizons musicaux en compagnie de Lone Ranger, Sr. Wilson, Kazam Davis & Exile Di Brave, Joe Publik, The Hempolics, Lasai, Ras Kayleb, JMan, Duane Stephenson et Rootwords, produit par le label de référence ECHO BEACH, à découvrir inna Culture Dub : https://culturedub.com/blog/dubmatix-rewired/ Large Up, AlexDub #album #reggae #rubadub #roots #dub #Steppa #stepper #hiphop #funk #pop #bass #bassmusic #vocal #singer #LP #vinyle #rewired #culture #music #review #chronique #CultureDub @dubmatix @echobeachlife @iwelcompromo @srwilsonofficial @kazamdavis @exiledibrave @joe_publik_uk @hempolics @lasaimuzzik @duanestephenson @rootwords @dubpistol @tribuman_deh_ya @culturedub https://www.instagram.com/p/Cnmthfrs88f/?igshid=NGJjMDIxMWI=

[ajbstudio]

⇧ Rubadub 25 with Charlie Bones poster (2018).

[crucialwhynicotics]

CRUCIAL WHYNICOTICS "TUG UH WAR"

[lebaronlordking]

Saturday Afternoon Reggae Show DJ LeBaron Lord King July 14, 2024 lebaron@kpoo.com

SaturdayAfternoonReggaeShow

4:00 PM Errol Dunkley - Black Cinderella 4:04 PM Jah Bengie - I 'm An Ethiopian 4:07 PM Alborosie - Natural Mystic 4:11 PM Jesse Royal - Natty Pablo 4:15 PM Herb Green - Rootz Underground 4:18 PM Proteje - Late at Night 4:22 PM Ishal Bel - Rich Man's World 4:26 PM Junior Reid - Jail House 4:30 PM Jo Mersa Marley - Yo Dawg 4:34 PM YG Marley - Survival 4:38 PM UB40 - Food for Thought 4:42 PM Gappy Ranks - Maad Sick 4:46 PM Arise Roots - Rootsman Town 4:51 PM Bob Marley - Red Red Wine 4:57 PM Popcaan - Next to Me 5:00 PM Black Uhuru - Black Girl 5:07 PM Jah Mason & Littlerock Sound - No Trouble We 5:11 PM Marcus Gad - Ready for Battle 5:15 PM Sean Paul - No Fear 5:18 PM Norrac - Hypocrites 5:22 PM Chi Ching Ching - Wurl a Baff 5:25 PM Droop Lion - We Pray for Them 5:30 PM Eddie Grant - Electric Avenue 5:33 PM Wicked Dub Division - Not in My Name 5:37 PM David Conscious - Mighty Men 5:41 PM Max Romeo - Chase the Devil/Croaking Lizard 5:44 PM Chronixx - Smile Jamaica 5:48 PM Barrington Levy - Dance Hall Rock 5:52 PM King Tubby - Tubby's Dub Song 5:55 PM Max RubaDub - Trust and Obey 5:59 PM King Tubby - Corner Crew Dub 6:02 PM Dezarie - Not One Penny 6:06 PM Capleton - In the Game 6:09 PM Zion Head - Chalice Baptized 6:13 PM Jamu - Jericho Skank 6:17 PM Mysta - Empress Divine 6:20 PM Queen Ifrica - Girl Like Me 6:24 PM Gregory Isaacs - Badda 6:27 PM Ziggy Marley & Melody Makers - Justice 6:31 PM Jesse Royal - LionOrder 6:35 PM Burning Spear - Let's Move 6:40 PM The Wailers - Punky Reggae Party 6:46 PM Cedric Myton - No Counterfeit 6:50 PM Yaksta - Rich a Morning 6:52 PM Marlon Asher - Strictly High Grade 6:55 PM K Dottie - Enjoy Your Life

[msdroppinit]

AUDIO VISUALIZERS... 

DO YOU HAVE AN AUDIO TRACK THAT NEEDS VISUALIZATION? A STILL PHOTO ANIMATION? DO YOU NEED AUDIO REMOVED FROM A VIDEO TO BE REPLACED OR EDITED?

https://www.facebook.com/debbie.dropit/

https://www.youtube.com/@MSDROPPINITuptoponit/videos

https://www.linkedin.com/in/ms-droppinit-1b1493240/