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The Giants, it seems, are actually trying to be humble. With Reel 1 & 2 - Adapted Chapter, they’ve successfully taken on many of reggae’s most famous riddims, dubbing them not into spatial oblivion, but rather as funky instrumentals primed for the dance. Consistent in quality, and with several standout tracks: this is an impressive album. What about naming the originals you ask? Well, we all need homework from time to time! (EDIT: or you can check out this Spotify playlist direct from The Giants!)
 
“Adapted Chapter Dub” features a warm skanking guitar, before allowing a sample to make The Giants’ mission clear: ‘strictly rub a dub.’ Bringing the groove to the front, “Crafty Dub” is at times sparse and at times swirling and busy, with cascading keys nicely reappearing throughout. The short “Honey Dub” pushes the bpm up just a bit, before “Brixton Prison Dub” takes a darker percussion-laden approach to a familiar tune, which makes the bursting horns a mid-way surprise.
 
“Earth Dub” allows its riddim to slowly assemble, teasing with pieces until the melody-line finally - though temporarily - emerges from the shadowy haze, at times almost hinting at industrial mechanization. “Old Time Dub” gives away its origins immediately via a few very familiar words from Triston Palmer, yet the tune itself lets the horn move to the front-and-center, reverberating with power even as the rhythm section evaporates.
 
As a spoken ‘Irie’ echoes, “Rocking Miss D Dub” rides a short, tight groove, revealing some engaging layers along the way. Then “Drum Song Dub” - the most uptempo on the whole album - shows off a few classic tricks of dub engineering (lasers and spring reverb) while featuring a haunting theme. “House Of Parliament Dub” initially sounds formal, with calling horns, which makes the restrained breakdown and buildup even better.
 
The delicate “Rain Dub” gives way to the chaotic “Mash Dub,” where reverberation reigns supreme. The horns return, cut short and emphasizing the echo, on the appropriately-titled “Drifting Dub.” While announced as ‘strictly drum n bass,’ “Bad Boy Dub” ventures into some jazzy guitar to bring its disparate elements together smoothly. “Dedication To Flabba Dub” does feature a powerful bass-line, giving a nice nod to a legend while also leading nicely into the horn-line of “You Don’t Remember Dub.” “Night Fall Down” seems to imply that the album is winding down; in reality the slow - yet groovy - tune is merely setting up the expected ambling bass on an excellent closing statement in the form of “World Jam Dub.”
 
It’s safe to say that while most of these are going to be familiar to the average dub/reggae connoisseur, there’s far more here than just updated covers of known versions… these are modern and updated interpretations recorded in loving classic analog style. Tune in now, this 18-track is even a free lossless download:
 
Reel 1 & 2 - Adapted Chapter by The Giants
 
The Giants, it seems, are actually trying to be humble. With Reel 1 & 2 - Adapted Chapter, they’ve successfully taken on many of reggae’s most famous riddims, dubbing them not into spatial oblivion, but rather as funky instrumentals primed for the dance. Consistent in quality, and with several standout tracks: this is an impressive album. What about naming the originals you ask? Well, we all need homework from time to time! (EDIT: or you can check out this Spotify playlist direct from The Giants!)

 

“Adapted Chapter Dub” features a warm skanking guitar, before allowing a sample to make The Giants’ mission clear: ‘strictly rub a dub.’ Bringing the groove to the front, “Crafty Dub” is at times sparse and at times swirling and busy, with cascading keys nicely reappearing throughout. The short “Honey Dub” pushes the bpm up just a bit, before “Brixton Prison Dub” takes a darker percussion-laden approach to a familiar tune, which makes the bursting horns a mid-way surprise.

 

“Earth Dub” allows its riddim to slowly assemble, teasing with pieces until the melody-line finally - though temporarily - emerges from the shadowy haze, at times almost hinting at industrial mechanization. “Old Time Dub” gives away its origins immediately via a few very familiar words from Triston Palmer, yet the tune itself lets the horn move to the front-and-center, reverberating with power even as the rhythm section evaporates.

 

As a spoken ‘Irie’ echoes, “Rocking Miss D Dub” rides a short, tight groove, revealing some engaging layers along the way. Then “Drum Song Dub” - the most uptempo on the whole album - shows off a few classic tricks of dub engineering (lasers and spring reverb) while featuring a haunting theme. “House Of Parliament Dub” initially sounds formal, with calling horns, which makes the restrained breakdown and buildup even better.

 

The delicate “Rain Dub” gives way to the chaotic “Mash Dub,” where reverberation reigns supreme. The horns return, cut short and emphasizing the echo, on the appropriately-titled “Drifting Dub.” While announced as ‘strictly drum n bass,’ “Bad Boy Dub” ventures into some jazzy guitar to bring its disparate elements together smoothly. “Dedication To Flabba Dub” does feature a powerful bass-line, giving a nice nod to a legend while also leading nicely into the horn-line of “You Don’t Remember Dub.” “Night Fall Down” seems to imply that the album is winding down; in reality the slow - yet groovy - tune is merely setting up the expected ambling bass on an excellent closing statement in the form of “World Jam Dub.”

 

It’s safe to say that while most of these are going to be familiar to the average dub/reggae connoisseur, there’s far more here than just updated covers of known versions… these are modern and updated interpretations recorded in loving classic analog style. Tune in now, this 18-track is even a free lossless download:

 

 

Roots Raid's From The Top features consistently tight dub/reggae production, in addition to a bevy of smooth-singing guest vocalists, allowing the whole album to glide along with a firm sense of identity, purpose, and place. Lighter future roots? Aware modern dub? Regardless, it’s all thick multi-faceted grooves that cleverly still sound sparse.
 
Turbo Turps and Billy Berry alternate on the mic on “Western Rumors,” a gripping vocal examination of present-day socioeconomic concerns. A taught delayed guitar and echoed effects carry the track even when the riddim section is cut out. The first of two Shanti D tracks, “Don’t Love My Style,” celebrates rub-a-dub, from its drum-and-bass to its echo chamber to its sinsemilla, all sung in the seasoned French MC’s distinctive style. Ranking Joe’s opening shoutout to Big Family Sound precedes a rather unique production, with samba-esque digital drums and a pitch-shifting synth melody. “Steppaddict,” with Mael Hornsraid providing the funky, layered horns, is a hazy-yet-polished instrumental; then Billy Berry returns on vocals - which sound especially inspiring when given room to breathe - atop an arrangement that hints at an Afrika Bambaataa influence. Immediately following is the dub, which takes the traditional approach of introducing the original track before pulling out, and then experimenting with, instruments and voice alike.
 
“Chant In Down (Ruff Cut)” appears to feature an uncredited Billy Berry, but the clear priority is the heavy dubbing, including some doom-filled low-end rumblings. “Get Out,” with Mighty Cricket, follows a similar ‘verse into chaos’ formula, though the track drags just a bit as the dub completely collapses and then staggers forward for several more minutes. Next, Shanti D chants down urbanity on the seemingly sparse “Beware; thankfully the horns tease just enough as the rhythm provides a sturdy musical framework. “Swimming With The Dub” does carry some aquatic qualities, with its plinking guitars, but it’s the dubbed-out vocals (from “Beware”) and the second-half shift of the groove to the forefront that make this version so memorable.
 
As the album winds down, “Riddim Wise” - a slightly crashing instrumental - keeps it short and sweet; in closing, the spiritual “Sâdhu Teachings” mixes the dub aesthetic with subcontinental influences, including a powerful-yet-uncredited female vocal. Available for free digital download from ODG Productions, which continues to carve out a crucial niche for itself in the modern dubiverse.
 

 
Roots Raid's From The Top features consistently tight dub/reggae production, in addition to a bevy of smooth-singing guest vocalists, allowing the whole album to glide along with a firm sense of identity, purpose, and place. Lighter future roots? Aware modern dub? Regardless, it’s all thick multi-faceted grooves that cleverly still sound sparse.

 

Turbo Turps and Billy Berry alternate on the mic on “Western Rumors,” a gripping vocal examination of present-day socioeconomic concerns. A taught delayed guitar and echoed effects carry the track even when the riddim section is cut out. The first of two Shanti D tracks, “Don’t Love My Style,” celebrates rub-a-dub, from its drum-and-bass to its echo chamber to its sinsemilla, all sung in the seasoned French MC’s distinctive style. Ranking Joe’s opening shoutout to Big Family Sound precedes a rather unique production, with samba-esque digital drums and a pitch-shifting synth melody. “Steppaddict,” with Mael Hornsraid providing the funky, layered horns, is a hazy-yet-polished instrumental; then Billy Berry returns on vocals - which sound especially inspiring when given room to breathe - atop an arrangement that hints at an Afrika Bambaataa influence. Immediately following is the dub, which takes the traditional approach of introducing the original track before pulling out, and then experimenting with, instruments and voice alike.

 

“Chant In Down (Ruff Cut)” appears to feature an uncredited Billy Berry, but the clear priority is the heavy dubbing, including some doom-filled low-end rumblings. “Get Out,” with Mighty Cricket, follows a similar ‘verse into chaos’ formula, though the track drags just a bit as the dub completely collapses and then staggers forward for several more minutes. Next, Shanti D chants down urbanity on the seemingly sparse “Beware; thankfully the horns tease just enough as the rhythm provides a sturdy musical framework. “Swimming With The Dub” does carry some aquatic qualities, with its plinking guitars, but it’s the dubbed-out vocals (from “Beware”) and the second-half shift of the groove to the forefront that make this version so memorable.

 

As the album winds down, “Riddim Wise” - a slightly crashing instrumental - keeps it short and sweet; in closing, the spiritual “Sâdhu Teachings” mixes the dub aesthetic with subcontinental influences, including a powerful-yet-uncredited female vocal. Available for free digital download from ODG Productions, which continues to carve out a crucial niche for itself in the modern dubiverse.

 

 

Fresh Poulp’s dub-devotional Dub Tentacles series returns with Vol. 5; with a slight nod to roots, this is still cutting-edge dub even as melodies echo and the bass reverberates. Burnett Town Sound start things off right, as “What Didn’t” lets the melodica lead amidst a hazed-out funky groove, all fading away to an analog crackle. Du3normal takes a different approach on “Dirt:” sleek and modern, with a firm steppers beat leading the clean digital synths. This balance between eras continues throughout the compilation; Unidub Estacion (feat. Dan-I) sound simultaneously old and new on “Inna Dubplate Styla,” while Serious Dub and Submarine FM lean forward on “Boomstep” and “McEddie’s House” - inspired by future machines and Medieval chants, respectively. Dub Grammar’s titular vocal sample caves into a deep riddim on “Valiant Thor;” “Love Jah” brings an emotional air of the Orient to its outernational Jamaican vibes as Sista Aude’s unifying lyrics nestle nicely upon MatDTSound & Woody Vibes’ laid-back steppers riddim. Awen’s instrumental solo effort, “Pyramid,” is equally ancient in initial inspiration, like a Sinai sunrise before a minimalist electro dub takeover; closing collaborative cut with Fresh Poulp Souk System builds on that approach to create an epic sprawl of sounds with a heavier dubstep influence paired with melodic vocals. In between, Radadub steps - and echoes - heavily on “Muzically Fire” and the sounds of the Middle East are channeled into “Amsterdamned Dub” by Dub Sounder. For fans of the deeper darker electro dub sound, who still want organic vibes in an increasingly digital world, this is a worthy global effort.