![]() That was also celebrated Live and Direct and is really good. But really only occasionally, because you don't always want something like that. came or comes in the “sound system style” occasionally quite well. Then the tune slowly drags on towards the end …. There is also the option of simply switching off or stopping the turntable. There could be a more appropriate word than compression, but it has such a brutal and inhuman background that it doesn't allow me to write the word here. That is then also a "sneaky" and "nasty"įorm of "compression" (or is it called compression?. I don't even dare to think that the fade-outs are made because the actual conclusion would have come much later and would have blown the album's time frame. But basically I think that such a "classic" ending without a "fade-out" would have to be less work, because on the original tape or on the hard drive every tune is definitely on it with a beginning - main part and ending. ![]() And ends with a more or less pompous oneĮxit ! Yes, very seldom do they fade out live, which, especially when played live, can sometimes create a slightly mystical magic. The drummer plays a few clear "patterns" (?) the band knows and the "final offensive" begins. Of course, I also find it much better if everyone tunes everyone Dub ends like at live concerts. The fade-outs are meant -) ( I'm still tired. I have no idea, but it also makes sense for me that – in German – ![]() I still have a question about the “fade outs”. And he doesn't wish for any more fade-outs either - they could be seen as a reference to the 70s, but in 2022 they seem like a work avoidance characterized by a lack of imagination. The reviewer would like more artistic risk, more surprises, less fabric softener. Similar instruments and arrangements, no matter how perfect they may be, could already be heard on earlier albums - but this time the spark is missing, the desire for something new, for experimentation and the courage to leave the beaten path. Everything is where it belongs, you can't complain - the will for perfection is there, the will for musical development is not. The bottom line is that Mato delivers on his not exactly original but aptly titled “Jazz-Funk Dub Tribute" from first-class craftsmanship again, no question. and jazz greats like Lonnie Liston Smith or Weather Report. The reviewer, on the other hand, completely lacks this connection, even though the originals come from funk greats like Kool & The Gang, War, Grover Washington Jr. This is of course a very subjective statement Listeners who are at home in the jazz-funk genre - particularly the recordings of the 1070s - will probably celebrate the new reggae interpretations. So far at least, because this recognition effect is missing in Mato's new release " jazz funk Dub Tribute" fully. Part of the success of the Mato works is certainly their recognition value: the originals are well known their reggae or Dub-Surprise interpretations. fit so well into the overall picture that the focus is more on musical excellence and fine arrangements. Not that Mato is stingy with effects - on the contrary: Echo, Hall & Co. So far there has been good to very good reviews, although we are more concerned with instrumental than Dub-Albums have to do. ![]() Thomas Blanchot aka mato is almost a guarantee for excellent analogue productions made in France - just remember his interpretation of Daft Punk's " Homework", the film music tribute " Holywoo Dub", the excursion into e-music " Classical Dub' and finally his nod to the horror genre ' Scary Dub".
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