der circus - Eine Ode an den Dub

Na also, nun gibt's ja doch eine Review der Veranstaltung im Netz... und zwar hier! Irgendwie gibt der Blogeintrag genau meine Stimmung wieder, die ich auch als Veranstalter hatte - toll! Dabei ist der Autor weder ein Bekannter noch von mir bestochen...

Zuallererst, BIG UP an alle Sound Systems, Sound Engineers, Produzenten, DJs, MCs und Produzenten des Dub. Euch gebührt große Ehre. Nicht minder würdig auch unsere tanzenden AnbeterInnen des Sounds, die Nacht für Nacht auf’s Neue beweisen, welche Kraft in dieser Musik steckt. Über die Jahrzehnte wurde uns nachfolgenden Generationen ein Klanguniversum geschaffen, welches zu betreten und zu erkunden uns eines der schönsten Gefühle ist. Wir wandern und streifen umher. Immer auf der Suche nach mehr.

Vor zwei Wochen spielten, zufällig entdeckt, ALPHA & OMEGA und trotz schmaler Anlage konnte diese dem Wirken des Dub nicht entgegenstehen. Nachdem SCIENTIST am Mittwoch mit mehreren Stunden Verspätung im Café Zapata an der Musik von I-REVELATION SOUND die Amps zum Glühen bringen konnte: Wie würde sich ein Dubereignis erst einmal wieder im Yaam anfühlen?Zion Train vor einigen Jahren waren gut in Erinnerung geblieben.

___TSUNAMI WAZAHARI___

23:23
Ich komme hinein und es spielen bereits TSUNAMI WAZAHARI. Der Dub erfüllt die Luft. Ein Sprenkeln und Knistern an allen Ecken und Enden. Die Masse beginnt zu wippen und harret dem, was da kommen solle. Einige bekannte Gesichter zeigen sich und entschwinden alsbald. Es ist dabei schön zu wissen in mehr oder weniger bekannten Gewässern zu fahren. Sie spielen in angenehm elektronischer Manier und müssen sich zurückhalten, mehr Druck auszuüben. Als hätten sie gerade erst angefangen; mit jedem Stück. Aber sie müssen sich zügeln, noch ist die Masse nicht warm, noch ist nicht die Zeit.

___AL HACA SOUND___

 

Nach dem ersten Konzert beginnt, am anderen Ende des Saales zwischen zwei leider nicht dazugeschalteten Boxentürmen, AL-HACA SOUND mit einem derben Track, der viel bekannte und typische Samples vereint. Es klingt verdächtig nach On-U Sound. In Gedanken die Frage:

“Wer dreht da so wild an den Knöpfen ‘rum?”

Diese gedankliche Bewegung verspült die Gehirngänge, befreit vom Ballast des Alltags und lässt nicht anderes zu außer sich selbst. “an alle – an alle” fliegt zwischen den Songs durch den Raum und stimmt uns ein auf entgrenzte Klangerfahrungen am Rande des Wahrnehmungsbereiches. Wir betreten eine Arena, in der Klang mehr erspürt als gehört wird. Wenn dein Körper nicht mehr anders kann, als sich zu bewegen, da er schon längst von den Schallwellen in Vibrationen versetzt wird.

In wohlig warme Bässe gehüllt beobachten wir ferner das Treiben auf der Bühne und stellen eine rege Aktivität fest. Und anstatt der zwei Künstler von eben tauchen auffälligerweise T-Shirts und Hoodies mit Aufschriften wie “Jarring Effects” oder “High Tone” auf! Die allmählich in Wallung geratenen Tänzer aber üben sich in vornehmer Zurückhaltung und gestatten den Meistern des Fachs die nötige Ruhe beim doch teilweise etwas hektisch erscheinenden Aufbau. Der dann auch gleich etwa eineinhalb Stunden einnimmt. Konzentrierte Gesichter wissen was sie tun. Alles geschieht in routinemäßiger Schnelligkeit und doch nie übereilt. Die Werkzeuge der Klangbaumeister verteilen sich über Boden und Pulte, ein Kabelkonglomerat ungeahnten Ausmaßes für diesen bescheidenen Rahmen produzierend. Wir dürfen gespannt sein.

___HIGH TONE___

Die Könige des französischen Dub.  


Elektronische Spielereien direkt in deinem Herzen. Du zappelst freudig und bist doch in Ruhe. Die Meute erdrückt dich, doch du stehst aufrecht.

Es kommen mehr Gäste hinzu, es ist bedrückend eng und es wird Zeit Obacht zu geben, wo sich die einem genehmen Mitmenschen aufhalten. Einmal und immer wieder im Kreise der Nächsten angelangt, lebt es sich denn ganz ungeniert: Körper bersten, Glieder fliegen, Hüften schwingen! Der Saal tobt und die da auf der Bühne haben es schwer, gegenzuhalten. Jedes Geräusch ist eine Offenbarung, jeder Hall und jedes Echo lassen deine Nackenhaare tanzen, bis du selbst in dem unglaublichen Kribbeln aufgehst, das jemandem beim Erdenken dieser Komposition vorgeschwebt sein muss.

Und so zieht es sich. Stunden über Stunden vergehen im abgeschlossenen Raum des Schalls. Denn Zeit, die ist relativ. Keine Bewegung die auch nur unbeachtet vorübergehen würde. Deine Sinne sind geschärft und die Musik, massiv über allem stehend, sorgt für die Verschränkung mit denen der andern. Deine Ohren werden an die Hand genommen, Schritt für Schritt einzutauchen in Motive und Strukturen von ungeahnter Form und Harmonie. Die Mächtigkeit des Basses verschmilzt den ganzen Raum zu einem einzigen Klangkörper. Denn jede Zelle resoniert, jedes Atom ist am Tanz der Tänze beteiligt. Das Sound System lädt zum Ball.

Doch auch jeder Kämpfer wird einmal müde und muss sich erholen. Mit letzten verzweifelten Schreiexplosionen kann das Publikum noch das letzte Quentchen aus den Künstlern mobilisieren, es gibt Zugaben, denen nicht einmal die Fusion würdig wäre. Doch dann, es ist vollbracht, genügend Kraft zu Hitze gemacht. Körper & Geist entleert, nach mehr gierend, werden sie ihrem Schicksal überlassen und freundlich empfangen von den Dubs AL HACAs.

___AL HACA PART 2___

Wir, also zurückgelassen in einem sich immer schneller leerenden Raum, füllen unsere Energiereserven wieder auf und kommen allmählich wieder zur Ruhe. AL HACA nehmen uns gefangen in den dunkelsten Ecken unserer bloßgestellten Seelen und verschaffen Ablenkung von der eben erlittenen Tortur. Die Knochen noch zitternd, schallt der “Master of Dub” durch den Raum, statt mit 45 auf 33. Mister Lee Scratch Perry dubbt uns zusätzlich verlangsamt in seine verdrogten Gehirngänge und stellt sie auf ausladenden Leinwänden aus.
“AN ALLE – AN ALLE” zwitschert es bekannterweise wieder ein paar mal über unseren Köpfen. Wir wissen, wir sind im sicheren Hafen angekommen, nurmehr um das nächste Auslaufen vorzubereiten. “AL HACA – AL HACA” wenn man genau hinhört. AL HACA.

Wenn ein Name diesen Abend überraschen konnte, dann der des Soundsystems mit den verspultesten Tracks und den herrlichsten Reminiszenzen. Aber wieder, es regt sich etwas auf der Bühne. Die vielleicht schon aus dem Supermolly oder anderswo her bekannten Gesichter von jazzsteppa bauen sich auf. Die Meute harrt einmal mehr dem, was da kommen solle. Noch schweben eifrigste Klangschnipsel durch die Lüfte. Hab’ ich schon AL HACA gesagt? AL HACA AL HACA!

___jazzsteppa___

Die Technik und die Band haben den Soundcheck hinter sich gebracht und bringen gemeinsam die ersten Töne des Konzertes auf die Bühne. Nicht jedem schmeckt ihr Sound, nicht jeder hat noch Energie übrig und so erhalte ich am Rande des Konzerts auch kurz die Möglichkeit, mit AL-HACA zu sprechen und man bestätigte mir mein Gefühl:

Der Mixmaster Adrian Sherwood himself zeichnete für die einleitende goldene Scheibe im ersten Set verantwortlich. DUB SYNDICATE, AFRICAN HEAD CHARGE, AUDIO ACTIVE, NEW AGE STEPPERS, REVOLUTIONARY DUB WARRIORS und weitere betreten die Bühne der Gefühle. Leipzig, Wien, Greifswald, Berlin, paar Mal auf dem Sziget usw. – die Jungs haben schon ein bischen von der Welt gesehen und das kann man hören.

Die gerade spielende Band dann doch wieder nicht. Als schließlich doch mal ein paar Titel aus den Boxen tröpfeln, scheint wieder etwas an der Monitorkonfiguration nicht zu stimmen: Die Musik ist aus. Und dann mal wieder an. Und wieder aus. Der Reaktionsgabe der Backing-DJs gedankt bedeutet dies für uns aber kein Ende der Musik, sondern lediglich den Abgang Jazzsteppas von der Bühne. Kein Verlust. Während JAZZSTEPPA die Bühne leer räumen und kaum verrichteter Dinge das Yaam verlassen, ereignet sich vor der soeben erst entdeckten, gerade geschlossenen Lounge DER Moment: Ein Techniker trifft #2 und nochwen, wir vom weggehenden Lounge-DJ verdattert zurückgelassen blöd rumstehend, werden Zeuge folgender vernichtenden Kritik an JAZZSTEPPA:

“Sowas unprofessionelles habe ich noch nie erlebt! Wenn DER mich noch einmal anquatscht, schlag ich ihm in die Fresse, echt! Das kann doch nicht sein! Was soll das?”

Der Name dieser Band sollte in Zukunft nur noch klein, am besten jedoch gar nicht mehr geschrieben werden.

___FADE AWAY___

 

DJ SAIMAN ergreift die Plattenspieler und geleitet uns akustisch zur Tür. Was folgt, ist nur noch Schadensbegrenzung. Viele Gäste verlassen empört das Gelände und die Kasse am Einlass wird schnell weggeräumt, bevor noch mehr ihr Geld zurückverlangen. Aber was bleibt ist ein wunderschöner Abend, mit ausgezeichneten Musikern und immernoch diesem Gefühl, an etwas ganz Besonderem teil gehabt zu haben. Schnell verteilen sich noch ein Paar Sticker, um vielleicht das ein oder andere Gesicht im circus einmal ähnlich bespaßen zu dürfen. To Be Announced.

HIGH TONE, AL-HACA, TSUNAMI WAZAHARI
Wiedersehen ist ein Muss!

Wer es ohne tiefbassiges Nackenkribbeln nicht aushalten kann, sei also zum circus feature zu Beginn des neuen Jahres eingeladen. Dank spezieller Leichenkellerakustik ist es uns ein Leichtes, mit vergleichsweise geringen Mühen über viele Stunden eine vielleicht nicht ganz unbekannte Athmosphäre aufrecht zu erhalten.
Komm.

RAW dub style

Juhu! Endlich mal ein Interview zu meiner Lieblingsmusik - dem DUB! Crofton heißt der Mensch, der mich interviewt hat. Ich kenne ihn über die Musik seines großartiges "i-ality hifi sound system" (leider ist die website nicht entsprechend.). UND er betreibt eine eigenes Musikblog "Music Line". Das Interview führte uns dann weit über die Grenzen des Dub hinaus, zu Fragen der Stadtentwicklung und Gentrifizierung, zum RAW.tempel und noch so einigem mehr. Also sowas könnte mir öfter passieren! [Hier ist der Link zum Originaltext]

Sooner rather than later, the stray dub fan in Berlin encounters the RAW.tempel. RAW stands for Reichsbahnausbesserungswerk - a defunct factory complex in Friedrichshain, used in the nineteenth and twentieth centuries for maintenance of trains. In 1998 the site was taken over by a project group who started to use it for artistic and musical events: it now houses several venues of different sizes, and hosts numerous workshops and activities - political, ecological and social as well as artistic. There's also a climbing wall and a skate park. Prominent on the site is the RAW.tempel, which over the last decade has secured a reputation as one of the centres of gravity of the Berlin dub scene. Berlin's a long way from London and accordingly the dub scene has a different history and a different focus. In late May 2009 I met up with one of the RAW crew, Raimund Reintjes, to ask him for his perspective on dub in Berlin. We talked about the history of the RAW.tempel, the evolution of dub in Berlin and the ever-present threat of gentrification, along with the influence of the netlabel scene and the 'third wave of dubby ideas' which has the city locked right now. But it all begins with psychedelic trance ...

"In the mid-90s dub was a big thing in Berlin, not in comparison with the techno scene of course, but there were regular dub events in lots and lots of venues. Towards the end of this movement, at the end of the 90s and early 00s, the psychedelic trance scene gathered at RAW.tempel. At this time psychedelic trance and dub were quite closely related, because dub was nice for the chill out area, along with the chai shops and everything. That was the first connection between RAW.tempel and dub. The psychedelic trance scene then moved away but the dub scene stayed, and it's really established itself there.

- So what kind of dub are we talking about here?

When we're talking about the mid-90s, most of the dub played here was UK style: Adrian Sherwood's On-U sound, African Headcharge, Dub Syndicate, Audio Active, along with Dreadzone, Rockers Hi Fi, the Disciples, Zion Train and the Universal Egg crew - this is what I mean when I say UK sound. They were much more present than Jamaican dub, which had been ruling the scene for the previous 20 years but was not really recognized in Berlin. There was a time for reggae, the late 70s and early 80s, it was really big, but that was Bob Marley, Jimmy Cliff, and there wasn't so much talk about King Tubby, Lee Perry, Sly and Robbie or King Jammy. Then the techno thing started, and it influenced dub production. So with new technology and fresh ideas from electronic music they formed this 90s electronic dub, which was mainly done in Britain. So the dub and reggae idea came up again but in a new 'coat', let's say. And this second generation of dub got quite popular in Berlin and some other German cities. A guy called Deeroy [proprieter of the celebrated Deeroy's Dub Store on Pappelallee, now closed] organized the Dub Cruiser, and together with a guy called Lujah he opened the legendary Dub Club. Then the scene died down again, at the end of the 90s, and now it's coming up again mainly in the form of dubstep and dubtech. It gets fresh ideas again, it's kind of the third wave of dubby ideas.

- Do you find that the same people who listen to 90s dub listen to dubstep?

Yes, it goes quite well together. If you see what's going on in RAW.tempel, there's the Dub Wohnzimmer every week on Wednesdays, and for years they've been doing nothing other than UK dub, sound system dub, with some Jamaican roots, and now they're also heavily involved in dubstep. But many organizers or places where they do dubstep also come from the drum'n'bass side. It doesn't really matter which side you're discovering it from. What I'm expecting and hoping and really like is the idea that people are discovering dub because they have discovered dubstep.

- You said to me a while ago that you were really interested in European dub rather than UK dub right now.

It's a personal thing of mine, in the 90s I was listening to so much UK dub, I know it for some fifteen years already, and I'm always hunting after fresh ideas. And what I've found is that there's a large, growing scene in Europe, especially France, which has a completely different cultural input into their dub community, because they're not so related to the English speaking part of the world and they have a lot of immigrants from North Africa and Arabian countries. They often have a combination of a lot of different musical influences, so it's sometimes really hard to explain to anyone why I would call it dub, because if you're not into the subject you don't hear that there's a dub idea inside. So French dub has this drum'n'bass aspect, Arabian sounds, rai, hip hop, breakbeat, a nice unique mixture of different styles, open to a lot of things. This is what I really like, this is vital.

- Can you give us some idea of who you're thinking about here, which artists?

Kaly Live Dub, Le Peuple De l'Herbe, Zenzile - though they've seemed to shift away from dub now. And above all High Tone and Brain Damage from the Jarring Effects label. It's one of the most creative labels I know, where genre borders don't exist, a very fusion-orientated label. They get musicians from a lot of styles, a lot of countries, a lot of musical backgrounds, put them together and form new projects, but the dub idea is still linking everything or nearly everything. 60-70% of the output of that label is related to dub in any case. Led Piperz is a fantastic dubstep project also from France, and you have Fedayi Pacha. Led Piperz performed at the Jarring Effects night in Maria and I wanted to go home because it was early in the morning and I was kind of through with the day, but Vincent, the label manager, forced me to stay to see them: 'They do some dubstep, but it's not only dubstep ... if you've seen Benga and Skream already, forget about them, it's much better...' Well, I'd seen Benga and Skream at the beginning of the year at Club Transmediale, and was really impressed by their performance, so if someone's telling me that there's a dubstep project which is even more powerful than Benga and Skream I won't miss it. So I stayed. And I really did not regret it. It was absolutely amazing!

Dubstep is really popular now and it's really pushing things in an interesting new direction. But there's also the releases from the netlabel scene, the combination between electronic music and dub. All the techdub and dubtech, which is becoming more and more popular, I think it's a child of this netaudio idea, because I never heard something like this before and I discovered a lot of stuff on small labels who are releasing mp3s for free. There's a lot of labels in Europe now specializing in techdub, which also gives the development of dub a fresh and interesting direction.

- Again, give us a few representative names.

Ok, Deepindub, an Italian netlabel run by a guy called Maurizio Micelli. Qunabu, a Polish label run by Piotr Kalinski. Then we have the German spearhead Jahtari, for chip-tunes reggae, 8 bit dub. Disrupt, Jan Gleichmar, who is the founder of the label, has really done a lot of good networking, he's come around, spread the idea and people really like his kind of music. The label also promotes this Bo Marley thing, a Danish performance group with mobile soundsystem and some freaks in incredible outfits. The singer speaks German and the rest of the band take it as funny voice samples. So this is a funny dub project who don't take things too seriously, they sing about meat, for example, an anti-vegetarian song, but with a twinkle in the eye. When you follow the words, the beginning of the sentence is different to what they're telling you at the end, they mix things up, make mistakes, do illogical things. There's some quite Dadaistic aspects in their music and performances. I like this because they play with everything, they make music which makes you smile. And Marko Fürstenberg, for example, from Leipzig, the same town as Jahtari, he's done a lot of excellent releases in the past years. Volphoniq from France is a big name in the netlabel community, great performers, and also in France there's Fresh Poulp Records. In Germany Stadtgrün from Cologne have put out a lot of decent techdub. And then there's Ornaments, a vinyl label who are re-releasing some netlabel dubs or new stuff from netlabel dub artists.

- When you say techdub, do you mean stuff influenced by Rhythm and Sound, Basic Channel, stuff like that?

Yes, but it goes further than that, it's much more related to the minimal techno sound. Techdub or dubtech, you can have hard techno beats with a dubby tune running through it, so you have this relaxed atmosphere inside a really hard beat. Also you can have a dub tune which is so minimal that it is really reduced to the very basic elements, so you can hardly call it dub any more. It's not this loungey deep house dub thing, it's really a dancefloor filler.

- Is it particularly a Berlin-associated phenomenon or not really?

It's a niche, it's not a big wave rolling through the streets which everyone's excited about, but there's a small community who really like it. So for example last weekend there was the Thinner label night in the Arena Club, and they had an exclusively techdub lineup: Das Kraftfuttermischwerk from Potsdam, Marko Fürstenberg, Gabriel Le Mar who was a big name at the end of the 90s in the psychedelic trance scene. The night was completely done by techdub artists. These kind of events don't happen very often. But three years ago no one would have been attending. So they're creating something which is strong and getting stronger hopefully.

- Back to RAW.tempel: it seems the RAW.tempel is more directed towards dub, while Yaam is more reggae and dancehall. Is this a deliberate policy?

No, it developed a bit like this but Yaam is now doing more dub things also. The dub festival [3-5 Sept. 2009] will take place at Yaam. There's a small amount of people who organize these kind of events, and a small amount of venues where you can organize them: Yaam is bigger than RAW.tempel, you can fit more people in, you have the possibility to do a second floor, outside things even, so it's much more suitable for festivals. I'll probably go as a visitor, it's relaxing to enjoy two or three days of heavy dub music without any pressure. So really I'm fine with this.
On the other hand, RAW.tempel was really supporting dub in the darkest days, at the beginning of this decade, when no one was playing any dub at all, and dub was a lost idea from somewhere in the past. Dancehall grew stronger and all the venues jumped on the dancehall idea. But we did dub, dub, dub, and no dancehall, and only a little reggae. And now with the growth of dubstep and the return of dub into the clubs, techdub, we're benefiting from the fact that we've been doing dub for all these years without looking at whether anyone else is doing it, or if we are cool or hip. There was a small dub community who were able to do their thing, and now this small dub community has become a bigger dub community. We do concerts, we have the weekly Dub Wohnzimmer, a lot of people are involved and some of them also do the Dubstation at the Fusion Festival. We've also started doing dubstep events with a series called Interzone. Not at RAW.tempel, but as a kind of spin-off, there was an attempt to relaunch the Dub Club, in the spirit of the original venue from the 90s. Eventually this didn't happen but some other projects appeared like the Dub Pub, which is done by a lot of people also involved in RAW.tempel. Then there's the Dub Camp at Rieben in June, a festival outside Berlin, which is also a spin-off of all the city's dub activities. And there's dub in summer beer gardens and illegal open-air things in parks. So it's a good time to enjoy dub in Berlin these days.

- It seems that this is a time of a lot of change for Berlin, in terms of structures, venues, gentrification, the Mediaspree project ... is RAW.tempel affected by these currents?

On the one hand I have to disagree: the situation since the teardown of the Wall has been constant change, this city is always changing. There were massive changes in the 90s, when Berlin became capital of the reunited Germany, when they started to heal the wounds of the partition. So I wouldn't say that this is a time of specific change, it's been the same before: venues opening for a few months, closing, opening again on a different site, a new name, illegal, semi legal, vanishing again ... Berlin's been like this for 20 years. But on the other hand you're right. Development in the inner city districts, like Prenzlauer Berg and Mitte, was the topic of the first 10-15 years after reunification, but now change is more or less over in these areas because they're settled in a certain way. But the things you were mentioning, Mediaspree, this is the third and maybe last big field of inner city empty space where you can really form attractive places, whatever attractive means, and whoever you want to attract ... Mediaspree is a huge area, with major pressure from money, investors, big companies, global players. Of course RAW.tempel is affected by this, though not so heavily as all the alternative projects situated directly in the Mediaspree area: Yaam, Bar25, Maria and the others which are going to close to make way for towers and office blocks.
I hope Mediaspree is the last really big mistake in Berlin, because the politicians should recognize that they've been going too far by allowing nearly everyone to buy out the right and left side of the Spree. They've got rid of an area which is so valuable in so many different ways, like recreation, alternative culture, the feeling that Berlin is not just a big city but also a very lively space for many different cultures and peoples and attitudes. So what they are doing is monostructuring all the Spree with office buildings and this kind of stuff, and pushing alternative projects, which have been there for ten years, out of the area. This is what we mean by gentrification: people who with creative energy and power get into a space, create something interesting, and are then thrown out on account of money, because they've been making the space interesting.

This kind of thing is affecting RAW.tempel, because what's actually happening is that the whole area - we're talking about an area larger than 80 football fields - has been bought by a company whose only interest is making money out of land speculation. They don't want to develop anything, they don't want to create city spaces, do something where you can discuss if it's good or bad, they just want to push the price of the land up and get money out of the fact that they own it. So in this case they bought the site for 4 million euros two years ago and they might sell it for between 11 and 20 million next year. So they triple or quadruple the money they invested. Of course 4 million is not a price which reflects real monetary value, it reflects a lot of circumstances and aspects which you have to keep in mind: you have to spend a lot of money just to get rid of great parts of the rotten old structures, get rid of the chemicals in the ground, build an infrastructure so that you are able to develop something. So you will have a lot of cost just to get the thing in shape.

The investors want us to be a project who they can throw out at any time, where they dictate the framework of what we can do and how we have to do it. We were the first who developed anything on this empty space, attracting people to come and see what they can do with it, so there's no way that anyone is going to tell us what we can do there and what not. So we're arguing this, and we're also arguing that the whole area should not be developed just for maximum profit, but instead they should keep in mind the needs of the people who live in the area around, who don't have any playgrounds, or any green, open space just to be in. Because we say this, and we mean what we say, we're not just trying to get a better position in negotiations, it's difficult for the investors to deal with us. And this is why they'd like us to go. But I don't think they will manage this. There's a strong political will to keep RAW.tempel, because with the public voting about Mediaspree, political parties and responsible authorities have realized that people really don't like things going on like this without anyone having a brake in their hand. So I don't think politicians will make the same mistakes in the RAW area as they did with Mediaspree, but of course it will not be heaven on earth. An investor wants to earn money, and he wants to develop the thing, so there have to be compromises in some or many fields. But that does also mean that there has to be space for alternative cultures, recreation space for the neighbourhood, away from the cars, the pollution and all the velocity of the city."

(Since this interview took place, RAW.tempel appears to have been the victim of a campaign of harassment, suffering several arson attacks of unknown motivation. Nonetheless, some signs are appearing that its future may be secured, on a legal basis, for another decade.)

High Tone - die Götter des French Dub

High Tone - das ist ja wohl ein Geschenk des Himmels - naja, nicht ganz. Ein wenig anstrengen musste ich mich schon - aber als wir dieses Konzert besiegelt hatten, war ich für einen langen Moment sehr glücklich: Denn diese Band zählt mit ihrer Mischung aus Roots, Dub, Electronics, Oriental, Breakbeat und Hiphop zu meine absoluten Lieblingsbands. Und dann kommen sie nach Berlin in's RAW und spielen auf meine Einladung hin das tollste Konzert, was überhaupt je in diesen Hallen stattgefunden hat! Ich liebe sie (nicht nur) dafür! Seit dem hat sich nicht nur bei Jarring Effects, dem Label der Französischen Dub-Götter, sondern auch ins restliche Frankreich herum gesprochen, dass es in Berlin einen Ort gibt, an dem DUB MUSIK gerne auch französich ausgesprochen wird.
Hier gibt's einen Konzertbericht mit Fotos auf Irieites.
Hier gibt's den Konzert-Mitschnitt bei Ligx!