Dub Realistic

Dubblestandart present Dub Realistic. Of course, Dubblestandart have been keeping a version of the dub flame alive for the last two decades, their formation coinciding with the phase in which Jamaican dub was on the way out. Formed in 1988 as a reaction to the stagnant Austrian pop scene, the group was heavily inspired by the Black Ark, On-U Sound and Jah Shaka, infusing such dub influences within their heady blend of hardcore reggae and new wave, which soon brought them into the European public's consciousness. Soon, they were so in demand as to be backing Lee Scratch Perry on the Austrian stage, followed by stints with dub poet Lilian Allen and ace toaster, Dillinger. At present, they have already issued over ten albums, collaborating with Ken Boothe, Sly & Robbie, Mad Professor, Marcia Griffiths, Chezere, Caron Wheeler (Soul II Soul) all the while working new technological dimensions into their sound, and although they have undertaken a dub tour of the US west coast, Canada, India and Russia. Dubblestandart's cavernous excursion into deep dub, chilling dub and dubble-tough dub are willed into perfection with Dub Realistic. Dubblestandart's handling of this mission has been exemplary: the productions are pleasingly individualistic, retaining plenty of originality and professionalism without seeming stoic, dull or contrived. Opening Dub Realistic with a slowed down adaption of Massive Attack's massive hit "Safe From Harm" presents Amanda Bauman going deeper, followed by a journey into the Middle East ("Arab Dub") & further examples of how we, as musicians, digest the world around us ("Earthshaker"). Populistic tendencies at home ("Welcome To Europe") or "effects" of the refugee crisis ("The Boat Stops") triggering questions: What is the role of us as artists ("Not Controlled by the Artist") and how do we contribute in a positive way? From Kingston/Jamaica, reggae & soul singer Tanice Morris appears on "Let It Flow" and "Dub version" and from Cairo/Egypt, Aisha E dubs on Bob Marley's "Sun Is Shining."

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