Freshly harvested homegrown beats

I am novice when it comes to dub. But technically, this is untrue.

Pure dub was born in the small recording studios of Kingston, Jamaica in the late 1960s. In layman’s terms, dub (in the 60s) was the B-sides of Jamaican 45s that were labelled “Version”. This was a simple instrumental remix of the A-side that included a few scraps of vocals, since the vocals were primarily “dubbed out”. In most other respects the version was identical to the A-side. The Jamaican public soon developed an avid taste for this “version”, and born was a style that a certain Osbourne Ruddock is widely believed to have pioneered.

But the face of dub has been technologically altered. Modern-day dub, I found, is a layered sonic palette of various genres: hip-hop, trip hop, drum ‘n bass, reggae, ambient and jungle, among others; as well as being the predominantly instrumental remix of existing recordings, manipulated and reshaped.

African Dope Volume 1 is a first compilation attempt by Cape Town-based African Dope Records, and features the cream of South African dabblers of dub: Moodphase5ive (five tracks), Ghettomuffin (one track), Felix Laband (two tracks), Kalahari Surfers (three tracks), Ernie (one track), Craig Damster (one track) and Anti-Hero (one track).

Moodphase5ive, Ghettomuffin, Felix Laband and Kalahari Surfers are signed with African Dope.

The CD is a mini evolution, thanks to thoughtful sequencing, and is forged from conscious lyrics, nifty production, sound sourcing and manipulation.

It opens with the energetic “Rise ‘n Shine” by Moodphase5ive, a formation that gracefully traverses a varied landscape from fusion funk to melodiously trippy throughout their five offerings on this CD. Excellent scratching on “Rise ‘n Shine”. And the effective, intermittent use of a siren and screeching tyres on this track evokes a feeling of urban arrest. Message derived: Rise ‘n Shine Africa.

Quickening the pace is Ghettomuffin with “Paralyser”. And no more is the reggae, scat-singing influence more evident anywhere else on the CD than on this track.

Felix Laband takes the offering into a new loop with “Turn the clock”. Electronica deluxe, a cascading blur of sonic blips and drum loops.

The CD continues on the curve of electro energy, and is given a harder edge by the Kalahari Surfers featuring MZI with “Gangsta”. A formidable force in the 80s, the Kalahari Surfers have resurfaced. (Those who appreciate a certain LKJ - Linton Kwesi Johnson - notice the strong similarity in delivery.)

At this point one begins to feel the selective sequencing. Moodphase5ive becomes dreamier with “Rhymedrop”, with tingle-inducing effects being dropped in and out of the remix; they step up the pace with their third track “Paradise”.

Clear vocal harmonies on “Praha Paradise” by Ernie adds a darker, chilled dimension to the CD. Craig Damster ventures further into this dusk with “Isangqa” – a relaxing track with jazzy interjections, followed by the Kalahari Surfers’ “Dig it”.

The next track, Felix Laband’s “Wilddog” is by far my favourite – sublime and moody.

The last four tracks are Moodphase5ive’s “Violation”; Anti Hero’s “Walking the Distance”; Moodphase5ive’s “Miles” and Kalahari Surfers’ “Taako”.

Anti-Hero impresses with “Walking the Distance” – an atmospheric, smooth offering with layers that become more intertwined as it progresses.

At the end of it, the technique of dub seemed a bit more defined to me. And though the CD, despite its conscious lyrics, didn’t exactly inspire me to attempt any kind of intavenshan, it reinforced my appreciation for South Africa’s, especially Cape Town’s, rich talent.

For those who’ve never fit the mainstream profile, it’s important that artists like these continue to be.