Don't Stop Dub
May 8, 2005

Track list
  1. Skunky
  2. Revolution feat. Brother Culture
  3. Time Flies
  4. Croon It
  5. A Ticket To Die? feat. Mc Oliva
  6. Wise
  7. Conquest feat. Brother Culture
  8. Buzzling
  9. Elephant Dub
  10. Riddim feat. Mc Oliva
  11. West Dub
  12. Military Dub (Version)
Rating : from 5 (excellent) to 1 (poor)
Vocals : 4 Backing : 4 Production : 5 Sound quality : 5 Sleeve : 4
Those of you who enjoy Brother Culture's distinctive and intelligent chanting style supported by a savage bass pressure are going to enjoy this album -- There are hints of his Brother Culture's influences -- U Roy, Ranking Trevor, and Tappa Zukie, but he has his own original style that doesn't rely too heavily on derivation.

Stylistically, this album centres around massive bass pressure -- The bass lines here are rough, rough, rough -- they are not really old school, and bear little resemblance to Channel 1, Coxsonne, Bunny Lee or Tubby's styles but owe more of a debt of influence to artists like Jah Warrior and junglists like Congo Natty.

If you enjoyed Jah Warrior's "Glory" or Dub Syndicate's "Let the Spirit Rise" you will enjoy the first track on this album, "Skunky" which features one of the hugest digital b lines of the year-- speaker punishing and vicious distortion. The sense of atmosphere and timing-- as the drum styles flex from hip hop to dubwise to junglist -- is charged and exciting.

"Revolution" is driven by a timbale snare, with drum structures sounding like Aswad's "Natural Aggression", digital style.

"Time Flies" is very remininscent of the exciting sound of label mates Sism X. The hip hop influenced pace of "Wise" doesn't really work however, sounding over derivative and flat -- it doesn't engage the listener as much as the rest of the album.

"Elephant Dub" is an old Channel 1 paced rhythm, sounding very like Bush Chemists or Jah Warrior, with militant, destructive drum patterns, spliced sirens and a horns refrain.

"Riddim" has exciting digi snare cracks but relies too heavily on a leaden digi steppers bass drum -- this tends to obscure Kanda's clever, inspired snare/timbale tone drum patterns -- Is so much emphasis on a digi bass drum steppers sound neccesary? It may sound exciting live, but doesn't always work on the home stereo.

This album proves Kanda's understanding of deep reggae rhythms, and like Steve Mosco and Dougie Conscious before him, he is mixing up the old to forward the excitement of conscious roots music. The b lines are exciting, and the drum patterns mentally involving -- Well worth checking out for the digital roots obssessives and lovers of harsh bass pressure. This is another strong album from Hammerbass, a quality label for new and fresh reggae music.