![]() ![]() Third, stop doing the crappy techno callsign and call out the band's name or the genre name to substitute for vocals. Emphasis is one thing, but you're emphasizing songs that already have VERY heavy bass already in them, thus it sounds akin to someone mashing around on the left side of a keyboard. Second step I'd hope for would be to add a little more treble to the mix so it doesn't get an over-saturated bass. A quick guide to how I think it could be improved:įirst step would be to remove the crappy vocal bytes and other random sound clips that feel about as in-place as a porcupine in a ball-pit. Keep in mind, I'm a metal-head, so reggae in general tends to rub me the wrong way.īut, I do believe that the D is for Dubby mixes do have the ability to be "saved" for me. But, perhaps I'm being too harsh because it's simply following what the genre dictates rather than what my personal musical preferences are. Honestly, I don't know if this mix was really worth working through, and it sounds half-assed to begin with. Essentially it leaves you with what sounds like a noob's version of D&B Techno that went terribly, terribly wrong. The vocals that do remain in the song, come as snippets and odd sound-bytes that weren't originally in the song. ![]() What this accomplishes in the Puscifer songs is taking out almost the entirety of the treble, leaving you with a messy bass that seems disorganized and awkward without the treble to balance it out, and a drum that seems just as confused. Being that it's a dub mix, and the idea is to emphasize bass and drum while stripping the song of the vocals mostly. D is for Dubby accomplishes only to make my beloved trip-hop songs into a mush which is barely recognizable and wholeheartedly butchers what I loved about the original songs!Īh, details, yes. The short version of my rant I regaled while pacing up and down my hallway is that it does what just about every "remix" I've heard in recent years has done: strips the music of it's original meaning and tries to force it into something else, which (in this case) it truly doesn't work. What came of the bastard child of the post-industrial/triphop awesomeness and reggae was an awkwardly done lump of crap that I suffered through listening. Sadly, ripping it to iTunes only brought me the horror and terrifying experience that was listening to this joke of an album.Ĭlick to expand.So, a sub-genre of Reggae. Getting to the point as awkwardly as possible I found myself listening to an old release of Puscifer's called D is for Dubby which promised me "Dub mixes" of the tracks from V is for Vagina (a CD I love to groove to). To me, this is akin to someone throwing a bucket of paint on the Mona Lisa and saying it's "new and improved". Over the years, I've come to find I very intensely dislike "techno remixes" or "electronica remixes" because they tend to strip the song of it's original meaning and just make it something to dance to. My friend opened a letter from Napalm Records detailing that he wasn't what they were looking for and sighed, looking at me with sorrow-filled eyes and replied, "A little of both, I'd imagine."ĭon't get me wrong, I love Tool and Maynard including all of his wacky side-projects (A Perfect Circle and Puscifer are two that I especially enjoy). ![]() Sitting around, listening to Tool with a friend of mine, I raised the question: "Maynard.
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