Candy. As I got into the release that we're looking at today, I began to attempt to try to come up with a list of the sounds, specifically in Reggae music, that I find most pleasing. This list was going to be from a purely auditory standpoint (because now is not the time to get into just how much fun I have in attempting to break down lyrics). These are to be sounds that, in just hearing them, it makes me feel really good - and I came up with some very interesting stuff! The first one was the most obvious and easy to come up with as I've recently been listening to quite a bit of his older music, but a dive through the vault of classics from Jah Cure is one having no equal that I've come across. Tunes such as 'Jah Bless Me', 'Guide Us Jah', definitely 'Songs of Freedom', 'Chant' w/Spectacular and a few others (like 'Western Region' and 'King in The Jungle' alongside Sizzla) are delightful in a way that no one else's music is. Of course this is exclusively due to the Cure's vocal prowess (many of them are also extremely well written but, again, we're not talking about that today) and on a similar note would be the pure sonic appeal of listening to artists such as Etana, Bushman, Natty King, Queen Omega and others (like Glen Washington) who can thrill listeners fully based on the capacity of their voices - even before you get into their actual material. The complete antithesis would that -- though yielding the same results, essentially -- would be a particular group of Dancehall DJ's who always tend to get my attention. The archetype of the style (its DAD) would be Bounty Killer. These are very cut and deep toned artists who come with a command and a presence that is damn hard to ignore for anyone in general, but if you do have a taste for it (and I do), what you're going to hear, at its , is some of the most thrilling experiences Dancehall has to offer. Along with the Killer are names such as Merciless ["Have mi owna image, mi trace like no gal. DJ fi know seh that mi exceptional! Mi no sound like no bwoy, mi have mi own vocal. Mi will murda dem foreign or local!"], Baby Cham, Kalash (biggup Kalash, new album, "Tombolo" should be out now by the time you read this) (features a tune with Bounty Killer) and Aidonia who would lead me into a next category of sonic thrillers, where he has very little in the way of company. What Aidonia can do with the spoken word, what Papa San did, what Saik could do (probably still can.... but it's been a minute Saik) (.....any day now sir) (Admiral T might even be another one) is so utterly impressing that I wish I could do anything that good. Having that type of control over almost anything that we, as a damn species, participate in so frequently (the usage of language), is a DEVASTATING ability and one not having to try too much to grab and keep my attentions and affections.
Something else really doing it for me (and I'm going to go ahead and assume this is the case for virtually everyone) is when I hear a BIG riddim. These are fantastic because many times they have a double impact: On one hand there is the track itself you are enjoying AND, on top of that, when you hear the first few notes of a riddim and your brain begins to register exactly what it is, what you're also likely to do it is to begin to associate it with a song on the riddim. Going a step further, if you've listened to the music with any type of regularity over the years, chances are high (they're 100%) that you've accumulated favourite riddims which may be in that category because they backed several tunes which you love or maybe even just because the riddim itself, as a composition, was impressive to you (and occasionally you will run into a very nice track that, for one reason or another, despite carrying a number of tunes, just doesn't seem to produce any of the quality of the music). That work and that credit goes solely to the labels, producers and players of instruments and today we find ourselves, WONDERFULLY and once again, dealing with genuine masters of creating some of the strongest Roots Reggae music of the generation.
Our readers will be ultra-familiar with the work of the Zion I Kings collective as we have enjoyed their output and featured it, in one way or another, throughout the life of this blog (our first post was on 22 February, 2009, the first time we dealt with something from at least one channel of the ZIK, NiyoRah's classic "Purification Session", was on the fourth of April). Along with literally SPRAYING Roots Reggae music with outstanding releases from various artists, the ZIK have also really done well in getting their own name out there and furthering their well earned reputation as some of the greatest maestros the genre has to offer. They've done this in a couple of ways, directly; one of them being their fine Riddim Series which are compilations featuring very talented vocalists atop some pristine creation of the ZIK's. At last count, 2018's H.I.M. Teachings Riddim marked the most recent installment of the Riddim Series (hopefully they get back to those in the near future) and along with that, the ZIK have also maintained a running Dub Series as well. Beginning with 2016's "Dub In Style", the Dub Series returned following a three year absence in early 2021, via "Zion Ites Dub", its fourth release (just in case you're curious (and you are) the best of them, until now anyway, in my opinion has been #3, "Digital Ancient Dub") and now the Zion I Kings are back again with another fine Dub release (which may or may not officially be a part of their Dub Series) (it isn't written on the cover as it has been for the previous four albums) the curiously title "Future Oceans Echo". As has been the case on both aforementioned "Dub In Style" and "Digital Ancient Dub" (which would represent the the odd numbered releases of the Dub Series and if this is one of them, it would be #5), "Future Oceans Echo" comes through the "Kings" outfit, Lustre Kings Productions and Andrew 'Moon' Bain (in association with Galactic Soul Music, and features the work of, of course, Zion High Productions and I Grade Records, respectively. Not to dwell on it too much, because I'm sure I've done it in the not too distant past, but I have been a massive fan of LKP's, in particular, for two decades now - since the label dropped "Culture Dem", one of THE most significant compilations I have ever come across to this day and since then, they've done nothing but build upon that outstanding set. This latest brick, "Future Oceans Echo", is a most interesting one as it is, sorta/kinda a 'concept album'. The term is one I typically dislike (because I'd like to think that all albums have some type of concept behind them), but it is definitely applicable in this case. As its title would suggest, "Future Oceans Echo" is centered around the earth and, specifically, the ocean and all things aquatic. Because of that, all of the productions have water-centric names and themes and you'll also hear occasional sounds of the ocean actually incorporated into the production. On top of that and DELIGHTFULLY, I've also read that a portion of the proceeds generated by "Future Oceans Echo" will go to aide in supporting clean waters and beaches on St. Croix where I Grade Records and its head, Laurent 'Tippy I' Alfred are stationed (I actually read that Tippy's own daughter is a part of the group which the initiative runs through via her school) (that goes to show you how special this release is, personally, to them - and what a GREAT idea to bring music directly to such a purpose) (and, just in case I don't find a way to bring his name up, also full credit goes to David 'Jah D' Goldfine and Zion High Productions (who have a new release out that we'll probably be telling you about pretty soon, if we haven't already) (biggup Jalifa). Unsurprisingly, along with being for a very good cause, the environmentally-friendly "Future Oceans Echo" is a scintillating display of Zion I Kings doing what they do best. Let's take a look.
While I've never been the biggest Dub head in the world, I'm always very pleased at just how popular the sub-genre continues to be. Not only have fans across the globe (it seems to have found a very fertile home in Europe) supported Dub, but also fans of all AGES. While it may be looked upon as something likely to be more popular amongst the older crowd, younger fans have also flocked to Dub and it figures to continue to be fruitful going ahead as well. If you doubt that, then feel free to take a listen to the new "Future Oceans Echo" from the Zion I Kings which gets started with one of its best selections, the downright EXQUISITE 'Night Surfer'. After beginning with the crashing waves, we settle into this SWEET vibe which eventually does pick up and develop, however, I would argue that the first half or so of 'Night Surfer' is one of the single finest stretches that you will find anywhere on "Future Oceans Echo". While it never does become what I would necessarily call "aggressive" at all, what does get added into the mix is a lovely infrequent horn and, altogether, the opener here is exceptional and it serves its purpose: You will want to hear more. And if you do stick around, the next track you'll encounter is 'Distant Shore Dub'. On this one I hear a kind of a 'moody' melodica (at least I think that's what it is), which seems to hop in and out as it desires between more typical effects of Dub music. At its peak, 'Distant Shore Dub' is hypnotic. You can put it on repeat and lose far, FAR more than the three minutes and fifty-one seconds that it clocks in at. Things take a step up even higher on the familiar 'Red Gold & Green Dubmarine' (I supposed this could be our cover track. Not 'title track', COVER TRACK). I don't know for certain, but I think I know this one from somewhere, it may be completely new and I'm just losing the rest of my damn mind, but it does sound well familiar. Whether an instrumental of an older piece or a wholly original construction for this album, 'Red Gold 7 Green Dubmarine' is SPECIAL. There is no warmup here, it doesn't give you a chance to stretch and get ready, from the second it drops in, it is so gorgeous. Horns steal the show here for me, but they do not fully dominate and about a minute in, we find our groove in this stunning laidback vibe (it doesn't stay there, but when it lands there, it is not to be missed), soaring as a real highlight here altogether. We're going to do a little bit of traveling for the next song and where we stop is 'Irish Moss Dub'. Unlike its subtly thrilling predecessor, this one has a bit more of a serious and almost somber tone to it and it took a little while to grow on me. I think that's because it is more OPEN. I'm thinking 'Irish Moss Dub' might serve very well as a backing track for a vocalist (if it hasn't been used in that capacity already). As it is, however, it is still stellar - pinnacling with a SWEET flute (I THINK) which becomes more and more present as the tune progresses and hopefully this won't be the last time we encounter 'Irish Moss Dub'. The first half of "Future Oceans Echo" wraps up with the HAPPY 'Dolphin Bay Dub'. Initially, I referred to this one as "jovial", but I think that word is just too big in attempting to describe the vibes and the presence here. 'Dolphin Bay Dub' is just a nice listen. It does strike me as something more for the old school crowd (of course that means that younger fans will eat it up), particularly during the final nintey seconds or so and at its very beginning. One of the best vibes you'll catch on this album, 'Dolphin Bay' begins the strongest stretch of material on the entire album in my opinion.
....as immediately following it is the single best composition "Future Oceans Echo" has to offer for me, the HUGE 'Abyssinian Tides'. I have no idea the instrument used to create it, but the most present sound here is this dazzling PULSE which traces itself around much of the riddim (almost at like what would be the chorus in this case). That --WHATEVER IT IS-- got me! I was on to the next song (as good as it is) and still thumping my fingers in that pattern and hearing it in my head. 'Abyssinian Tides' is melodic, it's beautiful and ranks very highly, altogether, in the ZIK's most decorated of catalogues. Trailing not too far behind in quality is the BIG 'Seahorse Bubblin' '. This piece almost comes off as two different ones glued together. One on end, it is this glowing, vibrant and SWINGING one-drop. There're constant horns and other large sounds, making for one dominant piece of music. The other side of 'Seahorse Bubblin' ' is quieter. It's more relaxed, but not at all less brilliant. What results, ultimately, is one of the most imaginative offerings you will find here. For some reason, when I hear it, I see LIGHTS. I see bright lights in dark places turning on and off (and I think I know why but, for once, I will spare you my most unusual tangents) (this one ending at a decade old Sara Lugo song) and, as I said, that's clearly a good thing because the tune ahead of it is the only one on this release that I definitely place ahead of 'Seahorse Bubblin' '. 'Manta Ray Canyons' is fairly similar to 'Seahorse Bubblin' ' in its vibes (well, half of them) as it's more on the serene side as is the song which follows it, 'Whale Song Skank'. The former also kind of reminds me of maybe a slightly scaled down cut of 'Abysinnian Tides' as well as there is another sound here (which I cannot even begin to describe the origins of) sticking with the listener well after they've moved on. The guitar here, however, is the show and there is a QUIET CONFIDENCE in this one. There's no rush. I do not have anywhere else to be at the time. I can stay here and play this record for as long as you need me to (it could have been longer ZIK) (I'm just saying!). 'Whale Song Skank' is actually a combination, featuring colourful Burkinabe vocalist Losso Keita. The link here is an unusual one, but I think I may be able to explain it as, back in 2019, Keita appeared on "Enter A Space" which was an EP from Pacific Islands artist Marcus Gad. The following year, Gad would release "Rhythm Of Serenity" and do so on Lustre Kings Productions. If I had to guess (and I am), I would think LKP came into contact with Keita via Marcus Gad and decided to do something. If that is the case (or whatever the set of circumstances) - GOOD FOR THEM! 'Whale Song Skank' is the clear changeup on the album not only due to the interspersing of vocals (which remain, wonderful, indistinct, and only exist to heighten the riddim as opposed to the other way around as it usually is) but also because of the prevailing stringy sound. It is a vibe, throughout the years, I have come to equate with native African music (particularly Western African) (there's a singer I used to listen to named Rokia Traoré from out of Mali who incorporated it a great deal into her work) (biggup Rokia Traoré) and it makes for an excellent addition to the sounds of "Future Oceans Echo" - that we would eventually reach African shores during our trip. Lastly, things are rounded out with the SMOOTH 'Wata Dawta', a track I have found myself listening to, perhaps more so than any other song on this album. Why?? Well, every so often I find myself a song on something that I'm writing about which just feels comfortable. It's soothing and it makes for nice vibes to write to. 'Wata Dawta' is that for me this time around (in fact, while I have not decided what the next review I'm writing is, if I get started on it the next day or so, I'm probably going to begin it STILL using 'Wata Dawta' as my background). It's comforting and had I heard it outside of being attached to any bigger project, it being a product of the Zion I Kings would have been one of my early guesses, if not my very first. It is SENSATIONAL!
Overall, I hesitate to give "Future Oceans Echo" a sweeping, unconditional recommendation but.... I mean.... IF YOU ENJOY REALLY GOOD ROOTS REGGAE MUSIC, you will find something within it that will do something good for your spirits. That is virtually guaranteed. I understand that Dub isn't for everyone, but this work is so immaculately put together that even if you do not give it full attention and just allow it to play in your own background, it's going to improve the vibes (go ahead and give it a try, next time you have to wash dishes or wash the car or do some other household chore, play 'Wata Dawta' or 'Abyssinian Tides', for example, and see what happens) and I think that's probably the biggest compliment that I can pay to a set like this one. Furthermore, and for more 'seasoned' fans in particular, I can tell you that this release is definitely of the standard (hyper-standard) that you have come to expect from the Zion I Kings. When they are at their best, the group provides vibes which are amongst the most satisfying in the history of the genre. "Future Oceans Echo" is the latest golden example of that.
Rated: 4.5/5
Lustre Kings Productions & Galactic Soul Music
2022
Digital
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