Author Rene Wynands

There are albums that you put on and immediately immerse yourself in a positive mood – “Friendly Melodies" (Zulu Vibes) by Zulu Vibes is just one of those. I knew after the first few bars that this album would stay with me for a long time. The French producer, who first caused a stir in 2018 with "Silver Wind", Youthie's debut album, has created something that not only sounds good, but also feels good. The tracks are warm, lively and full of joy - you can feel that someone with a true love for reggae and Dub was at work. The sound of "Friendly Melodies" has a pleasant liveliness and cheerfulness. Perhaps it is the way the arrangements breathe, the way each instrument is given its space, or the fact that the mix simply sounds so organic. Dub not just produced – here it is "played." The album has a groove that is nourished by many small details, details that you only discover after repeated listening. I find myself involuntarily clicking and playing the album in my media library again and again. Perhaps this is also due to the versatility of the 12 tracks. Each of them brings a new facet to the music – sometimes driving and energetic, sometimes relaxed and meditative. Dub-Mixes are finely tuned and provide additional depth without getting lost in effects. Some DubAlbums sound like studio work – well thought out, but also somewhat distant. Friendly Melodies is different. It feels like you're right there, as if the music is being created in a room full of instruments and fresh ideas. Dub Anyone looking for something that sounds grounded yet fresh will definitely find what they're looking for here. An album that not only delivers good vibes, but also continually reveals new nuances—and absolutely lives up to its title.

Dub from the small Alpine republic of Austria is not exactly the order of the day. All the more reason why Danubian Dub has just released a double album with 22 tracks. The double album is actually two albums: "Red Horizon" and "Beyond Horizon“ (both Danubian Dub Records), which were released at the same time and offer roughly the same thing: Steppers-Dub mixed with vocals. “Beyond” is not just the Dub-version of "Red" – although it has a more pronounced heaviness. Overall, both albums are not about groundbreaking experiments, but rather about solid craftsmanship, technical brilliance, and a deep understanding of sound system culture. And then there's the sheer quantity of tunes! An impressive testament to the immense productivity of the production team, which is not only active in the studio, but also with its own events and self-organized Dubstetten Festival is active in the scene. The opener, "Armageddon," on Red Horizon impressed me. The track is based on a randomly recorded Aramaic choral passage from a church. It's precisely this kind of detail that makes Danubian Dub They process spontaneous inspirations and incorporate them into their productions. The album closes with "Where Have You Been," a personal vocal number with Tom Spirals that resonates not only musically but also emotionally. "Beyond Horizon" continues the concept and brings 11 tracks of massive Steppas vibes, with strong guest contributions from Kol.EE aka King D, Amando Atodos, and, of course, Danubian. DubSingers FerdI and Dave. The final track, "Poverty," is a powerful statement against social inequality. Very beautiful! The album's sound is outstanding. The productions are powerful, refined down to the smallest detail, and demonstrate that Danubian Dub They have mastered their craft perfectly. It is an album that not only works on large sound systems, but also unfolds its effect in a quiet environment. "Red Horizon" and "Beyond Horizon" are not albums that Dub reinvent themselves – but they are an impressive demonstration of what solid production and dedication to the genre can achieve.

With "Dub Foundation“ (Slimmah Sounds) Tim “Slimmah Sound” Baumgarten presents a new, extremely beautiful Dub-album. The Dutch drummer and producer, whose roots lie in roots and DubReggae, once again demonstrates his craftsmanship and creative vision with this work. His style, which combines live instruments with digital production, sounds more mature than ever and carries a palpable depth that runs through all of his tracks.Dub Foundation" is (once again) a homage to the golden era of roots reggae. The heavy basslines and clearly structured riddims are reminiscent of the great masters of the 70s and 80s—Sly & Robbie, Yabby You, and Linval Thompson—but at the same time, Slimmah Sound incorporates modern production techniques that place his music in the current Sound System vibe. Influences from Zion Train, Vibronics, and Alpha & Omega are clearly recognizable. Now things get complicated: "Dub Foundation” is the Dubversion of "INI Foundation" – which is a showcase album with 12 tracks. Five of the six Dubs on this album, can now be found on “Dub Foundation" again. Doesn't sound like a good deal, but the sound on the "small" album seems much better to me. The tracks on "Dub Foundation” unfold slowly, leaving room for echo, reverb and finely tuned Dubarrangements. Particularly impressive is the rhythmic structure of the Dubs, which always remains exciting. In addition, the classic Dub-mix is ​​excellently done – it creates an almost magical effect. Particularly impressive is the attention to detail with which Tim Baumgarten recreates classic Dub-techniques without falling into a retro habitus. The sound is warm, deep, and organic; each element has its place and contributes to the overall effect. The fusion of analog feel with digital precision is undoubtedly particularly successful. However, the album is quite short, with only five tracks. Those who want more should pick up "INI Foundation," which, in addition to the Dub-versions also includes the vocal interpretations of Idren Natural.

Dive regularly Dub-albums seemingly appear out of nowhere. "Dubocracy" (Dave Meeker) by The Wavestate Project is just such a case. Suddenly, it's there—with an appealing cover, a title that fits the current world situation, and nine tracks that spontaneously entered my sphere of perception. Research into the authorship of the work reveals scant official information, according to which the album represents the fusion of reggae, Dub and acid synthesizers to create a new soundscape. Sounds like a generic ChatGPT lyric. So, there's nothing left to do but listen closely. A first suspicion arises: Has someone tried out their new toy? After all, Korg has a synthesizer called "Wavestate." And indeed, the second track sounds as if The Wavestate Project had just started playing – dominant synth sounds, a somewhat bumpy rhythm. But then the picture changes abruptly: Suddenly, there are wonderfully produced Dub-Tracks that pull out all the stops of the genre. Either the producer has had a steep learning curve, or here is an experienced Dub-nerd at work. But let's leave the speculation aside. What matters is what comes out at the end – and that's convincing. The reggae rhythms are tightly produced, the sound is rich and clean, the Dub-mixes exciting. The music radiates a bright, upbeat mood that immediately puts you in a good mood. The defining element of the album, however, is undoubtedly the synthesizer. But don't worry – there are no annoying pads or excessive electronic gimmicks here. The Korg synth takes on the role of the lead instrument and fits modestly and harmoniously into the overall picture. While it always remains recognizable as a synthesizer, it puts itself entirely at the service of striking, beautiful melodies that go far beyond the generic drone that one hears from some "real" live lead instruments. Dub knows. The result: Dub-Songs that almost invite you to hum along. "Dubocracy“ is not an album for Dub-Purists who are looking exclusively for classical sounds. But for all those who Dub Enjoy it with open ears, offering an exciting and refreshing listening experience. An album that puts you in a good mood—and that's worth a lot.

It is almost a curse to have current Dub How I envy all those music journalists who are allowed to deal with well-known hip-hop or pop artists! Artists who have an extensive oeuvre, about whom there are countless interviews, feature articles or even real scandals - in short: about whom there is a lot to tell. I, on the other hand, scour sparse Bandcamp biographies or stumble across carelessly maintained Instagram accounts. The concept of a "website" with a comprehensive discography and detailed artist biography? Apparently a relic of the past. So all that remains is the music. But let's be honest: as great as the experimental freedom in Dub They are, ninety percent of the productions differ from each other only in nuances. I then sit in front of my Mac and ask myself: What else can I write about this music that I haven't already said a thousand times? And while I ponder, my thoughts wander - into (self-)critical reflections like this one, which ultimately lead nowhere. Tragic. Why this digression? Because "Under My Voodoo“ (Mr. Woodwicker Records) by Mr. Woodwicker is another such case. On Bandcamp I only find out “Udine, Italy” and a meaningless side note that his music is from Dub of the 1970s. What a groundbreaking discovery! I can't tell you much more about this artist - except that his album "Under My Voodoo" is really beautiful Dub Yes, it breathes the spirit of the 70s, but is produced on a modern level in terms of sound. Hand-mixed Dubs, rich basses, riddims that sound familiar – but are not remakes. But hey – in the end the dubblog is nothing more than a competently curated Dubexhibition. You have the album title, so head over to Spotify, Bandcamp or wherever you listen to your music. Have fun!

Gary Clunk – who despite his name is French and lives and works near Bordeaux – regularly releases solid Steppers albums whose sound fits perfectly into the French Dubscene fits. Now he puts "Archives of Dub, vol. 4"(Culture Dub). The album contains twelve tracks from his archive from 2015 to 2023, which he has collected here in Dubversions. All pieces undoubtedly come from the computer, but according to Clunks they were produced analogue - which doesn't make the sound any more organic for me. We hear fat steppers-Dub in two cuts each. It's certainly a lot of fun in the sound system, but when listening carefully, the sound and arrangements sound a bit too conventional to me. But since there have been very few good new Dubalbums were released, I don't want to complain and am happy about this dose of Clunk's Dubs.

I often hear new Dubalbums for the first time while I am working. I sit in front of the computer preferably in the evening, I am in a pleasant flow - because I am finally undisturbed - I write, read, plan, am focused on the task. And I admit that some Dubalbum almost unnoticed. Yes, yes, I enjoy the warm atmosphere of the music, let myself be carried away by the slow beats, but I don't really listen. "12 Tribes" (Good Over Evil) by Good Over Evil was something completely different. As soon as the bassline of the first tracks sounded, I couldn't help but listen up. Since then, it has been one of my current favorite albums. I am always amazed that in the stylistically rather narrow framework of contemporary reggaeDubs (that is, beyond experiments, retro sound and crossover gimmicks) can still manage to produce music that is so clearly different from the average. Music that is better than the rest for some mysterious reason. “12 Tribes” is one of these albums. The effects are used masterfully, the sound is powerful and clear. Each track develops its own atmosphere without losing the thread. It is an album that Dub celebrated in its purest form, but with a precision and intensity that is not often achieved. Everything seems to be right here: sound, basslines, composition, arrangement and mix. Powerful but not brutal, magical but not dark, minimalist but not boring, melodic but not kitschy. The two Spaniards Jah Ivan and Dani Roots are behind Good Over Evil. With their 2023 album "Life Arkitect", the two have already proven that they have a fine sense for profound, atmospheric Dub Her later project “Roots of One” and the associated Dubversion “Roots of Dub“ showed that there are two producers at work here who are not just stringing together patterns, but Dub as an artistic expression. They have probably received the most attention recently for their Dubversion of Aka Beka's album "Living Testament" - but while that project was based on other people's material, "12 Tribes" is a pure Good Over Evil effort. And it is, without question, their best yet.

Last year's album “Damaged” (Pressure) by Ghost Dubs (alias Michael Fiedler, alias Jah Schulz) has already ventured deep into the boundaries of the genre. Now, with “Extended Damaged Versions”, the – er – Dub Version of “Damaged” has been released. According to the title, it literally means “extended versions of the damage” – that doesn’t bode well. There were already voices describing Fiedler’s music as “studio test sounds” when it came to “Damaged”. I would specify that it was specifically a test of the membrane vibration depth of subwoofer scoops. But seriously: The music of Ghost Dub is strictly speaking a reinterpretation of the sounds of Basic Channel/Rhythm & Sound from the early 2000s, which at that time represented the area of ​​tension between minimal techno and Dub Compared to “Damaged”, Mr. Ghost Dubs in the “Damaged Versions” the typical shuffle pattern of the original, challenges the listening habits even further, turns the bass even more and makes the music even more abstract, even darker, even more evil. Even if we thought “Damaged” went to the limits of what Dub can be, so Fiedler instructs: It goes even further. "Exdended Damaged Versions" is a journey through dystopian soundscapes, a sound design labyrinth that has more in common with experimental electronics than with roots aesthetics. And yet, deep under the thick layers of bass and delay lies the driving beat of reggae, deconstructed and in super slow motion, but also organic and dynamic. Tracks like "Dub Regulator” bursts out of the speakers with raw force, a massive, technoid groove that rolls forward hypnotically. “Chemical Version”, on the other hand, is a whirlpool of delay spirals, a sonic illusion whose deep structure is reminiscent of the best works of German techno pioneer Porter Ricks. “Thin Dub“ is another highlight, a sonic condensation of reverb, echo and minimalist percussion that seems to dissolve into nothingness and yet seems anything but insubstantial. The essence of this album lies in the complete devotion to the mixer as an instrument, to the principle of sonic deconstruction. Fiedler chops up his own tracks, transforms them into new structures that seem fragmentary but by no means incoherent. The final “Lobotomy Version” in particular shows that this is not just Dub produced, but rather a kind of sonic ritual took place - a hypnotic, ambient descent into the deepest regions of the bass abyss.