Author Rene Wynands

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.

I have to admit, I had almost forgotten about Danny T and Tradesman. The production duo from Leeds, specializing in dancehall and UK steppers, is not exactly known for its productivity. A look at their discography shows: an album from 2017 and a remix from 2019, that's it so far. But now, after a full seven years, they are back with a new work: "Wicked city“ (Moonshine Recordings). The album only contains six tracks (less than one per year), but as the saying goes, good things come to those who wait. The tracks are digital productions, clearly produced with a focus on sound system sessions. So Dubs that are quite heavy and make no secret of the fact that they are of digital origin. What particularly strikes me are the amazingly imaginative arrangements. Beautiful drum patterns and percussion, brutal, electronically distorted bass lines and lots of little melodies that fit in cleverly. Sure, it's the usual stuff, you could say. But here it's implemented in such a way that you can listen to it consciously and enjoy it comfortably at home on the sofa. I like it.

The Echo Beach label has always had a preference for historical Dubmaterial in the crossover area, and I must say, the tracks on the album “In Dub, vol. 1“ by Statik Sound System fit perfectly into the label’s repertoire. Statik Sound System was a trip-hop band from Bristol that released four albums and a few singles in the mid-90s. Echo Beach has dug through this archive, the nine dub-compatible tracks and put them on an album. Most of them are not classic reggae (although there are four drum 'n' bass tracks), but if you - like me - z. B. If you like Dreadzone or More Rockers, you can also do a lot with Statik Sound System. Their most famous track, "Revolutionary Pilot", which became known worldwide through the DJ Kicks compilation by Kruder & Dorfmeister, is also a central point here. Several remixes, including one by More Rockers and a version by Rob Smith, provide variety. For me, the album is a sentimental, nostalgic journey into the past, to a time when these sounds were truly avant-garde. Tracks like "Secret Love", "Free to Choose", "Vacuum" and the emotional "So Close" sound so beautifully like the 1990s - and at the same time show the band's full range. "In Dub, Vol. 1” is a reminder of an era in which fat beats, dreamy melodies and playing with Dubrhythms enchanted the music world. Yes, the sound is definitely historical, but somehow the tracks still sound fresh to my ears. Maybe it's because it's not a classic Dub but rather a stylistically not so easy to locate Dub-Experiment.

And here it is again, the new “King Size Dub“! Currently it is “King Size Dub 24“ (Echo Beach). Five years were omitted, because the series has existed for 29 years. So 2024 will be an anniversary! The current, 24th edition presents a whopping 23 tracks - according to the label, 90 percent of them are exclusive titles. Of course, the well-known names from the Echo Beach stable are there, including Noiseshaper, Dubblestandard, Dub Spencer & Trance Hill, Dub Syndicate, Illbilly Hitec, Dubinator and – how could it be otherwise – Martha & The Muffins. But there are also a whole lot of fresh artists outside the well-known Echo Beach universe. Blundetto & Soul Sugar surprise with the modest, quiet “Don't Cry, It's Only the Rhythm” – a really beautiful tune. aDUBta delivers a dull, oppressive and somehow magical version of the Cassava Piece riddim that captivates me. Captain Yossarian counters with the funky “Expensive Shit”. Overall, I find the album to be wonderfully fresh – it once again presents the wide spectrum of DubLabel owner Nicolai is known for not being a fan of genre boundaries, and it is precisely this attitude that makes every new King Size Dub to be an exciting surprise package. I'm already looking forward to #30. No pressure, but it has to be big!

As a Dub-lover, I have had the duo Anthony Antcliffe and Bastien Raymond, better known as Ashkabad, on my radar for a while. The two musicians from Avignon have been in the music scene since their 2022 album “Fire Drop”. Dubscene. Their debut “International Skankers” was released in 2016, now they deliver with “Outernational Skankers“ the remix version. Eight of the original ten tracks have been remixed by current greats of the Dubscene for remixes – including Ondubground, Alpha Steppa, Tetra Hydro K and Bukkha. The result is a powerful update of the almost historic recordings from eight years ago. The term “remix” says it all: these are real reworkings and not just Dub-Mixes. This brings a lot of variety, because the remixers have given each track new rhythms. Alpha Steppa's mix is ​​unmistakably deep-Dub, Tetra Hydro K provide a dubdrum'n'bass track, and Ramiya contributes an elegiac downtempo piece. Again and again I hear musical quotes and samples from exotic music cultures - an element that I generally appreciate very much. For DubFor purists, “Outernational Skankers” may seem a little too extroverted and occasionally cross genre boundaries. But if you want to clear your ears with fresh air, you will find exactly the right sounds here – if only to then return to the familiar world of classical Dub to return.

I am fascinated by the meditative, melancholic and profound sound of Alpha Steppa. The DNA of father and aunt, of Alpha & Omega, is unmistakable, and there is hardly a current Dub-Artist with such a unique signature sound. Mad Professor used to be similarly recognizable - and of course Alpha & Omega. With his style, Alpha Steppa clearly sets himself apart from the conventional Steppers scene, but at the same time remains 100% sound system compatible. Even when listening attentively with headphones, his music has a lot to offer: It is multi-layered, complex and never boring. In addition, the heir to the throne has Dub-Dynasty had a brilliant hand for gifted vocal artists. Nai-Jah was such a discovery for me, but also Awa Fall and Wellette Seyon, with whom he released complete solo albums. His new album "Collision of an Ancient Mind and a Modern World“ (Steppas) impresses again with great vocal tunes. In the digital version, the album is divided into two parts: Disc 1 contains twelve vocal tunes, including Joe Yorke, Tanganyika, Sheila Langa, Fikir Amlak and Ras Tinny in an acapella solo. Disc 2 then delivers the Dub-versions after. “This album features some of my favorite voices in contemporary reggae and beyond, from Jamaica, the UK, Zimbabwe, the Seychelles, Brazil, the USA, Senegal, Italy, and Spain,” explains the Dub-Producer. “With this record I set out to build a unique sound and atmosphere, the idea was to blend the rich heritage of dub with a vibrant, futuristic musical landscape.” I have no objections to the topic of “atmosphere” – on the contrary: it is always the atmosphere of his music that captivates and fascinates me. However, if you think of “futuristic musical landscape” as influences from different musical cultures, you are wrong in my opinion. Everything here is 100 percent reggae and Dub and typical Alpha Steppa sound. Nevertheless, the vocalists deliver really good songs across the board. Every single track presents a sophisticated melody, and almost all of them even shine with clever, socially critical lyrics that go beyond typical reggae themes. Perhaps the album title is also aimed at this socially critical tone, because left-wing attitudes aimed at justice and diversity are unmistakably becoming increasingly rare in our modern world.