Our preview of “Full Circle” (Dubmission) presents Tor.Ma in Dub A work that is both uncompromising and concentrated – and that unfolds an unexpected force, especially through its opening. The first two tracks, "Lights On" and "Earth Calling," mark a radical moment in the Mexican producer's work: two merciless stepper monoliths that combine with the playful psydubimage that is often attributed to him. There is no room for shimmering soundscapes or spherical gimmicks – what discharges instead is pure sound system energy. The bass drum marches through the tracks with almost brutal directness, stoic and relentless, while an unmodulated, deep black sub-bass fills the room and shakes the pit of the stomach. It is these two pieces that have the potential to be on every Dub-session to generate collective head-nods and a series of rewinds. No superfluous effects, no ornamental accessories—just groove, punch, and an almost technoid minimalism reminiscent of early UK steppers, but with a dark, digital edge familiar from the Alpha & Omega orbit. As the EP progresses, Tor.Ma returns to Dub Then back to more familiar territory. The remaining three pieces open up atmospherically, become softer, leaving room for esoteric melodies and psychedelic, shimmering sound textures. Here, what producer Hernández describes in interviews as his creative origins resonates again: an affinity for inner sound spaces, for meditative states, for consciousness-expanding sound design. Yet even in these tracks, the rhythm remains clear and grounded – the play with space and frequency always remains in the service of the Dub. “Full Circle” is more than just another EP in the catalog of Tor.Ma in Dub – it is a striking break, a deliberately placed accent. The unbridled energy of the first two tracks acts like a drumbeat, showing the artist in a new light: raw, direct, reduced to the essentials. Without frills, without reassurance, with maximum emphasis. What follows is not a slowdown, but a deliberate change of perspective. The remaining pieces open other doors, leaving room for depth and contemplation, for the dreamy, floating side that one finds with Tor.Ma in Dub previously primarily associated. Yet, precisely in contrast to the brutal opening numbers, even these quieter tones gain in poignancy. Thus, "Full Circle" succeeds in uniting two poles—power and breadth, body and spirit—and thereby forming a cohesive, tension-filled work.
Dennis Bovell reports with “Wise Music in Dub" (Wise Records) and delivers a Dub-album, which reflects not only his decades of experience, but also his penchant for authentic songs and catchy melodies. For his 72nd birthday, he presents himself – and us – with a collection of eleven DubVersions ranging from soul templates to doo-wop to protest songs – all characterized by a sound that is optimistic, sun-drenched, and cheerful. Quite untypical for Dub: free of heaviness and gloom. Bovell brought an impressive ensemble into the studio – from Papa Dee to Brinsley Forde to Carroll Thompson – and worked on exactly the pieces he himself wanted to play. That he didn't care one bit about current Dub-Trends is the greatest compliment one can pay the album. Its approach has a genuine old-school charm: Bovell plays reggae as if the last 40 years simply hadn't happened. No modular fiddling, no futuristic effects, no typical DubMixing – but handmade rhythms, familiar melodies, lots of singing and a lot of heart and soul. This is precisely why the album seems so credible: “Wise Music In Dub"That doesn't sound like a nostalgic throwback, but rather like a man who doesn't have to pretend. He does what he enjoys, what makes him groove—and what probably also reminds him of the good old days when reggae was still popular in the UK—and he's right in the middle of it all. Not every track is equally captivating – "You're A Big Girl Now," for example, drifts dangerously close to the edge of kitsch – but it is precisely these bumps that give the album character. Bovell is at his strongest when he relies on his own unique style: when Carroll Thompson Dub-version of Les Fleurs floats when Swizz the Panist makes the steel pans glow or when a simple offbeat suddenly becomes a time machine. "Wise Music In Dub“ is a musical walk through Bovell’s head and heart.
I've been listening to J. Robinson's music for years. Releases on WhoDemSound, various Dubplates, his name keeps popping up. And yet: I know nothing about him. No bio, no interview, no face, no anecdote. Even the internet—usually reliably informative—remains silent. No useful information. No clues. No story. That's unsatisfying, but perhaps also logical. So, all that remains is the music. And I have to admit, I'm playing it quite often right now. To be more precise: "Dubplates Volume 1“ (Whodemsound). An album that holds no surprises. No stylistic experiments, no new production ideas, no distinctive sound details. UK DigitalDub, as we know it. Warm. Uniform. Functional. And yet I listen to it all the time. I click play. Again and again. I listen to it loudly. Not out of analytical interest, not out of curiosity. But because it's simply there. Because it's working. And because it's working well. What irritates me about this is that I actually consider myself an open, searching listener. I like experiments. I appreciate the unusual. I enjoy disruption. But there's none of that here. And I enjoy it nonetheless. Because this Dub – so smooth, so unspectacular, so stoic – hits something in me that I otherwise like to ignore: my need for continuity. For repetition. For sound that doesn't impose itself, but simply remains. So I don't listen closely. I don't analyze anything. I let it flow. And I become calm. The bass is there, deep and soft. The percussion clacks along, polyrhythmic, but never hectic. The offbeat chops come as they must. No surprise. No variation. And yet: atmosphere. Lots of atmosphere. When I think about it, I would perhaps put on exactly these tracks if someone asked me what Dub actually is. I wouldn't play any outstanding classic, nor any experimental Dub on the fringes of the genre. But J. Robinson: Dub as a condition."DubSo "Plates Volume 1" isn't an album that demands explanation. It demands to be played. And then again. And then again. Perhaps that's its greatest quality. And perhaps it explains J. Robinson better than any bio could.
“Raw & Remixed” (Reverb & Delay) by Dub Healer is an album that not only openly displays its own imperfections, but actually celebrates them. The punk-inspired cover alone signals: This isn't ironing, this is burning! The tracks on this album are – in the best sense – half-finished sketches, rough drafts that come straight from the workshop to the Dubplate. That these Dubs often come from final drafts and were recorded in one take, gives them an urgency that sets them apart from perfectionistically overworked productions. "Prayer Dub“ opens the album with a piece Dub-History: The legendary samples of Alpha & Omega and Jonah Dan, hidden in the digital dustbin since 2007, receive a belated but all the more worthy revival here. Dial-up modem noises and bird calls blend into the raw soundscape, which is as spiritual as it is uncouth. "Better To Make" Dub“ is a tribute to Dub Judah's "Better To Be Good" – without attempting to outdo the original. Instead, there's a respectful, energetic reinterpretation that deserves its right to exist, especially on the dance floor. With "Sing Jah Dub“ delivers Dub Healer delivers exactly what a sound system needs: a simple yet effective banger that gets the crowd singing and jumping along. Minimalism at its finest – a bass line, a striking vocal sample, and enough space for collective ecstasy in front of the speaker towers. "M1 Dub" is a declaration of love to the legendary Korg M1 synthesizer, whose digital sounds sound surprisingly warm and organic. It is a tongue-in-cheek statement against analog purism: Yes, even a digital dinosaur can swing properly in the right hands. In short: "Raw & Remixed" is not a flawless work of art – nor does it want to be. It is a manifesto of the moment, a raw sound diary for DubConnoisseurs and sound system activists. Every reverb effect may not be perfect, every bassline may be a bit too dominant or too lean—but that's precisely what makes it so appealing.
And yes, I know, I often hold the flag of the complex, multi-layered DubCompositions. Music beyond pure dancefloor use, intellectual sound architecture best enjoyed in a comfortable armchair with a glass of good wine. But let's be honest: once the bassline starts rolling and the crowd collectively takes off, there's no need for well-aged wine. You could say: I, too, have become a victim of my own principles – and it feels pretty good. Because in the end, only one thing counts: Anything that's fun is allowed. Dub has never been a place for dogmas, but always a field of experimentation between spiritual search and unbridled sound system excess.
Thirteen years. An eternity in the fast-moving world of digital sound aesthetics, but a blink of an eye in the cosmos of Dub, where time dissolves into endless echoes and reverbs anyway. The Breadwinners, under the leadership of the notoriously reserved studio wizard Al Breadwinner, are back for the first time since this time with a new Dub-Album back: “Return to the Bakery” – and it's as if time has stood still. From the first bass line on, it's unmistakably clear: "Return to the Bakery" is not a nostalgic experiment, but a devoted homage to the golden age of reggae and DubProduced and mixed in the in-house Bakery Studio, Breadwinner remains true to its ethical code: analogue tape machines, vintage outboard gear, and a recording process that literally imprints the live feeling on the magnetic tracks. Nothing sounds dusty or museum-like – quite the opposite. Dubs roll warm, organically, with a depth of sound and dynamics that is only possible with today's recording and mastering techniques. Every delay, every spring reverb is not just an effect, but an instrument in its own right, with a soul and a life of its own. The guest list reads like a who's who of the reggae underground. Nat Birchall and Stally let their tenor saxophones ring out, while the living legends Vin Gordon (trombone) and KT Lowry (trumpet) contribute fine brass sections that seem to come straight from the golden era of Studio One. Alrick Chambers lends the whole thing an almost ethereal quality with his flute playing. But the true star remains Al Breadwinner himself. Dub-Mixes are not simple "versions," but artistic deconstructions. Like a sculptor, he carves a new, unique reality from each session. The tracks are fragmented, reassembled, shifted in space – a game with the laws of physics and psychoacoustics. At times, one imagines oneself in the Black Ark Studio during its heyday. Not because of crude copying, but because the spirit of Lee Perry is truly evoked: the playfulness, the unexpected, the charming impurities that are so sorely lacking in digital productions today. Of course, the heretical question arises: Do we need historicizing music? Isn't it superfluous to Dub of the 70s down to the smallest detail? The answer is provided by the album itself – with a relaxed, self-confident smile: No, not at all! Because this isn't simply a copy of past sounds. Rather, this music is a homage to craftsmanship, a sensual experience that deliberately eludes quick consumption and perfectly calculated streaming playlists. It demands our attention – and rewards us with intense and deeply satisfying listening experiences. And even if critics might argue that it's "redundant," it remains one thing above all: pure pleasure – and that alone is more than enough to justify its existence.
"Return to the Bakery" is not an album for casual consumption, and certainly not a background soundtrack. It is an acoustic work of art, crafted with dedication and craftsmanship. Those who take the time to immerse themselves in this world of sound will not only be greeted by warm, pulsating bass lines and artfully applied delays, but will also experience a musical depth that leads directly to the spiritual roots of the Dub It is music that does not run behind time, but rather transcends it.
The start of "Dubs of Perception", the new album by Zion Train, is a calculated shock: archaic-sounding tribal chants echo out of nowhere, raw, untuned, like an incantation around a campfire. No sooner have you embarked on this pseudo-ethnographic trip than a monotonous sub-bass surges in, so thick and stoic that it almost swallows the voices. Over the next minute, these two poles clash repeatedly—a ceremonial echo and a low-frequency force that shouldn't really work together. Then a break. Sound layers interlock, and the actual Dub begins, which seeks neither to serve roots tradition nor club formula. It is at this very moment that the game being played becomes clear: create expectation, shatter expectation, maximize contrast, and then place everything in a new context.
"I deliberately chose a different approach this time," explains Neil Perch, producer and driving force behind Zion Train. "In the studio, I planned to combine new technologies with old, almost forgotten methods. I wanted to go back to the roots of live?Dub"Mixings – with a 40-year-old, restored 32-channel analog console. This console has a rich history; it was used, for example, in the legendary Music Works Studios in Jamaica."
Nevertheless, the album doesn't sound museum-like at all, but surprisingly contemporary. "At the same time, I've integrated modern effects, like the Zen Delay and a new version of the Roland TB 303 – the classic acid house bass machine. This combination of old and new defines the album's sound." Thus, the past hums in the low frequencies, while the "here and now" shimmers above, supported by Cara Jane Murphy's (very sporadic) vocal lines, Roger Robinson's spoken word accents, and the energetic Zion Train brass section. Guest musicians like Paolo Baldini and veterans Trinny Fingers and Blacka Wilson fill the sound with a self-awareness that only arises when studio sessions still involve genuine collaboration.
The central principle of the album, however, remains unpredictability: "With analog mixing, everything is impulsive," says Neil. "I roughly set the mix, choose the effects – but from the moment I press play, it's pure improvisation. You can't plan anything out. You simply follow the vibe, and that brings out aspects of my artistic character that would never appear in fully thought-out productions. That's exactly what makes the work exciting. Even after more than 35 years, this process still surprises me." This attitude can be felt in every piece. For example, in "Travelling," which begins with a Burning Spear sample and then becomes a 303 thunderstorm, as if the machine wanted to test the foundations of the subwoofer. Then a lovely flute melody joins in – it couldn't be any weirder. Dubs hardly compose. Neil confirms that this aesthetic ties in seamlessly with "Siren": "There is a clear connection to my early work. Back in the 90s, I worked a lot with acid house machines. I last used them on the album "Siren". Now I've gone back in that direction with my equipment. Mainly because I love that sound - but also because what I've done in the last five to eight years in the Dub?scene was quite boring. Originally, I liked Dubbecause it was exciting compared to reggae. Reggae, in my opinion, had already become boring in the 1990s and still is today. So I turned Dub because it was still exciting in the eighties and nineties: new ideas, new technology, many new groups. But while the Dub?Virus spread?–?which is great on the one hand, because now the whole world Dub listens?–?at some point, music became boring for me too." Neil describes his musical development. "Technologically, I always try to develop, adapt, and innovate when making music. What motivates me most is to create sounds that are not constantly Duband reggae? language – because I find it completely predictable, commercial, and uninspiring. Too much music sounds exactly the same, is full of clichés, cultural appropriation, and misunderstood concepts – I consistently avoid all of that."
With "Dubs?of?Perception“ he now provides material that Dub-Mainstream runs counter to - tracks that are not limited to a simple stepper beat, but only become apparent through repeated listening.
This is precisely the strength of the album: It demands listening without denying danceability. The band's live experience—re-tested in 2024 on stages from Mexico to Croatia—seems to have an impact on the studio. Modulations, delays, and abrupt breaks recall those moments when Neil raises the reverb fader during a concert until the room is filled with echo. Thus, "Dubs?of?Perception" manages the feat of being both a retrospective and a vision of the future. The craftsmanship with which Neil composes his tracks combines with a desire to take risks, to make new connections and to leave mainstream paths. When Dub Today, Zion?Train often sounds like a genre that endlessly repeats its own rituals, but this is precisely where Neil takes the ritual seriously, but he varies it – so radically that by the end of a track, you feel like you've relearned a familiar language. If you want to know where Dub Anyone who wants to move beyond the usual stepper templates will find a fascinating and extremely passionate answer here.
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.
