dubblog

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.

From the initial studio project of the first Dub Syndicate years, the band has changed fundamentally. Lincoln Valentine "Style" Scott became band leader and co-producer in the late 80s, stepped into the foreground and established Dub Syndicate as a fascinating live act at numerous festivals. Dub Syndicate became Style Scott's most important musical project. This was also the band's heyday. With a series of albums that combined the best of current Jamaican music with the wild studio experiments of British producer Adrian Sherwood, the pair created groundbreaking music that delighted dreads, potheads and ravers alike. Tragically, Dub Syndicate came to an abrupt end when Style Scott, one of Jamaica's most important drummers, was senselessly murdered in his home in Jamaica on October 9, 2014.

After "Ambience In Dub“-Box, which the early Dub Syndicate albums, "Out Here On The Perimeter“ starts right there, and continues the story from the end of the 1980s to 1996. The four albums from the “Strike The Balance”, “Stoned Immaculate”, “Echomania” and “Ital Breakfast” era have just been reissued on vinyl. Adrian Sherwood has also released a special bonus album “Obscured by Version“ (On .U Sound) with brand new versions of rhythms from that time.
“Obscured by Version”, which can be played individually or as part of the Dub Syndicate box set “Out Here on the Perimeter 1989 –1996” is Adrian Sherwood’s 2025 reissue and reinterpretation of material from this glorious period. The release stays true to the group’s original sound, deeply rooted in reggae and Jamaican music tradition, while pushing the boundaries of Dub with unusual echoes, samples and sound effects. Some vocals and rhythms will be familiar to fans of the original albums, yet everything sounds fresh and crisp like a brand new work in the style of the earlier works of Dub Syndicate. The quality is at the same high level. “Plains of Africa (Echo, Echo, Echo)” comes from “Echomania”, “Pleasurezone Transmitter” is based on “Dubbing Psycho Thriller”, a crazy, as always, slightly off-kilter performance by Lee “Scratch” Perry. “Intercommunications” comes from the great 1987 single “Night Train” – one of my absolute favorite tracks from Dub Syndicate. “Command Centre” is relatively easy to derive from “Roots Commandment” and “Alive And Burning Bright” is the original “Glory To God”.
With his new interpretations, Adrian Sherwood succeeds in paying a fitting homage to the long-standing friendship and creative collaboration with Style Scott. “Obscured by Version” sounds as fresh and innovative as all Dub Syndicate classic before.

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.

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 friends of reggae and Dub will be delighted with the re-release of this Dubalbum. Originally, “slum in Dub“ Released in England in 1978 by Burning Sounds and simultaneously in Jamaica by Gregory Isaacs on his Cash & Carry label under the title “Dub In The Slum”. The A-side of the Burning Sounds edition was the B-side of the Cash & Carry label and vice versa. Over the years, “Slum in Dub“ has been re-released at regular intervals. The latest vinyl release comes again from Burning Sounds. Like the original, the LP contains no bonus tracks and is released on colored vinyl.

Above all, “Slum in Dub" Dub-Versions of tracks from Gregory Isaacs' self-produced album "Cool Ruler" from 1978. From "Public Eyes" to "Aso", the originals are available on the "Cool RulerA new interpretation of the "Party Time" riddim can be found on "Nigger" and "Leaving" is originally called "Black Against Black" and is on Gregory's "Extra Classic". The penultimate track "Leggo Beast" will be known to some as "Spirit Of Umoja" by Dennis Brown or Augustus Pablo. The riddim is the Heptones classic "Sweet Talking". The album closes with "Embarrassment", the Leroy Sibbles & Heptones song "Love Won't Come Easy" from the old Studio One days.
The whole thing was mixed by the legendary Prince Jammy aka King Jammy at King Tubby's. The album was recorded together with the Revolutionaries at the Channel One Studio in Kingston. A prominent feature of “Slum in Dub“ is the exceptional sound quality and masterful mixing by Jammy. Jammy restricts himself more to the use of effects and is clearly restrained in the omission of instruments, so that the original melodic lines remain almost untouched. The subtle integration of fading vocal fragments, which are scattered sparingly throughout the tracks, contributes to a captivating listening experience.

“Slum in Dub“ is one of the outstanding albums from the heyday of DubEvery track is a real classic. The rhythms are infectious and the resulting soundscapes are simply spacey. This album shows once again that strong source material is still the key to a great album. Dubalbum, the “Slum In Dub“ is in my ears. Somehow the melodies seem to have always been there.

Christafari, the musical family business of Pastor Mark Mohr, is well known here in dubblog.de at least since the review of their “Dub Supreme“-albums. In short, the act is primarily about deeply religious lyrics, mostly carried by (sometimes classic) roots riddims, all recorded and performed in opulent 1A quality. The whole thing is obviously going very well, as evidenced by extensive tours and streaming numbers (which sometimes run into the millions - even if you only use Spotify as a benchmark). However, one cannot speak of great popularity in the hardcore reggae communities, since Christafari - nomen est omen - appeal to a predominantly Christian audience and it presumably makes a big difference whether and which god you promote in reggae circles. 

Now, whether you appreciate the band’s regular releases or not, the associated Dub-Albums are definitely recommendable, as they scrape the essence out of the overproduction and lose much of Mark Mohr's all too present voice. The latter also dominates the 2024 album "The Prophet“, which oscillates between roots and dancehall and also makes an occasional EDM excursion. 

In 2025 Christafari will start with the “prophetic Dub“ (Lion of Zion Entertainment), the diet-treated brother of last year’s prophet, and a first look into the album confirms the above assumptions: Christafari’s albums can cope with the slimming down very well – away with the vocal overkill, out with many brass sections that sometimes sound suspiciously like synths and in with lots of light, but by no means lightweight Dub-effects. To ensure that the whole thing doesn't float away, there is plenty of grounding with bass - not always and everywhere, but where it fits.

Whether an EDM version was really needed is debatable; crossover attempts are nothing new - we've known about them since Marley, Wailer, Tosh & Co. So anyone who wants to rock out will be catered for.

Ultimately, the “Prophetic Dub“ a hodgepodge of different styles, the high points of which can be found where one indulges in either bass-rich roots or ethereal, floating sounds (“Jerusalem DubThe rest is 4-on-the-floor mediocrity that leaves the critic relatively unimpressed.