Interview with Helmut Phillips

What we already knew is now official: “Dub Conference” by Helmut Philipps is the best book of the year! Thus chosen by the readers of RIDDIM in the Lerserpoll 2022 with a large gap to the following places. The first edition was completely sold out after only three months, the second edition of the new standard work on the subject "Dub“ but again everywhere in the trade and over the Helmut's website available. Christoph Kraus has a conversation with Helmut Philipps about the success story of his book (the first book about Dub in German and the third book about Dub at all) led.

How and when did the idea of ​​a book come about Dub to write? Short history of origin.
In 2007 I wrote the book "Reggae in Germany" with Olaf Karnik. After that it was clear: I want to write another book. And while I was looking for the right topic, friends pestered me: "Why don't you write a book about it Dub? you have yourself Dubs mixed. You know your way around audio engineering. You can ask the right questions.” With that, the decision was made.

How did you go?
The first thing I had was actually the title "Dub Conference". The title said it all. As far as possible, there should be dialogue, not interviews. Above all, I wanted to know “why”. From 2010 I had the first talks. First in Germany: Soljie Hamilton in Bielefeld, Pat Kelly on an off-day in Münster, Clive Chin in Berlin, in Cologne and at Reggae Geel in Belgium, King Shiloh in Wuppertal. After that, everywhere and at every opportunity that presented itself. At the Garance Festival in France, at the Summerjam, Reggae Jam, Reggae Summer, in Holland, London, I traveled to Jamaica twice for the book.

An old white man is writing a book about “black” music – in these times, are you considering preparing for the potential accusation of cultural appropriation?
Yes, the woke zeitgeist actually caught up with me. When I started writing, there weren't any gender asterisks. I can't help being old and white. So shouldn't I write a book like this? Then who writes it? The Jamaican ambassador in Berlin listened to a presentation of the book from me and was amazed that a German man was telling stories from her homeland that she had never heard of. In Jamaica nobody knows that 50 years ago the first DubLPs have been released.

How is the reception, the feedback on the book?
Overwhelming and sometimes touching. People send me photos of where the book is on their bedside table, on their mixer or on their record rack. Some “complain” that they now have to buy a lot of albums after reading them. Others write to me: "I'm reading it for the second time." A woman sent me a card: "If someone asks me what are you reading and I say, 'Helmut Philipps - Dub Conference', that sounds pretty intellectual." Someone else texts me: "I don't think you know what you're doing with your work and your knowledge Dubnerds do We can no longer empathize with a lot of information and experiences. It is important to be able to understand the beginnings here in Germany as well. Thank you for the opportunity provided by your brilliant book!” Something like that leaves me speechless. And when I then consider that the "Dub Conference" was voted best book of the year and the first edition was sold out after 10 weeks, I am very grateful and happy about the way the book was received.

What surprised you the most during your research, what impressed you the most?
I didn't realize how big of an influence jazz has had on the development of reggae, and therefore also of Dub. King Tubby, for example, had a room full of jazz records. The engineers working for him could record the records on cassette, which people like Pat Kelly did a lot. Coxson also had a huge jazz collection. His Skatalites were a jazz band. The early Studio Ones Dubplates are often jazz-influenced horn improvisations. In his private life Lee Perry preferred to listen to jazz and in 1975 he made an offbeat jazz LP with Vin Gordon's "Musical Bones". The list could be continued ad nauseam. The improvisational aspect of jazz is reflected in the Dubben. Just listen to the Tommy McCook or Bobby Ellis records that Tubby mixed: Tommy McCook's "Brass Rockers" (aka "Cookin'") or "Hot Lava", or "Bobby Ellis & The Professionals meet The Revolutionaries". That's where jazz meets Dub. Dub and jazz unite the free handling of music, Dub is improvisation at the mixer. That's why some of those I interviewed were so vehemently opposed to digital Dub pronounced. Because Dub needs a mixer and cannot be programmed. There are now small mixing consoles that can be used to operate computers. Something has changed there.

Did you have a favorite interview and if so why?
Definitely Style Scott. I sat with him under an old tree in Chinna Smith's yard in Kingston and he talked for hours. From his grandparents, from the place where he grew up, from Junkuno, his education, the clubs in Montego Bay. All I really wanted to know from him was how it was with the Roots Radics and Dub Syndicate. But he told me his whole life. He was a pleasant, friendly and, in a European way, polite conversationalist. A wanderer between the worlds, the two Dub-has shaped for decades and was totally aware of the difference between Jamaica and Europe. It was a blatant shock when I found out a few months after our meeting that he had been killed.

Is Dub spiritual music or studio assembly line work?
Dub was commissioned work on the assembly line. The Soundmen lined up at the studios on Fridays. Everyone wanted new ones Dubs for the weekend dances. They took matters into their own hands while in the studio Dub after the next was mixed. Five minutes a Dub. It didn't take longer than the song played by the the Dub should be drawn.
The spiritual note of DubIt is in the nature of the default. If the original, the vocal version, has spiritual depth, this carries over into the Dub and in the toastings about that Dub. But when Johnny Osbourne sings: "I don't want no ice cream love, it's too cold for me" and Scientist one of them Dub pulls, that's not very spiritual. But when Johnny Osbourne sings about "Truth & Rights" and then probably a scientist again Dub mixed, that's something completely different.

It can Dub give without reggae?
At least it keeps trying. But there are few convincing examples. King Jammy said to me, “The heartbeat of reggae is essential to Dub.” The “interdisciplinary” attempts at punk and Dub combine works most convincingly in music with reggae beats. Like Ruts DC, the Members or The Clash. The Fellow Travelers did well, too, because their country music has an underlying reggae flair. But jazz goes Dub, classic in Dub etc., I consider all of these to be errors drenched in echo.

Can you still remember your first listening experience - when and where and how Dub entered your life?
Lee Perry with "Super Ape". Gigantic, but not really, as people understood over time Dub. Nonetheless, a masterpiece. And Scientist with the Greensleeves records, which we now know he never made. He does the mixes, but the Greensleeves bosses came up with the albums.

The “scientist” theme and the way the engineers for the Dub-Mix have been paid as a job, but are neither seen nor mentioned as an artist and their work has been published in part without their knowledge, was rather unknown to me as a common practice and surprised me. Can you go into that a little bit here?
Dubs became part of the day-to-day business when mixing and didn't take up much time. When a song was finished, it quickly became another Dub replenished, included almost for free. The producer (Junjo, Bunny Lee, whoever) paid for the song and ended up getting the tape. Then there was him Dub on it that was used for the back of the single. That of the DubThe engineers didn't know that separate albums were made elsewhere - in England. Because the albums didn't even exist in Jamaica, only overseas.

What is your definition of Dub?
Dub is the special mix of an existing title for a special use, namely at Sound Systems. Dub without a preceding original is instrumental music. Which by the way is not a definition of me but of Style Scott. Interestingly, Coxson got the sense of Dub-Records seen in it for the deejays to practice.

Who is your favorite engineer?
Scientist because of the anarchy in his mixes and because of the best sound. Groucho Smykle because he Dub staged like Hollywood movies. His mixes are also based on vocal versions, but there's no room for toasting anymore. Both Scientist and Groucho are perfectly described by the title of the book that Michael Veal wrote about Dub wrote: "Soundscapes and Destroyed Songs". At Scientist I saw him livedubben kept calling out: "Someone must deejay!" But even in my house, no deejay à la David Lynch comes into the room via hologram and starts toasting when I Dub hear Dub has long since become an art form in its own right outside of Jamaica. But one that lives on memories. You know that there are still melodies, wind instruments, songs. But you only hear them in your mind.

You're on a reading tour, you're invited to radio shows, z. B. WDR 3, WDR Cosmo, DLF, Bayerische Rundfunk, ByteFM, various online stations. What questions have you not been asked that you are surprised you have not been asked?
At first I was a little surprised that there were never any confrontational discussions. But that's what the Dub conference at all. I wrote a history book, let other people tell the story and researched the facts. I find that the readers are interested in the very story. Where everything comes from and what it comes with Dub has (had) on it. Most of you have noticed by now that Dub and Steppaz are only seemingly soulmates. With many common formal ingredients, yes. But ultimately something completely different. Historically and musically, steppaz is alternative techno music. Dub but is the version of a pre-existing music. There is no way around this difference. Mad Professor told me: It's only then Dub if it is a version. And there we are with Style Scott again: if it's not a version, it's instrumental music.

Which aspects were particularly important to the audience and were discussed after the reading?
Most just listened and were happy with the information and stories I shared. I notice how strong the interest in the topic Dub is. Everyone knows the term, even outside of the reggae circle, but many don't know exactly what it's all about. That's why there is the mistake that with every echo you immediately think: Aaah ... Dub!

What's your top 3 classic Dubalbums?

  • Lee Perry's "Super Ape" - a supernatural high. No Dub, but it feels like it.
  • "Herb Dub Collie Dub“. Mixed by King Tubby, the companion piece to The Legendary Skatalites, the Skatalites' only roots record. A fairly rare record. Released in 1976 without a cover and can no longer be found, it was reprinted by Motion in 2001.
  • Everything from Scientist at Greensleeves. Scientist's mixes benefit from the fact that the originals were so dominating that decade: Wailings Souls, Johnny Osbourne, Michael Prophet, Barrington Levy, Hugh Mundell...

Interview with the International Observer

Your artist name: International Observer
Your real name: Tom Bailey
You live in: Aotearoa New Zealand
Title of your last album: Bat

What is your personal definition of dub?
Dub has become a broad field of activity, which is only right for an experimental form, but I do value a connection to the early
old-school attitudes and ideas.

What makes a good dub?
Deconstruction and subversion. The radical element must be present with the narcotic / soporific.

Which aspects of dub music fascinates you the most?
The rebellious spirit which refuses to accept the mainstream version of song / reality. There's also something shamanistic about the mind altering aspects.

How did you discover your passion for dub and how did you develop yourself and your music since then?
My first experience of dub what "Garvey's Ghost". By chance I got to know it before encountering the original "Marcus Garvey" album, so my mind was blown twice in reverse order!

What or who had the biggest influence on you?
In the late seventies I followed a London sound system called The Mighty Observer who demonstrated the radical use of the bottom end in a live situation. That began a love affair with a large surface area of ​​bass bins and the right music coming out of them.

How would you describe your style of dub?
That's for others to say, but I don't feel confined to any one approach.

What does your process of creating a dub track look like?
Generally I pick an arbitrary starting point and improvise until something interesting arises, then I pursue it to see if something can be grown out of that idea. That can take minutes, hours or days. There's no fixed pattern.

When you are satisfied with a dub track you produced?
Sometimes never, but you have to move on before overworking a good idea.

Dub doesn't need a vocal original.

What is most essential when producing dub music?
Love of dub.

Does a Dub need a vocal original to be a good dub?

Which one of your albums do you consider your best work up until now?
Not for me to say.

What aspects of your job do you enjoy the most?

What annoys you in the studio?
time wasting

When you're not working on dubs, what is your favorite thing to do?

What do you listen to besides dub music?
Everything I hear. From inane pop to classical masterworks to birdsongs.

My greatest musical role model? JS Bach!

If money and time didn't matter: Which music project would you like to realize?
Money and time don't matter.

What do you prefer: Studio work or sound system performance?
I love the occasional sound system gig, but it's really the days
spent in the studio which are most interesting and rewarding. Something compels me to go in and do it.

What is your greatest musical role model and why?
JS Bach, for the contrapuntal basslines

Is there a sound system that you particularly appreciate?
Memories of the Mighty Observer are strong.

What are your personal top 5 dub albums?
I'm writing to you on the day that Lee Perry has died so I'd like to say something about him. I was lucky to cross paths with him on a couple of occasions. Once, playing keyboards on his History, Mystery and Prophesy album. That was an intense session at Compass Point studio in Nassau. The legend is that he had fallen
out with Chris Blackwell, but the fact that he was happily working in Blackwell's studio doesn't support that. Perry was aa flamboyantly eccentric artist, so it was all to easy to misunderstand him, but his track record and influence are remarkable. I think one of his main motivations was simply to bring reggae music to the world.

Much later, I toured with him and Mad Professor in Australasia. His eccentricity had reached spectacular heights by then and some of my strongest memories are of mundane things like going through airport security with him. He seemed to love setting off alarms - and that's a great metaphor for his work in general. So, although I love so many of the early dub artists, today I would choose any five albums by Lee Scratch Perry, the upsetter.


Interview with Brizion

Your artist name: Brizion
Your real name: Brian Zanchetta
You live in: San Diego, California
Title of your last album: A Hundred Tones Of Dub

What is your personal definition of dub?

  • An alternative version of a song that emphasizes the bass & drum parts.
  • A musical form of improvisation where the mixing engineer alchemizes the song using the application of space and texture in the mix process.
  • A practice of transformation and transcendence within the realm of sound.

What makes a good dub?

A heavy bassline, solid drum pocket, big reverb and some stimulating fader throws into the echo chamber.

Which aspects of dub music fascinates you the most?

The aspect of dynamics and improvisation. How a seemingly very simple and repetitive instrumental track could play out in an infinite number of ways by the dynamic mixing moves and effects combinations. It's as though the dubwise treatment to a song sends it into a kind of perpetual motion.

How did you discover your passion for dub and how did you develop yourself and your music since then?

I always loved Reggae from when I was a young child. I discovered Dub as a teenager while digging deeper into reggae music and instantly became obsessed. It became imperative that I find a way to create my own expression and interpretation of Dub. Already being a musician, I sold some of my equipment to buy some basic recording gear. I always had an aspiration to recording engineering and mixing just as much as being a musician. So I developed with those two passions in parallel.

What does your process of creating a dub track look like?

  1. Building a raw rhythm, drums, bassline and chordal comping.
  2. Then adding embellishments, and melodic parts.
  3. Balancing the mix of these elements.
  4. Then finally sending it off into the dub Realm and doing multiple improvised takes with variations, usually in a sequence of versions, typically the first version is the straight instrumental, two is a typical dub path I follow. Then each additional chapter of Dub becomes more and more nuanced.

Live performance is such an enjoyable experience. But I'm truly fulfilled by studio work.

When you are satisfied with a dub track you produced?

When I hear it back and it gives that physical sensation of excitement or emotional reaction. When for even just a moment you are lost in the motion. The two most satisfying feelings of producing for me are: Hearing the track playback on vinyl record and hearing the bassline of my tune drop on a proper sound system

What is most essential when producing dub music?

Uninterrupted attention and a perseverant attitude.

What is your special strength?

Working quickly ... perhaps.

Which one of your albums do you consider your best work up until now?

I released an album with one hundred different tracks compiled from the last decade called “A Hundred Tones Of Dub". I think it is gives a kind of all-encompassing sense of the different styles I've worked through over the years. But my personal favorite album 'series' I've done is called “Deep Space Dubplates ”which currently has 5 chapters.

Are you able to make a living with music?


What aspects of your job do you enjoy the most?

I love creating the most, if I can play my role of being creative. It is truly fulfilling. However I really enjoy helping people as well. I love mixing projects for artists and bands. I also really love teaching and education. I truly just enjoy anything music related.

What annoys you in the studio?

Computer problems.

When you're not working on dubs, what is your favorite thing to do?

I love to cook. My other passion besides music.

What do you listen to besides dub music?

I have a deep love for jazz music.

Jah Shaka is my role model. One of the most humbling occurrences in my musical career was to see Shaka play tunes I had produced in his sessions.

If money and time didn't matter: Which project would you like to realize?

A difficult question to answer in a broad sense ... But since we are on the subject of music, I would love to develop an organized program to inspire youth to create music and give them an opportunity to see how music can be produced. Having a creative outlet was so vital to me growing up, I would love to develop more channels that allow for youth to discover their own creative outlets in music.

Are there any sound system events that you particularly like to attend? Why?

There are some local events we do here in San Diego, where a few sounds gather at a park near the bay and play all through the day. It's always an uplifting community vibe.

What do you prefer: Studio work or sound system performance?

Live performance is such an enjoyable experience. But I'm truly fulfilled by studio work.

What is your greatest musical role model and why?

Jah Shaka. So many aspects of his musical endeavors have been deeply inspiring to so many worldwide. Jah Shaka wasn't the first dub music I heard, but it was the music that made me want to make my own dub. One of the most humbling occurrences in my musical career was to see Shaka play tunes I had produced in his sessions.

Is there a sound system that you particularly appreciate?

A sound system here in San Diego called Blackheart Warriors HiFi were my earliest supporters as well as mentors in Reggae music. They were the first sound ever to play Dubplates I had produced (all acetate cuts). I truly admire all their contributions, vision and vigilance of musical endeavors.

What are your personal top 5 dub albums?

King Tubby: The Roots Of Dub
Jah Shaka & Mad Professor: New Decade Of Dub
Jah Shaka meets Aswad: In Addis Ababa Studio
King Tubby & Augustus Pablo: King Tubby's Meets Rockers Uptown
Roots Radics & King Tubby: Dangerous Dub


Interview with Thomas Blanchot (Mato)

Your name: Thomas "Mato" Blanchot
You live in: Paris, France
Your current album: Scary Dub

What is your personal definition of Dub?

I would say Dub is sound art. It's a unique style that takes total control of the track - both in terms of composition (through edits) and mix (through effects). What we know today as a remix has its origins a long time ago in Dub. The prerequisite for this was a new kind of artist: The Dub-Mixer. In fact, the Beatles paved the way for it when they fired their sound engineers and took control of the recording technology themselves. The studio itself - that is, equipment including sound engineer - is undoubtedly a full-fledged member of the band when music is recorded. The sound tracks then become material that can be shaped without limits; similar to the improvising style in jazz. Ultimately, every moment is about refining every note or melody.

"Different styles of music as reggaeDub to adapt - that is my trademark. "

need Dub a reference, such as a vocal counterpart, or can it be created as an end in itself in the studio? 

At the beginning there was the edited version of a title. These are the roots of Dubwho became his own style as the repertoire grew. Producers like Mad Professor or Jah Shaka, on the other hand, have their own Dub-Tracks recorded and not used on pre-existing material. I see my productions somewhere in between; I look for well-known titles that can be easily adapted and then produce them from scratch - only about them dubto be able to practice. So I absolutely need a reference to my work and see Dub as a counterpart to something that already exists. However, my references are not found in reggae; that's the special thing about my work.

Of course you can do everything dubben - some styles are better suited for this than others. A hypnotic, melodic reggae bass can drop the listener into a trance for hours, while a harmonically supportive pop bass does not have this capacity. A melodic bass, the rhythmic skank and the placement of drum fills are, however, undisputed elements of a successful one Dub-Recipes.

"I see Dub as a counterpart to something that already exists. "

Is there a basic requirement for Dub-Production?

Knowledge and a feeling for the culture is always a good start - knowing which techniques are available and in which recordings they have been used so far is immensely enriching and provides orientation. I have hours and hours Dub Heard until my ears were bleeding. The further way one Dub-Novice is to learn and try to reproduce the classics of the genre. When you have digested it all and done it, then you “are” Dub, then you can express yourself in this art. Whoever masters the sound can tell a story without words.

How does the creation process of a typical Dub-Tracks from Mato?

Different styles of music as reggaeDub to adapt - that is my artistic identity, my trademark. And it's a good resource, the genre of music Dub To introduce people who have a completely different musical horizon. With familiar melodies I not only arouse feelings and memories, but also curiosity. It's my way of keeping music universal and my audience diverse; I and my productions cannot be taken over by a single community.

The melody is mine Dub-Adaptations. I need a fascinating melody that I fine-tune through tempo and arrangement. The rhythm has to flow of course: whether steppers, rockers, one drop - if it doesn't fit, it will be changed again. It is important not to dilute the intake; it has to remain an adaptation - by no means a complete transformation.

“The melody is mine Dub-Adaptations. "

Everything is recorded live on my recordings and no samples are used. I play keyboards, drums / percussions and bass myself; other musicians can join in if necessary. Occasionally, over the course of time, I was able to acquire a wide range of sounds and a wide variety of instruments - such as percussions, vintage synths, SynDrums and the like.

The best part of my job, however, is the mix: Coming from the old school, I've worked with different boards and techniques. I've only been using Pro Tools for 15 years; it allows me to revise the mixes as long as necessary. I also use a lot of old equipment like the Roland Space Echo RE-201, various spring reverbs, vintage phasers, self-made things, etc.

Mato productions have a typical, "clean" sound that reminds me of productions from the early 1980s - is that intended?

I'm a big fan of the 70's and 80's sounds, but don't want to imitate them - I just try to adapt the soundtracks to my own hearing. Anyway, I'm a big fan of the Channel One sound - that's my personal milestone to be reached. This sound still benefits from the glow of the 1970s, but already has a clearer, more precise sound. Add a small dose of “2.0” and the Mato sound is ready.

The drums on your recordings have their very own, unmistakable sound - soft, but with a heavy punch. Let me guess: You play the drums yourself. 

Right! I started playing when I was 13 because my brother needed a drummer for his band. After some experience I founded a reggae band - or rather: an orchestra with a brass section and all the trimmings. That was an important lesson for me not only in music: to hear the others, to perceive one another.

After school I started to study drums - first in France, then further in the USA, where I graduated from the Los Angeles Music Academy in 1998. So I'm first and foremost a drummer who plays his riddims. I adjust and tune my drums precisely to get the sound I want. This is probably the most time-consuming work in my productions, but it is the origin of my own sound identity. The drums must always be present and precise; They can only be bumpy when I'm doing hip-hop (I'm a big fan of Dr. Dre). So the secret is out: behind an album by Dub Mix producer Mato is actually a drummer's album!

Your productions don't have the extra-heavy bass that you would expect from Dub expected. He seems rather reluctant, possibly to adapt to European listening habits. How important is sound to you in general?

As with any genre of music, there is a Dub different possibilities and never just one way to get to the goal. Even if I use all means, I can still bring in my own style. As a drummer, I love powerful bass - there is nothing more effective in my music than the sub-bass because I use it. But unlike other styles where the bass is mixed in the foreground, I prefer the traditional, balanced mix. I wouldn't see that as Europe-related ... my audience is all over the world.

Your ingenious version of Daft Punk's "Homework" blew my mind at the time and I also really appreciate the albums that followed. Where does your inspiration come from, how do you choose the themes for your concept albums?

Thanks for the kind words. As I said - basically I'm a drummer, and as an instrumentalist it's hard to get a foothold in the international music scene - even if you have mastered a lot of different styles. I am in the fortunate position of being able to pack everything I like into my music: The drums are my superstar; Melodies are completed with echoes, sound gimmicks, delays and many other effects - wonderful!

"The drums are my superstar."

I'm looking for appealing concepts that allow me to implement my musical ideas. I started with two albums with reggae covers of classic French chansons (note: “Il est cinq heures, Kingston s'eveille 1 and 2"), To which the corresponding Dub-Albums followed (note: "Il est cinq heures in Dub 01 and 02"). Then I produced four reggae hip-hop remix albums that made me known internationally. In the end, I started the series of concept albums, which I've been expanding ever since. Fortunately there is no lack of inspiration - work on the next album has long since begun. 

I usually start with a concept idea - whereby it is important that the titles in question have strong melodies, can be transferred to the reggae rhythm structure and ... yes, are also spiritually acceptable. With simple sound gimmicks, titles like “Close Encounters of the Third Kind” are created Dub"Or elaborate, complexly arranged pieces like" Enter the Dragon Dub"(Note: both from"hollywoo Dub"-Album). 

“My Holy Grail is the 'Classical Dub'-Album."

The current “Scary Dub"Release can definitely be used as a sequel to" Hollywoo Dub“See, even though it wasn't originally planned. My "Holy Grail", however, is the "Classical Dub“-Album - it took me an infinite amount of time and energy, classical music as Dub to adapt.

At the "Homework“The manager of Daft Punk contacted me about the album and asked for a copy in advance. I was very nervous and expected a "no way" for an answer - Daft Punk had a reputation for being tough when it came to their music. In the end, they only asked if you could play the album at a party - the part was approved!

The tracks from “Scary Dub“Look to me like short comic strips with all the horror sound effects. Do you agree with me or do you see the tracks in a different light?

I absolutely agree. Like in the review very well explained, I am a concept artist. My concept albums invite you on a journey with unforeseen events; An acoustic adventure, so to speak, within a given framework, which is clearly new in its form. 

If the concept is to score from horror classics as DubTo adapt s, the lightness of humor naturally offers an interesting perspective on it. Aren't fear and happiness two uncontrollable twin emotions? It's important, however, not to denigrate the music itself - I have a lot of respect for that. 

In my "Dub Top 5 "by the way, there are two albums that are one of my sources of inspiration and fit very well with my own work - Mikey Dread's" African Anthem "and" Scientist Rids The World Of The Evil Curse Of The Vampires ". Without a doubt, I have always been deeply impressed by the Scientist concept albums produced by Henry “Junjo” Laws!

The reviews of “Scary Dub" on have received good feedback - apart from the criticism that some of your Dubs are too short and end with fade-outs - or are these tracks, which are only +/- 3 minutes long, part of your success? 

I'm old school - even when I combine opposing styles of music, I want to keep the classic stylistic devices. My stories are short but substantial - also so as not to lose the listener's attention. We tend to wander, for example, when someone talks too much or too long. In this respect: yes, the short pop format is probably part of my recipe. Ultimately, it's always about the story - which you can arrange to end with an exclamation point or an ellipsis. I interpret these fade-outs as a dream that evaporates and disappears. 

"The short pop format is probably part of my recipe."

What does the future hold for Mato? Is there a concept for the next album, would you like to comment on it?

The new project will be a soul / jazz / funk tribute that is very close to my heart. Last fall I released a first single from it - one Dub-Adaptation of Herbie Hancock's "Maiden Voyage"And a new version of"Thus spoke zarathustra“, Which is inspired by jazz pianist Eumir Deodato. Next up are 45s from Kool & the Gang, Bill Withers and certainly more singles before the album is released. Stay tuned, this is going to be great!

Will there one day be a Mato album that will take place Dub-Adaptations contains original material you have written yourself?

Yes, and the project is already finished: an EP with 4 tracks, all of which I composed myself. It's a mix of my favorite styles: Reggae /Dub-Jazz / Soul / Funk and Disco. And this time the tracks are at least 5 to 6 minutes long and intended for use in clubs. On “Scary Dub“By the way, there are already three titles I have written to complete the album. Unfortunately, there are no instantly recognizable melodies for Dracula, Frankenstein or the mummy - so I wrote some myself.

If time and money didn't play a role - which project would you like to realize?

In fact, I always had to work with what was available. My first Dub I recorded it on a 4 track tape; with a microphone for the drums, a Roland synthesizer and a delay pedal for the guitars. Today I have a well-equipped studio, but the musical idea is still worth more than all the equipment.

"The musical idea is still worth more than all the studio equipment."

I am now in the fortunate position that I can do what I love and also work with a label that supports me in all of my decisions. It allows me to share my music with as many people as possible - which is a project in itself.

The “Classical Dub“-Album taught me that it takes time and experience to consider classical music with some flow Dub implement; that's why I'm planning an operaDub Project - actually more of a musical comedy that I would like to realize one day. This also requires more inspiration than financial opportunities; it should "only" be an album and not a live show. It's going to be a demanding project. Let's see how it develops.

How do you see the resurgence of Dub and roots reggae that has been taking place in Europe for some time? There are many European productions that sometimes sound more authentic than the current Jamaican output.

It is great! Music from a small island infects the whole world and you don't even need vaccinations against reggaemylitis!

Jokes aside, Jamaica is a very poor country and violence is ubiquitous on the island. Current productions are an expression of this present and the Jamaican government doesn't support roots & culture - on the contrary. Thank goodness there are many ambassadors around the world who keep Roots & Culture alive: Reggae musicians, singers, producers, sound systems, labels and sound engineers can be found everywhere - and they set standards. It's just like every creation: Ultimately, it escapes the Creator and becomes independent.

Who do you think is the greatest Dub-Artist of all time?

There are so many talented artists out there today and each of them has their own heroes - for me it's the ancestors, the inventors of the Dub: Scientist is probably my sound role model, but King Tubby is the creator of the Dub- Art as we know it today. Paul "Groucho" Smykle is my third Dub-Hero - you don't even need to read the credits if you like your stunning Dub Mixes listens. They are immediately recognizable from the very first bars. What an art, what a skill, what a finesse! It's a shame that Groucho didn't go further down this path.

And who is currently the most interesting Dub-Artist?

There are now a number of bands in Europe that Dub also perform live - with videos, light choreography, etc. You have developed a very modern style that can keep up with current mainstream music performances. 

What are your personal top 5 Dub-Albums?

It was very difficult for me to choose - the list of my topDub Albums is very long. Here is an attempt to name the five most important:

Scientist - Scientist Rids The World Of The Evil Curse Of The Vampires 
Black Uhuru - The Dub Factor
Mickey Dread - African anthem
Sly & Robbie - A Dub experience
King Tubby & The Aggrovators - King Tubby's "Controls"

Editor's note: For the sake of the fluency of the language, we did not use gender in this interview.


20 Questions to Alpha Steppa

Your name: Alpha Steppa
You live in: France
Title of your last album: Raise The Ark

What is your personal definition of dub?

It stems from a style of mixing pioneered in Jamaica and became a genre of music in its own right. At the core, it is drum and bass with life and soul woven in via the hands of the dub mixer. It's magic.

What makes a good dub?

Space, bass and texture.

Which aspects of dub music fascinates you the most?

I love the spontaneity, the freedom and the experimentation.

How did you discover your passion for dub and how did you develop your-self and your music since then?

My dad taught me how to mix dub from a young age. I developed through incorporating all my other influences in life and music into my dub.

What does the process of creating a typical dub track look like?

You need a spark; a vocal line, a bass line, a sample, a melody, percussion, a feeling ... something to ignite the idea, then get out the way and let the track build it- self.

When you are satisfied with a dub track you produced?

When I feel it drop and the crowd rise in a dance.

What is your special strength?

I have no need to fit in. This frees me and my music.

Which one of your albums do you consider your best work up until now?

Raise The Ark

Are you able to make a living with music?

Yes, I live a simple and happy life so don't need much.

What aspects of your job do you enjoy the most?

I love to create. And it pleases me to know it brings joy to others.

What do you dread in the studio?

When I forget to drink my tea and it goes cold.

When you're not working on dubs, what is your favorite thing to do?

my hammock

What do you listen to besides dub music?

Folk, hip hop, trap, trad, blues, classical

If money and time didn't matter: Which project would you like to realize?

Money and time doesn't matter. But I need a new septic tank. I'd also like to develop a community where people could come to develop new ways of sustainable living and practice self inquiry.

Are there any sound system events that you particularly like to attend? Why?

Jah Shaka, always and forever the greatest, deepest and most mystical sound system experience.

What do you prefer: Studio work or sound system performance?

I love both. But if I had to choose one, creation is paramount, so studio would win.

Whom do you consider the greatest dub artist of all time?

My dad and aunt (Alpha & Omega)! Haha

And who is currently the most interesting dub artist?

Currently the most interesting dub artist is YahYu

Which sound system do you value the most?

Yeah Shaka

What are your personal top 5 dub albums?

A&O: Voice In The Wilderness
Jonah Dan: intergalactic Dub Rock
King Tubbies: Meets Rockers Uptown
Upsetters: Black Board Jungle
Scientists: Rids The World Of The Evil Curse Of The Vampires


Interview with Daniel Jäckel (Wortfetzen MC)

Daniel supports, as an integral part of the Hibration and I-Revolution sound system, Hamburg Dubscene with his singing and speaking parts, the so-called toasting. In the interview he talks about the possibilities to act creatively, critical topics within the scene and his experiences in Jamaica.

What were your first points of contact with Dub and sound systems and how did you get into toasting?

Daniel: I have always wanted to articulate myself creatively. When I was 15 I tried to write my own rap lyrics and then practiced them in front of the mirror. At some point, however, I realized that there were no beats in the village where I grew up and I couldn't produce any myself. Writing poetry somehow seemed like the closest thing to rapping and that's how I got into poetry slam. On countless afternoons in the park many years ago, a very good friend just gave me his guitar and showed me two chords. I really wanted to learn this instrument in order to accompany me while I was singing, which I also really enjoyed doing besides the poetry slam.

Musically I was definitely influenced by an evening in a club in Prague, where Dubstep was played. I didn't even know this music and especially the ragga / jungle floor was so electrifying that I danced along wildly. When I moved to Hamburg in 2010, I was naturally looking for something similar here too. When the Dub-Band Zion Train in the harbor sound five years ago I couldn't hold back and jumped around like a rubber ball. With the sound system, of course, I came across the port birthday sessions and the events of the Dubcafes in the red flora in touch. Since there was always a microphone lying around there, I dared to use it and quickly replaced the guitar for me personally. At first I wasn't very tried, but I still got great vibes. Last year, through my appearances at Local Sounds here in Hamburg and even all the way down to Munich, I felt there were more events than there are weeks in the year. I remember when I first became aware of the music, there were maybe four events with 15 visitors, and now several are taking place every month.

So you seem to be in Hamburg Dubto be very firmly involved in the scene. How would you specifically describe your role or your function?

D: I think I'm only gradually finding this role myself. In principle, the role that I take on the microphone is to be seen both in the form of vocals and a bit as a medium between the audience and the people who put on the music. In addition, I describe myself as an activist, sound system activist. Setting up boxes and doing these sessions, I think you can give the world something good with that. To create a breeding ground for something that is good for this society. Just at Dub at this volume, there is something inspiring about it, somehow gives strength on an emotional level. I think “Roots & Culture” is a term that I associate with a lot Dub and sound system. Roots would be this term that covers the fact that this music describes where we come from and who we are in this world, a conscious music or a music with consciousness. Culture as the other part of the whole means you can create a kind of culture, a good breeding ground for culture.

A culture where everyone can bring in what they want.

Do you talk a lot about culture, especially creating your own new culture?

D: Yes, a culture where everyone can bring in what they want, a very open space. Creating is one aspect, although I don't think it's just about creating a culture. Rather, to create a situation, because I think we actually all have a culture. But you can only live this out in certain situations in a special way and the sound system dance offers an ideal situation for this. In the end, I think that we already have everything we need, you just have to give people the opportunity to live it out.

So on the one hand the reinforcement of certain positive aspects; Do you also address critical issues during your performances?

D: You know that at events where people go at night to have fun. There is certainly breeding ground for things that are not so good, sexism or sexual harassment are examples. Such issues can be addressed in a peaceful manner, and when they happen, it is of course out of affect. In addition, there are political, social or personal things that you can talk about in general, so I think about what I want to say in advance. I bring issues that concern myself to the outside world.

Since you are talking about sexism: A topic that is also criticized in connection with reggae, Rastafari and Jamaican music is the accusation of homophobia.

D: I think when it comes to these critical issues, it is good to talk openly about them without putting the devil on the wall: If there is something, if you are being molested by sexism, you will not be left alone with it. I don't even want to give homophobia the space as something that I don't approve of and where, musically, I really don't know what it is doing in this music. Although this topic is of course a problem for society as a whole, which unfortunately also finds expression in this scene. These problems should also be seen everywhere they take place and where they are approached. I believe that exchange is the right way to go and that there are people with whom you simply don't meet.

I have just been back to Jamaica for a few weeks, where homophobia is also an issue and homosexuality is even prohibited by law. I think the cultural background has to be understood, but promoting this way of thinking is wrong, a line should be drawn. However, we have had many discussions in our society that did not take place in Jamaica, regardless of the cultural and historical background. I can also imagine that many Europeans and people from other parts of the world who go to this island because they love what happens there, because it has inspired them and because they find themselves in it, share a lot of their attitude towards there bring there. I think the people who listen to reggae here are not very sexist or homophobic. They see this rather critically and react very sensitively to it, bring such topics into this society and sensitize them in a constructive and positive way.

I take issues that concern myself to the outside world.

Another topic that toasters and singers like to address in this music is Rastafarian. Apart from the negative elements that we just mentioned, do you bring the more positive elements from them into your texts?

D: Definitely the term Babylon, that's an integral part. Although I have to say that I'm not a Rasta. I do believe that there is more than we can see, understand, know, calculate and describe. But I am critical of religions when things are forming and organizing. Rastafarian has elements, like other religions and philosophies, that make sense to me. What I really appreciate about it, for example, is that this religion created identity in the time after Jamaica's independence, which was very important. In addition, this religion brings issues into society, such as awareness and spirituality, but also conscious and healthy nutrition and an ecological lifestyle. I have great respect for this belief and this culture.

Chanting and talking in the Jamaican Patwah is also common. How do you feel about the accusations of the cultural appropriation of this language by “whites”?

D: Of course, if that's someone who feels that way, I can understand. True to the motto: The guy has now heard reggae and is simply parroting the language. But my experience in Jamaica was that people celebrated that when I used it while toasting and singing and I don't think they took that as a disrespect.

You just said quite nicely that some people go to this island to find themselves. Did you find yourself there? What experiences are you richer by now?

D: I definitely found myself in reggae. Since I like making music and being creative, reggae showed me the meaning behind it. That feeling was reinforced in Jamaica. Our recording of one was a very nice experience Dubplates in the studio. In addition, I was able to meet many great people, taste delicious food and enjoy the beautiful nature. What was really unique was that when looking into the jungle, due to the density, I couldn't see two meters far.

How is it going Dub in Jamaica?
D: Often stands Dub as the headline for the events, but that's not that Dubthings we do here. I think there were very different developments when the music came to the UK from Jamaica. Dancehall is definitely very present there, but also a lot of roots and rub-a-Dub. Definitely good music.

Dub for me is: musical, interpersonal, cultural, spiritual.

“Different things than we do here” - what is Hamburg doing Dubscene for you?

D: As I said, there used to be very few sessions and over the years the number of events and sounds grew. I talk to people in sessions, including those who support all of this. A lot more people want to be active in the scene. What is also an important point in character is that when we put on a dance, we have to take care of everything ourselves. We don't go anywhere, play our stuff and leave. We have to take over the whole fucking place. Build the infrastructure, equip the bar, occupy the door. Building up is one thing, doing it and then dismantling it. That's why I'm doing it, that's why I'm there, for the dismantling (laughs). A lot of work, but you get the opportunity to do everything yourself. A lot happens here in Hamburg, both in front of and behind the sound system.

Finally, the standard sentence for you too: Describe Dub in one sentence?

D: After my formative Zion Train event at Hafenklang, I read a quote: “Instrumental psychedelic reggae”. For me it is a lot more than that: musically, interpersonal, cultural, spiritual.

Interview from 17.05.2019


Interview with Raphael Alberti (Lazer Fennec)

raphael, Dub- and Disco-Selector from Hamburg, according to his own statement, is "still pretty fresh on the scene." Dub, addresses sexism and homophobia in the scene and the volcano in his head.

Do you remember when you first met Dub came into contact?

Raphael: I grew up in Ulm, my brother was in a crew that played reggae and dancehall. That was when I first became aware of the music, for example I also attended the Chiemsee Reggae Summer Festival in the same year. Through my brother I got to know a lot of different music in general: Wu-Tang, Nirvana, System of a Down ... Dub wasn't so present for me at the time. And so I started with my record collection at first very wildly mixed with rock classics and things like that.

Do you remember your first record?

R: That must have been an album by the White Stripes so close to 2010 graduation. At the time my brother in Stuttgart shared a flat with drum 'n' bass and Dubstep DJs and I remember that one evening the "Dub Echoes ”document was running. I thought it was so good that I had to get the soundtrack straight away and put it on at the next flat share party. A live concert by Lee Perry finally made me think: Wow, Dub is that thing! 
Some DubI went to events in Offenbach and Darmstadt, first as a photographer and, after I got to know the guys from the Rebel Lion Soundsystem, as a selector and at some point I was part of the crew. From 2012 we organized regularly for several years Dubparties in the Oettinger Villa in Darmstadt, that was a really nice location. As a result, we already hooked the people in the Rhine-Main area with music.

Did you then also inspire other crews to do something?

R: Yeah, at least that some crews do more Dub who previously preferred roots to the set. Peifensound from Wiesbaden, for example. But the Rhine-Main area with Frankfurt as a metropolis has unfortunately not managed to set up a proper sound system until today, somehow that never represented the center for this type of music.

Was that perhaps the reason why you moved to Hamburg at some point?

R: No, that was more because our Rebel Lion sound system broke up a bit for various reasons, because of moving and children and that sort of thing. Mainz, where I lived at the time, was just too small for me at some point. I then quit my studies and moved to Hamburg to do an internship at Backspin Hip Hop Magazine.

So did hip hop always play a role for you?

R: Yes fully. But I also knew that I was in the Dubscene wanted to be active here in Hamburg. First I had the Hibration sound system in mind, but then decided on I-Revolution.

Dub is just full of the nerd. Reggae for nerds. Smoking nerds who like bass, that's this one Dubscene.

You are currently known from I-Revolution, how did the connection come about?

R: I first went to some of the parties in the T-room at the university. At some point when the university was occupied, they looked for people to hang up via a Facebook group. I felt like it and just went there with my records. That sparked immediately with the guys both musically and personally. That was in April 2018 and since then I-Revolution has been kind of going downhill: we held open airs and a few parties in the Gängeviertel.

How are you currently positioned at I-Revolution?

R: I-Revolution just consists of seven DJs and a lot more people in the background, without whom it just doesn't work. We also build a lot ourselves, for example sirens and amplifiers. Dub is just full of the nerd. Reggae for nerds. Smoking nerds who like bass, that's this one Dubscene.

The problem is sexism Dubscene not resolved either.

With all the fun, you also notice the clear political orientation. For example, if you look at the event texts on your Facebook events, you will always find announcements against sexism and homophobia - topics that are often criticized in Jamaican music. Do you think that there is a greater awareness of such issues in the scene?

R: The DubThe scene in Germany and Europe is definitely very left-wing, just because of the event rooms, such as autonomous centers or occupied houses. But the problem of sexism is in that Dubscene not resolved either. Just because fewer lyrics are used in the music and therefore there are no problems with critical statements, there are still points, such as the gender ratio, that you can definitely work on. Most crews are made up of guys, which might be related to this nerd culture. I think music and subcultures are mostly shaped by males, nerd cultures as well, when both come together, it doesn't get any better. Taking my experience with the people who are new to the world DubThe coming scene is that many feel very comfortable, many women also say that it is simply relaxed at the events.

Do you have the feeling that the left-wing issues mentioned were only noticed through your involvement in the scene?

R: I think we didn't make it an issue, it has always been that way. So when I look at Jürgen Becker alias Crucial B here from Hamburg, for example, who started in Hamburg 26, 27 years ago, and his crew has already set up events in the T-Stube or carried out squats. I think it was in the 90s Dub a protest muck anyway, because there was a connection to punk, especially in England. There are certainly some about punk too Dub come, that's why the left-wing scene character. But of course it's difficult, you never know when you're putting on tracks, even if there are no explicit homophobic or sexist lyrics in them, what makes the performers tick. Maybe that's one of the reasons why many left-wing people are in the electro scene because they think that no lyrics mean no homophobia and no sexism. In the Dubscene and in other music scenes there are also oldschoolers who say that everything was better in the past. I think the Dubscene also needs a bit of humor. Reasons why it's so difficult to get into the scene. A relaxed but also closed circle. 

Regarding the closed circle: do you think that there is cohesion within the scene, also across regions, for example?

R: Yes, you can travel all over the country, you always meet someone you know. I also wanted to go to France this year to take a bit of the scene with me. Whether it's a big event in Berlin or a small festival on a sheep pasture in northern Hesse, which I went to two years ago. With pony rides for the children and homemade ice cream, the family reunion is full. It's really nice in the scene, you help each other. We also saw the guests who help out at the I-Revolution outdoor sessions last year. A lot of people lend a hand and don't just go home. Many also feel like doing door shifts, for example, that's all good support and networking.

It all sounds really nice, when someone is so outside and wants to be part of, how could that work?

R: As a complete outsider, I think that's difficult, so you have to celebrate the music. At the moment, however, many of the audience are from the electro scene, you can tell by the way people dance. I think some are bored of the same events there in the scene and especially steppers Dub it has similarities with techno, it's dance music.

Your events are always packed.

R: Yes, and above all there are a lot of kids there. You can tell that they are more socialized on techno and then shuffle to steppers (laughs).

So do you think that everything has a future?

R: At the moment the scene is doing pretty well, I think. More and more sounds are being created and work is being done in Germany to set up larger festivals, for example in Münster, which are already heavily equipped with sound systems and Berlin too. Even in southern Germany.

Since we were talking about your always packed events, how did the connection with the Gängeviertel come about?

R: Jimmy, who is also active in our sound system, knows someone there. I think what gave us a good boost in autumn was that we set up our monthly event relatively quickly after the Gängeviertel birthday. Then the Gängeviertel also shared our event on Facebook. On the first evening already 500 confirmations or interested parties and a total of 3000. That went on with the second event. In the meantime it has normalized again to around 700. At the last party we had to stop after three hours. It's really tough, let's see how the whole thing continues in the Rote Flora.

I especially like music that is visual, creates soundscapes and Dub is just ideal for it.

I also wanted to talk about your selections, which are always very diverse: you play Dub, Funk, Soul, Afrobeat, Hip Hop, where does that come from?

R: I don't really know, it is always difficult for me to stick to one style when DJing, which sometimes upsets me when I switch back and forth in such a confused way. I especially like music that is visual, creates soundscapes and Dub is just ideal for creating something like that. But sometimes it is like this: how slow and how weird can that shit be that I put on and I try to get out of the ordinary and not just play hits.

M: Now you've moved to the Flora for the next event with I-Revolution, are there any further plans for 2019?
R: I would like guests and outdoor sessions, maybe here at the Veddel, bridge party or something. So the campus is also a cool location for that, but maybe the cops won't come here so quickly (laughs).

M: In conclusion, describe Dub in one sentence?

R: If I may quote King Tubby: "Dub is a volcano in my head ”. That's it. 

Interview from 26.01.2019


Interview with Paul Zasky (Dubble standard)

Your name: Paul Zasky
You live in: Vienna and Los Angeles
Title of your last album: Dubblestandart meets The Firehouse Crew Reggae Classics

Tell me a little about yourself.

I would basically consider myself the driving force behind all of the issues Dubble standard and soon The New Blade Runners Of Dub describe. BUT, I am nothing without the crew, I use to say. Ali, our man on the trumpet, who is with House Of Riddim, and Robbie Ost are my backbone without them, nothing works. In spite of the difficult existential conditions for a band like ours, they have been keeping my pace for decades. You have to bring that up and I respect and appreciate that very much. That is something that you cannot hold together with money, that is a spirit that is there or not.

At the beginning of the 90s I was part of the original community of musicians here in Vienna, who are interested in sound, post new wave, psychedelic, early electronic music and then soon Dub & Reggae. We had and still have the rehearsal room (it was also our first studio) opposite Flex, the most important club in the Viennese universe for us at the time, where Suga B, Gümix & Sweet Susi Dub and played all of its varieties - from 1990 onwards.

Many people and musicians came and went with us. Most of them had good ideas, but there also had to be someone who would put them into practice and make sure that music was created that could be pressed onto a record. That's why I'm going at some point ...

Robbie was always the man behind the machine and after I had mixed the first couple of albums in the 90s myself (on 4 and 8 tracks), he took over and switched to hi-tech.

I was also always responsible for the contacts to labels, booking, promo, etc. and traveled around the world between Vienna, New York, LA and Kingston. I got to know a lot of people, from which many friendships and collaborations have developed over the years.

In Jamaica in particular, my good friend Devon Denton opened a lot of doors for me, too Sly & Robbie, Ken Boothe, Dillinger, of the Firehouse crew etc. Nicolai from Echo Beach met us with Ariup, Adrian and the OnU Sound Posse brought together. David Lynch I just mentioned it after our show at the Elysee Montmartre in Paris at the opening of the exhibition. There are still many examples. I am very grateful to many people.

What is your personal definition of Dub?

Landscape painting with sounds.

What makes a good one Dub out?

To create an atmosphere that inspires, where acoustic fantasy worlds emerge and at the same time special attention was paid to the "distinct" rhythm, its mix and the detailed sound processing.

What aspects of Dub-Music do you find most fascinating?

That it is an open style spectrum and enables a lot.

How do you have your passion for Dub and how did you discover yourself and your music?

When I was around 16 or 17 years old - in the mid 80s - I got myself Taxi gear: “The Sting” and “A Dub Experience ”from Sly & Robbie Bought in the then “Hand In Hand” reggae shop in Vienna. The crew there were Rastas from Kingston and Addis Ababa and a bit cooler and more relaxed than the rest of the city. They also had a lot of specialist knowledge of the productions at the time, sales and the international scene. That fascinated and attracted me. Shortly afterwards "Megaton 1" from Lee Perry. I was fascinated by the pushed bass and drum lines as well as the psychedelic flanger and phaser loops on the sounds of Lee's 8-track productions. Shortly afterwards I have the Singers & Players and Creation rockers discovered on OnU-Sound and that's it. Dub For me it was the logical further development of everything that had interested me musically until then.

How does the creation process of a typical Dub-Tracks from you guys?

Usually some groove or bass line is buzzing around in my head long before we do a session with the band. At some point we go into the studio and build instrumental live sessions on that. Then there are new ideas from the rest of the crew. Then we select the jams and play the best-offs precisely with a click.

The time after that I spend with Robbie in the studio where the actual tracks are created. Often it takes a completely different direction than the session. Every now and then we bring the guys back for single oversdubs or do collaborations with artists. All keyboard parts, analog synth sounds, samples etc. are done exclusively by Robbie and I, as this defines our sound. To that extent is Dubblestandart is a two-step project: Robbie and me and the band are producers who then implement this sound live, but who are also responsible for the original soup in the creation process.

Before there is a mixdown, we work on the sound and arrangement for a long time. Before a final version, we work on the sounds, effects, the actual sound of drums and bass, as well as real and electronic instruments. For me is a Dub not the freestyled live mix of one version. For me is a Dub a complete independent song with voices, sound samples and real world noises, which follows its own structure and dramaturgy. Robbie then often draws from these very concrete soundscapes Dubs for vinyl decoupling, etc.

When are you with one of your produced Dub-Track satisfied?

I produce them Dubs never alone. If we both say it is, then it is. In words not 2 be defined.

What about producing Dub most importantly?

Authenticity. There are no laws in making music. There is just pigeonhole thinking. But music is free and that also applies to ideas. People should trust themselves a lot more. I would like future generations to be more willing to experiment.

What is your particular strength?

I'll stick with it, especially when it gets uncomfortable.

Which album do you think is your best?

"Immigration Dub"," Marijuana Dreams "and"Dub Realistic ".

Can you make a living with music?

No, it never has and probably never will. I keep my feed on the ground. What I earn with music, I reinvest exclusively in productions.

What aspects of your job do you enjoy the most?

Making music is neither a hobby nor a job. At some point you start with it and it becomes the most important thing in your life, around which you build everything: relationship life, family, money business.

What do you dread in the studio?

Time pressure and when there are too many people. It's distracting.

When you're not at Dubs screwing, what is your favorite thing to do then?

I am involved in one or the other cultural project, in autumn I will also start as an actor in a theater production, a little deejaying, and also deal with AI and psychotherapeutic topics. Also started a new band project in LA.

What do you hear besides Dub?

Alternative music, reggae, electronic music, drum 'n' bass, industrial, downtempo, hip-hop, avant-garde, jazz, singer song writer.

If money and time weren't important: Which project would you like to realize?

"Sade in Dub"And" Nine Inch Nails in Dub".

Are there any sound system events that you particularly enjoy attending? Why?

Currently corona-related nada. Otherwise everything that goes with bass music is usually very cool here at Fluc in Vienna! Otherwise: Subaudio, Basstrace, RAW, Donnerdub, Treasure Isle, the legendary Dub Club in Flex back in the day. Truly missed!

Which do you prefer: studio work or sound system performance?

Studio work, then live performance with the band, then Selector at a Sound System. So is the order.

Who is the greatest for you Dub-Artist of all time?

Adrian Sherwood

And who is currently the most interesting Dub-Artist?

Year 9

Which sound system do you like the most?

Jah Shaka and OnU sound system.

What are your personal top 5 Dub-Albums?

Dub Syndicate: "Stoned Immaculate"
Sly & Robbie: "A Dub Experience "
Burning Spear: "Living Dub Vol 1 "
I-Roy: "Dread Baldhead"
Lincoln Sugar Minott: "Ghetto-ology Dubwise "


21 Questions to Paolo Baldini DubFiles

Your name: Paul Baldini DubFiles
You live in: Pordenone, Italy
Title of your last album: "Dolomites Rockers"

What is your personal definition of dub?

Dub is a technique. A technique which, in its original form, allowed to transform a song into a dub version, a new psychoacoustic experience. A technique with a permanent link with reggae music, but now also declined and applied to all genres of black music.

What makes a good dub?

Two things, basically: a song on a good riddim and an inspired dubthe master.

Which aspects of dub music fascinates you the most?

I was amused by the transformational process that a song undergoes when it becomes a dub version. And before understanding the mechanisms behind these processes I was impressed by the role of bass and the feeling of space-time modification. Moreover, this technique transformed exclusively technical equipment into creative and artistic instruments turning the sound engineer into the Dub Master. That is to say, the person who has the power to regulate the emotional tension of a version.

How did you discover your passion for dub and how did you develop yourself and your music since then?

I was a lucky teenager because the Rototom festival started in a place very close to my city and I started attending it from the first edition!
I discovered that world first as a spectator and only then as a musician. Basically I am an underground reggae musician who, exploring the possibilities that home recording offered in the nineties, became a producer. Step-by-step.

What is the most important factor when producing dub music?

The separation of the tracks of a song, an analogue mixer, and a few aux. And the endless combinations thereof, which is eventually what constitutes the studio of a dubthe master.

What does the process of creating a typical dub track look like?

If it's a version, I firstly rebuild the original settings of the multitrack session of the vocal cut, and when it sounds good, I start selecting a few outboards and effects that I think fit the tune. I then press "record" and do a number of dubsee Only the best survive.

Dub is a technique, which, in it's original form, allowed to transform a song into a new psychoacoustic experience.

When you are satisfied with a dub track you produced?

I'm satisfied with a version I make when, listening to it again, I get lost in it and I can't trace my actions back.

What is your special strength?

I don't know ... Maybe being incline to auto-suggestion.

Which one of your albums do you consider your best work up until now?

Always the last one! But I like being influenced by those who hear and choose them.

Are you able to make a living with music?

Respectable survival.

What aspects of your job do you enjoy the most?

All of them. For real!

What do you dread in the studio?

Current drops? Or maybe my son ?! Jokes aside, I have a lot of analogue equipment and I fear the wear of tubes and condensers. Especially in the mixer.

I was a lucky teenager because the Rototom festival started in a place very close to my city and I started attending it from the first edition!

When you're not working on dubs, what is your favorite thing to do?

When I'm not busy with my family I have several safe places where I regenerate. One of these is astrophysics! When I have time, I go to the mountains.

What do you listen to besides dub music?

Any form of Jamaican music. From calypso to dancehall. I recently re-discovered space music and ambient electronic music.

If money and time didn't matter: Which project would you like to realize?

I had so many ideas that I stopped thinking about it. Let's say I'd try to invest on my label La Tempesta Dub to release more material.

Are there any sound system events that you particularly like to attend? Why?

The Dub Academy at Rototom Sunsplash and the International Dub gathering. I grew up at Rototom.

What do you prefer: Studio work or sound system performance?

both. One necessarily feeds the other.

Whom do you consider the greatest dub artist of all time?

Could anyone you know not answer King Tubby? They would need a good reason not to.

And who is currently the most interesting dub artist?

There are countless artists who interest and inspire me. I think I could give different answers to this question depending on the time of the day. Iration Steppas are a must in terms of sound system rituals. Dougie Conscious is a big inspiration when it comes to studio mixing… Mad Professor and Adrian Sherwood are a beacon when it comes to using effects. Prince Fatty and Victor Rice are a true inspiration as far as acoustic recording and tape are concerned ... And I think OBF are the most interesting crew at the moment.

Which sound system do you value the most?

I have a rock-solid bond with Imperial Sound Army.

What are your personal top 5 dub albums?

5. Scientists: SCENTIFIC DUB
3. Iration steppas: DUBZ FROM DE HIGHER REGION
1. King Tubby & Barrett Bros: PICK A DUB


Dub Conference on Echoes Beach

Echo Beach - the hamburger Dub-Label turns 20 years old. 1994, at the height of the UKDub founded, it is not only one of the longest serving today Dub specialized labels, but is also likely to be the most productive in the world. Reason enough for us, with label founder Nicolai Beverungen and proven Dub-Specialists about Dubto philosophize about its developments and trends and last but not least about the fascination of this music.

Nicolai Beverungen: I came to reggae through punk, then worked for the now faded record company EFA as a label manager for On-U-Sound. When I left EFA in 1993, I wanted to publish a CD that would look back on the last few years of my work. Only one came for me Dub-Compilation in question, because that was the sound that excited me the most. This then results in “King Size Dub Vol. 1 ”, which was presented by Spex. That was a good start in 1994 for my label "Echo Beach".
Why I'm still there after twenty years is probably because the label concept "Dub“Is so open. If I just focus on rootsDub concentrated, then I would probably be the postman today. But I was always open to other influences. Take, for example, “William S. Borroughs in Dub“Which recently appeared on Echo Beach. Every Jamaican would ask: “What does that mean? Dub to do"? But that is what is most interesting for me.

Markus Kamman: I come from the club scene. In the eighties I founded the Beat Box in Wuppertal, the first ambitious club that existed nationwide. But at the same time I've always been a musician, which very few people know. Back then I often went to London to buy records for the club. After the records were on in the club, everyone wanted to buy them. So we thought about starting a record store. That was Groove Attack. Today I am producing crazy Dub under the name Robo Bass HiFi.

Thomas Hoppe: I represent the handmade music here, from the band side. I'm the drummer for the Senior Allstars. With the band we have that Dub gradually approximated. We had him with us from the start, but he has become more and more important to us. That Dub Today the main element is also live on stage, we hadn't planned on it. That's how it turned out.

Felix Wolter: Just like Nicolai, I come from the time when punk and reggae had a liaison. I felt strongly influenced by Adrian's On-U-Sound as the Londoner Dub closer than Jamaican reggae. I only really got to know, love and appreciate him over the years of my active career with the German reggae band The Vision. I'm next to my TVS and Dubvisionist projects in the related downtempo (PFL and Chin Chillaz) and work in our company Time Tools Recordings on the compilation of compilations in the lounge, downtempo and house area, which we offer for download worldwide. I love studio work and a balanced sound.

René Wynands: I discovered reggae at the tender age of 15 when I bought my first Bob Marley album. I had read that it was music with a lot of bass, which was obviously an important reason to buy for me even then. Dub For the first time I did “LKJ in Dub"Heard and with the album" Pounding System "from Dub Syndicate only really understood. After that I have everything on Dub bought, which I could get hold of. Today I look after them DubPage in the riddim and write with the a small German-language blog about my favorite music.

My definition of Dub

Rein: We want over our favorite music, over Dub speak. But what is Dub I agree? A genre? Even a sub-genre? Or is it a universal production technique that can be applied to any style of music? Is Dub so very small and sharply defined, or is Dub the exact opposite: big, open and universal?

Nicolai: "Space is King" - The space is the generic term for Dub, because space opens up possibilities. Reggae is my music, but I would still use the term Dub do not want to restrict yourself to reggae. I see Dub much more open.

Mark: Of course, the roots of the Dub in Jamaica. But shortly after the invention of Dub already has it in America Dub-Versions of funk and disco pieces given. Dub was by no means limited to reggae in the past. The classic principle of Dub consists in the fact that the sound engineer in the studio is not only responsible for the sound, but becomes a musician himself, taking the liberty of reinterpreting a piece using the means of studio technology.

Thomas: The origin is of course Jamaica and I like the variety best Dub, where you can still hear the origin. But actually I see it like Nicolai, but would add “atmosphere” to the term “space”. The space is created by the reduction, the thinning, which in the Dub is made. We Dubber are from the church of subtraction. Leaving it out reduces a tune to the essentials.

Nicolai: Correct. There are magical moments in many classic reggae pieces, while other parts are rather uninteresting. And that's the essence of Dub: At the Dub the magical moments of a piece can be picked out and emphasized. Dub is the essence of a piece.

Thomas: However, we don't necessarily reinterpret a piece. Many of ours Dubs are called Dubs produced. There is no longer any preceding “original”.

Mark: For my new album “Nu School of Planet Dub"I had" originals ", but I'm with Dub-Mix proceeded very differently than the Jamaican originators. Instead of remixing the original and adding effects, I take it apart completely and build a whole new piece out of it. I make completely new pieces out of the material. The only constants are drums and bass - the groove base. I take a lot of freedom in everything I do about it. Why should I limit myself there?

Felix: For me, the magic of is in limiting Dubs. Get by with less and essence musical resources. My goal is to sound as timeless as possible. I love a sound that was there years ago and that will still be there in tens of years. The current “zeitgeist sound” has a major disadvantage for me. It has a certain daily topicality, but also only a limited half-life. In the 80s, I also started with the concept of deconstruction and breaking-of-the-listening habits, prematurely (infected with On-U-Sound). But since this is now being done in all sorts of current music styles, I am now feeling a bit bored. Production has of course also become very easy thanks to the computer. This causes the results to become inflationary and lose their value. Meanwhile I prefer a quality sound again. There's a difference between a record like “Sgt. Peppers… ”and one programmed on the cell phone Dubstep. I prefer to focus on music than technology.

Rein: I am surprised that nobody here says: "Dub is bass ”. Because although reggae is already a style of music that gives bass a prominent position, it is Dubwho, by omitting the vocals and thinning out the rhythmic-tonal texture, emphasizes the bass like no other genre before him. Without Dub what is now called “bass music” would be inconceivable. Dub was the blueprint for the music that can be heard in hip clubs today.

Mark: That's true. Drum & bass, Dubstep, trap, Moombahton - that's it all Dub developed. Practically all of modern dance floor music.

Rein: Therefore, I also believe that it is the bass that is essential for the fascination of Dub responsible for.

Felix: The physical experience of music is of course very easy with bass.

Mark: I see it that way too. This deep, rolling bass figure creates the hypnotic effect of Dub. The trance-like, psychedelic, "trippy" of Dub exerts a great fascination. You also have to say: This also fits perfectly with certain drugs.

Nicolai: Dub may remind us of the situation in the womb. You are safe and protected and surrounded by fluids through which all noises in the environment are filtered. The rhythmic beating of the mother's heart is a steady beat. Actually, therefore, all people should Dub-Be fans.

Rein: Cool theory. I do believe, however, that you have a special disposition for Dub and needs reggae. I'm sure each of us has experienced it like this: You hear reggae for the first time and it clicks. A key fits into the lock. The beginning of a lifelong relationship. In my case it has Dub clicked a second time. Reggae and Dub for me are inseparable.

Felix: Safe in its original form. But as we also know, there are also numerous parallel developments that only have to do with reggae to a limited extent and Dub propagate as an independent art form, such as downtempo, Dubhouse, Viennese school with Kruder and Dorfmeister, Berlin school with rhythm & sound etc.

Nicolai: I originally came from punk, but now I listen to reggae more than anything else. That's why I'm with Dub the reggae flavor is also very important. If the DubMethod is applied to another genre, then I think that's good too, but it doesn't pull me under its spell as if it contains reggae. Whenever I hear an offbeat skank, I'm in right away. It works like magic for me.

Thomas: Yes, reggae and Dub belong together. But Dub doesn't necessarily need a reggae vocal piece as an original. I have the vocal version and Dub equal rights next to each other. I couldn't and don't want to decide what to prefer.

Exodus: Dub Goes International

Rein: I totally agree with Thomas. Dub is now an independent genre and no longer needs a reggae vocal original. More modern Dub is of course based on what Jamaican studio technicians had developed over the course of the 1970s. But with the handover of the baton of the Dub from Jamaica to England in the mid-1980s, has become Dub fundamentally changed. Was in Jamaica Dub the “version” of a vocal original, with the mix and sound effects given the attention previously reserved for the voice. Dub was secondary use and bound to the conditions of the original. That only changed when Dub died out in Jamaica and was further developed in Europe. You can say: the Dub found himself. He was no longer dependent on a vocal original, but became directly as Dub produced. This made it possible to tailor the music for certain qualities: for hypnotic repetition, for a dense, magical atmosphere, for intensity and for bass, bass and bass. Dub is no longer a derivative of reggae, but an independent genre that - to put it bluntly - has more to do with European club music than with classic reggae.

Nicolai: What in Europe as Dub applies, is only ridiculed by the Jamaicans. We Europeans made something of our own out of it. We brought in many influences from European music.

Mark: I used to have the whole Jamaican Dub-Bought albums. Today i see Dub but very different. I also produce my music very differently. I go much further than just twisting the buttons.

Felix: I now dare a very steep thesis: That the Jamaicans get away from the Dub removed may also be due to the fact that the Jamaican dance hall sound has de-spiritualized itself. It's just no longer roots reggae that reminds you of its origins. It was already atmospheric Dub, Magic and intensity the talk. I think we mean the same thing. Such a situation arises when one can “look beyond one's own nose”. That was the 70ies reggae with its message and the atmospheric Dubversions that have inspired and influenced us all. Homophobic dancehall acts who only dissect in their lyrics and turn the screw, probably also place less value on the atmosphere of a philosophical reasoning. That Dub is currently hidden there is for me (and the Dub) rather pleasing, because also clearly delimited.

Rein: Felix's thesis is: Dub died out in Jamaica because the music no longer fit - "de-spiritualized" - as you say. That sounds logical. But isn't it also conceivable that it is for Jamaican Dub simply no longer an audience? It's really interesting that all the famous Jamaican Dub- 1970s albums were essentially made for the international market. The albums were hardly sold in Jamaica. Dub was also used in a completely different context in Jamaica: the one pressed on singles Dub-Version served as a pimped rhythm basis for the live performance of the dancehall deejays. Quite different in Europe: here crowds of white reggae lovers bought them Dub-Albums and listened to them pure and without live toasting on their stereos. Dub has been received completely differently in Europe. And what Europeans are up to Dub appreciate - the atmosphere, the magic, “Computerized Reggae” and subsequently Dancehall could no longer offer that. That is why people like Mad Professor and especially Jah Shaka began to produce for the domestic market and took a direction contrary to Jamaican reggae. While reggae in Jamaica became faster, more reduced and more vocal-dominated, the European one demanded DubAudience for slow, hypnotic beats and (induced by electronic dance music) for instrumental music. In Jamaica the good old bassline disappeared from reggae, in the newly emerging UKDub on the other hand it was increased immeasurably. In short: the European one Dub emancipated himself completely from the Jamaican original. From there drum & bass, garage, Dubstep and trap.
Now that this bass music is so popular, Jamaican producers are also appearing again Dub to reflect. That also goes very well with the roots revival.

Felix: Yes, of course, as soon as the music wakes up again from its insignificance and is filled with content, the space-giving function of the Dubs. I mean to say that there is an increased interest in real played roots reggae. Today's youth - like every new generation - are bored of their direct predecessors. You are looking for an authentic, personal attitude towards life. You will currently find that more in organic roots than in the omnipresent, computer-aided dance styles. This is just an observation from our environment. Sure there are other young scenes that would be happy with Dubstep etc., but I don't know them.

Mark: I think the Jamaicans produce very conventionally at the moment. Classically at the band level, just like it was done before. For me, productions from the Mad Decent and Diplo environment are much more interesting because they break down all boundaries. I like Major Lazer partly too. Trap is fantastic. I am very inspired by their ideas.

Felix: I think Major Lazer is very cool too. He's cheeky and intelligent when it comes to programming and mixing. The quality is right again. But when Dub I wouldn't necessarily call it well-made pop

Nicolai: Major Lazer is too trendy for me. The last good one Dub- The album I heard, on the other hand, is “Hurrican Dub“By Grace Jones. It's phenomenal in sound and very imaginative. There were good people on it, all handmade. Otherwise I am now hearing a lot of drum & bass influences again. It is possible that this sound will become more important again in the future. The wobble bass from Dubstep, however, is declining. For me, the more open Dub the better I find it. I think it is with Seeed: “Berlin guys on the wrong track, just about to take off, making the first record is like laying an extra big egg, actually you have to put something on the roof ex officio, purists, style policemen with 7: 0 sweep off the square! ". The quote is like a motto to me. I've always had problems with purists.

The Spirit of Dub

Rein: Purists and dogmatists stay below Dub- Rarely finding friends - with one exception: the Steppers sound system scene is somewhat orthodox and sees itself as extremely spiritual. Which, by the way, I can understand well, because such a thing Dub-Soundsystem-Nacht has something metaphysical about it.

Nicolai: I was at Jah Shaka's in London once and I have to say it was incredibly spiritual.

Felix: Yes, the first Shaka Dance has for many Dubheads something of an initiation. The first time you come into contact with this intensity, something happens inside you.

Mark: The basses that stand a meter high in the room, which you can almost touch, are spiritual. It takes you physically.

Nicolai: You keep coming back to the bass.

Felix: But bass is only the "fuel", the technology. In my opinion, the much-cited “positive vibe”, similar to gospel, is caused by the performed conviction of the protagonists.

Nicolai: Dub is already spiritual. But not in a religious sense. Hence it is actually an abuse of the spirituality of Dub to reduce to the topic of Rasta alone.

Thomas: For me personally, Rasta and the religious side is not important. Everyone should deal with that for themselves, but I think that the spirit of reggae and Dub can be felt even without this side.

Rein: I think that humans have a biologically based longing for spirituality. In my case, Bass & Space serve this need quite well. But I can understand that many fans don't know what to do with such an abstract spirituality and then, even as white Europeans, subscribe to Rastafari. There is of course a certain contradiction in this, which makes one thing very clear: namely that we are fans of music that originally had nothing to do with our own culture. Isn't that strange? Actually we are cultural imperialists.


Nicolai: The effect of the music is generally human. It affects us directly and independently of cultural affiliation. There are tones and vibrations. What matters is what touches my heart. No matter what culture it comes from.

Mark: I've always felt spoken to by rhythmic music instead of the melodies of classical European music. So I inevitably ended up with Black Music. That has nothing to do with culture, but with personal feelings.

Thomas: If you start making the music yourself, then you have the opportunity to leave out aspects that do not fit your own life situation. We love Jamaican music but try not to pretend we're Jamaicans. It's safe to hear that it's the continental version we're playing.

Rein: You are absolutely right. That's actually how I see it. The decisive factor is the aesthetic experience that comes with listening to Dub is triggered. The production technology, the cultural origin, even the artists don't really matter. The music must - even without prior knowledge - stand for itself and be able to convince aesthetically. I find that up Dub particularly suitable for this because it is instrumental. The texts - alien to their own reality - are left out.

Word, Sound & Power

Felix: The mainstream still needs a singer who mediates between the fan and the music to understand. This clientele will be with you Dub Always have a hard time anyway. Dub is far too abstract for the average consumer.

Nicolai: If you listen to the charts (including the reggae charts), you quickly notice that only vocal songs are present there. The music is in the background. People are guided by their voice, words, and singing.

Thomas: We are still often asked why nobody sings here. Then we say: Because we want it that way. The lack of vocals can be a hurdle in marketing Dub be. But we do it anyway!

Mark: If you consciously listen to pop music like Lana Del Rey, for example, you will recognize that it is very slow, sedate pieces that are completely dominated by the voice. The music behind it literally disappears - and is mostly total crap. In fact, it sounds really bad. The videos, on the other hand, are elaborately produced. It's too thin for me, too limp. But that's how you sell music. It's mainstream. Dub is the exact opposite.

Rein: What Dub What makes it so exciting as opposed to the mainstream is the fact that Dub is much more complex. So can Dub for example perceive purely physically. The groove captures body and mind and you let yourself be carried away by it. One can Dub but also listen very consciously and analytically, almost like classical music. Only when it works on both levels is there a Dub really good.

Thomas: I agree. We play concerts where everyone is dancing, but also so-called “sofa concerts” where the audience just sits and listens. Great that that with Dub is possible.

Who the Cap Fits

Rein: Not everyone appreciates that. I am surprised that reggae and Dub mostly have different followers. The scenes are not identical.

Felix: The reggae scene is traditionally based on the Jamaican original, while the Dub-Scene, as we have already noticed, is more of an international thing. The fact that things develop in very different directions in such a cosmopolitan scene is an enrichment and a challenge, also or precisely because it can sometimes be amusing or disturbing.

Thomas: There are many people in reggae who have the fascination of Dub do not share. But that's okay too. Our audience is made up of Dub-Lovers. It's not exactly your typical reggae crowd. We also like to play in clubs that tend to have a jazz audience. It works very well. Most of all, these people enjoy watching the musical craft on stage.

Nicolai: So, I have to say: That DubAudience consists mostly of older men and few women.

Rein: But my experiences are very different. Z. B. the Dub-Weekender in Wales, where I was recently, the audience is completely mixed. Young and old and also a lot of women. I think that's good at the moment Dub: Different to z. B. in techno or blues, people of all ages and both sexes can agree on the music.

Nicolai: Okay, the steppers scene is different. Young audiences also go there. Women too.

Mark: Dub speaks to women as well as men. It depends on Dub is produced for a reggae audience, or whether you want to appeal to a younger, club-oriented audience. Then you would have to dare to do one Dub-Act to be placed next to a techno DJ. For this to work, the DubBut they are mixed together like a club DJ would.

Nicolai: I'll get you a seat next to Westbam on Mayday. Then you can prove it.

Mark: Oh yes!


Rein: No matter whether young or old, men or women: For Dub it doesn't look bad at the moment, does it? I have the impression that it is attracting more audiences again.

Mark: I am currently experiencing this with a lot of young people who come from dancehall and are tired of the whole jump up carnival. They come and discover the dimension of Dub, the huge bass.

Felix: Well, if that's not the famous “whistling in the forest”. For me the last statements are also the proof of my thesis that the form alone does not really lead to the goal. Otherwise we wouldn't have to pat each other on the back and look for positive approaches, then there would be a positive development. I am placing my hope in future generations, who will by far the developments and Dubwill reevaluate visions for themselves.

Nicolai: I still get requests from people who do Dub Just discovered for yourself and me after the king size Dub Vol. 1 from 1994 ask. I therefore believe it Dub will always give. Sound & Space are immortal and will definitely become more popular again soon. On the other hand will Dub still remain a niche. Unfortunately, it is difficult to earn money with it. I will retire in 2023. We'll have to wait and see what happens until then. But I am optimistic because I don't only see the material side. I love the music and the people who make it. That's what I enjoy about my job. It will stay that way. I'm not worried about that. The bass rolls and will keep rolling.

Three Dub-Albums that show the way into the future:

1. TheDuBpink: Instigation
2. Dub Syndicate: Hard food
3. Lee Scratch Perry vs. Robo Bass Hifi vs. Dubble standard: Nu School of Planet Dub

1. Lee Scratch Perry vs. Robo Bass Hifi vs. Dubble standard: Nu School of Planet Dub
2. Various producers: Dillon Francis, etc! Etc !, Bro Safari, Elliphant, Flosstradamus

1. White noise: Electric Storm
2. Jimi Hendrix: Electric ladyland
3. The Beatles: Sgt.Pepper's Lonely Hearts Dlub Band

1. King size Dub: Germany Downtown, Chapter 2
2. Umberto Echo: Elevator Dubs
3. Dubmatrix: In Dub

1. Hey-O-Hansen: Sun and moon
2. King size Dub: Germany Downtown, Chapter 2
3. Dubmatrix: In Dub