As part of his latest project “Lisabon by Bus”, Bruno Crux has taken the opportunity to indulge his passion for reggae, Dub and roots music to the fullest. His commitment and interest in Caribbean culture began in the late 90s as a drummer in the band Nature alongside Freddy Locks. In 2007, he released the first album by Lisabon by Bus, thus establishing his musical vision, particularly through collaborations with national and international artists. Subsequently, the collective "Fittest of the Fittest" was founded, which is characterized by the use of a completely analog sound system and specializes in presenting an authentic "roots sound."
With his recent album “Lisbon by Bus: Sincretismo", Portuguese drummer and producer Bruno Crux makes an impressive comeback. The mini-album features four instrumental tracks, each followed by one by Sr. Dubong mixed Dub-Version. The pieces combine world music sounds with reggae rhythms. The focus is on the phenomenon of "sincretismo" (sincretism), which arises at the intersection of different cultural and religious influences. The compositions demonstrate a connection from the former "end of the world", the "Finis Terra" in western Brittany, to the ancient mysticism of Axum in northern Ethiopia and from there across the endless Eurasian expanses to Mount Amba Gashen in the Ethiopian region of Amhara. It is a musical journey through various geographical locations, guided by reggae grooves, enriched with sounds from all over the world. The four instrumental pieces "Finisterra", "Aksum", "Eurasia" and "Amba Gashen" symbolize stations on this imaginary journey. The pieces are instrumented by Bruno Crux on bass, guitars, piano, and percussion; Pedro Mighty Drop on drums and percussion; and Zacky Man on keyboards. Special guests include João "The Rooms" Gonçalves (piano and guzheng on "Finisterra," guzheng on "Aksum"), Ras Kamarada (guitar on "Aksum"), and Freddy Locks (guitar on "Amba Gashen").
“Raw & Remixed” (Reverb & Delay) by Dub Healer is an album that not only openly displays its own imperfections, but actually celebrates them. The punk-inspired cover alone signals: This isn't ironing, this is burning! The tracks on this album are – in the best sense – half-finished sketches, rough drafts that come straight from the workshop to the Dubplate. That these Dubs often come from final drafts and were recorded in one take, gives them an urgency that sets them apart from perfectionistically overworked productions. "Prayer Dub“ opens the album with a piece Dub-History: The legendary samples of Alpha & Omega and Jonah Dan, hidden in the digital dustbin since 2007, receive a belated but all the more worthy revival here. Dial-up modem noises and bird calls blend into the raw soundscape, which is as spiritual as it is uncouth. "Better To Make" Dub“ is a tribute to Dub Judah's "Better To Be Good" – without attempting to outdo the original. Instead, there's a respectful, energetic reinterpretation that deserves its right to exist, especially on the dance floor. With "Sing Jah Dub“ delivers Dub Healer delivers exactly what a sound system needs: a simple yet effective banger that gets the crowd singing and jumping along. Minimalism at its finest – a bass line, a striking vocal sample, and enough space for collective ecstasy in front of the speaker towers. "M1 Dub" is a declaration of love to the legendary Korg M1 synthesizer, whose digital sounds sound surprisingly warm and organic. It is a tongue-in-cheek statement against analog purism: Yes, even a digital dinosaur can swing properly in the right hands. In short: "Raw & Remixed" is not a flawless work of art – nor does it want to be. It is a manifesto of the moment, a raw sound diary for DubConnoisseurs and sound system activists. Every reverb effect may not be perfect, every bassline may be a bit too dominant or too lean—but that's precisely what makes it so appealing.
And yes, I know, I often hold the flag of the complex, multi-layered DubCompositions. Music beyond pure dancefloor use, intellectual sound architecture best enjoyed in a comfortable armchair with a glass of good wine. But let's be honest: once the bassline starts rolling and the crowd collectively takes off, there's no need for well-aged wine. You could say: I, too, have become a victim of my own principles – and it feels pretty good. Because in the end, only one thing counts: Anything that's fun is allowed. Dub has never been a place for dogmas, but always a field of experimentation between spiritual search and unbridled sound system excess.
Thirteen years. An eternity in the fast-moving world of digital sound aesthetics, but a blink of an eye in the cosmos of Dub, where time dissolves into endless echoes and reverbs anyway. The Breadwinners, under the leadership of the notoriously reserved studio wizard Al Breadwinner, are back for the first time since this time with a new Dub-Album back: “Return to the Bakery” – and it's as if time has stood still. From the first bass line on, it's unmistakably clear: "Return to the Bakery" is not a nostalgic experiment, but a devoted homage to the golden age of reggae and DubProduced and mixed in the in-house Bakery Studio, Breadwinner remains true to its ethical code: analogue tape machines, vintage outboard gear, and a recording process that literally imprints the live feeling on the magnetic tracks. Nothing sounds dusty or museum-like – quite the opposite. Dubs roll warm, organically, with a depth of sound and dynamics that is only possible with today's recording and mastering techniques. Every delay, every spring reverb is not just an effect, but an instrument in its own right, with a soul and a life of its own. The guest list reads like a who's who of the reggae underground. Nat Birchall and Stally let their tenor saxophones ring out, while the living legends Vin Gordon (trombone) and KT Lowry (trumpet) contribute fine brass sections that seem to come straight from the golden era of Studio One. Alrick Chambers lends the whole thing an almost ethereal quality with his flute playing. But the true star remains Al Breadwinner himself. Dub-Mixes are not simple "versions," but artistic deconstructions. Like a sculptor, he carves a new, unique reality from each session. The tracks are fragmented, reassembled, shifted in space – a game with the laws of physics and psychoacoustics. At times, one imagines oneself in the Black Ark Studio during its heyday. Not because of crude copying, but because the spirit of Lee Perry is truly evoked: the playfulness, the unexpected, the charming impurities that are so sorely lacking in digital productions today. Of course, the heretical question arises: Do we need historicizing music? Isn't it superfluous to Dub of the 70s down to the smallest detail? The answer is provided by the album itself – with a relaxed, self-confident smile: No, not at all! Because this isn't simply a copy of past sounds. Rather, this music is a homage to craftsmanship, a sensual experience that deliberately eludes quick consumption and perfectly calculated streaming playlists. It demands our attention – and rewards us with intense and deeply satisfying listening experiences. And even if critics might argue that it's "redundant," it remains one thing above all: pure pleasure – and that alone is more than enough to justify its existence.
"Return to the Bakery" is not an album for casual consumption, and certainly not a background soundtrack. It is an acoustic work of art, crafted with dedication and craftsmanship. Those who take the time to immerse themselves in this world of sound will not only be greeted by warm, pulsating bass lines and artfully applied delays, but will also experience a musical depth that leads directly to the spiritual roots of the Dub It is music that does not run behind time, but rather transcends it.
The start of "Dubs of Perception", the new album by Zion Train, is a calculated shock: archaic-sounding tribal chants echo out of nowhere, raw, untuned, like an incantation around a campfire. No sooner have you embarked on this pseudo-ethnographic trip than a monotonous sub-bass surges in, so thick and stoic that it almost swallows the voices. Over the next minute, these two poles clash repeatedly—a ceremonial echo and a low-frequency force that shouldn't really work together. Then a break. Sound layers interlock, and the actual Dub begins, which seeks neither to serve roots tradition nor club formula. It is at this very moment that the game being played becomes clear: create expectation, shatter expectation, maximize contrast, and then place everything in a new context.
"I deliberately chose a different approach this time," explains Neil Perch, producer and driving force behind Zion Train. "In the studio, I planned to combine new technologies with old, almost forgotten methods. I wanted to go back to the roots of live?Dub"Mixings – with a 40-year-old, restored 32-channel analog console. This console has a rich history; it was used, for example, in the legendary Music Works Studios in Jamaica."
Nevertheless, the album doesn't sound museum-like at all, but surprisingly contemporary. "At the same time, I've integrated modern effects, like the Zen Delay and a new version of the Roland TB 303 – the classic acid house bass machine. This combination of old and new defines the album's sound." Thus, the past hums in the low frequencies, while the "here and now" shimmers above, supported by Cara Jane Murphy's (very sporadic) vocal lines, Roger Robinson's spoken word accents, and the energetic Zion Train brass section. Guest musicians like Paolo Baldini and veterans Trinny Fingers and Blacka Wilson fill the sound with a self-awareness that only arises when studio sessions still involve genuine collaboration.
The central principle of the album, however, remains unpredictability: "With analog mixing, everything is impulsive," says Neil. "I roughly set the mix, choose the effects – but from the moment I press play, it's pure improvisation. You can't plan anything out. You simply follow the vibe, and that brings out aspects of my artistic character that would never appear in fully thought-out productions. That's exactly what makes the work exciting. Even after more than 35 years, this process still surprises me." This attitude can be felt in every piece. For example, in "Travelling," which begins with a Burning Spear sample and then becomes a 303 thunderstorm, as if the machine wanted to test the foundations of the subwoofer. Then a lovely flute melody joins in – it couldn't be any weirder. Dubs hardly compose. Neil confirms that this aesthetic ties in seamlessly with "Siren": "There is a clear connection to my early work. Back in the 90s, I worked a lot with acid house machines. I last used them on the album "Siren". Now I've gone back in that direction with my equipment. Mainly because I love that sound - but also because what I've done in the last five to eight years in the Dub?scene was quite boring. Originally, I liked Dubbecause it was exciting compared to reggae. Reggae, in my opinion, had already become boring in the 1990s and still is today. So I turned Dub because it was still exciting in the eighties and nineties: new ideas, new technology, many new groups. But while the Dub?Virus spread?–?which is great on the one hand, because now the whole world Dub listens?–?at some point, music became boring for me too." Neil describes his musical development. "Technologically, I always try to develop, adapt, and innovate when making music. What motivates me most is to create sounds that are not constantly Duband reggae? language – because I find it completely predictable, commercial, and uninspiring. Too much music sounds exactly the same, is full of clichés, cultural appropriation, and misunderstood concepts – I consistently avoid all of that."
With "Dubs?of?Perception“ he now provides material that Dub-Mainstream runs counter to - tracks that are not limited to a simple stepper beat, but only become apparent through repeated listening.
This is precisely the strength of the album: It demands listening without denying danceability. The band's live experience—re-tested in 2024 on stages from Mexico to Croatia—seems to have an impact on the studio. Modulations, delays, and abrupt breaks recall those moments when Neil raises the reverb fader during a concert until the room is filled with echo. Thus, "Dubs?of?Perception" manages the feat of being both a retrospective and a vision of the future. The craftsmanship with which Neil composes his tracks combines with a desire to take risks, to make new connections and to leave mainstream paths. When Dub Today, Zion?Train often sounds like a genre that endlessly repeats its own rituals, but this is precisely where Neil takes the ritual seriously, but he varies it – so radically that by the end of a track, you feel like you've relearned a familiar language. If you want to know where Dub Anyone who wants to move beyond the usual stepper templates will find a fascinating and extremely passionate answer here.
If I liked vocals in reggae, Perfect Giddimani would definitely be one of my favorites. The guy's got it: Not only can he sing (meaning he hits the right notes and has a good phrasing and breathing technique) and DJ skills, but above all, he can also write fine lyrics and catchy hooks. Sure, he occasionally has fits of screaming, which you can easily overlook or ignore. Perfect Giddimani certainly demonstrates a good hand in his selection of producers and backing tracks—for example, from House of Riddim or Irie Vibrations.
This time Perfect Giddimani has chosen to collaborate with Victor Gallardo akaSinky Beatz – a Spanish music producer and trained jazz musician who, according to his own statements, specializes in roots reggae and Dub He succeeds quite well and anyone can download his riddims for a reasonable price of 49 or 99 US$ via his Website Perfect Giddimani may have handled it this way for his current album "Sibusiso (Blessings)" – although it can be assumed that the collaboration goes deeper. Sinky Beatz also releases his riddims on various streaming platforms – which raises the question: why? Such monotonous instrumentals, smothered by soft keyboard carpets, are not necessarily appealing to the experienced listener and definitely fall into the category of background music. Last year's album "Dubphilia” – a pleasantly listening collection of fine DubTunes with catchy basslines and just the right amount of dynamics. What's real instrumentation and what's thanks to samples or AI remains to be seen; the album is certainly worth recommending – among other things, because the keyboard layers are used rather sparingly.
The same applies to the recently published “Sibusiso in Dub“ (Giddimani Records), the companion album to Perfect Giddimani's “Sibusiso (Blessings)“. Solidly produced by Sinky Beatz, it scores with first-class sound and wonderfully embedded DubEffects; they also didn't forget to leave many hooks in the mix. Only the overused bass sound effect could have been used more sparingly. We know it from the Mad Professor mixes, where it can be seen as his USP. However, the Professor never managed to integrate it into the mix as beautifully and perfectly as Sinky Beatz.
Is “Sibusiso in Dub“ also Roots-Dub At its best? No, but pretty close. A little less perfection might have done the album good – you soon get tired of too much beauty. Nevertheless, a thumbs up for this production... and every now and then I'm strongly tempted to give it a second thumbs up, too.
Blanc du Blanc, who is that? I have to admit, I've never heard of this band name before, even though they've released two highly recommended albums ("The Blanc Album"; "Regatta du Blanc du Blanc") and an EP ("Wind of Change") in recent years. The band even collaborated with the legendary Lee "Scratch" Perry on "Wind of Change" - the Scorpions ballad - and yet they still sailed under my radar. Blanc du Blanc is a heteronym. On the one hand, it's an imaginary character who currently performs wearing a cape and mask. On the other, it's also the face of a group of ever-changing musicians from New Jersey who defy easy characterization and describe themselves as "created by an undercover artist, working as an agent for Monrovia." It's a group of musicians, led by mastermind and bandleader Chris Harford. They perform undercover live and have connections to bands like Morphine, Bad Brains, and JRAD. Chris Harford is definitely no stranger to the American music and art scene and is truly a jack-of-all-trades. He's a singer, songwriter, guitarist, and painter and has released several albums with his band "Band of Changes" since 1992.
In the world of Dub / Reggae, musicians and producers typically rely heavily on old, analogue equipment and techniques. Not so with Blanc du Blanc. Unlike other bands' recent releases, which use almost historic equipment, the album "Before the Beginning" was clearly created in the digital age and is reminiscent of more modern producers like Bill Laswell.
Now let us come to the actual object of desire: The project “Scientist meets Blanc du Blanc: Before the Beginning“ (Soul Selects Records) is not just the meeting of two brilliant artists – it is the clash of worlds, frequencies and timelines. Scientist, the DubThe pioneer who has shaped the sound of generations takes the spectral transfers of Blanc du Blanc and transforms them into something earthly yet cosmic. He lets otherworldly sounds collide with deep-rooted Jamaican tradition. Scientist is in his element and delivers what the Dub-Heart desires: Hypnotic delays, interstellar reverbs and fat basslines that resonate through the galaxies. They form a portal to a new Dub-Dimension where the echoes of the past meet the future of sound. Scientist blends analog warmth with experimental drift, taking us on a sonic journey through space and time. It explores frequencies where the bass vibrates like cosmic waves. Scientists' trademarks remain: live mixing and a focus on sound. These are consistently present, overlaid by more abstract contributions from Blanc du Blanc. Traditional DubMotifs are replaced by filtered synths, ambient textures, and subtle dissonances. This is definitely not about the rhythm, but about the mood. The structure definitely gives way to a tonal drift. For me, one thing is clear: this is music for hanging out and letting go.
Although the Gladiators' career spanned more than 40 years, in my opinion, they weren't at the forefront of Jamaican vocal trios. Nevertheless, the Gladiators masterfully navigated the evolution of Jamaican music, from rocksteady to roots music to modern reggae. Like many bands, they had their heyday from the mid-1970s to the early 1980s.
With the publication of “Gladiators: Roots Natty(Tabou1) For Record Store Day, reggae fans will receive a beautiful compilation of some of their early pieces from the heyday of the roots era, when Tony Robinson was still producing the Gladiators. The only exception is the opener "Give Thanks And Praise" – a rare Yabby You production. The lead vocals are by Clinton Fearon and the toast that follows seamlessly features DJ Trinity aka Junior Brammer, who passed away in April 2021. Most of the 11 tracks on "Roots Natty" are rare Jamaican singles and maxis that were previously unavailable on LP or digitally. The album also features original members Albert Griffiths, Clinton Fearon and Gallimore Sutherland. Overall, "Roots Natty" represents the essence of fine, timeless Jamaican music. The compilation undoubtedly contains one or two pieces that you have never heard before. Most people will surely know “Jah O Jah O,” one of the most rousing tracks on the album, with its dirty, fat bassline and instantly recognizable chorus. Less well-known are the Dubversion of "Till I Kiss You" or the ganja anthem "Light Up Your Spliff." With only 11 tracks in total, "Roots Natty" is a bit short, but I like everything about this release. Great Gladiators vocals, plus some bonus tracks.Dubs of "Give Thanks" and "Nyabinghi Marching." All previously unreleased recordings, extended versions, and Jamaican mixes that supposedly sound harder, dirtier, and bassier than what was produced for the rest of the Western music market. In summary, these recordings, originally released in small, exclusive editions in Jamaica, perfectly represent the unvarnished, authentic energy of the Gladiators.
When it comes to the Zion I Kings, one doesn't really know what to make of these gentlemen. These Kings are – we remember – the combined protagonists of the Zion High, I Grade, and Lustre Kings production stables. There's not much more to say about them; more details can be found in the various dubblog.de reviews previous Zion I Kings releases – although one should not expect anything particularly remarkable. These reviews naturally refer only to their Dub-albums; the Kings' main focus, however, is on vocal productions for Akae Beka to Protoje – at least that's what the number of vocal releases suggests. The producers sometimes find one or the other of their own tracks so cool that they give it a Dub-treatment. This has not been the case with pieces of their Dub Album premiere, "Dub in Style" works perfectly – also because the product can be seen as a legacy of Style Scott. Then, unfortunately, things went downhill, with the completely overproduced and pointless ("I'm going to put a collection of Asian instruments over it") instrumental/DubAlbum "Kung Fu Action Theatre“ by Christos DC was probably the lowest point. The “In Search of Zion“-album: Here, roots tracks were recorded around the vocals of Protoje's “In Search of Lost Time“-release and the Dubs included. And it turns out: It is the vocal snippets, especially Protoje's hook lines, that make this Dubs character and recognition. Without them we would probably have to deal with faceless Dub-uniformity to do.
Which brings us directly to the current “Live free“-album (I Grade Records) by the Zion I Kings. What else can one say except “Are these instrumentals or Dubs or can it be removed?" Right from the start: The tracks are, as always, superbly, immaculately produced - so clean that you practically wish for rough edges - or something that would attract attention. That remains wishful thinking, of course: Everything is beautifully balanced, nothing distracts, a perfectly rounded thing, so to speak - but it also tastes as bland as a coffee bean shot through three liters of water. This time too, one can safely ask the question: Is this already elevator music or are the vocals missing to bring the production back on track? The customer can decide.
There are albums that you put on and immediately immerse yourself in a positive mood – “Friendly Melodies" (Zulu Vibes) by Zulu Vibes is just one of those. I knew after the first few bars that this album would stay with me for a long time. The French producer, who first caused a stir in 2018 with "Silver Wind", Youthie's debut album, has created something that not only sounds good, but also feels good. The tracks are warm, lively and full of joy - you can feel that someone with a true love for reggae and Dub was at work. The sound of "Friendly Melodies" has a pleasant liveliness and cheerfulness. Perhaps it is the way the arrangements breathe, the way each instrument is given its space, or the fact that the mix simply sounds so organic. Dub not just produced – here it is "played." The album has a groove that is nourished by many small details, details that you only discover after repeated listening. I find myself involuntarily clicking and playing the album in my media library again and again. Perhaps this is also due to the versatility of the 12 tracks. Each of them brings a new facet to the music – sometimes driving and energetic, sometimes relaxed and meditative. Dub-Mixes are finely tuned and provide additional depth without getting lost in effects. Some DubAlbums sound like studio work – well thought out, but also somewhat distant. Friendly Melodies is different. It feels like you're right there, as if the music is being created in a room full of instruments and fresh ideas. Dub Anyone looking for something that sounds grounded yet fresh will definitely find what they're looking for here. An album that not only delivers good vibes, but also continually reveals new nuances—and absolutely lives up to its title.
Dub from the small Alpine republic of Austria is not exactly the order of the day. All the more reason why Danubian Dub has just released a double album with 22 tracks. The double album is actually two albums: "Red Horizon" and "Beyond Horizon“ (both Danubian Dub Records), which were released at the same time and offer roughly the same thing: Steppers-Dub mixed with vocals. “Beyond” is not just the Dub-version of "Red" – although it has a more pronounced heaviness. Overall, both albums are not about groundbreaking experiments, but rather about solid craftsmanship, technical brilliance, and a deep understanding of sound system culture. And then there's the sheer quantity of tunes! An impressive testament to the immense productivity of the production team, which is not only active in the studio, but also with its own events and self-organized Dubstetten Festival is active in the scene. The opener, "Armageddon," on Red Horizon impressed me. The track is based on a randomly recorded Aramaic choral passage from a church. It's precisely this kind of detail that makes Danubian Dub They process spontaneous inspirations and incorporate them into their productions. The album closes with "Where Have You Been," a personal vocal number with Tom Spirals that resonates not only musically but also emotionally. "Beyond Horizon" continues the concept and brings 11 tracks of massive Steppas vibes, with strong guest contributions from Kol.EE aka King D, Amando Atodos, and, of course, Danubian. DubSingers FerdI and Dave. The final track, "Poverty," is a powerful statement against social inequality. Very beautiful! The album's sound is outstanding. The productions are powerful, refined down to the smallest detail, and demonstrate that Danubian Dub They have mastered their craft perfectly. It is an album that not only works on large sound systems, but also unfolds its effect in a quiet environment. "Red Horizon" and "Beyond Horizon" are not albums that Dub reinvent themselves – but they are an impressive demonstration of what solid production and dedication to the genre can achieve.
