Normally it works like this: someone records an album, publishes it, then sends the tracks to musician friends who produce remixes, which are then released about six months after the album is released. It's the same sequence as the classic one Dub-Album: first the vocal version, then the DubVersions. But just like the modern one Dub has put an end to being the derivative of a vocal album, the remix has now evidently also emancipated itself from an "original" that was previously assumed to be mandatory. The Horace Andy album "Broken Beats" (Echo Beach) was created directly as a remix. A brilliant idea that was implemented consistently and brilliantly: The Hamburg label Echo Beach was in the mood for a new Horace Andy album with some of its classic hits such as Skylarking, Money Money, Cuss Cuss and new material and thus invited friends without further ado Dub-Acts and Remix producers like Rob Smith, Dubblestandart, fenin, Dub Spencer & Trance Hill, Felix Wolter and others to contribute the music. But instead of using old Horace Andy recordings, the entire album was created from scratch. The highlight: even Horace Andy sang his songs anew. What could easily have gone in the pants as a brain experiment is now available as an exciting and beguiling album that is conceptually and musically absolutely state of the art. Although the individual style of the musicians involved remains unmistakable, all tracks, the vocal versions and the Dubs in the second part of the album, to a cohesive whole that extends beyond the narrow stylistic boundaries of reggae and Dub emotional. At first sight, the album doesn't make it easy for its listeners. If you listen briefly, the beats often seem a bit bulky, cannot be assigned to any known categories and instead of powerful thump offer rather reserved understatement. The real treasure of this music is only revealed when you listen carefully. Then when the calm power of the beats and the beauty hidden in their complexity become apparent. And that's exactly when the listener is infinitely grateful, instead of ticking off well-known styles, to experience new surprises in each of the 15 tracks, to make new acoustic discoveries and finally to find (again) what for Dub actually stands: innovation.