Dub is widely regarded as a sub-genre that grew out of reggae music in the 1960s, but over the decades it has evolved so much that it has in turn inspired its own offshoots.
Spilling over into rock, punk and hip hop as well as techno, house, ambient and drum ’n’ bass, to name but a few, dub has grown by embracing and assimilating itself to these diverse genres. It is an effective hybrid that has inspired new exciting sounds that have spread worldwide, yet somehow still strongly resonate the genre’s original reggae roots.
Locally, the dub scene is still emerging, but this hasn’t deterred Bass Culture from pushing ahead with its mission of spreading dub’s all-encompassing sound all over the island. Founded by two dub fanatics, the organisation puts on events for those with an inclination for bass-heavy sounds, bringing something fresh and different to the local scene.
I think that more than just music, dub is a style, a mood
Following the Dub Diffusion sessions held this summer, Bass Culture will be staging its first live event at Razzett L-Aħmar in Mosta on Saturday, with Frenchman Weeding Dub as its headlining act and with Error_404 providing visuals and projections.
Based in Lille, artist and producer Weeding Dub has been prominent on the international dub scene since 1999, releasing countless EPs and three acclaimed full-length albums, the latest being Inna Digital Age, released less than two weeks ago.
His sound is grounded in the Anglo-Jamaican sound system culture, providing the energy that fuels his live performances. Weeding Dub has to date performed in over 20 countries, among them Mexico, Finland, Croatia and Cyprus. Joining Weeding Dub on the bill for the night will be Danjeli, with an eclectic mish-mash of bass-heavy sounds; Polish dub producer and DJ Lubay Dub Service; as well as myself, with a classic dub set.
What got you into music, and what in particular drew you to dub and reggae?
I’ve been playing keyboards since I was six years old. After many years of studying and playing in rock bands in my youth, around the end of the 1990s I ventured into creating electronic music – techno and triphop at first, then dub, on the computer.
I must admit I love playing digital instruments, as well as making people dance, but I was feeling frustrated with ‘dance music’ because I was interested in more than just making music for amusement only. I believe that music isn’t there exclusively for entertainment, but also to carry a message. Music needs to be conscious, and about 15 years ago I found what I needed in dub music – a perfect mix of knowledge and wisdom, as well as a conscious message inspired by reggae music and the art of electronic music.
When you set up Weeding Dub, was it intended as a collaborative project or a band?
Weeding Dub is actually a project revolving around myself, as its producer. It does involve a lot of collaborations with vocalists, other musicians, engineers, graphic artists, and so on. However, in the studio I work alone on the rhythms, the mixes… the entire production, really. When I perform live, I’m usually on my own too, but sometimes I like to also bring on a few guest singers or MCs.
How important is dub in terms of the spin-off genres it has influenced and inspired?
I think that more than just music, dub is a style, a mood. You can dub any kind of music like, for example, what Mad Professor did with Massive Attack on the great No Protection album. Dub is important because it has influenced many different styles, but at the same time, each of those styles also influences dub music, so it’s really a two-way thing.
How strong a link do you feel to old school dub in view of your crossover sound incorporating electronic elements?
Despite the fact that I use electronic equipment and that there is a digital element in my music, my sounds are always inspired from roots reggae music. Dub is reggae, and reggae is dub. A lot of bands and producers like to mix different kind of music in their dub, but I prefer to stick to the dub tradition, as King Tubby and Mad Professor have done, for example. My music comes from reggae because that is where my roots are.
Bearing in mind it is largely an underground scene, what is your perspective of dub’s popularity at an international level?
Dub music’s appeal is that it is underground music. Having said that, it’s also worth mentioning that in France, and around much of Europe too, some big dub events are held, and there are those who fear this might push dub into commercial territory. There have been several attempts over the years to pull dub into the mainstream, but I firmly believe that dub will continue to resist these attempts and remain rooted where it was born, in the underground.
Any expectations ahead of your upcoming gig in Malta?
This will be my first time in Malta, and from what I understand, the dub scene is just starting out there. I hope my performance will be appreciated by the people and that it will help to promote the dub music movement in Malta as it has in the rest of the world. Unity is the key, one love and see you all soon!
www.weedingdub.fr
www.bassculturemalta.com