“Dub Techno” got its name from merging two foundational styles: Jamaican dub (known for its spacious effects, heavy reverb, echo, and stripped-down arrangements) and techno (originating from Detroit’s electronic dance music scene). Producers in early ’90s Berlin—especially Mark Ernestus and Moritz von Oswald of Basic Channel—were among the first to blend the minimal 4/4 pulse of techno with dub’s atmospheric production techniques.

Techniques vs. Sound
The term does hint at the techniques behind the music as much as the sound itself. Dub Techno tracks often use the classic dub approach of layering echo, reverb, and feedback effects on top of repetitive techno rhythms—creating a deep, spacious atmosphere. So the name reflects both the sonic aesthetic (a techno backbone with ghostly, reverb-heavy textures) and the specific production methods (resonant filters, tape delay, etc.) that trace back to dub’s studio experimentation.

This is my first attempt at Dub Techno: “Lost signals of War: echos in DUB”, where I used an old radio recordings of Italian general Badoglio.