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Dub is easily identified but difficult to define. Is it a style, a genre, or an approach to sound?

Mad scientist Lee “Scratch” Perry practically invented it in his Jamaican laboratory, yet reggae inflections are often absent from the work of modern purveyors. A quick glance at those who claim (or are claimed) to be influenced by dub only heightens the confusion: Massive Attack’s atmospherics are often attributed to it; Audio Active’s techno frenzy in part derives from it; even Tortoise’s studied use of silence has been dubbed dub.

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