32 Best Dub Techno Albums Ever Made

Here it is, the Optimistic Underground list of the best dub techno albums ever made. Recently I realized there were no definitive lists or guides for ushering new fans into the genre I love most. The few I found were anemic, narrow, and boring; nobody was doing dub techno justice. So here I am, trying to do just that.

The magic of this genre is that its best and brightest examples are not only impressive musical monuments; they’re easy to love and loop and listen forever. This isn’t an academic compilation based on importance or history; it comes from a deep affection for a living, breathing sound.

Dub techno was born with such a defined aesthetic that many early examples sounded like they were from the same artists. Some of them actually were. In fact, you’ll see a few artists represented under different names on this very list. It’s not for a lack of options out there; techno artists tend to switch up identities as soon as they find a new direction in sound. So on a sensory level, for all intents and purposes, they really are distinct musicians. Basic Channel is not 3MB is not Maurizio is not Rhythm & Sound is not Moritz Von Oswald Trio is not Borderland… you get  the picture.

You may notice that this list holds many compilations standing in as albums. In a genre so deeply associated with the 12″ single format, many early dub techno artists became known to the wider world via compilation CDs. This is where the hermetic genre feel becomes an advantage: these compilations often evoke the feel and structure of planned album releases. They’re as cohesive as anything recorded in the album format and undeniable highlights for the genre.

Some of the biggest fans of dub techno are the ones who want to keep it pure, holding a very narrow range of sound as the platonic ideal, accepting little variation and dismissing anything that comes later. They hold up the few original masterpieces as paragons of the sound and dismiss anyone who came along in the following decades. These folks come at music with a prescriptivist attitude, battling for how they think music should be, rather than appreciating how it is. I believe they’re wrong.

When it comes to music, just like grammar, I’m always a descriptivist. I love when genres splinter into dozens of permutations as they migrate and adapt to their new environments. When it comes to dub techno, I hear masterpieces in every era, from the obvious touchstones of the 1990s on up through last year. This sound comes in more than one shape, a fact made crystal clear as we follow its timeline below. This list is arranged in chronological order so you can follow along from when the genre broke ground through the myriad branches that grew as it matured. Accordingly, the music gets weirder and more varied as time goes on.

For more exploration, try the 32 Best Ambient Albums and Every David Bowie Album Ranked lists or see the Optimistic Underground best of the year collection for a load of gems.

On with the list. These are the best dub techno albums ever made:

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Soichi Terada Presents Sounds From The Far East

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This is some of the brightest, most colorful music I’ve been into in a long time. It’s a psychedelic magic trick, striking the pulse of zeitgeist labels like 1080p and Orange Milk from far out of left field, a completely unexpected place and time.

I was tricked in the best way when I first heard Soichi Terada Presents Sounds From The Far East.

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David Bowie Is Dead // This Is What He Means To Me

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“Where the fuck did Monday go?”

David Bowie is actually dead. It feels strange to say this. More than any other artist on the planet, Bowie always seemed to move beyond mere mortals. To the world, he was larger than life. His work was timeless, always a step ahead and off to the side from everyone else. Even his most popular songs felt beamed in from another place, with a unique sensibility that could come from no one else. He is universally beloved by entire generations, despite remaining as weird as a man can be.

Infinitely more important to me, however, is the space he occupied in my life. David Bowie is the one and only artist to have been there all along. I mean this in the most literal sense.

He starred in one of the first films I can remember watching, Jim Henson’s dark fantasia Labyrinth. Despite playing the villain, he was a magnetic attraction. Enigmatic, beautiful, always a touch removed from the teenage heroine and the viewer alike, he was the spectral vehicle and its destination in one. As the Goblin King, he invited my young mind on a journey with the promise of adventure, tinged with a little fear and weighted by potential loss. There were high stakes for reaching out to take his hand, but the rewards unfolded past the horizon. I was smitten before I knew it.

Growing up in the 80s and 90s, past the peak of his commercial popularity, I swam in the echoes of David Bowie’s legacy. He was so far ahead of the game that I never quite caught up. My earliest radio memories were filled with older icons like Roy Orbison, The Beach Boys, and of course, Bowie. I would bicycle around my forested neighborhood singing Pretty Woman, I get Around, and The Man Who Sold The World. I had no grasp on time, never differentiating between oldies and current hits. The music simply was what it was, the soundtrack to my childhood, the intangible spirit in the air.

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Cocteau Twins – Heaven or Las Vegas

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Cocteau Twins made some of the most unique music of all time. I could hear a two second clip from any song in their catalog and know instantly who it is. This is the only dream pop band that sounds like it came from actual dreams.  People tend to love everything they’ve done, or nothing at all. I’ve been addicted for years.

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Notorious B.I.G.’s best tune: Gimme The Loot

This is the song that made me realize Biggie was far more than just the guy behind a few great singles on MTV in my youth. It took years, but Gimme The Loot launched him from a dream to the pantheon of all-time great rappers, in my view.

The beat is monstrous and the lyrics hit hard and fast, dancing in a trick-move delivery that is still mostly unmatched in the world of hip-hop. Biggie could spit rapid fire with eloquence, twisting literary turns of phrase and gutter-blast shade in the same bar, all with a flow and voice so catching and endearing, it was inevitable he’d become a megastar.

Because of the time and place I grew up, my biggest association with hip-hop was via MTV, so my biggest impressions of Biggie were the Puff Daddy features that came right before and after his death. Great songs, no doubt, but oversaturation pushed me away. It wasn’t until the end of the decade, when cruising with friends, getting high, and listening to rap for hours on repeat, that his true genius revealed itself. I was tapped in and could no longer look back. This guy was as real and perfect as Nas on his debut, or 2pac on his last album, for that matter. The skill and artistry cut through the fog of ubiquitous Puffy videos and overabundance of so-so posthumous collections, and I realized what all my friends were loving years before.

As it is, he was cut down in his prime and we’ll never know what could have happened. But this song, and the album it’s found on, Ready To Die, will always stand as a testament to the heights of artistic power that major label rap achieved in the 1990s.

Digable Planets – Blowout Comb: Best hip-hop album of the 90s?

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Inspired by a friend’s reminder, I cued up one of my favorite albums of all time: Blowout Comb, the underrated second and final release from Digable Planets. For those who aren’t familiar, they are jazz-inspired contemporaries of monumental groups A Tribe Called Quest and De La Soul… but they go way deeper.

This album is the real deal. Here’s the second to last song, a kind of manifesto:

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Slowdive – Here She Comes // surreal fan video

Slowdive band 1993

Here’s an admission: shoegaze is still one of my favorite genres. The gauzy dream-sound of guitars blurred into pure haze.. it’s never left that soft, nostalgic center of my brain. Effects pedals, ghosted vocals, and a sort of spectral swagger will always their place in my heart.

Today I listened to Slowdive‘s monumental second album, Souvlaki, and it all came flooding back. I got those old familiar chills right in the middle:

Here She Comes is the simplest, most direct song on the album. The impressionistic lyrics are just dark and weird enough to not seem juvenile; combined with the melodic cloud of hand drums and reverb-laden guitar, they form a surreal love poem.

It’s so lonely in this place
So cold I don’t believe
And as no-one knows my name
It’s easy to pretend
It’s easy to believe
There’s a shadow on my wall
It dances like my soul
Dances like my soul
It’s so cold now
I swear it will be warm
Here she come now

Since the band recently reformed, I’m hoping for at least one chance to see Slowdive perform in this lifetime.

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Someone was kind enough to upload the entire Souvlaki album on youtube, so give it a listen if you don’t already own it. As one of the best albums of the 90s, and easily one of two or three crowning achievements of the shoegaze genre, it’d be a damn shame to miss out on this experience. Buy the album for less than $10, if you’re interested. Or listen first below.

There’s a shadow on my wall / It dances like my soul