«Walk in trance by virtue of the music»
June 5, 2025
Literary variations on ‘dub’, Jah Shaka , dub as spiritual practice and an interview with Young Warrior.
Text: Eli Tenga
Oslo Dub Club proudly present: Young Warrior (UK) @ Hausmania, Saturday night
The dub. Even as a word it connotes a dual meaning within its remit as a musical phenomenon. Dubs, are versions: the clean slate, strictly instrumental b-sides to the vocalist a-sides. That in its mixing emphasizes and reshapes sections of the track and thus playing with the riddim. But they are also versions: elongated intricate soundscapes created through the above mentioned and various sonic effects. That last bit, those effects: like (space) echo, delays, reverb and feedback are tools of the dubmaster - the man behind the mixing board.
The dub was therefore a pioneer in the forefront of systematic and rhythmic use of ‘effects’ in music compositions. Furthermore, In many ways a rhythmic, repetetive electronic dance music before «dance music» ‘existed’. Hence, in fact, a precursor to contemporary electronica.
Yet the ‘dub’ in itself is a philosophy: a call to spirits and a ritualistic state of mind. So the dub as a ritual offering to Jah almighty (the most high in Rastafari religion), is also connected to a ‘dance’.
A dance - which can be a slow jive, a skank, everything in between and more - is fueled by an overarching emphasis on percussion and even more so, our protagonist, the bass. A lot of bass. Not a crude bass, but an omnipotent bass - so deep, thorough and well-executed you need a specific sound system to reproduce all the frequencies of dub records.
Thus, you dont have a dance, without a proper soundsystem. An assemblage of curated, often bespoke units such as speakers, horns and scoops: which each frequency range connected to their own amplifier: upon which the systems organically transmit a sound unique to them whilst truthfully representing the records. And I tell you: planning, locating, buying, organizing, transporting, setting up, maintaining and functioning these systems - is an art in of itself.
Further, a dance, isn’t simply ‘a dance’. It’s also the dance, a space created with unspoken rules of freedom, tolerance, acceptance. Thus the ‘dub’ also points to these created spaces, communities and their norms fostering of seriousness, dedication, playfulness, spiritualism and understanding.
One plays the record without fooling around as much as say today’s contemporary dance DJs. However, one also use the pre-amp (explained below) to further emphasize aspects of the riddim and maybe set of a siren or to. A calling to the people dem. One further puts one’s signature on the dance by ‘toasting’: as in various manners and degrees of live MC’ing over tracks as they chug along.
Rooted in the gathering of minorities and their communities, as loads of its history and evolution happened amongst the Windrush generation in Britain (Carribeans who arrived in Britain after WWII): this also is the ‘dub’ - a continuing history of resistance, resilience, the fight for rights, freedom and independence
One of the greatest, if not the greatest, to ever do it is the late Jah Shaka aka the Zulu Warrior. For all the descriptions above do not do soundsystem culture any justice. You have to hear it. You have to feel it. In the flesh. Physically. Seen.
Shaka brought the spirits and made a dance which connected with people of all colors, backgrounds and persuasions. Just listening to recordings from his dances - the ambience, the mantra mutterings of some, the shouts of elation of others, the SOUND and Jah Shakas guiding presence at the controls - sends you some place far far away and far far within - a journey with no bounds.
If anyone reading this still has the western-bastardized prejudice of dreads and their music as some weed-smoking slacker-cult. This is not for you. Not remotely.
Having passed away two years ago - the original Jah Shaka dances are no more. Yet his philosophy lives on in his son: Young Warrior aka The Prince of Dub. He has developed his own unique sound and unifying message. Each of his sessions pay tributes to the Jah Shaka legacy - keeping it alive and stronger!
In this vein, Oslo Dub Club proudly invites Young Warrior to Hausmania for the capital’s annual Musikkens Dag (Oslo’s version of Fête de la Musique). This also coincides with the yearly Hausmania Festival, which this year celebrates the cultural institution’s 25th year anniversary. Hosted by our very own soundsystem crew Roastfish & Cornbread - who are celebrating their 20th year in action! Suffice to say - it’s a proper dance alright.
We got to ask Young Warrior, the man himself, a few questions in preview of Saturday’s happening:
Many growing up in new generations are more acquainted with a mixer and DJ, opposed to a selektah and pre-amp. Can you talk a bit about how you interact with the pre-amp and system, and which headspace you guide yourself towards in terms of selecting throughout a night?
- A preamp for me is like an analogue mixer. As a producer I have total freedom using an analogue mixers and to me I see a preamp as a mini version of this. It allows much more creativity and sound adaptations than just a standard DJ mixer. I know mixers now have all these effects etc which are good however there is nothing like a human made preamp!
What’s important in terms of sound for you - and how does the system affect your selection?
- Well our music is very demanding in terms of the frequencies so when you play on a sound system you need the frequencies on the record to be able to come out. These frequencies are very important in the feeling of the music. It’s not just the lyrics speaking to you but the actual sound waves talking to your spirit so a good sound system is very important with this music. It’s difficult to play our music how it was made on a standard in house P.A system. Sound system and reggae music go hand in hand.
Your father, the eminent Zulu Warrior, Jah Shaka (may he rest in power!), is known for a very certain high energy and meditative, spirited space-creation. When both toasting and selecting a dance, is there very much a conscious tapping into certain frequencies which drives stylistic choice or is it unconscious guidance? How do you differ from your father in terms of approach style?
- My father is my musical mentor, I have many however he is obviously the first. Musically I have learnt a lot from him but we have also learnt a lot from each other with me coming from the new school. I have many modern influences however retain a strong Rootical foundation in all that I do. Our musical selections come from natural rebellion, strong religious awareness of God & positivity to uplift and empower all nations. In a dance music just flows and connects. There is no plan. It’s a musical journey!
As said by the founder of Roastfish & Cornbread, Nicolai Gulowsen:
- The sound should be physical, it should hit you in your stomach, your cheeks and the soles of your feet. People should be able to walk in trance by virtue of the music
23-0300. Entrance via Hausmania back yard. id: 18 & over. cc200