On Bass Is The Space, dub is first and foremost a method of working. For the first time, BiggaBush and his daughter Re:ni are in the studio together, linking dubplate thinking with a contemporary understanding of bass.
Compared to Re:ni’s solo productions, Bass Is The Space is moodier overall, coloured by warm, silky tones. The title track already introduces deep, cosmic synth traces beneath which downtempo patterns begin to take shape. On the album’s most club-ready cut, »Death By Dubplate«, BiggaBush’s long-time collaborator Farda P delivers perfectly calibrated acapellas, while »Mae Uprising«, with its bubbling broken beats and lush chords, brings a more fluid groove that feels almost balearic.
The standout within this construction of deep rhythms and atmospheric sound design, however, remains »BigLozTek«, which sinks deep into echoing dubwise chords. In doing so, it gestures towards dub techno of the 2000s as both a faithful and a modern homage. Bass Is The Space marks dub not as a style but as a living production ethic. Bass, space and craft – handed on, carried forward, made viable in the present.
