The genre in short
Dub starts as a useful mistake. In late sixties Jamaica, engineers work out that an instrumental version on the B side fills a dance as well as the song does, and that removing the vocal leaves room for everything else. King Tubby and Lee Perry turn that discovery into a method: the mixing desk becomes the lead instrument, played by moving faders while the tape runs.
It never really left. Bass pushed to the front, reverb used as space rather than as an effect, drums that come and go: those choices turn up in English post punk, in jungle, in a good deal of the electronic music made since the nineties. What we gather here follows that passage, from the rooms in Kingston to everyone who kept working by subtraction.