The significance of dub/reggae in the development of industrial music and production as a revolutionary artistic force simply can’t be understated, and few acts in the genre have championed dub’s influence as readily as KMFDM. One need only listen to the band’s output during the formative years of the ‘80s to hear just how much the style plays into the Ultra Heavy Beat, with the most recent releases – 2017’s HELL YEAH and especially 2019’s PARADISE – seeing a rather overt resurgence of dub elements in KMFDM’s music. With IN DUB, Sascha “Käpt’n K” Konietzko dives right into the chilled out rhythms, slick bass lines, flippant horns, and spaced out psychedelic effects of the style as he reinterprets several favorites from across the group’s storied history. Some might find the transformation of such hard-hitting industrial/rock stompers as “Light,” “A Drug Against War,” or “Hau Ruck” to be a bit jarring, but tracks like these, as well as “Bumaye,” “Up Uranus,” and “Rebelz in Kontrol” all manage to retain their aggression and rebelliousness; in fact, it is the purity and straightforwardness of KMFDM’s lyrical venom, always addressing the sociopolitical zeitgeist with great fervor, along with the inherent musicality of the group in all its incarnations that allow these songs to revel in these dub renditions. The hip-hop flavorings of Andrew “Ocelot” Lindsley on “K•M•F” are as much a highlight on this version as in its original counterpart on PARADISE, while Lucia Cifarelli’s balance of saccharine melody and riotous female fury on tracks like “Superhero,” “The Real Thing,” and “Amnesia” lose none of their potency. Also adding to IN DUB’s sonic poignancy is guitarist Andee Blacksugar as he adorns numerous tracks on the album with his unique guitar style – he’s no simple shredder chugging out the sort of technical metal riffs and manic solos audiences have come to love in KMFDM’s music; his playing is angular, atmospheric, and appropriately funky, complementing the electronics to such a degree that one could be hard pressed to distinguish them from each other. This is especially so on a track like “A Dub Against War,” his distorted squelches and divebombs, along with the melodica and horn refrains creating a smooth ambience that eventually steps aside for the onslaught of the original version’s thrashing riffs for a brief moment, while his bluesy melodies on “Rebelz Dub” stand toe-to-toe with the Käpt’n’s steely synths that at times take a step more toward modern dubstep than classic dub. “No God” returns from PARADISE, with “Para Dub” being little more than the coda of that album’s title track, and although their inclusion on this collection might be a bit superfluous, but they do well to bridge the ire and scorn of that album with that of IN DUB’s thematic and stylistic energy. This is no mere remix album to satiate the fans’ desire for new material; IN DUB offers a glimpse into the radical and innovative spirit that drove the Ultra Heavy Beat and the industrial genre as a whole and its ensuing relevance in times of societal and governmental turmoil. It may not be the most essential entry in KMFDM’s discography, but it is an enjoyable one nonetheless.