Dadub - How to Remix the Radiance of Revelations (2026)

Dadub’s How to Shoulder the Radiance of Revelations returns here refracted through a wide field of collaborators, each one drawing out different stresses buried in the original. Where the 2025 album balanced intricate sound design with a kind of internalised intensity, these versions feel more exposed, as if the material has been pulled into open air and left to react. Iron Lang sets the tone early, shaping Colliding Expanses into something weighty and unstable, its bass pressing outward in slow, tidal movements while percussion skitters across the surface in flickering, asymmetrical patterns. That sense of unease carries into Cindytalk’s reading of Particle Spatium, where the structure softens and dissolves into a blurred mass of guitar and tape-worn texture, hovering in a state of suspended erosion. The momentum gathers again with Headless Horseman, whose version of Hunger for Oblivion introduces a taut, step-driven pulse threaded with bright arpeggiated figures, while Zesknel pulls the same source into a harsher register, splintering it into screeching textures and rough, pressure-heavy rhythms that circle a destabilised core.

The centre of the record settles into something deeper and more submerged. Fatwires reduce Colliding Expanses to its skeletal weight, letting clanging tones and low-end pressure revolve around a vocal presence that feels fixed in place, caught in the system. Deadbeat follows with a version of Someway, Somehow that stays close to the original’s internal map but shifts its footing, breaking the rhythm into uneven, rolling patterns that carry a faint UK funky inflection without ever resolving into it fully. Winchester pushes further into stripped territory, shaping ShellBreak into a sparse, nocturnal form built from clipped percussion and negative space, while Sorcery expands that same material outward into something more physically insistent, layering dense drum work and looping vocals into a track that accumulates intensity rather than releasing it. The sequencing here feels deliberate, moving between reduction and overload, holding the listener in a constant state of recalibration.

By the final stretch, the record tightens its focus again. Electric Indigo pares Someway, Somehow down to a precise, high-tension framework, where corroded textures give way to tightly coiled percussion and a nervous forward motion that feels continually on edge. Mick Harris closes with a version of Now See that leans fully into abrasion, driving metallic tones and saturated low-end into a dense, physical space that recalls the long arc of his work in dark electronics. Across the album, Dadub’s original compositions remain clearly present, but they are subjected to shifts in scale, pressure and intent that alter how they are perceived. What emerges is not a set of alternate takes but a series of parallel states, each one revealing different structural and emotional properties within the same material, and allowing the record to extend outward without ever settling into a fixed form.