Surreal, dreamy reggae remixes

The album Reset in Dub is Adrian Sherwood’s reimagining of Panda Bear and Sonic Boom’s 2022 record entitled Reset. Sherwood, an influential English record producer, remixes and adds on to each track to emphasize the textures of instruments from the original pieces. His stylistic touches make for a hypnotizing listen.

“Gettin’ to the Point Dub,” the opening track, begins with static drums and distortions. A catchy bassline repeats as a variety of other instruments have their time to shine, including woodwinds, horns and synths. It’s fun to hear how each instrument plays around the consistent backing track. “Go On Dub” features Panda Bear’s reverb-saturated vocals and an eerie feel with the lyrics “one dude’s dead and another’s next.” However, the mellow reggae-psychedelic sound counteracts that and so does the peaceful singing of the words “go on” in the chorus.

There’s twinkling synth and bells in “Edge of the Edge Dub” nicely accompanied by strums of electric guitar. This fourth remix contains elements of doo-wop, particularly with the background vocals singing “dum, dum, dum, dum” that go up in pitch as each one is sung. Futuristic beeps are dispersed throughout this dreamy piece, along with the jingling of tambourine.

“In My Body Dub” starts with the lyrics “it’s in my body,” which leads into optimistic-sounding piano chords. Sherwood toys with percussive instruments, such as cymbals and the marimba, in ways that are subtle yet add musical interest for those who listen closely. Further exploring the eerie vibe heard earlier in the record, “Whirlpool Dub” embraces experimentation with violin solos played forward then backward on top of a slow club beat.

“Danger Dub” is a stand out on Reset in Dub. It’s composed of upbeat percussion backed with a jazzy brass section and at some points, the triangle. Jumpy guitar plucks associated with reggae compliment the bassline loop, making the two stand out. Midway into the song, everything slows down. It’s as if the vocals and each instrument are played in slow motion. Sherwood likes to make haunting noises sound as pleasing as possible. This is especially clear with specific aspects in the second half, as the symphony of robotic, choppy vocals and high-pitched pitched-down voices layer over each other, playing as the song fades out.

Panda Bear’s vocal harmonizations inspired by The Beach Boys are highlighted in “Livin’ in the After Dub.” A harmonica solo is played around with until it is eventually distorted in pieces as the track progresses. The choice to mix a mostly positive, rosy beat with contemplative and gloomy lyrics adds to the song’s complexity and goes well with the record’s overall feel.

The final piece is entitled “Everything’s Been Leading To This Dub.” Panda Bear’s vocal range is showcased as his voice starts off notably deep, then is mostly in his upper range from that point forward. The brass section adds a smooth jazz feel, but quick hits of a cowbell, fast piano chords and a swift bassline sprinkled throughout change the way listener hears the song and makes the hypnotic beat more engaging. The last line of the album “we’re skiddin’ through a closin’ door” is the perfect ending for this record, which reverbs out into the ether.

Reset in Dub puts a trippy reggae twist on Panda Bear and Sonic Boom’s original album Reset. Throughout the record, Sherwood spotlights the power of a song’s hook and how understated instrumentation can go a long way. Sherwood artfully balances dominating and subdued elements which only adds to the album’s dreamlike atmosphere.