Brit-pop bands doing Dub songs

Not Exactly...just bands where Dub doesnt exactly fall into their Field of Expertise

Yes to Primal Scream, there is a Dub remix or something on Screamadelica right??.

I forget it's been years since I've owned/heard that record.

Well, they weren't when they started. And they started out pre-Orb in totally different fields. When do you decide someone has expertise?

I only have/heard one Orb record...but it was all pretty Dubby.
I'd say when a band's overall sound starts to lean toward a certain genre (in this case Dub).

Bauhaus never became a "dub band", I was mostly just curious about British bands tacking on a dub song toward the end of an album. I was curious as to why and what other bands have done it.

ya think?

Ruts DC - Rhythm Collision Dub.

can't forget...

field of the nephilim - psychonaut (the dub posture)

some early Catatonia was quite dub-influenced too, actually.

I love this genre (if genre it can be called,) actually.

would you say he has expertise in dub?

Do Ride have any?

"Architectural Remixes:
I bought a compilation CD of stuff by 80’s pop-merchant little Nicky Kershaw for only THREE BAR. (I know, I know...but I have always liked NK’s tech-pop – nice chords and key changes and mid-80’s tech-sheen production of a decent kind – i.e. not the kind popularised a couple of years later: the Stock/Aitken/Waterman production-line monotony). The sleeve notes contained this wonderful observation:
'...encouraged by the example of his elder brother Jonathan, who proved that Kershaws could carve unconventional careers by becoming a dolphin trainer...’
(it would be even odder if this training was of the ‘living-torpedo-for-the-CIA’ type, but I suspect it was the ‘fake-footballer-for-bucket-of-fish’ option...)
Anyway, listening to it, I was struck by how odd the whole ‘remix’ or ‘extended mix’ phenomenon of the 80’s was. You remember them, often present on the 12” single you could get as an alternative to the bog-standard 7”, they were around before the rise of the CD format made it common to include extended remixes on albums as ‘bonus tracks’ to fill the 70-minutes available on a disc, and before the rise of ‘dance music’ made ‘remix’ = bolting a dance-beat onto a song’s undercarriage and/or festooning it with sampled spirituality...
The better of these 80’s remixes used to have a kind of semi-Dub quality of sound/practice, but within very pop standard 4/4 rhythm & phrasing - the 'dissection' of the multitrack, sections where the instruments/vocals would be dropped out to leave just bass/drums for a few bars, or certain elements would be blasted in and out, often emphasised with heavy echo/reverb....
(At their worst these things might lift a particular phrase from the song and use that deeply annoying Sa-sa-sa-sa-sampling stammer effect on it, and sometimes they would include a usually-dud section with extra clattering drums & percussion pasted in – effectively a Drum Solo plodding in wearing a false moustache...)
Listening to the Kershaw ones, I was reminded of how they sort of exposed the architecture/structure/innards of a song and its recording: listening to them is like watching film of a building shot from a circling helicopter, with the camera having some filter over the lens that can change to show you just the girders inside the thing, then just the joinery, or the plumbing, or the electrical wiring...
In retrospect, it may well be part of how I actually figured out the construction of songs and recordings – but as a method/aspect of self-teaching it perhaps resulted in the reduced focus/scope which is a danger of such: it probably appealed in the first place to (but then reinforced) my tendencies towards a grid-like meccano-set way of listening/thinking about/assembling music."

(i.e. i think 'dub' elements found their way into an awful lot of 12" remixes during the 80's)

Keith Hudson was even mentioned in the So Tough sleevenotes