Album lore

Shout at the Devil, issued in April 2002 on 30 Hertz, finds Jah Wobble collaborating with Temple Of Sound to forge a melding of krautrock rhythms, dub basslines, and qawwali vocal textures. Across ten tracks, the album channels Wobble’s signature dub-inflected bass within a framework that nods to motorik beats and the ecstatic vocal traditions of South Asia. The featured track "Zaardub" exemplifies this cross-cultural synthesis, layering repetitive grooves with chant-like phrases.Though not widely circulated — with a modest following on Totec Radio — the album stands as a discreet artifact of early-2000s genre blending. Its interplay of hypnotic pulse and spiritual resonance situates it within Wobble’s broader lineage of global fusion projects, making Shout at the Devil a subtle yet compelling entry for crate-diggers attuned to dub’s international dialogues.

Album lore

Shout at the Devil, issued in April 2002 on 30 Hertz, finds Jah Wobble collaborating with Temple Of Sound to forge a melding of krautrock rhythms, dub basslines, and qawwali vocal textures. Across ten tracks, the album channels Wobble’s signature dub-inflected bass within a framework that nods to motorik beats and the ecstatic vocal traditions of South Asia. The featured track "Zaardub" exemplifies this cross-cultural synthesis, layering repetitive grooves with chant-like phrases.Though not widely circulated — with a modest following on Totec Radio — the album stands as a discreet artifact of early-2000s genre blending. Its interplay of hypnotic pulse and spiritual resonance situates it within Wobble’s broader lineage of global fusion projects, making Shout at the Devil a subtle yet compelling entry for crate-diggers attuned to dub’s international dialogues.