🇺🇸 ALISA RUBY BASH & 🇯🇵 DUB SPIRITS — HAR HARE HARI / HAR HARE HARI DUB-REVIEW — GORDON LAWRENCE TAYLOR Infectious Unease Radio • Subterranean Zone Radio

🇺🇸 ALISA RUBY BASH & 🇯🇵 DUB SPIRITS — HAR HARE HARI / HAR HARE HARI DUB

MANTRA, BASS, SPACE AND MANIFESTATION — WHEN SPIRITUAL REPETITION ENTERS THE ARCHITECTURE OF DUB

🎧 FULL SINGLE + DUB REVIEW — GORDON LAWRENCE TAYLOR

INFECTIOUS UNEASE RADIO • SUBTERRANEAN ZONE RADIO • VOICE IN THE VOID

Reggae • Roots Dub • Electronic • World • Mantra • Meditative Electronics • Sound Healing

RELEASE FILE

DETAIL	INFORMATION
Original Artist	🇺🇸 Alisa Ruby Bash — USA
Dub Artist / Producer	🇯🇵 Dub Spirits — Japan
Original Track	Har Hare Hari
Dub Version	Har Hare Hari Dub
Original Release	3 January 2025
Dub Release	4 September 2026
Format	Original Single + Official Dub Version
Genres	Reggae • Roots Dub • Electronic • World • Mantra • Meditative Electronics
🏷️ Original Label	COCONUT
🏷️ Dub Version Label	🇯🇵 DUB SPIRITS RECORDS
📡 Promotional Servicing	DUBWISE PROMOTIONS — powered by 🇨🇾 Dubophonic Records
Review	Gordon Lawrence Taylor

Two recordings.

One composition.

Two production environments.

And two distinct release identities connected by the same musical source.

The original Har Hare Hari establishes Alisa Ruby Bash’s combination of voice, mantra, reggae-informed rhythm, electronic atmosphere and meditative repetition.

The later Har Hare Hari Dub takes that composition into a markedly different environment — bass, subtraction, echo, spatial movement and the compositional architecture of dub.

CREATION • FLOW • MANIFESTATION

There is something deceptively simple sitting at the heart of Har Hare Hari.

A phrase repeats.

The rhythm continues.

The voice returns.

But beneath that circular movement lies one of the most interesting aspects of this collaboration: mantra and dub may emerge from very different cultural histories, yet both understand repetition not as inactivity, but as transformation.

The mantra used in Har Hare Hari is presented through three interconnected ideas:

HAR — CREATION

HARE — FLOW

HARI — MANIFESTATION

That sequence is important because repetition here does not mean remaining in the same place.

Creation moves into flow.

Flow moves into manifestation.

The cycle repeats, yet each repetition is informed by the one before it.

Dub understands precisely the same phenomenon through sound.

A bass phrase returns, yet it feels different once the percussion has disappeared.

A vocal phrase returns, yet its meaning changes when it emerges from several seconds of empty space.

An echo repeats the original sound, but it is no longer quite the original sound.

It has become its memory.

This is where Har Hare Hari and Har Hare Hari Dub become far more interesting than a conventional original-and-remix pairing.

Mantra repeats language until the relationship with language changes.

Dub repeats sound until the relationship with space changes.

That intersection gives these recordings their identity.

🇺🇸 ALISA RUBY BASH — THE HUMAN CENTRE

HAR HARE HARI

Alisa Ruby Bash is not approaching this material solely from the position of a conventional singer-songwriter.

Her creative identity sits between several practices.

Her artistic and professional background connects songwriting and performance with psychology, Kundalini yoga, meditation and sound-healing practices.

Her wider musical language brings together spiritual practice, multicultural instrumentation, reggae influence, electronic production and mantra.

That combination explains much about Har Hare Hari.

The recording contains the language of reggae, but it does not attempt to reproduce orthodox roots reggae.

It contains electronic production, but its purpose is not conventional dance-floor escalation.

It enters meditative and spiritual territory without abandoning physical rhythm.

And it uses mantra without reducing the mantra to an exotic decorative feature.

Instead, Bash places the human voice at the centre of an environment where reggae rhythm, electronic space and spiritual repetition are allowed to coexist.

The mantra therefore does not feel arbitrarily attached to the music.

It belongs inside Bash’s broader artistic vocabulary.

THE VOICE AS BOTH MESSAGE AND INSTRUMENT

One of the strengths of Har Hare Hari is Bash’s refusal to over-sing it.

A less sympathetic interpretation could easily have buried the contemplative quality beneath elaborate vocal ornamentation.

Instead, the performance remains controlled.

The voice is warm and intimate rather than theatrical.

That restraint is essential because the mantra needs room to function.

In conventional songwriting, listeners are frequently trained to expect new information:

another verse,

another line,

another narrative development,

another chorus,

another escalation.

Here the voice behaves differently.

It does not constantly tell the listener something new.

It asks the listener to remain with what has already been said.

That changes the entire listening process.

With each recurrence, attention gradually migrates away from the literal expectation of new words and towards the physical texture of the voice itself:

breath,

tone,

phrasing,

rhythm,

resonance,

space.

The words remain meaningful.

But the words also become sound.

That distinction becomes enormously important when Dub Spirits begins dismantling and reconstructing the original.

RHYTHM WITHOUT BREAKING THE MEDITATION

The reggae foundation prevents Har Hare Hari from becoming weightless.

This matters.

A great deal of contemporary meditation-oriented music is built almost entirely around drones, pads and slowly moving atmospheric layers.

Bash takes another route.

There is still body here.

Bass matters.

Rhythm matters.

Pulse matters.

The low frequencies anchor the voice.

Electronic textures broaden the environment without dominating it.

The arrangement provides movement while leaving sufficient room for the repetitive vocal structure to remain the central psychological focus.

The effect is almost circular rather than strictly linear.

The listener does not necessarily feel that they are travelling from Point A to Point B.

Instead, there is the sensation of moving deeper into the same central idea.

That is a very different compositional proposition.

THE 444 Hz FRAMEWORK

Bash also describes aspects of her work through what she calls a 444 Hz frequency approach, placing this alongside vocals, mantra, personal storytelling and sound-healing practice.

Within a critical review, it is useful to distinguish an artist’s spiritual or creative framework from independently established scientific claims.

The importance here is therefore not dependent upon arguing that a particular frequency possesses objectively demonstrable metaphysical properties.

What matters musically is Bash’s conception of sound.

Sound is presented as something capable of affecting emotional, psychological and physical space rather than merely providing entertainment.

That philosophy can be heard throughout Har Hare Hari.

The recording does not demand attention through aggression.

It attempts to establish a state.

Once the recording is understood in those terms, its deliberate repetition becomes considerably easier to understand.

REPETITION IS NOT THE ABSENCE OF DEVELOPMENT

There is an obvious point at which Har Hare Hari may divide listeners.

Anyone approaching it exclusively through conventional pop expectations may initially regard its lyrical repetition as restrictive.

Where is the next verse?

Where is the narrative turn?

Where is the lyrical escalation?

But those questions impose the wrong architecture upon the composition.

THE REPETITION IS THE ARCHITECTURE.

A mantra does not require another verse simply because popular songwriting conventions have trained listeners to expect one.

Development is occurring elsewhere.

Through rhythm.

Through dynamics.

Through texture.

Through vocal inflection.

Through space.

Through the accumulation of repeated experience.

And through the listener’s changing perception of material that remains recognisable.

The recording therefore asks for a different mode of attention.

Not:

WHAT HAPPENS NEXT?

But:

WHAT HAS CHANGED IN THE WAY I HEAR WHAT IS ALREADY HERE?

That is a much more interesting question.

🇯🇵 DUB SPIRITS — ENTER THE VERSION

HAR HARE HARI DUB

Then Dub Spirits arrives and opens the floor beneath the original.

The Japan-based project operates within the worlds of dub production, engineering and curation, with roots in reggae, roots dub, new roots and UK dub traditions.

Production began around 2010, followed by collaborative and remix work involving a growing network of international reggae and dub artists.

The project’s history also includes recognition in the 2015 DRY&HEAVY DUB CONTEST for Jam Rock, based upon Dry & Heavy’s version of Ini Kamoze’s World A Music.

Since 2024, Dub Spirits has also operated independently as a label.

That history becomes audible in the treatment of Bash’s original.

Because Dub Spirits understands one of dub’s fundamental principles:

MORE IS NOT ALWAYS MORE.

Sometimes the strongest production decision is subtraction.

THE ART OF TAKING SOMETHING AWAY

Electronic production is frequently discussed through accumulation.

Another layer.

Another synthesiser.

Another percussion line.

Another effect.

Another transition.

Dub offers almost the opposite philosophy.

WHAT HAPPENS WHEN SOMETHING DISAPPEARS?

Remove part of the percussion and suddenly the bass seems enormous.

Remove the vocal and its eventual return acquires dramatic significance.

Remove upper-frequency material and the low end appears to occupy an entirely different physical environment.

Allow an echo to continue after the original event has vanished and the effect becomes not simply repetition, but memory.

This is where Har Hare Hari Dub begins to separate itself from the idea of an ordinary remix.

Dub Spirits is not simply decorating Bash’s original.

He is interrogating it.

The source becomes material that can be rearranged, fragmented, suspended, delayed and partially erased.

And in the process, another composition gradually becomes visible inside the first one.

THE STUDIO BECOMES PART OF THE PERFORMANCE

One of dub’s great historical achievements was its transformation of the recording studio from a place that merely documented music into a place where music could itself be created.

The mixing desk became playable.

Faders became compositional tools.

Echo became rhythm.

Reverb became architecture.

Muting became punctuation.

And silence became active musical information.

Har Hare Hari Dub belongs to that philosophy.

The original supplies the song.

Dub Spirits changes the conditions under which the listener encounters it.

A sound may suddenly seem farther away.

Another is allowed to dominate because something beside it has disappeared.

The bass is no longer merely accompaniment.

It becomes structural foundation.

A vocal does not necessarily remain continuously present.

It can appear as an event passing through the mix.

And once this happens, listening becomes spatial.

The listener begins hearing not merely what the sounds are, but where those sounds appear to exist.

That is one of dub’s most extraordinary qualities.

It turns a two-dimensional recording into the suggestion of a three-dimensional environment.

BASS AS ARCHITECTURE

The low-frequency component is particularly important.

Bass in dub does more than provide harmonic support.

It occupies physical space.

When competing material retreats, bass appears capable of expanding until it becomes almost environmental.

That is why genuinely effective dub can feel enormous without actually containing an enormous number of musical elements.

Its size is frequently created through contrast.

One sound appears huge because the surrounding space has been cleared for it.

This principle is particularly effective in Har Hare Hari Dub.

The spiritual delicacy of Bash’s voice is not destroyed by the heavier dub treatment.

Instead, the low-frequency environment gives the voice another context.

The result creates an unusual tension between the intimate and the physical.

VOICE ABOVE.

BASS BENEATH.

ECHO AROUND.

SPACE BETWEEN.

That architecture is one of the record’s strongest features.

WHEN THE MANTRA BECOMES A SOUND-OBJECT

The most fascinating transformation occurs in the treatment of the mantra itself.

Within Bash’s original, the voice carries the principal spiritual statement.

Within the dub, it retains that meaning — but gains another identity.

It becomes a sound-object.

A word can be meaningful while simultaneously functioning as texture.

A syllable can carry language while also carrying rhythm.

A phrase can operate as spiritual communication while becoming material moving through a stereo field.

Once echo enters the equation, the relationship becomes even more complex.

The first voice belongs to the performer.

The returning voice belongs partly to the studio.

The next return is further removed again.

The source gradually becomes memory.

That is why dub and mantra form such an unexpectedly logical partnership.

Both allow repeated material to shed one identity and acquire another.

THE VERSION REVEALS THE SONG HIDING INSIDE THE SONG

The finest dub versions do not make their originals redundant.

They make the originals appear larger.

They demonstrate that one arrangement can contain multiple possible arrangements.

A melody remains even when much of its accompaniment disappears.

A vocal fragment can represent an entire lyric.

A single bass movement can suddenly carry structural weight previously distributed across numerous instruments.

In this sense, Har Hare Hari Dub reveals another record hiding inside Har Hare Hari.

That is much more interesting than simply asking which version is better.

It is not a competition.

The two recordings perform different functions.

The original establishes the spiritual and melodic environment.

The dub exposes its internal architecture.

ONE CREATES THE ROOM.

THE OTHER TURNS THE LIGHTS OFF AND ASKS THE LISTENER TO NAVIGATE IT BY SOUND.

🇺🇸 ALISA RUBY BASH × 🇯🇵 DUB SPIRITS — A TRANSNATIONAL RECORD

There is also an international geography moving quietly beneath the recording.

Bash’s professional and creative work is based in California, supporting the 🇺🇸 United States identification used here.

Dub Spirits identifies its location as 🇯🇵 Japan.

But the musical journey extends considerably farther than those two countries.

The mantra emerges from South Asian spiritual tradition.

The language of reggae and dub developed in Jamaica.

UK dub and new-roots culture form part of Dub Spirits’ stated musical foundation.

Japan has absorbed, transformed and contributed its own history to reggae and dub culture.

Bash brings those ideas into a contemporary American environment involving mantra, electronic production and sound-healing practice.

The result demonstrates how musical ideas, spiritual practices and recording technologies can travel across countries and cultures before converging inside one recording.

🏷️ TWO CONNECTED RELEASES — DISTINCT IDENTITIES

The relationship between the recordings can be presented simply and accurately.

🇺🇸 ALISA RUBY BASH

HAR HARE HARI

🏷️ COCONUT

ORIGINAL RELEASE — 3 JANUARY 2025

and:

🇺🇸 ALISA RUBY BASH × 🇯🇵 DUB SPIRITS

HAR HARE HARI DUB

🏷️ 🇯🇵 DUB SPIRITS RECORDS

DUB RELEASE — 4 SEPTEMBER 2026

The two recordings remain part of the same creative conversation while retaining their individual release identities.

The original establishes the composition, mantra, voice and melodic centre.

The Dub Spirits version moves that material into another environment — one shaped by bass, echo, spatial movement and the compositional possibilities of the dub studio.

Rather than one replacing the other, the two versions document different stages in the life of the same musical idea.

🏷️ 🇯🇵 DUB SPIRITS RECORDS

INDEPENDENT LABEL • DUB PRODUCTION • ENGINEERING • CURATION

Har Hare Hari Dub carries the label identity of 🇯🇵 Dub Spirits Records, the independent label operation associated with Japanese dub producer, engineer and curator Dub Spirits.

The Dub Spirits project has been involved in music production since 2010, developing a body of work grounded in reggae, roots dub, new roots and UK dub traditions.

Its history includes production, remixing and collaborative work alongside a broader commitment to dub as both a musical form and a studio methodology.

Since 2024, Dub Spirits has also operated independently as a label, providing a platform for original productions, dub versions, remixes and international collaborations.

The wider Dub Spirits catalogue and collaborative history includes work connected with artists such as:

Nico Royale

Monsieur et Madame LoOps

Lavender Fields

Los Argonautas

Hugo Lobo

Alisa Ruby Bash

That range demonstrates an approach extending beyond a single regional scene into an international network of contemporary reggae and dub.

Within that context, Har Hare Hari Dub sits naturally inside the Dub Spirits Records catalogue.

The recording connects 🇺🇸 Alisa Ruby Bash’s mantra-based original composition with the production language of 🇯🇵 Dub Spirits, transforming the source through bass, spatial mixing, subtraction, echo and the architecture of roots dub.

DUB SPIRITS RECORDS — DETAILS

Label: 🇯🇵 Dub Spirits Records

Associated Artist / Producer: Dub Spirits

Country: 🇯🇵 Japan

Music production activity: Since 2010

Independent label activity: Since 2024

Musical Foundation: Reggae • Roots Dub • New Roots • UK Dub • Dubwise

Creative Areas: Production • Dub Mixing • Engineering • Remixing • Collaboration • Curation • Independent Releases

Official Contact:
contact@dubspirits.com

Official Website:
Dub Spirits

Bandcamp:
Dub Spirits Bandcamp

SoundCloud:
Dub Spirits SoundCloud

Apple Music:
Dub Spirits — Apple Music Artist Catalogue

YouTube:
Dub Spirits Official Artist Channel

Roots & Dub Playlist:
Dub Spirits — Roots & Dub

No verified public street or postal address is presently published through the official sources used for this review.

For publication purposes, the accurate location is therefore:

🇯🇵 JAPAN

📡 DUBWISE PROMOTIONS

SPECIALIST REGGAE & DUB PROMOTION

POWERED BY 🇨🇾 DUBOPHONIC RECORDS

There is another important element in the movement of this release.

Material relating to Har Hare Hari / Har Hare Hari Dub was also supplied to:

GORDON LAWRENCE TAYLOR

DJ INFECTIOUS UNEASE

INFECTIOUS UNEASE RADIO

SUBTERRANEAN ZONE RADIO

VOICE IN THE VOID

through Dubwise Promotions.

Dubwise Promotions operates as a specialist international reggae and dub promotional network powered by 🇨🇾 Dubophonic Records.

Its role is promotional rather than functioning as the record label for Har Hare Hari Dub.

That distinction allows the complete path surrounding the recording to be understood properly:

ARTIST → LABEL → PROMOTION → SELECTOR → RADIO → LISTENER

Dubwise Promotions works within reggae, roots reggae, dub, dubwise, bass and soundsystem-oriented music, connecting independent releases with specialist DJs, selectors, radio broadcasters and underground media.

Its promotional activities include:

Radio servicing

DJ servicing

Selector outreach

Specialist music submissions

Playlist promotion

Promotional mailouts

Social-media support

Airplay feedback

DJ feedback

Its international promotional network encompasses more than 300 active DJs and radio selectors.

That infrastructure matters.

Independent music rarely moves purely through mainstream commercial channels.

It moves through networks.

Through people.

Through labels.

Through promoters.

Through selectors.

Through broadcasters.

Through audiences willing to continue looking beyond the most heavily marketed releases.

DUBWISE PROMOTIONS — DETAILS

Name: Dubwise Promotions

Powered By: 🇨🇾 Dubophonic Records

Role: Specialist independent reggae and dub promotion

Coverage: International

Network: 300+ DJs and radio selectors

Musical Areas: Reggae • Dub • Roots Reggae • Dubwise • Bass • Soundsystem Culture

Promotional Contact:
dubwisepromotions@dubophonic.com

Official Information:
Dubwise Promotions — Dubophonic Records

Bandcamp / Explorations In Dub:
Dubwise Promotions / Explorations In Dub

No verified public street or postal address suitable for publication is presently listed.

🏷️ 🇨🇾 DUBOPHONIC RECORDS

THE INDEPENDENT PLATFORM BEHIND DUBWISE PROMOTIONS

Dubophonic Records was founded in Cyprus in 2013.

Beginning within netlabel culture, Dubophonic subsequently developed into a wider independent platform focused upon dub and reggae in digital and physical forms.

Its catalogue and broader activities encompass areas including:

Roots Dub

Reggae

Steppers

Digital Dub

Electronic Dub

Experimental Dub

Dubwise

Dubophonic’s relationship with Dubwise Promotions forms an important part of its international promotional structure, connecting releases with radio broadcasters, selectors, soundsystems, DJs and specialist music media.

DUBOPHONIC RECORDS — DETAILS

Name: Dubophonic Records

Country: 🇨🇾 Cyprus

Founded: 2013

Type: Independent Record Label / Dub Platform

Musical Areas: Dub • Reggae • Roots • Steppers • Digital Dub • Experimental Dub

General Contact:
info@dubophonic.com

Official Website:
Dubophonic Records

Bandcamp:
Dubophonic Records Bandcamp

Facebook:
Dubophonic Records Facebook

Instagram:
Dubophonic Records Instagram

SoundCloud:
Dubophonic Records SoundCloud

YouTube:
Dubophonic Records YouTube

Public information identifies the operation with:

🇨🇾 CYPRUS

No verified street address is included here unless supplied directly by the organisation.

📡 THE INTERNATIONAL ROUTE

The music surrounding Har Hare Hari / Har Hare Hari Dub illustrates the contemporary independent network particularly well.

🇺🇸 ALISA RUBY BASH — UNITED STATES

Original composition, voice and mantra.

🇯🇵 DUB SPIRITS — JAPAN

Dub production, reconstruction, engineering and spatial interpretation.

🏷️ COCONUT

Original release identity.

🏷️ 🇯🇵 DUB SPIRITS RECORDS

Dub release identity.

📡 DUBWISE PROMOTIONS

Specialist international reggae and dub promotional servicing.

🏷️ 🇨🇾 DUBOPHONIC RECORDS — CYPRUS

Independent label and platform powering Dubwise Promotions.

🇦🇺 GORDON LAWRENCE TAYLOR — AUSTRALIA

Infectious Unease Radio • Subterranean Zone Radio • Voice In The Void.

This is not incidental to the history of independent music.

It is the history of independent music.

Recordings travel because people continue carrying them.

From artists.

To labels.

To promoters.

To selectors.

To broadcasters.

To listeners.

Across countries.

Across scenes.

Across languages.

Across frequencies.

THE ARTWORK — HUMAN FORM BECOMES GEOMETRY

The visual language of the two covers mirrors their musical relationship remarkably well.

The original Har Hare Hari artwork places Bash herself at the centre of a weathered natural environment.

Her white clothing stands against rock, earth and warm organic surfaces.

It is physical.

Human.

Embodied.

The performer remains visible.

That corresponds with the original recording, where the human voice remains the principal centre of gravity.

The Har Hare Hari Dub artwork moves into a radically different visual language.

The portrait disappears.

In its place comes circular sacred geometry:

intersecting forms,

triangles,

repeated lines,

layered symbols,

earthy reds,

greens,

ochres,

darkness.

Pattern replaces portraiture.

System replaces individual presence.

Architecture replaces body.

That is effectively what happens to the music.

THE ORIGINAL PRESENTS THE PERSON.

THE DUB PRESENTS THE STRUCTURE SURROUNDING THE PERSON.

It is a remarkably appropriate visual transition.

TWO RECORDINGS — TWO DIFFERENT FORMS OF DEPTH

🇺🇸 Alisa Ruby Bash’s Har Hare Hari is the more intimate version.

Its strength lies in the relationship between voice, mantra, spirituality, rhythm and warmth.

It draws the listener towards the words.

🇯🇵 Dub Spirits’ Har Hare Hari Dub is the more architectural version.

Its strength lies in the relationship between bass, subtraction, echo, atmosphere and negative space.

It draws the listener towards everything surrounding the words.

The original asks the listener to hear the mantra.

The dub asks the listener to hear the space in which that mantra exists.

That distinction gives both recordings a reason to exist.

GORDON LAWRENCE TAYLOR — FINAL ASSESSMENT

Har Hare Hari and Har Hare Hari Dub work most effectively when understood as two parts of the same artistic conversation.

The first language is mantra.

The second is dub.

🇺🇸 Alisa Ruby Bash establishes the ritual centre — human voice, spiritual repetition, reggae-informed rhythm and electronic atmosphere.

🇯🇵 Dub Spirits takes that centre underground — into bass, echo, absence, reconstruction and the historical logic of version culture.

The original establishes the human presence.

The dub exposes the architecture around it.

The original carries:

🏷️ COCONUT

The dub carries:

🏷️ 🇯🇵 DUB SPIRITS RECORDS

And another stage of the recording’s international movement has been supported through:

📡 DUBWISE PROMOTIONS

POWERED BY 🇨🇾 DUBOPHONIC RECORDS

What ultimately makes the pairing successful is that the connection between mantra and dub is deeper than genre.

Both ask the listener to reconsider repetition.

Both recognise that recurrence can alter perception.

Both understand that something does not need to become entirely new in order to become different.

Every repetition happens at another moment.

Every echo occurs farther from its source.

Every silence changes the significance of the sound that follows it.

Every return carries the memory of what came before.

That principle is already encoded inside the conceptual language surrounding the mantra:

CREATION.

FLOW.

MANIFESTATION.

And Dub Spirits provides its sonic equivalent:

VOICE.

BASS.

ECHO.

SPACE.

SILENCE.

RETURN.

This is what makes Har Hare Hari Dub more than an alternative mix.

It exposes a shared logic between musical and spiritual traditions that may initially appear geographically and historically distant.

Mantra repeats language until perception changes.

Dub repeats sound until space itself appears to change.

Put those ideas together and Har Hare Hari / Har Hare Hari Dub becomes a genuinely unusual and thoughtful international collaboration — spiritual without becoming musically weightless, electronic without becoming clinically mechanical, and rooted in dub without treating dub as merely a fashionable collection of production effects.

And around those recordings sits another story.

The independent network that allows music to move.

The artist creates.

The producer reconstructs.

The labels release.

The promoter carries.

The selector discovers.

The broadcaster presents.

The listener receives.

That movement matters.

Because underground music has always survived through connections.

Across cities.

Across countries.

Across scenes.

Across studios.

Across radio frequencies.

Across borders.

🇺🇸 ALISA RUBY BASH × 🇯🇵 DUB SPIRITS

HAR HARE HARI / HAR HARE HARI DUB

🏷️ ORIGINAL — COCONUT

🏷️ DUB VERSION — 🇯🇵 DUB SPIRITS RECORDS

📡 PROMOTIONAL SERVICING — DUBWISE PROMOTIONS

POWERED BY 🇨🇾 DUBOPHONIC RECORDS

A COMPELLING MEETING OF MANTRA, REGGAE, ELECTRONIC SOUND AND THE SPATIAL ARCHITECTURE OF ROOTS DUB.

🎧 FULL REVIEW — GORDON LAWRENCE TAYLOR

INFECTIOUS UNEASE RADIO • SUBTERRANEAN ZONE RADIO • VOICE IN THE VOID

🔗 ARTIST • LABEL • PROMOTION DIRECTORY

🇺🇸 ALISA RUBY BASH

Official Music / Artist Website
Alisa Ruby Bash

Professional Website
Alisa Ruby Bash

Official Link Directory
Alisa Ruby Bash Linktree

Apple Music
Har Hare Hari — original single

🇯🇵 DUB SPIRITS / DUB SPIRITS RECORDS

Official Website
Dub Spirits

Bandcamp
Dub Spirits

SoundCloud
Dub Spirits

Apple Music
Dub Spirits

YouTube
Dub Spirits Official Artist Channel

Roots & Dub Playlist
Curated by Dub Spirits

Contact:
contact@dubspirits.com

Location:
🇯🇵 Japan

📡 DUBWISE PROMOTIONS

POWERED BY 🇨🇾 DUBOPHONIC RECORDS

Official Promotion Page
Dubwise Promotions

Promotional Contact:
dubwisepromotions@dubophonic.com

Bandcamp / Explorations In Dub
Dubwise Promotions

🏷️ 🇨🇾 DUBOPHONIC RECORDS

Official Website
Dubophonic Records

Bandcamp
Dubophonic Records

Facebook
Dubophonic Records

Instagram
Dubophonic Records

SoundCloud
Dubophonic Records

YouTube
Dubophonic Records

General Contact:
info@dubophonic.com

Country:
🇨🇾 Cyprus

📻 GORDON LAWRENCE TAYLOR — DJ INFECTIOUS UNEASE

INFECTIOUS UNEASE RADIO

SUBTERRANEAN ZONE RADIO

VOICE IN THE VOID

INDEPENDENT MUSIC CARRIED ACROSS BORDERS, LANGUAGES, SHADOWS AND FREQUENCIES.