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It would be impossible to review this album w/out first referencing its source material: a 1998 collaboration between Skinny Puppy frontman Nivek Ogre and Pigface brain, Martin Atkins. Rx stands for Ritalin. That album, titled Bedside Toxicology, was a rhythmic experiment of drums and voice. Ritalin was less conscious than some of the artists’ other projects. It was freer and riskier.

Martins Atkins is more than a master of the drum kit. He is a master of the mixing board. In essence, Rx Dubs is his remix follow-up to Bedside Toxicology. There are 9 songs that have been retooled and reintroduced. But do we really need to have a masterpiece like Bedside Toxicology reworked? Well, before I heard Dubs, I would have said, “No.” However, having listened to Dubs, I see that my initial response would have been wrong. The correct answer is a very clear, and very excited, “YES!”

The “dub” part of Rx Dubs is a bit misleading. Typically, dub mixes tend push the vocals in and out of the song to place a stronger accent on the rhythmic elements, specifically the bass. Rx features an iconic singer and Atkins knows that it would counter-productive to cut Ogre from the music. So the songs are revised in such a way that the ambience and atmosphere of the work is increased without detracting from the vocals.

Most of these songs hit near-perfection on their first outing. When such is the case, Atkins chooses to make subtle variations as opposed to total reinterpretations. For example, there are only slight adjustments made on the duo’s cover of Petula Clarke’s “Downtown.” These minor changes, however, are enough to alter the track’s overall feel. The song is emptier than it was on Bedside Toxicology, it is also creepier. Joyous lyrics and light-hearted melodies are darkened as they are hissed out through Ogre’s sinister voice. Space is more important here than it was in 1998. The track uses rests and silence to build tension and amplify the effect of Atkins’ pounding drums as they rip through a thin frame of dripping electronics.

The album would be worth its purchase price for “Downtown (Happy Again Dub)” was that song not trumped by a superior track; “KY Re:Amin Dub.” Expertly produced, harmonizing vocals work alongside soft, falsetto “do-do-dos” as a busy series of beats and electronic manipulations fill the track. The slick verses of singing are butchered by an intentionally uncomfortable chorus, which strains as it is sucked into Ogres throat. It is a sickly, noisy sound. “KY Re:Amin Dub” does not deviate greatly from its 1998 counterpart. It doesn’t need to.

Other songs move farther from their originals and feel less like remixes and more like retellings. “And When (Are You There Mix)” trades its kick for build. Rather than exploding midway through, as the original version of the song had done, this version continually thickens, spreads, and grows. The sound is more menacing and represents a better reflection of the song’s lyrics.

One of the most expressive reworking is the “Drum And Vocals Up Mix” of “Imago.” As promised in the song’s title, this version of the song places an added emphasis on Ogre’s voice and lyrics. Here, we learn of Ogre’s first experiences with pornography, masturbation, and sexual unrest. Every syllable is delivered with Ogre’s theatrical flair.

Another major change on Dubs is the order of the songs. The arrangement of the tracks work at suturing the songs together in a cleaner fashion than it did in 1998 and Dubs moves with an improved flow.

Dubs is a reminder of what was and the nature of the project means that there is a lot to this album that is not new. A few of the more casual listeners of Bedside Toxicology may, in fact, find Dubs a bit too similar. But most of the longtime fans will be interested in the fresh details that Dubs offers. The songs are longer this time around. They are more atmospheric. They are different versions of what has become familiar. Overall, fans of Bedside Toxicology, will find that Dubs is worth buying.

And those music fans that are unfamiliar with either of these albums now have two records to buy.

Reviewed by: Richie Corelli

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