Both of you are operating from Australia. Soundsystem culture seems strikingly strong there. How would you say it differs from what you see in Europe ?

Dub Hustle : Because of our geographical position relative to where soundsystem culture originated (the Caribbean) and mutated (the UK), the local interpretation has been shaped in part by the specific communities drawn to the bass frequencies of dub and its subsequent subgenres. This brings me back to Aotearoa, specifically Bob Marley's landmark 1979 visit, which left a permanent impression on the Māori and Pasifika people present. While I can't map out the exact lineage of how it altered the music, it laid the groundwork for something entirely unique to this side of the world.

Death Trap : The scene here has definitely grown over the years, and one major difference is the lack of strict genre borders within venues. For a long time now, it’s been common to have DJs playing short sets between live band slots, especially reggae and roots music at punk rock gigs. Down here, rude boy, punk, and skinhead subcultures served as the primary exposure and education for soundsystem culture. I never saw those specific scenes mixing like that when I spent time in the UK.

Dan, you’ve been producing 140 for a long time now. How would you describe your sonic signature ?

Death Trap : Yeah, Limb by Limb was my first production alias. I’ve been operating as Deathtrap for about seven years now. Sonically, my sound varies, but it definitely has to be as original as possible, sometimes even to the detriment of the track itself. If it sounds like what you expected, it probably isn't me. I’ve always held pretty militant views on production. I always avoided pre-made samples. This mentality definitely came from analog crate digger days.

I also heard that you are a retired pirate radio operator. What was your motivation for doing that ? What music were you airing ?

Death Trap : The station was called Irie FM, hijacked from the legendary Jamaican station. The main motivation stemmed from pure frustration with the lack of venues and spaces to properly build a culture. Wollongong, my hometown where the station was based, was incredibly middle-of-the-road and mainstream when it came to club music. I even tried going the legitimate route through community radio, but it was so choked by regulations and rigid standards that it was impossible to do properly. I saw no other way around it but to go pirate. We played everything from the culture that wasn't already represented out here: roots, ragga, dancehall, dubstep, drum & bass, and hip-hop. It eventually ended when I was federally prosecuted, hit with a $4,000 fine, with warnings of max sentence in case of re-offense.

Will, you launched the imprint to platform Australian and Aotearoa-based talent. Would you say there is a regionally specific sound developing there ?

Dub Hustle : The high density of labels and soundsystems in Aotearoa has deeply shaped how these localized sounds evolve. Through the close links between our countries, those sonic identities are constantly imported and further cultivated by Kiwis living here in the Island Continent. If you listen to artists like Kōroto and Ayaluna, you can hear that regional specificity taking shape. I’m quoting Mokotron : “Māori Bass music [is] the logical next step in the evolution of dance music in this country and the ongoing cultural renaissance of our people.” “To be honest it’s already happening: We have Netana, Lakeboon, Akcept, Caru, Lady Shaka, Samara Alofa, Huia, Te Manu, Ngāio Matariki, Kommi, Ahirā / Kōroto, Diaz Grimm, Wear Pounamu, Riki Pirihi and hopefully others stacking up an arsenal of anti-colonial subsonic artillery. I want Māori Bass to exist in my lifetime.”

What are your future goals for the label ?

Dub Hustle : Maintaining a wide range of distinct creative expression from the music to the art & animations. One of our fundamental driving forces is to raise funds for first nations solidarity & self-determination. (West Papua & Palestine so far). I’m willing to continue raising funds for Palestine, and later Iran or Lebanon & Syria.

Could you tell us more about the curation and track collection process for the SOLIDARIDUBS VAs ?

Dub Hustle : I was deeply inspired by people like Dan 'Death Trap,' who encouraged Dub Hustle to become a vessel for social good,as well as by established fundraiser compilations like those from Phrex as well as Ome, Yasseen Faik, and Causa. Track collection was a mixture of putting out the call via social media to producers who were following the page, connections via friends, and for several artists, just gut intuition that they would be keen to support the cause. Other people hit up the DMs to donate tracks of their own volition. I have a love for the album format, so the intended listening experience for the SOLIDARIDUBS series isn't so much 14 tracks of separate DJ tools, but rather a cohesive journey. That is where the real challenge lies for me: to glue together these different tracks—from artists who are already well-established to others who've had their first label release on this series—across multiple bass music & ambient genres.

I knew from seeing what Ayaluna posted about that she was a strong advocate for First Nations communities She (Aya) was keen to be involved for 'SOLIDARIDUBS I' & suggested donating a track from her project with Harry Townsend, called Geomystica which ended up being the introductory tune for the compilation. Ayaluna is Spanish Lebanese, the latter influence of which can be heard intentionally in the Geomystica project.  Ayaluna also recruited friend Kōroto who is a madd talented First Nations (Māori) Aotearoan bassd producer. I reached out on social medias to producers that were following the page, i.e. Zonae, Snoe & Kapha & Ortovis (big up Bodywarmer Records & happy 1 year shelling out sound system magic). I got connected with Vyla through a friend of hers (via our mutual speaking out about Boiler Room Main Objective). LSN, I just had some gut feeling to reach out to them. That's also how I got connected with luvparty & Nullmeridian, and even Death Trap ! Runaaki donated 2 tracks that were originally going to be on this wrap-up project release Naxx Lost Dubs (the interlude tracks on SOLIDARIDUBS I & II). He then along with SKECH of the Malaysian Dub Tings crew & Sir Dub Muzik submitted tracks for SOLIDARIDUBS II. Similar story overall for how SOLIDARIDUBS II tracks came together. Naturally it made a lot of sense to ask Phrex if he was interested to be a part of SOLIDARIDUBS as in my mind he inspired the dubstep community (Ome, Causa, Yasseen - myself - Bassweight Cuts) to advocate, speak-out & raise funds for Palestine & subsequently the greater SWANA region (Lebanon). Some people I approached like BURNINGBUSH again knowing that he was an ally of First Nations solidarity movements Other people hit up the DMs to donate tracks of their own volition. Some folks I wasn't sure what their personal opinions were initially about Palestine but took a roll of the dice as to whether they'd he interested being involved or not. A friend helped get franki & ADS1 involved. The best story from SOLIDARIDUBS II was that I was hanging with a friend in the local skate shop & the guy who runs it is in his 50s I think from Ireland originally. We got chatting, he had mentioned he DJd previously & I'd listened to some of his mixes, this time he told me had remixed a track for a friend who thought the version Pascal (Redize) had made was way too long & weird. I loved it (acid techno) sounding like it was straight from the early 90's. So I asked if he was keen to have it as the outro tune for SOLIDARIDUBS II & so it was that we had the first local artist release on the label. Large up Sumo Skate Shop !