Back catalogue: Dub

Review: Hope & Faith Records has put together three different 7"s featuring the original 'Standing Tall' riddim, which is a slick production in the early 70s roots reggae style. Acclaimed Spanish singer Payoh Soul Rebel is behind one, the female harmony trio from Basque reggae band Tacumah another, and this one comes from Jamaican legend Horace Andy who brings a fresh take on the classic roots sound. His smoky vocals bring real warmth and depth while a flip-side dub goes deep.

Review: Detroit godfather Juan Atkins and Berlin techno legend Moritz Von Oswald return as Borderland, one of several collaborations since 1992 and following up their 2016 album for Tresor: the Transport LP which again consolidated both respective artist's solid studio experience, honed over the last 30 years. The funky, slightly bumpin' and absolutely addictive hi-tech soul of "Concave 1" will have you grooving away on a late night dancefloor in Berlin or beyond with its evocative and life affirming vibes. On the flip "Concave 2" further explores their studio refined sequences on this heady and hypnotic journey full of woozy arpeggios, steely rhythms and dubby bass frequencies.

Review: This latest 45 rpm from Phase One is another crucial reissue. Steve Baswell dropped it back in 1978 and it is a now much sought-after record that will cost you the best part of three figures to get on OG on second-hand markets. It's a classy roots rocker that was originally recorded by Pat Francis for his own label and on the B-side you will find an instrumental version for some even more pure head melting rhythms. If you love roots rockers, you'd be hard-pushed to find much better.

Review: Founding Bees members Paul Butler and Aaron Fletcher recorded the original Sunshine Hit Me on the Isle of Wight in their own home garden studio which they called The Shed. A year after release in 2003 it got recognised with a Mercury Music Prize nomination and spawned some big singles. Now, 20 years on, it arrives once more but in an all-new and dubbed-out fashion. The six cuts include three which have never previously been released in any physical format and bring a fresh dimension to the originals.

Review: Vintage synthesiser fetishists Belbury Poly were last on record with author Justin Hopper and folk musician Sharron Kraus back in 2019 for the superb Chanctonbury Rings album. Here we're treated to a reissue of their very first EP Farmer's Angle from 2004, all magical electro-folk and left of centre new sound worlds that combine both new and old.

Review: A slept-on roots gem from the mid-70s gets a timely reissue, perfect for warming up those cold winter days. Originally produced by Hector Wright at Lee "Scratch" Perry's legendary Black Ark Studios, this timeless piece showcases the vocal harmonies of The Blue Bells. A-side 'Come Along' features a captivating blend of soulful vocals and uplifting melodies, while the flipside offers a dubwise reimagining, stripping back the arrangement to reveal its hypnotic depths. Originally released in 1976, this repress makes a rare gem accessible once more.

Review: We shall never apologise for our love for the work of Steve O'Sullivan. His contributions to the world of dub techno are second to none. They are also mad consistent both in style and quality which means they never age. Here he steps up to Lempuyang with his Blue Channel alias alongside Jonas Schachner aka Another Channel for more silky smooth fusions of authentic dub culture and Maurizo-style techno deepness. Watery synths, hissing hi-hats with long trails and dub musings all colour these dynamic grooves. They're cavernous and immersive and frankly irresistible and the sort of tracks that need to be played loud in a dark space. In that context, you'll never want them to end.

Review: Ken Boothe was the featured vocalist on the Inna Da Yard album The Soul of Jamaica back in 2017. Despite begin a relatively new record, it has all the authenticity and sonic hallmarks of a long-lost 70s classic. Now the best tunes from the album are pressed up to its own 7" by Reload. 'Let The Teardrops Fall' opens with a vocal doused in reverb and some shiny metal synth lines with a hypnotic harmonica taking the lead. 'Let It Go Dub' then gets all stoned and laidback with bottomless dub depths sinking you in deep.

Review: After racking up millions of streams for hits like 'Jump Up Pon It' and 'Heal Them', Brother Culture is now a reggae and dub icon having been a key figure in the UK scene for decades. His powerful voice and conscious lyrics have earned him a deserving global recognition and now he teams up with Swiss reggae masters The 18th Parallel for 'Ghetto Man,' a hard-hitting anthem of resilience and justice. Their deep roots sound, combined with Brother Culture's commanding delivery, makes for an electrifying track and on the flip, Paolo Baldini DubFiles adds his signature dub touch, making this a sound system anthem that speaks to struggles and strength worldwide.

Review: France and Jamaica collide on this new 12" from Brother Sound, which is now up to release number three and is managing to maintain the good early standard it set for itself. J.A. legend Max Romeo is in top form on vocals with Brother Sound stepping up for the backing and production. 'Roll It Up' is a high-speed and hard-hitting dub that hurries you into shape-shifting while the vocals add extra pressure. It comes as two other mixes then the flipside has the slower and more meandering melodies and unbalanced sounds of 'The Story' which also comes as an extended mix.

Review: Experience the brilliance of Dennis Brown's late 70s roots vocal cut with this crucial reissue from Joe Gibbs. This new 45rpm features captivating harmonies by the acclaimed USA singer Dhaima, who is a frequent Brown collaborator, and here they combine in superb fashion for a deep roller with buttery vocals. On the flip side, indulge in the mesmerising dub version crafted by The Mighty Two. This is another great reggae release from the tireless folk at the Joe Gibbs imprint.

Review: Polish label Moonshine Recordings kicks off a new series that is helmed for the first time by Bukkha. It's a potent two tracker that opens with 'Planet I-N-I' which is a heavily dubbed out cut with bottomless subs and ice cold hits, tons of reverb and ricochetting sounds as well as some dub-wise vocals that drift in and out to heady effect. On the flip side is 'Night Out' (feat Roger Robinson), another smooth, serene and hypnotic dub techno cut marbled with static and vinyl crackle as well as some pensive words from Robinson. Both of these need to be heard as loud as can be for maximum impact.

Review: The sound of dreadlocks, should there ever be such a thing in the abstract, is best put forward by Junior Byles, the Versatiles' lead member, backed up by a shuffling riddim produced by Errol Thompson and Joe Gibbs. 'Dreadlocks Time' hears a relick of their 'Ba Ba Boom' beat, and is a heartwarming song about self-care and respect for one's own hair, with lyrics: "don't try to stop dreading/natty dread time is a-here/don't lose your cool/respect the rules..." The music is just as measured in feel, and the version is just as "natty", so to speak; there's a very well-timed acapella moment thrown in with the version mix.

Review: The Heptones nailed it when they laid down 'Party Time', an enduring classic that now gets a reissue that will be welcome news to many fans of the hard-to-find original. This timeless reggae classic was originally released in 1977 and features The Heptones' signature harmonies, soulful melodies and roots reggae rhythms. It is paired on the flip with Bobby Kalphat's smooth melodica-driven production on the gene that is 'Zin Hill' which has laid-back vibes, sunny melodies and lo-fi aesthetics that make it all the more lovable.

Review: Hope & Faith Records returns with fresh new sounds here featuring the "Standing Tall Riddim," a vital production in an early 70s roots style. This release includes two vocal cuts: 'Love Can Be So Sweet' has swaggering drums and guitar plucks with a lo-fi edge and a raw, pained vocal. 'So Sour Dub' n the flip has some whimsical organic chords and plenty of organic percussion over natty rhythm and tons of echo. Lovely.

Review: As Whodemsound races towards its 50th outing, it presses up yet another great little 7", this time with Bopper Ranking delivering some great spoken word roots. 'The Man That I Am' is just under four minutes of super clean dub with digital synths adding a future-facing feel to the sultry horns that drift up top and the traditional dub rhythms that roll deep down low. The conscious lyrics make this an even more heady experience and on the flip is a dub version for those who prefer to whittle things down to the bare dub essentials.

Review: This 2xCD set celebrates Dennis Bovell's exceptional talent during the golden years of reggae, from 1977 to 1981, a time when he was also playing a pivotal role linking punk and post-punk to reggae via collaborating with Orange Juice and producing key records such as The Slits' debut Cut. Featuring a mix of major hits and rare tracks, this collection highlights his brilliance as a producer, arranger and pioneer of roots, dub and lovers rock. Not only was he one of the first to blend disco with reggae but he was also important for fusing the disco standard 12" and using for Lovers Rock artists. His use of the format to create dynamic dub edits is a standout element, cementing his legacy in reggae production. Disc 1 includes Errol Dunkley's title track, Marie Pierre's soulful gems and Janet Kay's classic 'Silly Games', which brought lovers rock to mainstream audiences. Tracks like Errol Campbell's 'African Queen', Angelique's 'Cry' and Africa Stone's 'Choose Me' capture the era's emotional depth and Bovell's masterful touch. Disc 2 delves into 12" extended mixes, showing Bovell's innovative fusion of reggae and disco. A lifetime of great music within just two discs.