Review: Wild, desultory ambient dub from Exotic Gardens, the solo project of one Aaron Coyles (Peaking Lights, Leisure Connection). Sporting no collaborators other than a home stockpile of vintage recording equipment and other sound generators, this sagacious exercise in sonicosmic spacefaring is unmatched; recliner music for bunners of yet-to-be-identified substances, let's say. Take your pick of faves among the nameless numbers; we personally love the riser number 3, the bright new wave / psychedelia crossover feel of number 4 and the Amen acid cadences of number 8.
Review: Another Channel's collaboration with Prince Morella on Freund Der Familie Records delivers a stunning dive into deep dub. 'Brother Love' blends a vintage dub aesthetic with a spiritual spoken-word message from Morella, creating a deeply immersive atmosphere. The production masterfully balances warm, chord-focused techno elements with the timeless depth of dub rhythms, resulting in a track that feels both classic and forward-thinking. On the flip side, the instrumental version strips away the vocals, letting the dub-infused textures and hypnotic beats take center stage. The absence of the message emphasises the track's spacious production and rhythmic pulse, making it a perfect tool for introspective listening or adventurous DJ sets. A stellar release that showcases the synergy between dub's roots and techno's evolution.
Review: Coyote release the second instalment of their continuing journey into all things Dub. 2 heavyweight tracks with their own unique expression of Dubness. Always ever-present in Coyote productions in some form or another here its front and centre.For big speakers and squidgy black.'Light like a feather-heavy as lead'
Review: Noel Phillips aka. Echo Minott opens up the Mango Tree Showcase with a rallying cry to conquer Babylon. Such a claim encapsulates the vibe of this record, one of several to grace and immortalise the Dub Master Clash project: a 2016 concept that saw and heard several dub producers "battle it out", so to speak. A solid friendship was thus born between the Jamaican and the young Clermont-Ferrand producers; and from these so-called "reverb and echo clashes" came the first 12" maxi of the series, 'This World Is Inna Mess'. You don't hear that one here, though: instead, the Dub Shepherds have since met with Echo Minott, who greeted them at the Bat Records studio with a further bagful of dubs and roots from the time - all of which make up the Mango Tree showcase.
Review: Amami's 'Wrong Way' is a dub-infused track that exemplifies the genre's rich, immersive qualities. The song opens with a deep, resonant bassline that anchors the composition, while subtle percussion elements add a rhythmic complexity. The dub version on the B-side further enhances the track's atmospheric depth, offering a more stripped-back interpretation that allows the intricate soundscapes to emerge more prominently. The release underscores Amami's adeptness at blending traditional dub elements with contemporary production techniques, resulting in a track that is both rooted in the genre's history and forward-thinking in its execution.
Review: First released way back in 1982 on Greensleeves, Eek-A-Mouse's 'Ganja Smuggling' is a towering example of early 80s "singjaying", a style of reggae vocal improv made popular by its combination of toasting and singing. Here we open with an asphyxial, spitballing steppers sound, as 'Mouse is heard scatting and bidi-bonging in his signature opening style, shortly before launching into a cautionary tale about working as a border lines marijuana smuggler. The track deals in a stoic, forborne whimsy, comically scatting and riff-licking through what is implicitly portrayed as an otherwise thankless and unforgiving task. This 7" reissue marks an important milestone in Greensleeves' release catalogue, harking back to one of Eek's earliest cuts laid down with kingpin producer Henry "Junjo" Lawes, the association with whom helped fuel Eek's early celebrity.
Review: Al Wootton's latest EP is a sonic exploration of ancient moods and futuristic textures, blending techno, IDM and tribal rhythms into a hypnotic and intricate package. Side-1 begins with 'Facing The Horses Tail', an otherworldly IDM-inspired piece with jittery, icy beats that evoke an ancient, mystical ambiance. 'When Hempe Is Spun' follows with hypnotic tribal grooves, showcasing Wootton's technical mastery of rhythm and texture. The title track 'Calvinist Hospitality' opens Side-2 with a mix of aboriginal tones and primitive atmospherics wrapped in a techno frameworkia deeply heady journey into a timeless soundscape. Closing the EP, 'Imperial Toledano' channels the intricate, mechanical funk of Monolake, with atmospheric design and a weirdly funky edge that suggests a modern interpretation of Autechre-like IDM beats. Experimental techno fans listen up.
Review: Vin Gordon, also known as Don Drummond Jr, is a celebrated trombonist from Jamaica who now drops a second 12" on Finnish Dub & Sound International with the Dubsetters. It carries on the good work of their first outing with rootsy and organic reggae rhythms topped with the signature smooth sounds of Gordon's melodies up top. After the original version of 'Get On The Groove', the B-side keeps things sweet with a Groove Dub that is as deep as they come and stacked with echo and reverb for that lovely authentic sound and then closing it out is 'Groove 78 Style' which is more percussive, splashy and cavernous with some deft studio effects added in.
Michael Prophet - "Love & Unity" (extended mix) (6:27)
The Prophets - "Babylon A Fall" (extended mix) (5:56)
Yabby You - "This Economical Crisis" (2:31)
Yabby You & Trinity - "Gwaan & Lef' Me" (extended mix) (5:00)
Prophets All-Stars - "Love In Zimba" (3:21)
Yabby You - "Get Lost Babylon" (extended mix) (7:58)
The Prophets - "Blessed Are The Poor" (3:34)
King Tubby - "Love Of A Woman Dub" (4:43)
Yabby You & King Tubby - "Jah Mercies" (3:36)
Yabby You - "Dreadlocks Man" (3:42)
Review: Yabby You, aka Vivian Jackson, remains one of reggae's most iconic figures, known for crafting some of the genre's most enduring and sought-after roots recordings. This collection showcases his deep influence, bringing together ten of his best productions, with his Prophets vocal group and Michael Prophet leading the charge. The tracks here are enriched with extended mixes and dubs, courtesy of the legendary King Tubby. From the raw energy of the vocal performances to the dubwise arrangements, this release captures the spirit of reggae in its purest, most powerful form. A must-have for any serious reggae collector.
What You Won't Do For Love (Mato Mellow Reggae mix) (4:03)
What You Won't Do For Love (Mato dub version) (4:03)
Review: Thomas Blanchot has been casting a spell with his sun-soaked reggae renditions as Mato for a long time now. He's back on his regular stomping ground of Stix with a beautiful version of Roy Ayers' evergreen 'What You Won't Do For Love', with Ethel Lindsey taking on the role as singer to complement Blanchot's sweet and easy riddim. It's a tune primed to greet the warmer weather, staying faithful to the original while giving it a fresh spin. As well as the full vocal version on the A-side, we know full well you're going to love flipping it over for the consummate dub version on the B-side.
Yekermo Sew (feat Don De, Craig Crofton, Piotr Zabrodzki) (4:12)
Yekermo Sew (feat Don De, Craig Crofton, Piotr Zabrodzki - dub) (4:12)
Review: Dreadsquad's latest single marks the first glimpse of an upcoming instrumental dub album and pays homage to a pivotal moment in world music history. In 2005, Jim Jarmusch's film Broken Flowers introduced global audiences to Ethiopian jazz, particularly through the hauntingly beautiful 'Yekermo Sew' by Mulatu Astatke, who is considered the father of Ethio-jazz. Now reimagined as a reggae dub track, Dreadsquad has replaced electronic elements with live instrumentation and worked with an international team of musicians. Meaning "man of experience and wisdom" in Amharic, 'Yekermo Sew' reflects Dreadsquad's seasoned journey across continents and reaffirms the universal truth that music transcends all boundaries.
Review: This reissue delivers a rich experience for fans of dub and reggae, spotlighting the artists innovative artistry. A master of blending traditional reggae with modern production, his sound is steeped in deep basslines, engaging melodies and a distinct UK steppers influence. The album's mostly instrumental tracks channel the essence of 90s dub while embracing a synthetic edge that feels both nostalgic and fresh. The vinyl pressing enhances the experience, offering warm, immersive sound quality. Each track flows seamlessly, creating a meditative journey through layers of bass-driven rhythm and atmospheric textures. J.Robinson's connection to vinyl culture shines through, honoring its heritage while inviting new listeners to explore its magic. This album stands as a testament to his skill and passion, delivering music that resonates deeply with both seasoned enthusiasts and newcomers to the genre. Whether for its sonic depth or its contribution to modern dub, this release is a treasure for any reggae or vinyl collector.
Review: Jamwax breathes new life into a rare and evocative track from Justin Hinds, a heavyweight roots reggae masterpiece that embodies the spirit and teachings of Marcus Garvey. A-side 'Marcus Tradition" delivers a powerful message of tradition and heritage, driven by a down-tempo riddim and distinctive whistle. The flipside offers a dubwise reimagining, stripping back the vocals to reveal the hypnotic depths of the instrumental arrangement. This reissue is a testament to Jamwax's dedication to preserving Jamaican musical heritage, honouring both Hinds' artistry and Garvey's enduring legacy. A must-have for any roots reggae enthusiast or those seeking to connect with the powerful message of Marcus Garvey.
Review: The always excellently go slow and tropical sounds of Big Crown now look to Bacao Rhythm and Steel Band for covers of two classics. Up first is Grace Jones' nightclub classic "My Jamaican Guy" while on the flip is Erykah Badu's tribute to the legendary J Dilla, "The Healer". Both retain the essence of the original but come with loose hand claps, shimmering steel drums that bring coastal breezes, sand and sun into the equation and leave you laying horizontal. These are fine interpretations of top notch source material.
Review: The iconic Late Night Tales series scored a real doozy when they managed to lock in Don Letts for for his instalment. The British film director, DJ and musician is a vital part of the UK's musical fabric from his days making videos for The Clash and Elvis Costello to his work with the Big Audio Dynamite band he co-founded. All that history is distilled into this sublime selection of sounds across four vital sounds fo wax. There's reggae, dub, ska, a cover of Joy Division, head twisting goodness from Gentleman's Dub Club and plenty of exclusives. It's an essential listen, basically.
Review: Stix Records is the sub-label of superb French outlet Favorite Recordings, and it is reserved for heavy dub cuts. This one finds label regular Mato reworking a classic reggae roller first written by Kool & The Gang. His gorgeous version is perfect for hot summer nights with its languid Fender Rhodes leads and sun kissed beats. It's loved up and perfectly, frankly. On the flip is a reggae rework of Bill Withers', who is sadly no long with us, 'Use Me,' repackaged with a playful harmonica lead and more grinding chords over the gently tumbling beats.
Review: Alpha & Omega are serious UK dub legends and now they are back on ZamZam with a typically powerful new anthem featuring Steppas Records' Nai-Jah. Over a thunderous bassline, melodica, sparkling keys and evocative jungle sounds, Nai-Jah's heartfelt lyrics call for empathy and action as he signs "Money-making has filled our minds with disease." The flipside jam on this fine 7" is 'The Dubplate Trembles' which extends the vibes in classic style. Another fine collaboration from these mainstays who have already long since assured their legacy over the course of 30-plus albums that have shaped global sound system culture.
Review: Disco-infused reggae and soulful grooves are on the agenda as Prince Fatty takes to the controls with regular vocal colllaborators Shniece and Horseman along for the ride too. For the Disco Deception album, he raids the reinvents various classics in the image of his own signature low-end energy and impeccable production, giving us original and dub mixes to choose from in several cases. His version of Krfatwerk's 'The Model', which features both Shniece and Horseman, was an underground smash when it emerged a couple of years back and sounds as vital as ever. 'Fever', made famous by Peggy Lee as far as 1958, gets some soul-stirring vocals from Shniece, and Tom Browne's 'Funkin' For Jamaica (NY)' is a glory of funky basslines to shimmering horns. A magnetic atmosphere that keeps listeners engaged from start to finish, all with character to spare.
Review: Lempuyang's third offering is an outstanding split release between Steve O'Sullivan & Hydergine, label bosses for Mosaic/Bluetrain & Ranges. In 'Binary Riddim' Steve delivers a two-part dub track spanning >13 minutes, seriously heavy in the low end; melancholy strings in the first half, progressing to outright menacing chord stabs in the latter. A versatile track offering something for both warm-up and the dancefloor. Complimenting on the flip are 'Mystic Light' and 'Lunar Eclipse' from Hydergine. Deep, dubby atmospherics meander over a weighty 909 kick on B1. Subtle minimalism a la Terrence Dixon, pitched down on B2. Essential release!
Review: Robert Dubwise Browne's remake of Bob Marley's classic 'Could You Be Loved' offers a fresh and vibrant take on the timeless track. Featuring strong female vocals on the hook, this version leans heavily into a rich rhythm section, bringing a new energy to the beloved song. The remake is both classy and respectful, capturing the essence of the original while adding its own flair. On the flip side, the dub version strips things down, transforming the track into a cool, atmospheric rendition that highlights the instrumental depth. Browne's production shines throughout, making this release a standout for fans of reggae and dub alike. It's a glorious tribute with modern touches that breathe new life into a classic.
Review: This laid-back dub 45 offers a seamless blend of positive vibes and deep rhythms. Side-1 features a classic reggae track with a powerful, uplifting message of unity. Mundell's smooth vocals are complemented by a steady, groovy rhythm that captures the essence of roots reggae. Side-2 takes the message to a more instrumental and dub-infused space, with the track being heavily dubbed out, showcasing intricate rhythms, echo effects and atmospheric layers. The dub version allows the music to breathe, emphasizing its meditative and expansive qualities. A perfect pairing for dub and reggae enthusiasts.
Review: Dub wholesalers Arawak reissue a popular 1979 lovers' rock version of The Dramatics' '72 soul classic. The original 'In The Rain' is notable for being one of the first pieces of popular music ever released to incorporate the sounds of rain and thunder; this is sadly not literally repeated on the dub version here, but the sense of expanse and reverb control by Brixton dub deejay Webby Jay is an expert portrayal of the wet aftersod. It's stopped raining, and each kick-rim unison sounds like a puddling, pooling splash in dawn light, giving off plumes of vapour. A real textural, high-quality dub riddim; we can feel droplets on our ears.
Riding On A High & Windy Day (feat Breezy & Hugh Mundell - Alt take) (3:18)
Riding Rythm (3:20)
Review: Nope, sadly it is not that Prince Philip - the late Queen's husband - though boy would we love to hear what he could do on a mixing desk with those porcine fingers of his. Instead, this is a collection of sounds dedicated to the work of the late "Prince" Philip Smart, who was the first-ever engineer at King Tabby's legendary Tubby studio beside the boss himself. He was key to sharing the early sound of dub though he was rarely credited at the time. Listen to this collection of gems from between 1973 and 1976 across to glorious slabs of wax though and you'll be sure to be a fan.
Review: The first in the Reggae 45 Series, Cheeba's Reggae Sound Boys reimagines classic Jamaican sounds from the 60s and 70s, blending them with fresh beats, samples and FX for a modern twist. Expect skanking breaks and deep, dubwise grooves that serve as a nod to reggae's roots while pushing boundaries. This release delivers both nostalgia and innovation, capturing the spirit of classic reggae with a unique edge, designed to keep the energy high and the vibes flowing for fans of the genre.
Batman (Gary The Tall v Exotic Gardens Reversion) (4:11)
Review: Emotional Rescue takes another trip into the twisted world of post-punk dubs, electronics and oddities here at the hands of DJ, collector and radio host Gary The Tall. The original comes from German duo and new wave innovators Die Radierer whose pop-reggae jam 'Batman' is irresistibly catchy with its low-slung beats and lazy, sun-kissed melodies. It appeared on 1983's In Hollywood and was recorded at their home studio on a Tascam 4-track cassette recorder. Gary The Tall's remix finds him teaming up with Aaron Coyles under his new alias of Exotic Gardens and the results are loopy and dubbed out to perfection.
Review: 'Denshi Lenzi' by Tokyo Riddim Band offers a splendid fusion of past and present, blending elements of Japanese reggae with contemporary dub sensibilities. Recorded and mixed by the renowned Prince Fatty in South London, this track presents a unique cultural amalgamation. Featuring three generations of female musicians from Japan, the band combines reggae drums, funky basslines, and smooth City Pop guitar melodies, creating a stellar live dub experience. Tokyo Riddim Band's emergence has been celebrated by Gilles Peterson, NTS, Pitchfork, and Bandcamp Daily, gaining recognition for their fresh take on classic Japanese reggae. Led by pianist and composer Izumi 'Mimi' Kobayashi, the band's reinvention of the Natural Mystic riddim in 'Denshi Lenzi' injects new life into the original Japanese production. With dubbed-out vocals, sirens, and electrifying e-tom sounds, the track delivers an authentic reggae/dub experience infused with a distinct UK flair.
Review: Irie Ites Records delivers a compelling snapshot of reggae's enduring vitality, blending veteran voices with modern interpretations. Junior Dread's 'Leaders' opens with a commanding rhythm and poignant lyricism, while Eek-A-Mouse's 'Musical Ambassador' injects a playful yet inventive energy. Linval Thompson brings depth with 'What Time Is It?', its rootsy bassline evoking reggae's golden era, contrasted by Anthony B's 'Rub-A-Dub,' which brims with contemporary flair. The tracks stand strong individually yet flow cohesively, bridging reggae's rich history with its forward momentum.
Review: Prince Fatty's new independent record label Lovedub Limited kicks off with a super 7" from the man himself. It is in fact something of an homage to the 1970s jazz-funk of Lonnie Liston Smith but with some hefty dub and reggae treatment. Shniece Mcmenamin stars on vocals and brings plenty of summer soul to the groove which is also lit up with free-flying flute lines over steady reggae rhythms that will sink you in deep to Winston "Horseman" Williams and Carlton "Bubblers" Ogilvie's drums, organ and piano. On the flip is the dub with the iconic Liston-Smith melody leading you through a lazy afternoon in style.
Review: "The foundations of some of these pieces were laid almost a decade ago, others more recently. All of them came into being as sketches intended as Komodo Kolektif tracks to develop but for various reasons this didn't happen. The Seven Heavenly Elements was first presented to the group in 2019 but partly through personal differences in musical taste as well as COVID throwing a spanner in the works it was put aside and never worked on collectively." Gamma Knife calls on the power of instruments including djembe, Berber square drum, Moroccan metal castanets, shaker, tambourine, bongos, maracas, rattle, Javanese gong ageng, Javanese kempul, Javanese saron, Balinese gong ageng, Balinese kempul, Roland R8 Mk II, DSI Mopho, Roland Jupiter-8, Roland SH-101, Sequential Circuits Pro One, Behringer TD-3, Moog Voyager, Moog Minitaur and jaw harp for a staggering journey into ritualistic futurism and space-age ceremony. Very special indeed.
Review: Legendary reggae group Black Uhuru's double album Positive & Positive Dub blends their iconic roots reggae sound with modern dub influences. Originally released separately in 1987, the albums are now reunited as a double vinyl gatefold featuring their original covers. Produced by Grammy-winner Horace Campbell, Positive includes ten powerful cuts while Positive Dub offers up eight mesmerising versions that were recorded at renowned studios like Tuff Gong and mixed at Lion & Fox in Washington. With over 40 years of reggae excellence and a Grammy-winning legacy, Black Uhuru continue to captivate.
The Sherlock Horns - "Elementary, My Dear Dubstoned" (4:36)
Variedub - "Elementary, My Dear Dub" (4:36)
Review: This crucial dub drop comes with a powerful roots track that invites you to enjoy an incredible collaboration with The Sherlock Holmes, one of the most dynamic horn sections in the sound system scene. Produced to perfection by Variedub, the track blends rhythmic warmth with musical strength. Side A delivers an uplifting brass melody with a lively dialogue between trombone and sax and is complemented by dub moments and melodica phrases, all built around a One Drop rhythm. On Side B, the Dub version unfolds with rich reverb and delay effects that embody Variedub's signature style.
Review: As well as navigating the realms of dub and reggae, infusing each track with his signature vintage sound and infectious grooves, Prince Fatty is well known for taking famous songs and flipping them into reggae territory, a wonderful mix of the familiar and the unepxected that usually works wonders on the dancefloor. With the fantastic 'Black Rabbit,' dub don Prince Fatty masterfully tackles Jefferson Airplane's 60s anthem 'White Rabbit', which took its inspiration from Lewis Carroll's surreal story Alice In Wonderland but hooked those references up to the drug experiences of those countercultural rtimes. The A-side is graced by with the vocals of regular Fatty collaborator Shniece, whose performance does more than simply ape Grace Slick's, adding lines and heaps of her own personality, while rich basslines, swirling echoes and soulful melodies all showcase some exceptional production skills. Naturally, there's a dub version on the B-side, and all in all this a testament to Prince Fatty's enduring influence in the contemporary reggae scene.
Precious Times (feat Prince Morella - Roots version) (6:55)
Review: Since rebooting his dub fired Bluetrain project late last decade, UK techno legend Steve O'Sullivan has delivered a string of superb 12" singles and an equally as impressive album, Steady Pulse. Naturally, the latest Bluetrain missive is a hypnotic, dubbed-out delight. Lead cut 'Frozen Rose (Special Edition Dub)' is simply superb - a rolling and hypnotic affair that joins the dots between Rhythm & Sound's earliest minimalistic dub-house epics and locked-in dub techno - all solid beats, echoing vocal snippets, deep sub bass and aquatic melodic motifs. It comes backed by a fresh 'Roots Version' of much-loved 2022 single 'Precious Times', featuring the honeyed vocals of Prince Morella.
Review: With a storied history stretching right back to the mid-1990s, Reggae Disco Rockers are one of Japan's longest-serving reggae and rocksteady bands. While they're best-known for their original songs, they've delivered some killer cover versions over the years - including 2021's sun-splashed reggae re-imagining of Frankie Knuckles' classic house track 'The Whistle Song'. This seven-inch features another: the band's immersive, loved-up, super-sweet lover's rock-meets-Balearic reggae take on Neil Young classic 'Harvest Moon', featuring some suitably weary, emotive lead vocals from Marter. Flower Records regulars Slowly provide a dreamy and dubbed out take on the flip, as you'd expect given their output in recent times.
Upsetter Revue - "Play On Mr Music" (feat The Heptones, The Congos & Junior Murvin)
Carlton Jackson - "History" (Dub Plate mix)
The Silvertones - "Rejoice Jah Jah Children" (Dub Plate mix)
Jimmy Riley - "Give Me A Love"
The Upsetters - "Give Me A Dub"
Lee Perry - "Soul Fire"
Sam Carty - "Milte Hi Akhen Aka Bird In Hand" (Full vocal version)
Mystic I - "One More River To Cross"
The Upsetters - "One More Dub To Cross"
Junior Murvin - "People Get Ready"
The Upsetters - "People Get Ready Dub"
The Silvertones - "Feel All Right"
Review: Japanese music outlet Rock A Shacka reissues a compelling 2020 compilation, Play On Music: Lee Perry Black Ark Days, which captures the Upsetter for the best part of his key tenancy at the Black Ark Studio in Jamaica, which he built himself and which lasted from 1973 to 1979. Having died a legendarily bizarre death - during a manic episode amid an alleged fiscal entanglement involving being blackmailed for studio profits, Perry was alleged to have covered every available surface in black marker pen before burning the entire complex to the ground - the Black Ark Studio was martyred as not just a hitmaker but also a known out-turner of many an uncommon dub gem. Featuring such greats as 'Play On Mr. Music', 'Milte Hi Ankhen' and 'Bird In Hand', this comp also features brilliant rarities like 'Rejoice Jah Jah Children' by the Silvertones, as well as an unreleased take of Carlton Jackson's biggest tune 'History'.
Review: Workshop is one of those labels that has always operated at the fringes of genre. Deep house and techno are the loose starting points in many cases, but artists never fail to veer off into the shadowy nether worlds that surround those basic forms. Kolorit does that here with two intriguing cuts all with the same name. The first has lumpy scattered drums, scraping sounds, ticking hi-hats and freaky noise samples all peppering them. The second has haunting chords sequences over a ticking sound that is coated in hiss and crackle. It's late night and mysterious. The third has clattering percussion and shimmering synths that rise and fall and build in tension and intensity.
Review: Froid Dub's new album Deep Blue Bass on French label Delodio is as deep as the Mariana Trench. The bubbling bass and gurgling synth lines bring a new aesthetic to digi-dub that places you at the centre of the cavernous and aqueous sound worlds. Mystic synth leads take the mind away up top as those bottom ends rumble on in an atmospheric fashion. Tunes are subtle marbled with acid lines and echoes, digi-dub bleeps and icy hi-hats that all help oil the rhythms and accent the basslines. A superb work.
The Regulators - "Don't Look Back In Anger" (Re-mixed & Re-mastered) (4:55)
Prince Deadly - "Dub Look Back In Anger" (4:47)
Review: You can't beat a good cover of a classic tune and they don't come much better than this version of Oasis's masterpiece 'Don't Look Back In Anger' by The Regulators. Original Gravity come through with it on 7" in its 'Re-mixed & Re-mastered' form. The lead melodies come from big fat horns, while the lazy drums sway to and fro and bring an all-new kind of energy. Prince Deadly then gets to work on the studio dials to dub it out to perfection on 'Dub Look Back In Anger'. Two doozies.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Conqueror
Lost & Found.
Down The Road.
Nightfall
Northern Lights
Magic Earth
Return To The Garden
Adrift
Last Song
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Dreadzone presents Nine, an album/reflection on the past five years of their productive output, in which the classic "Dread sound" has grown and mutated. The unshakeable core of Greg Roberts, Leo Williams, Tim Bran, Ben Balafonic, Steve Roberts and Spee first came together in 1993, for debutant EPs such as 'The Warning' and 'Fight The Power', the latter of which was an instrumental of the anarchic fervour felt at the time in the UK. Now Dreadzone present a brand new crock of dub, ragga and breakbeat highlights, treading new turf, yet still connecting with the ambiance and tenor of their early sound.
Review: Prince Fatty's reggae rendition of Amy Winehouse's classic song, featuring vocals by Hollie Cook, offers a fresh perspective on the legendary track. Released alongside a dub version on the flip side, the collaboration showcases Prince Fatty's knack for infusing new life into familiar tunes. Hollie Cook's soulful vocals are brilliantly supported by the Supersized Band's skilled instrumentation. Prince Fatty's production expertise shines through in the recording, mixing, and production, capturing the essence of reggae while staying true to the original song's spirit.
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