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.
Guru Pope - "Reggae Soldier" (Saxaphone mix) (3:15)
Aba Ariginal - "East Meets West" (Hornix mix) (3:15)
East Meets West (dub mix 1) (3:14)
East Meets West (dub mix 2) (3:18)
Review: A powerful collaboration between Jennifer Barrett, Guru Pope and Aba Ariginal released on a striking red 12". The original track blends smooth reggae rhythms with heartfelt lyrics that celebrate strength, resilience and the spirit of the reggae soldier. Each artist brings their unique flavour to the release and that leads to a harmonious fusion of voices and styles. Add in its infectious groove and uplifting message, and 'Reggae Soldier' is a standout tune that begs to be played loud.
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: South African-born, US-based Brendon Moeller has long been at the sharp end of the dub techno world. This limited 12" vinyl is a great example of that with pure sonic storytelling full of warmth and depth. It was first put out back in 2019 and shows the unparalleled artistry of this man who has worked as both Echologist and Beat Pharmac. His organic, dubwise approach to techno is second to none with an immersive, ever-evolving narrative over tunes inspired by pioneers like On-U Sound and woven with Nyabinghi rhythms, industrial dread and modular grunge.
Review: This crucial platter features two gems in 'Windrush Scandal' and 'Give A Little Love' which are fine tunes from Lizzi Bee and Ranking Ann, who makes a great return and lays down some superb vocals that will get you thinking as well as skanking, and what's more it all comes on a flame red vinyl 12". The track offers a perfect blend of reggae and dancehall influences, featuring catchy melodies, uplifting lyrics and a smooth rhythm that will have you swaying along and lost in the cavernous bass depths. Sax versions and dubs are all included to make this the complete package.
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: Sam Binga has established himself with boundary-pushing club tracks on labels like Critical and Exit and for this one teamed up with Welfare, a junglist and the Rua Sound label boss. Together they were inspired by the rugged beauty of Conamara, County Galway and began the project in a 300-year-old cottage overlooking the sea in a place free of creature comforts but rich in inspiration. Using a handheld recorder, the duo explored tidal caves, ruins and windswept coastlines while recording the ambient sounds they heard on the way and then turned them into these deeply textured dub compositions through live desk mixing at Dubkasm's studio.
Review: 333 UK shed backscattered light on another late 1980s anti-apartheid reggae opus, Bionic Singer's 'Botha Warning'. Salvaged from the formerly seafloor dwelling chest that is the Jamaazima label back catalogue, 'Botha Warning' is a star riddim from the late great Osbert "Madoo" Maddo, who was brought up in East Kingston and as a child attended the legendary Alpha Boys School. Over his career he recorded mainly with Joe Gibbs and Errol Thompson, and for Winston Riley's famous Techniques label. The Bionic Singer alias came later, after a move to New York from Jamaica and brief hiatus; releasing on the Bronx-based Jamaazima, 'Warning To Botha' is a bloodthirsty send for South Africa's then prime minister P.W. Botha, set to a sturdy bubbler backing - the track indicts his policies as a key cause for the brutal segregation of the period.
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.
Bongo Ossie & The Moon Lights - "Black Society" (2:50)
Super 8 Corporation - "Black Version" (2:58)
Review: The reissue of Bongo Ossie & The Moon Lights' Black Society on Hornin' Sounds is a treasure for hardcore reggae enthusiasts. Originally from 1975, the original delivers a classic roots sound with a fantastic collaboration that resonates deeply with lovers of the genre. The timeless track exudes the soulful and socially conscious vibes characteristic of the era. On Sidde-2, 'Black Version' transforms the original into a dub version. With abundant echo effects and an engaging stop-and-start beat, this track offers a dynamic listening experience. It's perfect for DJs seeking to infuse their sets with a vintage yet innovative reggae twist.
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: For the latest in their series of "giant 45s" - loud 12" pressings of classic cuts from the Studio One vaults - Soul Jazz has decided to offer-up a fresh pressing of Brentford All Stars' 'Greedy G'. Based on James Brown classic 'Get On The Good Foot', the track was famously sampled by Boogie Down Productions on their iconic cut 'Jack of Spades'. It remains a bona fide party classic, adding a bass-heavy, Hammond-heavy reggae spin to Brown's insatiable funk groove. As it did the last time Soul Jazz issued it back in 1988, it comes backed with the deeper and more laidback 'Granny Scratch Scratch', another classic cut from Studio One's in-house backing band.
Wackies Rhythm Force - "Hard To Find" (version) (3:07)
Review: Annette Brissett grew up in the USA even though she is a noted reggae vocalist. Her influences are the likes of Otis Redding and the Wailers and she also plays several instruments. 'Hard To Find' is one of her most well-known tunes and it pairs electronic reggae with prog rock guitars and her own soulful vocals. It's curious and compelling and has some funk deep in its bones. The version is provided by Wackies Rhythm Force who strip the vocals and make more of the noodling prog guitars and dubby swagger.
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: The genesis of this album was three soundsmiths getting together in Brother Sound Studio in March 2024. It's a room full of synths and instruments and mics and in there they set about their work with Martin Dread responsible for the composition. What results is a bunch of proper chunky dubs with a very modern production edge. Synths have a clean digital shine that brings a future feel, the toasting though is traditional so brings authenticity and the melodies are perfect for getting lost in after a hefty toke.
Brother Wildman - "Too Many Worries & Problems" (3:42)
General Soria - "Too Many Worries & Problems" (dub) (3:28)
Review: Rain A Fall returns with more of its lovely roots goodness on a new and crucial 45rpm that pairs General Soria with Brother Wildman. The latter kicks off with 'Too Many Worries & Problems' which is a heavy, hard-hitting digital roots tune with tough lyrics that do not pull any punches. It's perfect for all roots and sound system enthusiasts, as is the flipside dub from General Soria which rewires it with extra heavy low ends and cavernous kicks for summer fun.
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.
Joe Gibbs & The Professionals - "Runnings Irie" (4:31)
Review: If you are reading this you will already likely know that Dennis Brown is a reggae don. Even amongst his rich and vital catalogue, 'Money In My Pocket' is a quintessential track produced by the legendary Joe Gibbs and backed by The Professionals. This one really captures Brown's smooth vocal delivery and signature soulful style over an effortlessly catchy, rhythmic groove that takes elements of roots reggae and infills with accessible, polished sound. The lyrics focus on struggles and aspirations so resonate on a deeper level and make this one a long-standing and beloved anthem.
Review: This is a new reissue of what and dub head will know is some very rare Canadian-only roots. Finding an OG of this record will take you time and cost you even more. Jerry Brown was in fine fettle when he laid it down as it's an awesome and truly deep tune with a rolling bass line. If you flip it over and drop the needle on the dub version, called just 'Lady,' you will find that rich bass with some fluttery melodies up top from a flute that brings sunny days to mind.
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: 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.
Joe Gibbs & The Professionals - "Peel Head" (2:49)
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: Polish dub home-brewers Moonshine Recordings have commissioned an exceptional new release here from Bukkha, Dubbing Sun and Burro Banton; 'A1 Sound' really is more than worthy of its pronounced place at the top of the list, thanks to its unique fusion of heavyweight steppers dub production and a hardcore, doubletime beat worthy of any warehouse rave. The track bares an unusual push-pull, and it seamlessly introduces the A3 jungle mix too, whose tempo and pace matches the first two versions' dragged weightiness. But here it's all three artists' productive synergies that shine, the original mix flaunting a restlessly fickle fencing between hardcore techno, brusque rap-jaying and nu system dub, never totally settling on either sound.
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: This is one of a pair of new slabs of wax from Amsterdam's Sound System and label of the same name, King Shiloh. It features an array of modern dub and reggae talents and first up, Lavvosti & Black Omolo offer the modern sheen of 'Red Gold Green'. Kare's 'Better Days' rides the same rhythm but with more stylised and soulful vocal turns that empower with every bar. Jah Works dubs things out with a ton of effects and Tiger Simeon & Brada Jahziel layer in storytelling bars. Brasspect brings a fresh horn-led sound that is romantic and hypnotic and Roots Mechanic pairs things right back to an 80s sounding Jamaica dub vibe.
Review: This is a mad decent debut release from veteran musical assistant Meroe "G," also known as Record Shop Roy. This original composition, 'Can't Pay Won't Pay,' was penned by A.G. Marshall and the package also features the legendary Big Youth who delivers the powerful 'Sufferers Cry' vocal in a single striking take- he manages to capture raw emotion with seemingly effortless ease. Next to him, the track boasts an impressive lineup of talent including drums from Horseman, Steven Wright aka Marley on guitar, keys from Henry Holder, saxman Richard Doswell and David Fullwood on trumpet with Paul Kelly adding percussion next to Meroe "G" on vocals and bass. This is a deep, rootsy package crafted with care and spirit that demands to be pumped loud through your best amps.
Natty Nature - "Write Your Story" (extended version) (8:22)
Bass Lee - "Roots Memorial" (4:12)
Bass Culture Players - "Memorial Version" (4:12)
Review: Bass Culture - the reggae label, not the French house imprint - collaborates with the incredible Natty Nature on this new release which come son a nice hand-numbered 12". The A-side features an extended vocal version which is a powerful statement of intent reflecting Bass Culture Players' (which features top musicians like Adubta, Javi Arkotxa, General Soria and Carlos Amalgamah) core philosophy. On the B-side, Bass Lee pays homage to the golden era of 70s roots reggae with an instrumental clavi and melodica cut. The release concludes with a dub version, showcasing the raw energy of the rhythm section crafted by Bass Culture Players.
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: King Shiloh is back with more heavy and modern dub sounds from a range of talents who all add their own spin to a couple of heavy rhythms. Tiger Simeon & Brada Jahziel's 'Rastaman Vibration' gets underway with some bold, brassy horns and natty pianos that make for a full fat sound. Jah Works gets to work on the mixing desk and dubs it out to perfection while Lavosti brings a more modern sounding digital synth sheen and rousing vocal top line to the delightful 'Real Reggae Warrior.' Again it is Jah Wrks who steps up to do his thing and strip it back to deep dub vibrations.
Review: 10000 Lions Sound System brings some serious heat to their final release of 2024. It's a various artists affair with four artists offering up one heavyweight tune each. Spectacular's 'Big Bold & Brave' opens up with raw, guttural vocals over mid-tempo digi-dub rhythms. Bulby Yorke's 'Big, Bold Dub' stirs it back to a more low-end heavy roller but the bright melodies remain. Reemah's 'Run Dem Down; adds some nice female vocal soul next to big horns and raw percussion before a final dub again pairs things back to the rich basslines.
Sounds From An Unforgettable Place #1 (UV remix) (2:48)
Unspeakable Visions (3:48)
Review: Dutchman Banabila's second studio album on Knekelhuis once again affirms his status as a boss-level operator among ambient music fans. The eleven-track record explores soul-stirring, krautrock-tinged, and avant-garde electronic landscapes that are all rooted in emotive expression. His compositions feature ethereal voices in the form of fictional characters chanting in a language of their own creation, resonating with a captivating essence that transcends linguistic boundaries. The record also showcases Banabila's mastery of sonic textures as he weaves a narrative of layered complexity and emotional depth while some tracks like 'Rattles' hark back to his earlier work on Knekelhuis.
Review: BCUC aka. Bantu Continua Uhuru Consciousness are a South African band working in a highly specific niche: political psychedelic music with an African twist. Six long, energetic opuses hear the collective band intone in multiple languages, embracing Babel, while paying due homage to the anti-apartheid movement, as well as indigenous peoples, through many an ecstatic, multifaceted, hedonic trance.
Review: Originally released under the name The English Beat in 1982, this album sees the Two Tone experts spreading their wings and incoporating African vibes and jazz into their revolutionary sound. It's joyful, party-fuelling stuff but usually with a social message snuck in for good measure, which is just how we like it. Throw in some bonus studio and live tracks on this double deluxe RSD version and it really can't be Beat.
Review: A long-standing figure on the London jazz scene, trumpeter Harry Beckett kept his music fresh over a long career, and none more so than on his debut On-U Sound release in 2008 produced by Adrian Sherwood, which invites reggae and dance music influences to happily live alongside his modal jazz flavours. Now reissued posthumously, The Modern Sound Of Harry Beckett tracks the legacy of this contemporary jazz eminent, who passed away in 2010. Beckett channels both his Caribbean roots and trumpeting abilities, offering a novel confounding of sparse, skittish beats verging on digidub, with spryly slick soundings of the horn. Made up of isolated recordings laid down by Beckett, and then celebratedly combined with dancehall and dub movements afterwards, our fave has to be the unabashedly dubstep godsend, 'Like You Didn't Know', which spreads Beckett's horns out to virtuosic effect, against a wickedly womping wash.
Review: Malinowski and Eon Sinclair are back with a full-length album as Bedouin Soundclash. It comes on Dine Alone Records after the release of singles 'Shine On' and 'Something Lost + Something Found' back in summer. The record was further teased with 'Birds of a Feather' (featuring Ashleigh Ball from Hey Ocean and vocalist Jay Malinowski) and 'Beyond Four Walls'. All those tracks are included alongside some superb new songs. They add up to a reggae and ska classic that leans on the old school but also brings plenty of fresh new styles.
Review: Dread Locks Dread, originally released in 1975 on KLIK Records and reissued by Front Line in 1978, stands as one of Big Youth's most defining albums. Known for his innovative DJ style, Big Youth's chant-like toasting brought a melodic, rhythmic energy to socially charged lyrics, making him one of reggae's most distinctive voices in the early 1970s. This album, featuring the legendary Skin, Flesh and Bones band with Lloyd Parks on bass and a young Sly Dunbar on drums, delivers a blend of punchy reggae rhythms and deep, immersive dub. Produced by Tony Robinson and Errol Thompson at Joe Gibb's studio, Dread Locks Dread shows Big Youth's ability to elevate classic reggae tracks with his unique vocal style. Highlights include 'Some Like It Dread', a reinterpretation of Dennis Brown's 'Some Like It Hot', enriched by bluesy harmonica, and 'Marcus Garvey Dread', a fiery version of Burning Spear's anthem. The album also features a brilliant take on John Holt's 'Keep on Moving' and a dub-heavy version of the Techniques' 'You Don't Care'.
Review: For those familiar with manchester sax player Birchall's previous forays into dub, this album offers a deep dive into the analogue 70s Jamaican dubbing techniques that have defined the genre, paying homage to the trailblazers like King Tubby and Errol Thompson. The source material is heavily percussive, resulting in a collection of dynamic, dubby drum workouts that seamlessly blend live drumming in the Count Ossie style with drum machines that recall Lee Perry's experimental approach. A highly anticipated dub companion to Nat Birchall's acclaimed Dimension of the Drums LP, this continues in a similar spirit of the previous. Drawing inspiration from classic dub albums like Keith Hudson's Pick A Dub and Winston Edwards' King Tubby Meets The Upsetter at the Grass Roots of Dub, Birchall reimagines the tracks with roots dub precision, incorporating fresh horn lines and hand drums to enhance the album's authentic, organic vibe. The LP includes two distinct mixes of a new rhythm track that wasn't part of the original album, adding an extra layer of excitement for listeners. Birchall once again handles all aspects of the albumiplaying instruments, recording, mixing and masteringiensuring a deeply personal touch in every track. All in total, eight tracks of instrumental dub bliss that transport you back to the golden era of reggae's most inventive sound.
Review: During Wellington's cultural renaissance, The Black Seeds emerged as trailblazers and soon hooked in audiences with their energetic live shows and earning a reputation as summer festival favourites. In 2004, they blended funk and soul into their signature roots-reggae style to create this, their second studio album which became not only a Triple Platinum album but also a defining moment in modern New Zealand music history. Featuring three hit singles and including the Quadruple Platinum anthem 'So True,' this record embodies the Kiwi summer spirit and Gareth Moon's accompanying video with the band cruising sunlit locales in a classic Holden wagon only cemented that legacy.
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.
Review: Black Uhuru and Sly & Robbie was a powerhouse collaboration that gifted reggae some of its most vital anthems. Backed up by the toughest rhythm section in the business, Black Uhuru were able to push a new urgency in Jamaican music which has lost none of its power over 40 years later. This compilation on TABOU1 gathers together a treasure trove of A-sides, dub mixes and even especially resotred dubplate specials from Black Uhuru's purple patch between 1977 and 1980, when they were recording almost exclusively for Sly & Robbie's Taxi label. Some of these tunes are beyond the wildest dreams of any reggae devotee who knows their onions, but even for the casual listener there's magic in every riddim.
Review: .Apocalyptic fusionistas Blood Of Heroes return to complete their trilogy of albums with Nine Cities. Every bit as powerful and abrasive as previous long players Remain and The Waking Nightmare, once again they take the dark imagery and intention from the original 1989 film and surge it into an unclassifiable and somewhat bewitching brew which has strong notes of IDM, metal and drum & bass. Highlights include the reflective dubby waves of 'Skara Brae', the high voltage tension of 'Lower Atlantis' and the skin-exfoliating 'Jerush-A-Salem'. Bloody good.
Review: Les Rhythmes Ruban's tunnel-visioned modus operandi is to churn out some of the toppest reggae and ambient dub on the East side of the Channel. This time they welcome twin producers Blundetto (Max Guiguet) and Pupajim (Jean-Marie Cariolet) to their roster, for the ambitious and sensorial collaborative version record Tancardub, in turn a comprehensive dubbing of their 2024 record Tancarville. Guiguet is a longtime favourite on the French dub, electro, jazz and all-else underground, having made his initial way in Dijon before cutting his teeth as the seasoner of many a vocal artist's track, including Akale Wube and Hindi Zahra. Cariolet, meanwhile, is a favourite member of the renowed dub troupe Stand High Patrol, and has been at and about it since at least 2009. Together, Tancarville was an impressive roots rollick, with 'Groenland' standing out as the vespertine vocal number; but system huggers will appreciate this version much better, since Tancardub wholly commands a crisper yet stiffer, rattlier POV on an initially serene album.
Review: The latest compilation on CTR, curated by Jason Boardman of Before I Die Records, dives into the rich, underground landscape of early 1980s post-punk. This collection offers a fascinating glimpse into the era's DIY ethos, featuring rare and never-before-heard tracks that encapsulate the innovative spirit of the time. From the 2-Tone-influenced Skeet in Coventry to the dub experiments of Surface Mutants with Cabaret Voltaire, the album uncovers a trove of hidden gems that have largely flown under the radar. One track even boasts a unique post-punk diss track, adding a touch of rebellion to the mix. Boardman has unearthed a variety of tracks, some even sampled by the likes of DJ Shadow, showcasing the lasting influence of these obscure artists. The compilation highlights a time when independent musicians, studios, and labels banded together, bypassing major labels in pursuit of their creative vision. While it's not a comprehensive guide to the era, this album shines a spotlight on the overlooked and underappreciated, giving these artists the recognition they've long deserved, not to mention the enduring power and creativity of the post-punk underground.
Review: Originally released at a time when Kruder & Dorfmeister reigned supreme and Germany and Austria boasted some of the finest dub-fired downtempo producers around, Bozoo Bajou's debut album, Satta, was something a sleeper hit. As this 25th anniversary reissue proves, it remains a deliciously languid, laidback and glassy-eyed affair that mixes subtly jazzy instrumentation (Rhodes, jazz guitar etc), dubby bass and luscious string arrangements with slow-motion trip-hop beats and dusty samples. The plentiful highlights include 'Night Over Manaus', a samba-soaked shuffler, luscious opener 'YMA', jazzy head-nodder 'Under Mi Sensi' and the exotic, G-Stone style stoned haziness of 'Bakar'.
Review: You can always count on Egon's Now-Again label to bring the finest curios from music's hidden history into the reach of the record buying public. On this occasion they're looking to the work of Jamaican legend Boris Gardiner, a singer, bassist and guitarist with a long and winding history through the beating heart of reggae culture. Ultra Super Dub is the rarest of rare dub treasures, pulled from Gardiner's prolific mid 70s era and originally issued by a Miami-based label in an incredibly short run. On it, you can expect to hear superlative, skeletal versions of classics from Otis Redding, Jimmy 'Bo' Horne and many more. Of course, the sonic treatment is top-notch on this reissue, and there's in-depth writing from Jeff Mao to take you into the world these versions came from. This is how a reissue should be done.
Dennis Bovell Dub Band - "Suffrah Dub (Sufferer Sound Disco 45)" (6:03)
Pebbels - "Positive Vibrations" (3:46)
Cosmic Idren - "Compelled" (3:38)
Dennis Curtis - "Come With Me" (3:21)
Matumbi - "Dub Planet" (4:14)
African Stone - "Run Rasta Run" (2:50)
Matumbi - "Fire Dub" (5:38)
Errol Campbell - "Jah Man" (3:53)
Young Lions - "Take Dub" (5:01)
Dennis Bovell/Janet Kay - "Game Of Dubs" (4:53)
African Stone - "Dub Choice" (3:34)
Angelique - "Cry" (4:07)
DB At The Controls - "Crying" (4:29)
Review: Dennis Bovell's Sufferer Sounds vinyl compilation showcases an essential chapter in his diverse career, focusing on his contributions from 1976 to 1980. With 15 tracks, including a rare dub mix of Janet Kay's celebrated Silly Games, all meticulously restored and remastered at Dubplates & Mastering in Berlin. The vinyl edition brings a fresh and clear sound to these tracks, allowing listeners to fully appreciate the warmth and depth of Bovell's arrangements. Renowned for blending genres, Bovell's exceptional production skills shine throughout this collection. Accompanying the music are insightful notes by Bovell that provide reflections on each track's creation. The sequencing of the album takes the listener on a compelling journey through his emotive and dynamic music, revealing the depth of his talent. One of the best compilations we have heard in some time.
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