Review: Blimey, if this isn't major meeting of musical Midas minds then we don't know what is. Alter Echo, E3 and Headland all collaborating with legendary dub flautist Diggory Kenrick. "Temple Duel" sets the scene in deep underground chambers, untouched by the sun. Reverb space is our only guide and ritual combat is the only way out as we make our way through subsonic 808 bass foundations, a near-industrial mid-range bass guitar groove, stiff snares, stick-fighting percussion and Diggory's torchlight melody. A truly fluid hypnotic narrative that arcs through the dark, if you're looking for an even foggier route flip for "Temple Dub" where the torch is extinguished and you have nothing but your sonic wits to take you home. Only Diggory knows if you make alive or not...
Mad Professor & Dean Fraser - "Kunte Escape" (4:04)
Dean Fraser meets Mad Professor - "Silent Invaders" (4:14)
Dean Fraser meets Mad Professor - "Silent Invaders" (dub) (4:11)
Review: 'Dark Clouds' is a powerful anthem about overcoming life's toughest challenges. The song embodies resilience by conveying that victory is always possible, even in difficult times. Its uplifting melody and infectious chorus blend English, Wollof and an Arabic, African and Caribbean patois to make a unique, cross-cultural sound. Produced by the legendary Mad Professor at Ariwa Sounds, the track offers hope and strength while inspiring us to keep pushing forward despite adversity over a compelling rhythm.
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: The legendary Fatman is back with another must-have 10" release featuring Don Carlos's iconic vocal roots classic from 1980. The A-side includes the full 12" disco mix, highlighted by Robbie Shakespeare's unforgettable bassline which adds to the fresh, deep groove of this perfectly aged track. On the flip side, you'll find Delroy Wilson's infectious 'Live Good' alongside its dub version. The OG is a heavyweight cut with plenty of FX, echo and lo-fi sounds all making it an unforgettable jam. Essentially this is an absolute no-brainer for reggae and roots music lovers.
Review: The Disciples & Creation Stepper came together for 'True Nazarite' back in 1991 and it was an instant classic on the dub circuit. It has long been sought after by collectors and now comes back as a reissue from Partial Records who have done a fine job of cutting it so that the deep, heavy UK roots sound, which has become pricey on the second-hand market, is as clear as possible. Produced by Russ D, the crucial tune has thunderous sub-bass and bouncing keys and dubbed to the max across three extra mixes. 'True Nazarite (Version)' carries traces of the vocal, while the B-side 'Nazarite' dials up digital keyboard melodies and echo effects. The fourth mix strips it all down to skeletal toms and shivering bass for a stark, raw dub experience.
Review: Don't let the name mislead you: the artist behind this release might be called Dad Bod Dubs, which might be suggestive of something overtly jokey or unserious, but the music on this new 7" from Cry No More is rich and textural and not flippant in the slightest. A dubbed version of Eurythmics' 'Sweet Dreams' appears on the A, coming in a completely different key and swamping the original lyrics in a wash of dub haze. The B-side's 'Experimental Sounds', meanwhile, evokes the slow plod of Tradition's LPs: heavy use of dub effects, combined in such a way as to evoke the sound of a great spaceship-submarine, lurching through the cosmic seas.
Review: Mole Audio present a very special new quart of tracks from Daktari (Oliver Linge & Olaf Pozsgay), who've teamed up for a once-in-a-lifetime collaboration with vocalist and dub legend Horace Andy for an original set of versions. Actually, it's a welcome comeback for both artists; Daktari also haven't released anything since the brilliant back-to-back waxes for Luxus in 1997, then 1999. Now that the Y2K scare has abated (25 years later, no doubt) Daktari are back with 'Rasta Forever', which moves minimally and spatiously, and manages to sound much "slower" than its dancehall tempo would initially betray. Andy's star line has to be, "we don't smoke spliff, we smoke chalice," alluding to the kind of cannabis smoking pipe often used by Rastafari. Alt mixes from DB ART, Rhauder, and Zion Train transition from greezier dancehall, to something more dub technical, to a bubblers' delight in a more classic sound; all do stellar reparative justice to Andy's towering, implicit demand for dues and honour paid, and, true to the Daktari name, prove amply effective at remedying our symptoms.
Review: 'Africa' is the first release by Jamaican born singer Robert Dallas on Dub & Sound International, known for his releases on Roots Garden and Jamtone. Here he delivers one of his strongest vocal works, with lovely harmonies and the the theme of returning home to Africa, while B-side dub amplifies the rhythm and has electrifying energy that's perfect for the sound system. Dub & Sound International, a Finnish label, is quickly making a name for itself in reggae circles with its signature roots reggae sound and here again label boss Jaakko Penttinen handled the mixing in the best old school style. Stay tuned for more equally infectious releases later this year.
Review: .German low end collective Bass Come Save Me unleash a new 45 with a strong Portland portrait as Boomarm's Gulls makes their debut on the label with a warm beat that will keep the chills at bay this winter. Add Jamaica's Wayne Daniel on the vocals and another Portland native Madgesdiq on the conscious bars and there's a vibe that sits somewhere between Roots Manuva, YT and Wyclef. Yeah it's that toasty. Stay blessy.
Review: Marking Indica Dubs' 100th release in serious style, 'When Jah Come' by Danman takes the form of a powerful tribute to the late Jah Shaka, whose influence shaped generations of dub and roots sounds and musicians. This long-anticipated dubplate was famously championed by Shaka himself and comes laden with deep, earth-shattering basslines, spiritual vocals that touch your inner psyche and militant rhythms with unmistakable reverence. It is a celebration and a memorial that honours Shaka's legacy while showcasing Danman's ever-commanding voice and Indica Dubs' unrivalled production strength.
Review: Alvin Davis is a musical polymath. He has worked in the worlds of jazz, reggae and soul with a slew of well known names such as Prince, Edwin Starr, Maxi Priest and David Hinds. This super limited 7" offers up a great horn and sax lead instrumental piece with Alvin's horns leading the charge. The mood is one of casual rejoice and subtle celebration - the hits in particular are a lovely hook that keep you locked. On the flipside, things get dread fuelled and deliciously dubby thanks to a rework from Alien Dread.
Review: Ronnie Davis' 'No Man Is Free' is a powerful roots reggae anthem that has everything a good tune needs to in order to make an impact on the head, heart and heel, namely soulful melodies with conscious lyrics. Released in the 1970s, the track addresses themes of oppression, inequality and the quest for freedom and reflects the socio-political struggles of the time. Davis' deep, resonant vocals ride atop a rich rhythmic backing which is typical of the era's classic reggae sound. Known for his work with The Itals and as a solo artist, Davis delivers a message of unity and resistance here that reminds us that true freedom is a shared human right, not just an individual pursuit.
Review: Deadbeat, the Montreal-based dub techno maestro, returns to Echocord with a trio of immersive and hypnotic tracks. 'Pressure Double Down' showcases Deadbeat's signature sound, a blend of dub-infused techno and minimal aesthetics that has captivated listeners for over two decades. 'Too Much Pressure' is a 15-minute odyssey through intricate percussion, dubbed-out stabs and psychedelic vocals, its subtly unfurling layers and nuanced dynamism creating a captivating sonic experience. 'Double Bubble' follows with a delicate interplay of chord melodies, sub-bass tones and a crunchy analogue rhythm section, its hypnotic groove drawing the listener into a world of sonic exploration. 'Rattle The Roof Down' closes out the EP with a heavy dose of dub reggae bass, its spacey delays and murky swells adding a layer of hypnotic depth.
Review: A welcome return from Deepchord, who shows the newset of dub techno players how, exactly, it is done. After 5 years, he returns to Soma Records with 'Functional Extraits 1' here, charting shuffly and subtle trips through echoic hallways ('Mapping') and rain-pattered biomech rainforests ('Shale'), and scanning the post-Earth wasteland for any semblance of a real reggae chord. With the final track almost entirely consisting of texture and bass, we can happily declare this to be next-level dub techno.
Review: Deepchord serves us the second taster of his upcoming full-length, 'Functional Extraits', out later this year, piling on yet newer layers of texture to his trademark dub techno sound. On this sneak preview EP, 'Glyphs' pulsates through a bed of rattlesnake shakes, swirling ambience, and thunderous knocks, as though it's documenting some bioorganic brain's inner workings. 'Orbitals' entrances us further, inviting us into a melancholic garage rave submerged in a gas giant, while 'Leafiness' barely utters a kick through its emulsive pulses.
Review: Junior Delgado's album It Takes Two To Tango on the Fashion label arrived in 1986 and brought plenty of new ideas to the dancehall and lovers rock sounds of the time. It is one of an impressive 22 he has penned over his long career and now the title track from it has been pressed up to this 7" courtesy of the Real Rock imprint. 'It Takes Two To Tango' is a nice heavy roller with fat drums and bass and some great vocal work up top. On the flip is 'Jux In' (dub) which is a version of the A-side by Jux & The A Class Crew which adds some nice shiny synth smears that swirl about the mix.
Review: In 1977, singer Dhaima recorded some lovely and uplifting rockers with The Professionals at Joe Gibbs's studio, and now one of them is reissued here on the Joe Gibbs Music label, complete with a dub version from The Mighty Two. First up, Dhaima's original 'Ina Jah Children' is one of those sweet rhythms that has a breezy feel and lovely sunny melodies next to a lush and soulful female vocal, all of which pay great tribute to the one and only Jah. The dub-wise flip on the B-side is 'Save The Children' and it has some more snaking bass, hissing hi-hats and a nice unhurried vibe for lazy and loud sessions.
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: A mock-vintage version of a well-known but also tragic reggae classic, 'Satta Massagana' by the Abyssinians. Legend has it that the original tune was slated for release on Studio One, but, for reasons unknown, the dubplate ended up rejected by the label's founder, Coxsone Dodd. Indeed, sometimes it's a record's repression, not its release (get it?), that lends it its staying power. To add insult to injury, this new cover version by the Dig This Way All Stars and Yakka was first produced in acetate form and ended up cracked and unplayable only weeks after its receipt. A miracle cure, in the form of a vinyl restoration service in Rome, salvaged the record: just know that you're in an extra lucky position to be hearing this one at all. A cursed record? Perhaps, but the release of 'Sata' also implies proof of the original song's point; that some higher power really did give praise.
Review: The Disciples' Russ Bell-Brown has just dropped a great collection of instrumentals on the Experiments LP on Thank You and now Partial serve up a couple of remixes of the group's 'Sabotage' and 'Steppers Nah Sleep' tune. The a-side features 'Sabotage' (Destruction mix), an absolute thriller with oodles of echo and reverb, head-mashing cosmic sounds and alluring kick patterns. It's the same with the deeper, even more heady flipside. These are more highly regarded sounds from this well-respected dub outfit.
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