Back catalogue: Dub

Review: Robert Dallas's latest album is another doozy for lovers of real reggae. Each soulful vocal track is paired with a companion dub version by Hermit Dubz which makes this a dual-pronged attack with jams for all caissons. Dallas's signature style shines throughout as he blends conscious lyrics with rich melodies while Hermit Dubz's expertly crafted interpretations add depth and dimension. In all, this means this one is a perfect fusion of traditional reggae vibes and modern production techniques.

Review: Clash, first released in 1977, was one of a series of definitive reggae albums to highlight the eminence of the soundclash, in which two reggae or dancehall crews rig up opposing soundsystems in a face-to-face musical standoff. Fashioning this album after the competitive form, Dillinger's sparring partner in this case is 'Trinity' aka Wade Brammer, who was active during the 1970s and 80s. Trinity as Dillinger is best known for deejaying over reggae and dancehall numbers; Clash albums became very popular at the tail-end of the 1970s and into the next decade, with singers and deejays alike competing for status, track by track.

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: After plenty of anticipation, UK dub mainstays Dub Dynasty finally unleash their fourth studio album following lots of extensive, worldwide touring. Much loved in many of the sound system communities of the world, the outfit brings underlying messages of peace and unity, which we all need plenty of right now. Next to the lyrical positivity, the beats are crisp and uplifting too, with polished metal bass, steely hits and oodles of digital effects all making these soul soothing, brain-cleansing jams. The trademark big steppers, the majestic horns, the fat bass are all present and correct throughout, of course.

Review: Originally released in 1993 and out of print for many years, this classic Dub Syndicate album is now reissued on the vital On-U. Drummer "Style" Scott and bassist "Flabba" Holt anchor the massive reggae riddims here while Adrian Sherwood delivers his signature production at the controls, twisting and contouring sound to melon melting effect. The album features standout guest appearances, including Lee "Scratch" Perry on 'Dubbing Psycho Thriller' and 'Dubaddisababa' as well as Michael Franti on 'No No.' The reissue brings this influential dub album back into the spotlight and is all the evidence that you need that Dub Syndicate are masters of their craft.

Review: Dub Syndicate's Ital Breakfast is a compelling exploration of dub and reggae, showcasing the band's evolution under the guidance of producer Adrian Sherwood. The album opens with 'Throw Down Your Gun,' setting a reflective tone with its deep bass and intricate rhythms. Tracks like 'The Jewel' and 'Gun Too Hot' delve into more experimental territories, blending traditional dub elements with innovative soundscapes. The title track, 'Ital Breakfast,' features a notable cameo by the legendary deejay I Roy, adding a unique flavor to the mix. The album concludes with 'The Captain's Trance Mission,' where Lee 'Scratch' Perry makes a surprise appearance, further enriching the project's depth. Overall, Ital Breakfast exemplifies Dub Syndicate's ability to fuse classic dub foundations with contemporary experimentation, resulting in a dynamic and engaging listening experience.

Review: This release offers a fresh collection of Dub Syndicate 'versions', drawing on rhythms from their classic 1989-1996 period. Adrian Sherwood revisits the original tapes, applying his signature mixing desk magic to uncover new angles on the iconic pulse of drummer Lincoln Valentine "Style" Scott. The album features new dubs of tracks from albums like Time Boom X De Devil Dead and Stoned Immaculate, highlighting the enduring creative partnership between Sherwood and Scott. Fresh overdubs from Cyrus Richard of the Dub Asante Band add a modern twist to these timeless rhythms. As the fifth and final release in On-U Sound's Dub Syndicate reissue series, this album builds on the legacy of Ambience In Dub, which anthologised the group's earlier work. The tracks reflect the band's greatest popularity in the late 1980s and early 1990s, when Scott emerged as a key force alongside Sherwood. The result is a fusion of Jamaican musicianship and UK studio experimentation that appealed to both ravers and reggae enthusiasts. This release serves as a fitting tribute to a legendary collaboration, continuing the story of a unique musical legacy.

Review: A quarter of a century young and still a masterful slice of 90s dub, Fear Of A Green Planet gets an expanded reissue treatment courtesy of Echo Beach. Dub Syndicate could be considered On-U Sound's centrifugal force, comprised of the players which powered so many of Adrian Sherwood's projects from Style Scott on drums to Errol Holt on bass, Skip McDonald on lead guitar and many more besides. On this particular album Bill Laswell also popped up to lend some low end, and overall the assembled crew laid down one of their strongest statements in a catalogue fit to burst with dubwise perfection. Loaded with unreleased extras, this is the definitive edition for those who want to lose themselves in a deep well of riddims.

Review: Strike the Balance is another standout Dub Syndicate set featuring vocal contributions from reggae legend Bim Sherman on a cover of Lloyd & Devon's 'Cuss Cuss' and Shara Nelson, whose work with Massive Attack on Blue Lines was soon to make her a household name, but here offers her rendition of Serge Gainsbourg's 'Je T'aime.' Released in 1989, this album marked a significant moment in the evolution of Dub Syndicate and coincided with the group's emergence as a touring unit. The album blends reggae, dub and experimental sounds into a distinctive, genre-defying style. A welcome reissue.

Review: Dub Syndicate's classic 1991 album was recorded in Jamaica and London and remains one of their most iconic releases. Featuring rock-solid rhythms from band leader Style Scott, it includes contributions from Skip McDonald on guitar, Lee "Scratch" Perry vocals and Akabu, Prince Far I samples. This album gained popularity with both acid house fans and dub enthusiasts as it was a post-rave favourite for back-to-yours smoking sessions. The title track is a mix of reggae, electronica, The Doors and Motown that remains unique and after being out of print for years, this reissue has been re-cut by Frank Merritt.

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: For the first time, experimental saxophonist and composer Jimi Tenor finds Norweigan dance powerhouse DJ Sotofett, both teaming up for a collaboration: 'No Warranty Dubs'. Completing the trifecta is Berlin ensemble Kabukabu, the five-piece Afro-jazz-funkers whose original recordings - many of which were overseen expertly by Tenor himself - now come redistilled through a dubwise filter paper. The loose-limbed, lackadaisical energy of Kabukabu's live instrumentation merge fully with Tenor's genre-blurring composites, as Sotofett recasts fifteen tracks into rhythm-driven, bass-heavy versions. The original free jazz and Afro-influenced elements remain present, but they here serve as rawer material for layered studio treatments, channelling echo-drenched edit work and hypnotic repetition, where nothing ever rests to the point of complacency.