Back catalogue: Dub

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.

Review: Lee "Scratch" Perry, a Jamaican record producer, singer, and songwriter, is largely acclaimed for his innovative and experimental production techniques. His Black Ark Studio, established in the mid-1970s, became a renowned hub for reggae music production, fostering the talents of numerous artists. Perry's Black Ark studio was not merely a recording space but an alchemic laboratory where he conjured sonic masterpieces. With his use of tape loops, heavy reverb, and other unorthodox techniques, Perry created a distinct and hypnotic sound that transcended conventional reggae boundaries. Artists such as Bob Marley, the Wailers, and Max Romeo flocked to Black Ark to collaborate with Perry. In his studio, Perry's intuitive approach to music making blurred the lines between producer and artist. He considered himself a "musical doctor" whose role was to guide and inspire the musicians. The Black Ark became a sanctuary for musical experimentation, where artists were encouraged to explore their creativity freely. This vinyl has been out of print and completely unavailable until now.

Review: The final Lee 'Scratch' Perry album is bittersweet but here for us to enjoy and pay our respect. The highly influential icon who passed away in 2021 was a groundbreaking artist to many. One of his last steps may have been to bridge the dub and hip-hop community better like only he could try. Step in Bob Riddim (Coincidentally a great name!) who performed many of the instruments here has the experience background to equal Perry's desire. Destiny is the result of this unique collaboration. Expect an album that catapults both of the artists to a higher level of expression. There is some irony that Destiny is the tribute to Lee 'Scratch' Perry.

Review: Moonshine Recordings' latest release is by the reggae, dub and dubstep producer Adam Prescott. Titled 'At The Controls', it's Adam's first full length, boasting some serious dub grooves here with all the hallmarks of a traditional and spacey dub affair. We like the unique BPM changes in some tracks, and they have proper staying power and could even be played under an MC to great success. 'At The Controls' may slip under the radar to some. Don't let it slip under yours if you like dub music.

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: Prince Istari's earliest memories are of his mother playing the tranquil melodies of Erik Satie's pieces on the piano. Skipping school, he'd bask in the sun, absorbed by the serene tunes and years later in 2024, rediscovering his mother's sheet music sparked a creative resurgence. He transformed them into dub versions, crafting a tapestry of sound, and each piece's form dictated its direction, evolving from heavy dub to delicate piano and synthesiser blends. The finale, a relic from his past as Istari Lasterfahrer, features a distorted recording of his mother playing Satie to complete the circle. This special record comes in limited quantities of just 200 copies.

Review: Prince Jammy's In Lion Dub Style showcases the dub master's unparalleled skill and innovation in the reggae world. Released under the Jammy$ Jamaica label back in the mid-70s, this album is a testament to his prowess as a producer and mixer with its pulsating rhythms, killer hardcore roots, deep basslines, and intricate dub effects. Each track immerses you in his signature sound and from start to finish, Jammy expertly blends traditional roots reggae and futuristic dub experimentation. In Lion Dub Style is one of many essential albums from this particular sound world and as such solidifies Prince Jammy's status as a true pioneer of dub music.