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: 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: The Irie Ites label, founded by the French production collective of the same name, has long been one of the international reggae scene's leading lights - an impression only strengthened by the Le Mans-based stable's latest annual compilation. Comprising a mixture of 2024 label highlights and previously unheard cuts, the set offers a range of quality conscious and roots cuts (as well as a few curveballs such as the reggae/hip-hop fusion of Anthony B hook-up 'Rub-A-Dub (Stop That Sound Riddim)') featuring such global stars as Eek-a-Mouse, Sly & Robbie, Linval Thompson, Solo Banton, Screwdriver and Frankie Paul. To top it all off, crew member Jericho d'Irie Ites serves up a quintet of quality dub versions to get soundsystems rattling and dancefloors shaking.
Review: 1994's original pressing of Steely & Clevie's outstanding leftfield production with Johnny Clarke's vocals is well worth inspecting, but you might struggle to find one these days, and it'll be pricey if you do, because it's become something of a classic 45. Thankfully it gets reissued here with A-side original 'Leggo Violence' rolling lazy drums while the Clarke vocals soar high and sweet despite what they sing about. On the flip is a smooth rolling version that allows that super bassline to do its thing free from any distraction, and all with extra dub goodness.
Review: Kodama & The Dub Station Band is fronted by the talented dub trumpeter Kazufumi Kodama and together they recently presented their new cover album, COVER Song Collection featuring a selection of their versions of popular songs that they often call upon in their live performances. They have all been meticulously recorded in the studio and now one of them, inspired by Bob Marley's masterpiece 'Is This Love,' gets cut to 7". It finds Kodama transforming the classic into a vibrant instrumental rendition that captures Marley's positive vibes while offering a fresh take on the rhythms.
Roots Defender Riddim Section - "No Justice Dub" (4:18)
Kojo Neatness - "Bun Dem Down" (4:02)
Roots Defender Riddim Section - "Dub Dem Down" (4:19)
Review: Jah Mason and Kojo Neatness bring an authentic island flavour to this solid 4/4 roots rhythm that was crafted by the Roots Defender Riddim Section. The track features soulful horn arrangements as well as mesmerising guitars and keys by Black Steele and Maestro Inyaki. Originally recorded as a full band piece in Brixton over a decade ago, it underwent multiple stages to perfect its organic vibe for sound system heads. The multitrack was then taken to Ital Soup studio in South London where Petah Sunday served up a brilliant analogue mix while also adding some mind-blowing dubs all of which have already made their mark.
Review: Mattias Penselin aka Pensis meets Dub Me Ruff here, a German dub and reggae band made up of Danielle Mommertz, Hauke Wendler, Jan Roper, Markus Grapmeyer and Rolf Saggau. Their work is hugely authentic though and you might not necessarily know this wasn't from the 70s and a legendary suit like the Black Ar. The drums are fulsome and flabby, the hist scattered and the vocals add some crucial spice up top. Both cuts get more contemporary dubs and run through with all manner of percussive twists and turns.
Review: A rather calming lovers rock track reissued on 12". When reggae drummer Lindel Lewis teamed up with singers Vincent Taylor and Claudia, few could anticipate the sonic romance that would blossom. 'You, Me & He' seems to capture two such triangulations, one lying at the heart of the real collaboration between artists, and the other evoked in the imaginary love tryst explored in the song. Wafty reverb vocals from the sweetly voiced Claudia give an admissive, coy impression of the persona she channels, which is lent a soothing antiphony from Taylor. Lewis, meanwhile, evidences his solo drumming and dubbing chops on the smooth 'Me & He' versions under the name One Man Band, twinning coldness and haziness.
Review: Kibir La Amlak is coming on strong in June with not one but two new offerings on regular home Indicia Dubs. "Lion Step" is another fresh and forward looking four track 10" with a thoroughly futurist twist on the tried and tested dub template. The shimmering leads glisten like buildings in some high rise metropolis, while the snaking leads and stoner effects all add to the escapism. The titular track leads proceedings in slick fashion, while "Lioness Step" slows down to a more meditative pace, with swagger bass for company.
Review: The always on point iNdicia Dubs invite you to get down to their latest riddim at the hands of Kibir La Amlak. Entitled '"Ancient Pulse" this new vinyl only missive has an enacting lead line that flutters away over this label's trademark drums: they are neon, steel plated, contemporary and do a good job of making you move. A tripper dub takes care of the A1 while on the flip there are even more whacked out versions with endless echo and reverb and natty keys, while "Divine Timing" is driven by a drilling bassline that burrows superbly deep.
Review: London sound system crew, live show and record label Kibir La Amlak, founded in 2009 by Jamie JT Thomas, has been busy of late, and the fruits of their labour are now shining through with a third EP on Indica Dubs in June alone. "Eye | Eye" is the most dreamy and detached dub of the recent run of offerings. It has almost nostalgic leads up top, shining bright on a summer's day while smooth bass shapes and wavy drum lines all sinking you into something of a reverie. Various iterations come from the other three dubs, meaning there is something for every mood and setting.
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: Michael 'Palmer Dog' Palmer was one of the most notable dancehall vocalist of his era. He became quickly popular after appearing with plenty of sound systems and perfecting his unique improvisational techniques on the mic. That helped him standout in an overcrowded market and kept him popular with DJs who were turning reggae away from what it was becoming and turning it back to what it once was. This album first came in 1984 and showcased Palmer's singing style well with The Roots Radics serving as his backing band. A mini classic for sure.
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: Jamaican reggae legend Horace Andy has many great tunes in his back catalogue, but 'Get Down' is a classic roots gem often said to be one of his best. It's a signature sound with his trademark smooth and soulful vocals and is known for its deep, socially conscious lyrics and heavy bassline. This is one of those tunes that showcases Andy's ability to blend powerful messages with mellow rhythms and now gets pressed up to a tidy limited green smokey vinyl 7" thanks to Ruderalis. It comes with a fine instrumental version on the B-side
Review: Digikiller continue on their Tasha reissue quest with this killer 12", which once again presents a classic cut from the Tasha vaults, originally recorded with The Revolutionaries and cut at Channel One in 1978, alongside a brand new tune backed by the supergroup of Channel One's Barnabas and Danny Bassie of the Firehouse Crew. 'Can't Fool I' sees Alla seamlessly re-voice the warm, bubbling rhythm which The Revolutionaries originally laid down, his sweet, mournful vocals proving to be exactly what the tune needed. 'Easy Skanking' is a sparse, heavy stepper with cavernous rimshots and cheeky vocal samples, plus a plodding, spatious version bound to rock any self-respecting sound.
Review: Part of a fresh string of reissues of Love & Unity 12"s - one of many star aliases to grace the annals of South London reggae label Studio 16 - comes this headfirst collision between L&U and Seargent Pepper. Sharing similar instrumentals, 'I Just Don't Care' hears a blissful femme soprano glide elegantly across its bubblings - the instrumental is super well-rounded, sawn-off. On the B-side, meanwhile, there's Pepper's 'Cut From Master Tape', which hears Pepper toast the rhythm lackadaisically, as endlessly hazy dub effects resound and a janky double-time kick propels it all forward.
Review: The mighty Chazbo is behind this heavyweight new 12" on Dubshop.nl. It come son bright yellow wax and opes with 'New Life' which is a classic and tough stepper with tumbling bass notes, wet hits and endless reverb all making it a plump, inviting, fat as you like dub sound. The dub version is even more fleshy and dropping wet and a Dubplate mix adds more subtle, melon twisting studio desk trickery. 'Shaka The Great' keeps the vibes flowing in the flip and gets the same two mixes to make for a broad and brilliant package.
Review: Timeless Roots is a brilliant collaboration between reggae legend Horace Andy and renowned bassist Jah Wobble. Known for his ethereal vocals, Andy breathes new life into classics like Stevie Wonder's 'Superstition' and The Beatles' 'Come Together', while also revisiting his own iconic tracks like 'Skylarking' and 'Natty Dread A Weh She Want.' Wobble, former PiL bassist, Orb collaborator as well as a solo artist of some renown, blends reggae, modern dub and world music to create a rich sonic landscape that perfectly complements Andy's distinctive voice. The album stands out not only for its reinterpretation of well-known songs but also for its innovative production, which maintains the essence of roots reggae while introducing contemporary elements.
Wobble's deep bass grooves provide a solid foundation, allowing Andy's vocals to soar, particularly on new takes of his classics. This collaboration is a seamless fusion of two musical worlds, making Timeless Roots one of the standout reggae albums of the yearia true match made in musical heaven.
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