Review: Spanish musician Bass Lee delivers a strong debut instrumental album with Roots across 10 tracks of deep roots rockers led by his signature melodica. The collection was produced alongside Roberto Sanchez at A-Lone Ark Muzik Studio and features standout tracks like the uplifting 'Enlightenment' and the meditative nyahbinghi-inspired 'East African Rift.' The album was developed during a studio session that also birthed albums by Clive Matthews and Lone Ark Riddim Force and completes a trilogy focused on timeless reggae foundations that are rich in analogue warmth and melodic finesse. All of this affirms Bass Lee's place in the new wave of roots reggae musicians pushing the genre forward.
We Are People Band - "Right Fight" (version) (3:03)
Review: Jamaican singer Dennis Brown's 1984 cut 'Right Fight' finally lands on 7", joined here by a dubwise version from the in-house We The People Band. Originally buried on the Love's Gotta Hold On Me LP and a now-scarce 12", it's one of those righteous, rootsy calls to arms that Brown delivered so effortlessly at his peak. His vocal glides over a tense but propulsive groove, bolstered by horns and a chugging rhythm section, while the lyrics advocate moral clarity in the face of pressure. Flip it and the band's instrumental version runs wild: militant and heavyweight, full of reverb-splashed snares, spectral brass and stripped-back pressure. Produced by The Mighty Two (Joe Gibbs and Errol Thompson), this pairing reflects a moment in mid-80s Jamaican production where the energy of roots still collided with dancefloor sensibility. Essential for selectors with a deeper box.
Review: A true gem from the golden era, reggae royalty Johnny Clarke's 'Love Feeling All Over' is a standout rework of Diana Ross's seminal 'Love Hangover' and it gets a fresh spin with this alternate mix. Stripped down and rebuilt for sound system culture, it brings deeper bass, rawer textures and a heavier, more hypnotic vibe than ever before. Pressed on a weighty 7" on Clarke's own Naphthali label, this version is tailor-made for selectors and dancefloor devotees and has long been a certified 80s classic. This dubby take brings new life to a beloved anthem that backs up claims that Johnny Clarke remains a foundational voice in reggae.
Review: A powerful roots anthem from the unmistakable voice of Daweh Congo here. 'Prophecy Reveal' is an invitation to get lost in his haunting tone and spiritual intensity, both of which were hallmarks of his role in the roots revival movement. Originally released in 2000, the 25-year-old classic blends conscious lyrics with a weighty digital rhythm to create a hypnotic, militant vibe. Daweh's mystical delivery brings urgency and depth to the message, while the B-side dives into rich 90s electronic dub territory by layering effects and echo for a deep sound rooted in spiritual and musical resistance.
Review: More than than a decade of growth and exploration fed UK reggae and soul singer Hollie Cook's newest Mr Bongo release; an unmissable reggae-pop fusion taking form as 'Night Night', which also marks a homecoming and a fresh chapter for the singer and aritst. With General Roots as her backing band and Ben McKone handling production and dub duties at Crosstown Studios, the single pairs strident guitar licks and glowing keys with a system-scalding bassline. Hollie's sericin-soft delivery is matched by the fire of Horseman - this his first studio link-up with her since that debut - resulting in a track that pulses with affective lift. A dubbed-out B-side rounds out the 7", spacious, packed with entelechy and flair.
Review: Danubian Dub hails from Vienna and step up to their own self-titled label with a deep, steppers-style cut that delivers conscious energy and militant grooves on one impactful 7". 'Move Dem' is driven by a thunderous bassline and echo-laden snares and has a nice ass-wobbling weight to it as it rolls up and down while I Nando's commanding voice delivers his own message. Though rooted in classic dub traditions, it has a fresh edge and sleek production aesthetic that very much places it nicely the here and now. The Smalltowndubz brings some more winky dubstep style bass weight to the flipside and both versions are sound system-ready anthems built for serious rotation.
Review: Originally released as part of Dub Narcotic Sound System's Dub Narcotic Disco Plate series, 'Fuck Shit Up' has stood the test of time as a raucous blend of garage soul punk. The track made waves upon its 1994 release, with its genre-defying energy gaining instant admiration from artists like Beck, Chemical Brothers, The Jon Spencer Blues Explosion (who later covered it), and Make-Up. "We loved this piece of ramshackle punk funk when we first heard it on 7" in 1994 and we still love it now!" said The Chemical Brothers in 2025. Still a staple at underground dance parties, the track has amassed over 100,000 YouTube streams, so for the first time, it's now available digitally, paired with a fresh remix by Hifi Sean, best as former singer with C86/baggy heroes Soup Dragons.
Review: London's Mysticisms label spill valorous guts in issuing this new dub and breakbeat crossover record from Dub Specialists. Having emerged from te potent 1980s-90s fallouts that enshrouded the pioneering digital roots label Conscious Sounds, Dub Specialists tracked the storied meeting-of-minds that was and still is Douglas Waldrop, Piers Harrison, and Stuart "Chuggy" Leath. This time, the trio are heard teaming up with DJ Millie McKee and studio brain Matt Bruce to formate yet another splinter cell, as missionaries of Conscious Sounds' digital mission: to explore samplers and videogame sounds in dub and funk. Using an Atari 1040 running Cubase and armed with a Soundcraft mixer, this latest iteration hears drum loops and reggae basslines played over funk samples and layered with Petter's chords, crafting a series of short, DJ-worthy heaters. The result is unhindered by expectation and breaks many calcified digidub moulds, as on 'Funkin Dub', where speak n' spell garblings meet downtown funk licks and sonorant snare whacks.
Return To The River Ganges (The Galicians Of Asia Minor) (7:19)
Mediolana (Ambrosirus dub) (4:59)
The Galicians Of Asia Minor (6:03)
Indika Keltika (Delfic Tongue) (3:59)
Dhaka Corinthia (5:22)
Delfic Tongue (Hercynian Forest dub) (7:24)
Voyage Of The Pytheas (6:30)
Benares Eternal City (Pagan dub) (7:18)
Sumerian Odyssey (Eryri dub) (6:34)
King Of The Faeries (Demnoriax 'King Of The Lower World' dub) (5:59)
Deer Hunter (Aeduan Druid Odyssey mix) (7:19)
Atmabodha (Ritual Focus dub) (7:25)
Review: Originally released in 2016, Celtic Vedic now lands on vinyl for the first time, fully remastered and expanded with a previously unreleased track. At the heart of this sprawling ambient dub record is Youth - aka Martin Glover - whose decades-deep credentials (Killing Joke, The Orb, Pink Floyd, Paul McCartney, etc) need little introduction. One of his most revered and emulated projects, Dub Trees pitted Jah Wobble, Matt Black (Coldcut), Andrew Weatherall, Mixmaster Morris against a host of instrumentalists from the Celtic and Indian classical traditions. Flutes, harps, tubaphone, pipes and chants are warped and refracted through Youth's psydub prism, tracing speculative links between Druidic and Vedic cultures. This LP closes a trilogy that began with Hicksville and East Of The River Ganges, and still sounds great: holographic, saturated, and utterly unplaceable.
Return To The River Ganges (The Galicians Of Asia Minor) (7:19)
Mediolana (Ambrosirus dub) (4:59)
The Galicians Of Asia Minor (6:03)
Indika Keltika (Delfic Tongue) (3:59)
Dhaka Corinthia (5:22)
Delfic Tongue (Hercynian Forest dub) (7:24)
Voyage Of The Pytheas (6:30)
Benares Eternal City (Pagan dub) (7:18)
Sumerian Odyssey (Eryri dub) (6:34)
King Of The Faeries (Demnoriax 'King Of The Lower World' dub) (5:59)
Deer Hunter (Aeduan Druid Odyssey mix) (7:19)
Atmabodha (Ritual Focus dub) (7:25)
Review: UK dub punk innovator, ambient dub pioneer and sometime super producer Youth revisits one of his most expansive projects with a remastered vinyl edition of this offering, originally released under the Dub Trees banner in 2016. It's a vast, cinematic journey-eleven dubbed-out voyages plus a bonus track-where psydub, spiritual jazz, and ancient modal drones converge in exploratory motion. The 'Distant Green Shore Dub' of 'Return To The River Ganges' sets the tone: booming sub-bass, glistening tabla, and warped pads swirling like incense smoke. 'Mediolana (Ambrosirus Dub)' and 'Dhaka Corinthia (Gergeovic Dub)' fold Mediterranean and Bengali textures into tripped-out spatial frameworks, while 'Voyage of the Pytheas (Pagan Dub)' and 'Delfic Tongue (Hercynian Forest Dub)' veer into Weatherall-esque terrain-part kosmische, part misty-eyed ritual. Galician pipes, bansuri, tubaphone and Celtic harp all shimmer through the mix, filtered through Youth's dense, tactile production. This is folk memory via aux cable-pagan futurism that's both grounded and astral.
Review: Jamaican vocalist Earl Sixteen's 1980 recording finally lands on 7" vinyl, produced by Earl Morgan of The Heptones and recorded at Harry J Studios. The vocal cut rides a familiar steppers rhythm also heard on tracks by Lacksley Castell and Black Uhuru - crisp, driving, and minimal in arrangement. Sixteen's delivery is measured that sits just above the groove without crowding the mix. The B-side features a dub version mixed by Sylvan Morris. It's restrained, focusing on dropouts and echo placement rather than full reconstruction. Both sides maintain clarity and space, typical of the era's late roots sound. A concise, well-pressed archival issue that foregrounds the essentials: voice, rhythm, and atmosphere.
Review: Hidden Sequence returns, this time to kick off a new label Magistrate, and hot on the heels of their quick-to-sell out 'Silent Roots' last year. This fresh EP seamlessly bridges classic 70s Jamaican dub with modern, bass-heavy and dubwise delights, starting with 'Isms & Schisms'. The horns are brilliantly inviting as are the low ends which have been well worked on a vast desk and come packed with echo and effects. 'Magistrates Dub' is an immediately infectious skank that shifts into a deep, dub-heavy exploration and unites past and present dub influences.
Review: This heavyweight 12" delivers fresh French-produced roots reggae straight out of the unlikely region of Brittany in the North West. It unites the talents of producers William Spring and Arthur Dub Dealer with sought-after Jamaican vocalist Aza Lineage and results in 'Give Thanks For Life,' a spiritually charged anthem carried by Aza's commanding, conscious delivery over a deep, meditative rhythm. William Spring serves up his own riddim, and the B-side offers a delicious dub version from Dub Dealing that strips the rhythm back and recooks it with echo-drenched finesse. Benyah's 'Badman Horns' is tipped with some ska-adjacent brass to make for a meeting of modern roots energy with enduring messages of uplift.
Review: You might think that Yassin Omidi is a newcomer, but in fact it is the new-coming of an already accomplished and respected head who now delves deep into the world of dub techno on Steve O'Sullivan's Mosaic. The beatless 'Sluder Dub' is coated in heavy fog and static with conscious vocal musings and the roomiest of chords landing with great drama and tons of echo. On the flip is another analogue sound that features buffed metal dub chords, classic effects and a shapeshifting ambient hiss. It's dramatic despite being such a minimal piece.
Review: The title of this new rarities retrospect-trove of King Tubby and Augustus Pablo's magnetic meeting of minds references the address of the former dubber's legendary studio, where each of these 13 never-heard-before collaborative renditions were mixed. The King Tubbys studio was instrumental in shaping the dub genre, and this release captures the essence of that era, with the closing notable 'Stop Them Jah' hearing vocals by roots icon Jacob Miller, closing out an otherwise near whole-numbered blitz of versions.
Review: Switzerland's Palace Pasador step out from behind the Fuga Ronto curtain with a dreamy, groove-heavy debut of their own i a tightly wound suite of dub pop vignettes laced with synth shimmer and slow-motion charm. It's a brand new release that pulls from cosmic lounge, vintage dub and leftfield synth-pop, stitched together with just the right amount of space-dusted mystery. 'Footprint Affair' sets the tone with crooning vocals, squelchy bass and starry-eyed synths, while 'Looking For Clovers' rides a gentle shuffle that feels like a love letter to hope itself. 'Fizzy Spells' and 'Susanna's Side Eyes' are lighter, winking affairs, full of charm and earworm melodies. On the flip, dub versions stretch things further into the clouds i 'Alpha Nightsky (Bonus Dub)' in particular is a highlight, all woozy delays and submerged euphoria. It's the kind of record that feels both featherlight and deeply intentional i oddball but intimate, escapist but grounded. Fans of Music From Memory, Not Not Fun, or any sun-bleached Balearic B-sides will find plenty to fall for here. A quietly confident arrival from an act clearly in no rush, and all the better for it.
Review: What time is it? It's Skankoclock. The label is small but already well-formed and this sixth outing offers up a fresh roots reggae gem from Rapha Pico, whose 'Treat You Wrong' delivers rich vocal vibes over a heavyweight riddim. It is then Far East's smooth melodica version that take sober and lulls you into more deepness that mixes classic energy with modern warmth. Guru Pope and Handyman round out the lineup with deep instrumental contributions that add more layers of rich musicality, all of which gets pressed in a vibrant full-colour skanking sleeve for superb toots with soul, melody, and pure sound system flavours.
Review: The scale is staggering, but the result is as focused and spiritual as any great dub record should be. Helmed by Swiss producer and keyboardist Mathias Liengme, this set draws together dozens of Jamaican session players from the 70s to todayithink Sly Dunbar, Vin Gordon, Ernest Ranglinion nine instrumental dubs cut and sculpted by Roberto Sanchez. '1000 Light Years DUB' opens with spacey textures and a tightly coiled rhythm section, easing into the skanking horns of 'In The Shadow DUB'. 'Whitewater DUB' flows warm and steady, while 'Memories of Old DUB' evokes roots nostalgia without drifting into pastiche. 'Rose Hall's Birds DUB' stands out for its bright brass interplay; 'Squirrel Inna Barrel DUB' rides a darker groove, led by echo-laden percussion. 'Under The Cotton Tree DUB' softens the tempo with flute and keys, followed by the spacious bass work of '45 Charles Street DUB'. The closer, 'Everlasting Love DUB', arranged around Errol Kong's melody, feels like both a send-off and an embraceiglowing, open, eternal.
Review: This exciting new compilation is a richly layered celebration of reggae's instrumental foundations. The second chapter in the Roots Architects project, this dub album gathers over 50 of Jamaica's most revered session musicians to breathe new life into rhythms rooted in reggae's golden era. Produced by Swiss keyboardist Mathias Liengme and dubbed by Roberto Sanchez, the record is a journey into the sonic textures of Kingston's legendary studios during the late 70s. Each track pulses with the timeless craftsmanship of players like Lloyd Parks, Fil Callender and Earl "Chinna" Smith. The dub treatments are both spacious and inventive, recalling the spiritual haze and echo-drenched brilliance of King Tubby and Lee Scratch Perry at their peak. Sanchez handles the desk with deep respect and balances fidelity with creativity. From Dub 'Til Now is a historical tribute of reggae's enduring history.
Review: Stephen Vitiello, Brendan Canty and Hahn Rowe pull strings in strange and rewarding directions on Second, the chameleonic follow-up to their 2023 debut piece First. Vitiello, having left behind a vista's trail of ambient, lowercase and electroacoustic work with the likes of Taylor Deupree and Pauline Oliveros, now sketches raw forms with Rhodes, guitar and modular gear before looping in Canty and Rowe. The former adds drums, bass and piano with typical restlessness; the latter, once of Hugo Largo, folds in bowed guitar, viola and 12-string textures. There's a thread of freeform drift here, but it's sotted in dub weight, Krautrock pulse and post-punk lean. "We're coming from three different schools," Vitiello notes. Throw in a guest spot from Animal Collective's Geologist on hurdy gurdy, and it's a strange little world built on sideways logic.
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