Review: This always standout lovers' rock and disco track by Sonia was originally released in 1980 on North London's Cha Cha label. The immediately much-loved tune became a firm favourite in clubs and on big sound systems and features a smooth, soulful vibe that's perfect for fans old and new of lovers' rock. On the B-side is 'Nigril Swamp Rock,' a harmonica-led instrumental by The Overnight Players that adds a unique touch to the release. The pressing is crisp and clean, so it is a real gem that is well worth copping on a tidy 7".
Freddy McGregor & One Vibe Band - "No Competition" (3:32)
Joe Gibbs & The Professionals - "Don't Try It" (3:14)
Review: Freddie McGregor's 'No Competition', originally released in 1981, is a rare gem from the roots and lovers rock scene that has been gaining renewed attention in the underground. Now here reissued, this track showcases McGregor's smooth and timeless reggae style, reminiscent of Bob Marley's classic sound. Backed by the One Vibe Band, McGregor delivers a classy, uplifting reggae tune that radiates warmth and authenticity, marking it as a standout in his extensive catalogue. On the flip side, Joe Gibbs & The Professionals provide 'Don't Try It', an instrumental counterpart that offers a stripped-down version of the original. Their rendition is a deep, mostly instrumental dub version that emphasises rhythm and bass, allowing the groove to take center stage.
Review: Thompson Sound and Dubquake Records collaborate here to present O.B.F-style renditions of classic roots and rub-a-dub tracks from Linval Thompson's esteemed label. Rico O.B.F revitalises gems from the '70s and '80s using original recordings with each release featuring reinterpretations of the vocals, dubs, and mixes that include the beloved Nazamba. Following 'Curfew' and 'Sweet Sensimilia', the latest offering is 'Evening Love', a fresh take on Sammy Dread's emotive 'Morning Love' from the iconic dub album Scientist Meets The Space Invaders. Nazamba shines on 'She Nah Lie', delivering poetry steeped in warmth and romance, enhanced by the finesse of the Roots Radics.
Review: Given the weight of these cuts, Dubquake is the perfect label for them. They find OBF and Junior Roy link up for some hefty and dancehall inspired dub sounds. The drums are steel plated and marching, the melodic leads are florid and the vocals from Roy are uplifting. The whole of 'Dub Club' has a raw, textural feel then 'Club Dub' gets a little more smoothed out into a traditional warm and pillowy dub sound. Together they make for a high impact 7" designed for loud deployment on big systems.
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: Osmose's Deep & Dub EP on Smokecloud delivers a diverse selection of deep house tracks with a unique flair. Side-1 opens with 'Mystic House,' which blends a vintage 70s sound with a loose rhythm section and smooth organ feel, creating a delightful, jazz-infused atmosphere. 'Afternoon DUB' follows, reimagining the late 70s classic 'Afternoon Delight' into a dub version that adds a fresh, rhythmic twist. 'GSK (Guitar Sax Keys)' fuses jazz, funk, and house, showing a seamless blend of genres that keeps the groove dynamic and engaging. Closing the EP, 'Live Magic' is a late-night, atmospheric groove that's both soft and sexy, perfect for winding down. Overall, the Deep & Dub EP is a journey back in time with each track offering a distinct and enjoyable experience rich in 70s inspired nightlife.
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: After deciding to sidestep off-kilter bass music bangers in favour of exploring the more experimental side of his musical personality, Jim Coles AKA Om Unit has seen his career get a deserved bump. At the heart of this transformation has been the superb Acid Dub Studies series of albums, which here reaches its third and final instalment. Like its predecessors, Acid Dub Studies III offers an enticing mix of weighty digi-dub 'riddims', deeply psychedelic TB-303 trickery, boisterous dub-leaning bass music grooves, trippy effects aplenty and some of the most immersive sound design around. Yet while there are some genuinely weighty and forthright dancefloor moments - see the rugged 'The Chase', bouncy 'Hungry World' and steppas-powered 'Usurper' - Coles also finds space for warmer and more loved-up excursions, with the gorgeous 'Lost & Found' standing out.
Review: The Orb's 13th album is a carefully crafted collection of tracks that are couched in minimal techno and ambient house. The first half embraces so-called 'Schaffel' rhythms, while the second half explores classic Orb sonic landscapes and features guest appearances from Schneider TM and Ulf Lohmann. The likes of 'Captain Korma' are warmly infused melodic jaunts with shimmering vocals, 'Cool Harbour' is a lumpy, dubby and off-balance workout and 'Kompagna (Zandic mix)' is a raw, experimental blend of harmonic tones, smeared samples and ambient bliss. This one, then, continues The Orb's legacy of genre-defying music which started in the late 80s when they pioneered chill-out and ambient house.
Review: On 2013's History of The Future, Alex Paterson looked back at The Orb's most productive and critically acclaimed period, between the ever-changing band's formation in 1989 and the end of their 'major label adventure' at the tail end of the '90s. This second instalment - released ahead of a new album in the summer - brings the story bang up to date, gathering together Paterson and company's best productions since the turn of the millennium. For the most part, it's business as usual, with the former Killing Joke roadie and longtime production partner Thomas Fehlman joining the dots between sample-heavy downtempo grooves, dub, melodious techno and '90s style ambient house (the second disc, which focuses mostly on this style, is particularly enjoyable).
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