Back catalogue: Reggae

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: The Circle of Confusion are a Swiss dub production duo, who, adding to their fast-growing repertoire of releases, now drop 'Soul Of A Lion', which features Wayne Paul, an English reggae singer who was mostly active in the 90s and 2000s. Though Paul disappeared from the scene towards the end of that period, he now returns with a defiant message of big-feline hope and reminiscence, sung against a modern reggae backing with a polished, 80s roots feel. "How you feeling right now... now that you're older and wiser?" he asks in the song. Alll the better now you're back, thanks for asking.

Review: Four weighty units of dubwise reggae come courtesy of Countryman, West Finga and Jeh. The star-sider, 'This Generation' by Countryman, is a banging enough contribution to this latest EP for Hornin' to receive several versions. A foreboding ballad for a generation beset by economic problems - "this generation got nothing to lose... there's gonna be problems!" - the veteran singer and soundsystem operator is adept as ever in delivering a high-consciousness message. The B-side, meanwhile, features two dub versions of the same riddim by West Finga and JEH, two producers also part of the selfsame French Hornin' Sounds crew.

Review: As Whodemsound races towards its 50th outing, it presses up yet another great little 7", this time with Bopper Ranking delivering some great spoken word roots. 'The Man That I Am' is just under four minutes of super clean dub with digital synths adding a future-facing feel to the sultry horns that drift up top and the traditional dub rhythms that roll deep down low. The conscious lyrics make this an even more heady experience and on the flip is a dub version for those who prefer to whittle things down to the bare dub essentials.

Review: This one packs some serious heat from some of reggae's most influential names - first is The Wailing Souls, a legendary harmony group who could melt anyone's soul, and then there's the peerless studio band Roots Radics who very much laid down the temple for new dancehall reggae evolution in the 80s. This jam is taken from an album, Firehouse Rock, that was made with producer Henry "Junjo" Lawes and engineer Hopeton "Scientist" Brown. It's a buttery smooth vocal roller with earthy guitar licks and a fresh dub version on the flip. Crucial.

Review: Lopez Walker is best known for his roots classics 'Jah Jah New Garden' and 'Send Another Moses' which were recorded for Roy Francis' Phase One label in the late 70s. His talent caught the attention of Joe Gibbs, who then went on to produce this sorely overlooked bluesy dance tune. The track's forlorn vocals and a haunting flute melody capture the essence of heartbreak while on the flip side, Errol Thompson delivers a stellar dub mix. It is fleshy and warm and full of trickery and is a must-hear for fans of Joe Gibbs' iconic productions from that era. Though underappreciated, this should be a hidden gem no more.

Review: Stefan Schwander is known for aliases like Harmonious Thelonious, A Rocket In Dub and Antonelli Electr and now strikes once more with his third EP, 'While My Sequencer Gently Bleeps'. Entirely crafted on Elektron's Monomachine, this one delivers deep basslines, ravey bleeps, piano chords and synth melodies that evoke the sounds of Jamaica, UK and Chicago while looking toward the future. The EP opens with the groovy 'Title Track' followed by the minimal, dub-influenced 'Sublime' with shuffling beats and a smooth synth line. On the flipside, 'Definition Of ...' combines deep bass, lively percussion and subtle melodies that are both danceable and storytelling.

Review: Jamaican reggae and dub don Willi Williams had hit with 'Armagideon Time,' back in 1977. He recorded it at the famous Studio One in Kingston and it was later covered by The Clash as the flipside of their seminal 'London Calling' single. He's back here with 'Length Of Days' which packs in his trademark vocal styles and rides on a loose, tumbling and dubby low end. On the flipside is Shilo Ites All Stars subtly tweaked dub version, 'Days Of Dub,' for more paid back sound system vibes. Two big tunes as the summer approaches.

Review: The wonderful 'Love Rasta' is a lively and playful reggae track by Jack Wilson with a light-hearted vibe. The London-based vocalist has real Jamaican heritage and that shows in his delivery here of a vibrant song which authentically honours Rastafarian culture and acts as a unifying anthem for the community while spreading a message of togetherness. The track was mixed by Dougie Wardrop, a prominent figure in UK reggae, at Conscious Sounds studio in London and it sounds seriously loud and clear so snap it up and drop it on the biggest system you can find for maximum pleasurable impact.

Review: Paketo Wilson's 'Immigration' is a hymn to freedom from the Kingston, Jamaica-born artist. It first arrived on the Child of God label in 1982 and is one of the self-declared "positive rastaman"'s finest tunes. He was introduced to music by his father and through watching them play managed to pick up his own skills with no formal turning. His career began at age 16 when he played concerts all around the island with the New Vibration Band before going solo with Daddy U-Roy's King Stur Gav Sound System. Now back in its original form, 'Immigration' is a tune that remains as relevant now as ever.

Review: Given that Neil Anderson's Original Gravity label is an unashamed tribute to the 1960s ska and rocksteady sounds he loves (with occasional diversions into rhythm & blues and reggae), it's little surprise to see the imprint's house band, Woodfield Road Allstars, take on 'Shank I Sheck', a much-loved 'riddim' that was written, and first recorded, by Baba Brooks way back in 1964. The Woodfield Road Allstars version is a hazy, head-nodding rocksteady treat rich in heady Hammond organ licks, languid trumpet solos and jazz guitars aplenty. Over on the flip, Prince Deadly (likely an alias for Anderson) provides a lightly rewritten riff on the same core ingredients, naturally pushing the trumpet to the fore while reaching for dub-style effects and other 'versioning' studio tricks.

Review: Original Gravity sidestep into rocksteady with a new 7" one from Woodfield Road Allstars, limited to just 120 copies. Fixtures of the OG label since 2021, the Allstars' music so far has made for a stellar panorama in highly saturated dub reggae. New cuts 'The Sensational' and 'Farewell Chelsea Girl' both bring a civic verve to a hard-limited amplitudinal window; track one takes full advantage of the low rumbles spat out by the Mellotron when it clips the upper limit. Track two lets up on things, opening out the steambox to reveal an equally brow-sunned, Hammond organic two-toner.

Review: The Evil Curse Of The Vampires remains an all-time classic in the pantheon of early 80s dub albums. There have been some wranglings between Greensleeves and Scientist, commonly credited to this album which he mixed, but now the credit rests with Henry 'Junjo' Lawes who was credited as producer. Either way, the music remains unchanged, resting heavy on Channel One's sharp-shooting Roots Radics band to lay down the tracks, and with a second disc carrying some brilliant vocal turns from Michael Prophet, Wayne Jarrett, Johnny Osbourne and many more. Seminal stuff for anyone who takes their dub seriously.

Review: This reissue delivers a rich experience for fans of dub and reggae, spotlighting the artists innovative artistry. A master of blending traditional reggae with modern production, his sound is steeped in deep basslines, engaging melodies and a distinct UK steppers influence. The album's mostly instrumental tracks channel the essence of 90s dub while embracing a synthetic edge that feels both nostalgic and fresh. The vinyl pressing enhances the experience, offering warm, immersive sound quality. Each track flows seamlessly, creating a meditative journey through layers of bass-driven rhythm and atmospheric textures. J.Robinson's connection to vinyl culture shines through, honoring its heritage while inviting new listeners to explore its magic. This album stands as a testament to his skill and passion, delivering music that resonates deeply with both seasoned enthusiasts and newcomers to the genre. Whether for its sonic depth or its contribution to modern dub, this release is a treasure for any reggae or vinyl collector.