Review: We shall never apologise for our love for the work of Steve O'Sullivan. His contributions to the world of dub techno are second to none. They are also mad consistent both in style and quality which means they never age. Here he steps up to Lempuyang with his Blue Channel alias alongside Jonas Schachner aka Another Channel for more silky smooth fusions of authentic dub culture and Maurizo-style techno deepness. Watery synths, hissing hi-hats with long trails and dub musings all colour these dynamic grooves. They're cavernous and immersive and frankly irresistible and the sort of tracks that need to be played loud in a dark space. In that context, you'll never want them to end.
Bongo Ossie & The Moon Lights - "Black Society" (2:50)
Super 8 Corporation - "Black Version" (2:58)
Review: The reissue of Bongo Ossie & The Moon Lights' Black Society on Hornin' Sounds is a treasure for hardcore reggae enthusiasts. Originally from 1975, the original delivers a classic roots sound with a fantastic collaboration that resonates deeply with lovers of the genre. The timeless track exudes the soulful and socially conscious vibes characteristic of the era. On Sidde-2, 'Black Version' transforms the original into a dub version. With abundant echo effects and an engaging stop-and-start beat, this track offers a dynamic listening experience. It's perfect for DJs seeking to infuse their sets with a vintage yet innovative reggae twist.
Review: Matthieu Chedid and Seu Jorge's long-running collaboration reaches a new peak with this latest release. A-side, the track 'Parioca' brings together the duo's signature stylesiChedid's French flair and Jorge's Brazilian rhythms, resulting in a seamless fusion of groove and melody that invites listeners into a warm, joyful world where their distinct musical identities meet. The B-side's dub mix of 'Parioca' takes things in a deeper direction, layering hypnotic rhythms and atmospheric textures that open up the track, creating an expansive, dubby atmosphere. It's a perfect companion to the original, showing the depth and versatility of their musical partnership, which continues to evolve after more than a decade of collaboration.
Review: Tabou 1 is on a roll right now and their latest offering features reggae icon Johnny Clarke teaming up with the legendary rhythm duo Sly & Robbie. 'Every Knee' is an archetypal roots reggae anthem that has everything you want in a tune. It demands to be played loud and proud and blends Clarke's soulful, spiritual vocals with Sly & Robbie's masterful bass and drum foundation. The rest of the tracks here also have deep grooves and heartfelt lyrics that resonate with themes of devotion and unity and are enhanced by the signature dub-infused production.
Review: Having already introduced us to many of their regular 'pals' - re-editors specialising in Balearic and cosmic oddities - Manchester's Drum Chums crew now wants is to meet their 'percussion pals'. They operate within similar sonic territory if this first multi-artist missive is believed, albeit with more of a penchant for dubbed-out drums. There's plenty to set the oulse racing throughout, from the metronomic dub-chug of Spice Route's incredible 'Gruler Dub' - a fine re-edit debut from the long-serving Bristol selector - and the expertly dubbed-out space disco trip that is DJ Pouffsouffle's 'Totally Manic'. Elsewhere, Manc stalwart Neil Diablo delivers the ultra-slow weird-wave pop of 'Starry Night', while Hysteric's 'Pinball' is a blue-eyed soul treat.
Alton Ellis & Slim Smith - "Sho-Be-Do-Be-Do (I Love You)" (2:55)
Alton Ellis - "Be True" (2:41)
Review: This reissue brings a fascinating piece of reggae history back to the light, showcasing a unique collaboration between Alton Ellis and Slim Smith. Recorded in 1971 at Chalk Farm Studios, this 7-inch single captures a moment of creative exploration and cross-cultural fusion. Side A features 'Sho-Be-Do-Be-Do (I Love You)', a mid-tempo soul duet where their voices intertwine in a display of effortless harmony and heartfelt emotion. Their performance blends soulful melodies with a distinctly Jamaican rhythmic sensibility. On the flip, Ellis takes the lead with 'Be True', a reggae-funk infused cut that highlights his versatility. The track is a testament to Ellis' ability to seamlessly blend genres. Originally intended for release on A&M Records, these tracks were part of a larger project spearheaded by producer Stanley Pemberton. This reissue sheds light on this intriguing chapter in reggae history and allows listeners to appreciate the artistry of Ellis and Smith in a new light. Their collaboration is a testament to their vocal prowess and their ability to create music that transcends cultural boundaries.
Review: The 7" release of 'Free Ma'n by the Ethiopians and 'Shanty Town' by Soul Brothers on Studio 1 is a must-have classic for reggae lovers. These two heavy hitters are beautiful standout from the early days of the legendary Studio One in Jamaica, and were first related back in 1966. The tunes perfectly embody the raw, soulful sound of Jamaican ska and rocksteady of the era with vocal depth and effortless dub warmth. The Ethiopians are known for their socially conscious lyrics and deliver a powerful performance on 'Free Man', while the Soul Brothers back them with Studio 1's signature mix of jazzy brass, syncopated rhythms and laid-back bass.
Review: Rocksteady from Japanese crew Inokasira Rangers, whom've here teamed up with singer Hikari Suzuki for a cutely delivered cover of the Americana song 'Tonight You Belong To Me' by Nancy Sinatra. Performed in a "skinhead reggae" manner, this is a mysterious but fun version of the erstwhile lolloping 60s pop version. On the flip comes a curveball in the versioned form of one of the greatest-selling singles of all time, 'Ue o Muite Arukou' (aka. 'Sukiyaki' in English-speaking markets), originally sung by Kyu Sakamoto and again retaken by the Rangers.
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: Prince Chamba joins forces for a superb new roots cut here with Slimmah Sound and Ital Horns. Their 'Secret Light' is a smoky and seductive sound with wobbling low ends and impassioned vocals delivered with a heart-aching twist as the melanotic horns fly up top and rousing chords add some hope. Slimmah Sound & Ital Horns then add their own heavily reverbed dub version and Slimmah Sound offers 'Melody Of Light' which is full of hypnotic harmonica leads. A second dub version once again reworks it into a stoner's delight that will sink you deep into the sofa.
Review: Spanish label Base Lee Music has tapped up hometown hero Roberto Sanchez for this great new rockers roots single. 'Words Of My Mouth' really has it all - the smooth flowing bassline that undulates and rumbles with cavernous warmth, the acoustic guitar plucks up top to hint at the old school reggae sound and a vocal that is pure and soulful. The Message band come through with a dub version on the flip that layers in tons of echo and reverb and gets those snaking hi-hats hissing as they melt away to nothing.
Review: Seafront International is "honoured" to unveil a poignant tribute to the late, great Sandeeno, who left us far too soon. In that regard, and with the legacy he leaves, he joins the ranks of many other reggae legends. This long-awaited release originates from a recording session a decade ago at Backyard Studio UK, and since then it has lay patiently awaiting completion. Renowned Belgian producer Martin De Ronne, also known as Unlisted Fanatic, has impeccably handled production and mixing duties. He levels up the track with the soulful embellishments of Moonshine Horns and guitar accents courtesy of Kingston Echo.
Review: Emotional Response facilitate a new, prickly post-punk come dub fascinator by Shelter aka multi-instrumentalist Alan Briand. Helping redefine the term "digidub" to muted but compelling effect, this wry, checkered release themes each of its track titles after chessboard pieces, perhaps reflecting many of the power moves (rook castlings, last-minute pawn queenings) that have defined Briand's career so far: he's already demonstrated a dexterity in straddling several styles, from ambient, Balearic, improv and even acid Indian raga. All recorded live, this new, fuzz-packed release betrays an undying love for a particular dub sound: 'Kings, Knights & Rooks' fleshes hugely cosmic synth swells out of initially wan beginnings, whilst 'The Queen's Sacrifice' goes on to upend minimality entirely for maximal cavern-verb and 'Shutting Out Bishops' stars as the B-side's wackiest mumble-toasting; all tracks pay homage to a long, territorialising and power-hungry digidub tradition, with Prince Jammy, Alpha & Omega, Bush Chemist and Jonah Dan all namechecked as influences.
Review: Digital English is a pioneering digital reggae producer who founded his own self-titled label in New York City back in 1984. Since then it has focussed on local talent from dancehall, lovers rock and roots worlds and is influenced by London's 70s sound system culture and icons like Jah Shaka, Sir Coxsone and Fatman, He is known, as a producer, for integrating a hardcore frequency into his music that reflects a blend of digital innovation and traditional reggae sounds and that is evidence here on a limited edition new 7" with Ras Sherby.
Review: King Shiloh is back with more heavy and modern dub sounds from a range of talents who all add their own spin to a couple of heavy rhythms. Tiger Simeon & Brada Jahziel's 'Rastaman Vibration' gets underway with some bold, brassy horns and natty pianos that make for a full fat sound. Jah Works gets to work on the mixing desk and dubs it out to perfection while Lavosti brings a more modern sounding digital synth sheen and rousing vocal top line to the delightful 'Real Reggae Warrior.' Again it is Jah Wrks who steps up to do his thing and strip it back to deep dub vibrations.
Review: This release features two previously unreleased tracks on a beloved 1987 digital riddim. Singing Melody delivers the first, 'Friday Evening', a tune he revisited several times and it brings true dancehall energy. PN the reverse of the 7" is a nice dub that fleshes things out to the max with extra wobble and headiness. Both songs were recorded at Dynamic Sounds during this golden era and are cuts that capture the essence of classic digital dancehall, so are essential additions to the collections of any fans of this period.
Review: Merge Productions comes through with a special red vinyl release here of a new version from the album originally recorded by Earl Sixteen and Brazilian producer Lucas Kastrup. 'I & I' is a timeless bit of roots lovers' rock with gentle percussive tumbles and earthy guitar riffs detailing a fat bottom reggae rhythm with some sweet and soulful vocal sounds up top. It's rich island music and flip it over and you will find a deep and warm dub version for even more stoned late-night sessions.
Review: Anyone who has followed Emotional Rescue knows it has always does a fine job of documenting pock punk and UK punk dub's early years, in this case showcasing the previously unheralded work of Skinbat Scramble, who emerged from the mundanity of the Home Counties to converge on London during the early 80s. Core members Mark Eason and Fergus Crockford were simultaneously inspired by the speedy punk thills of the Roxy Club and the Two Tone scene of ska and reggae which ran alongside it, as well as counter cultural heroes of the generation before like Gong and Velvet Underground. They got to work distilliing slow tempos, experimental sounds, dub and much more into leftfield rhythms, and while the likes of 'Basement Voltaire' - all echoing electronics, high frequency blips and merciless drum machines - or the Clash-in-dub workout 'North By Northwest' are rooted very much in the Cold War/Thatcher years, their individuality and experimental vibe mean they've endured remarkably well. Scramble to get yourself a copy.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.