Cerca:dub one

Oversized custom cut LP jackets (13” / 33.02 cm width)
Silkscreened with bespoke iridescent citrus green ink by Mark Rice
Short story by Natalia Zuluaga

Flexi 7”:
steaming mescaline (extended mix by bad lsd trips)
Citrus green metallic foil stamp
Pressed in full stereo
Edition of 150

I.

bad lsd trips is the collaborative duo of makers doris dana and domingo castillo flores. Respectively the two have fostered practices that have sprawled out through various approaches and, whether in the lanes of the musical or the contemporary arts, the phenomenology of the social and inclusive prevails. On ultrafest, this motif continues through the psychedelia of its eight time-defying recordings, welcoming the listener into an open temporal architecture of the stereo field as a signifier of environment. It is worth noting that the group began collaborating in Miami, Florida with longer form improvisations recorded to a stereo cassette deck. In these recordings, the paved geographical sprawl and oceanic view permeated the approach to amassing long swaths of sound material. Listening back on that work at the time of this writing, each track feels as though one is walking into an active space, arriving to an event already in full swing and finding your place inside of it. On ultrafest (this album) something different occurs. The space and events are built around you as you move through the record.

II.

The name of the album is ultrafest, which should effectively provoke your mind's eye the imagery of young people dancing, salivating, grinding, and imbibing chemical compounds to the perversely formalized musical genres of “Electronic Dance Music” and latter-era Dubstep often heard in European Uber rides and energy drink commercials. A far distance from the icy and machinic reverie of Techno’s finest rave eras or the notable historical contributions of Miami’s cerebral producers to IDM’s global output, ultrafest is a libidinal catharsis as festival scaled to a multinational corporation of hedonistic excess. The festival has been a hallmark of Miami cultural industry production and optical enticement for tourism, purportedly bringing in nearly a billion dollars in revenue to the city since 2012. Scores of documentation exist wherein this decadent escapism leaves the concertgoer, usually in some neon garment on a near nude body potentially adorned with fluffy faux fur leg warmers, facing a comedown from the combination of volume, sun, dehydration, and methylenedioxy-methylamphetamine. This MDMA experience characterizes an aspect of the way bad lsd trips employs vocals and pitch on this album. The detached, high octaved longing of a high pitched vocal is decoupled from its typical auditory body of song. High-pass clicks and pops touch the (h)air on the back of the neck, promising goosebumps and teasing towards euphoric rushes of dopamine, yet also exist decoupled from the body of song. As the dopamine depletes and the sun imposes itself, Miami’s downtown of skeleton real estate is your company as you meander towards your parked vehicle to rest your fatigued senses, elevated heart rate, and quench the need for air conditioning on your skin. The immediacy of bombastic social immersion to architectural alienation palpable here.

III...

- Nick Klein

Steppers time on Prince Istari in the 5th Grade of the Riddim Dub School! The first side consists of a synth lead played by Prince Istari. The basic of this tune goes way back to 1995 where the young Prince Istari had some friends over at his and recording some live dubs on a house party. Flipside we find our way into joyfull dreamscape disco dub with psychadelic guitar and flute solo played by Prince Istari. This one is kind of a special tune. I hope you enjoy!

Still sniffing out the gnarliest bassweight swerves on his rounds in the underground, Dogpatrol makes his way back to Sneaker Social Club for another four cuts of irreverent, misfit rave damage.

Hailing from Offenbach (DE) but with a sound more indebted to UK styles like breakbeat hardcore, dubstep and garage, DogPatrol has been a natural fit on Sneaker. The slanted approach he takes to his influences results in a mutant style that shuffles and slams in all the right places without sounding like anything else out there.

‘1200kcal’ rides jagged, dusty drums that come on like drunken UKG, offset by rubbery bass arps that add a cosmic lick to proceedings. ‘Baby Flame’ has a nastier outlook hinging on a bludgeoning synth splat that calls back to the Control Tower brand of warehouse electro from the early 00s. Making sure no-one is second guessing the scent Dogpatrol is tracking, ‘Ya Playin Yaself’ dips into a dubstep-minded half-step roller with naive keys run through a giddy signal chain. ‘Offgenbach HBF Riddim’ completes the set with a breakbeat cut n’ paste job which tracks back to the source with strong echoes of The Blapps Posse’s raw and funky approach.

The reference points are just slight hints of familiarity, but Dogpatrol comes across as inspired as ever digging up the bones of cult rave signifiers and chewing them into his own unique shapes.

The Birgan project is all about melding diverse musical words - ambient, techno and Afro-inspired polyrhythms - into something that is utterly unique. Many artists set out with this intention but few achieve it as successfully as this one, as this sensational EP shows. It is an immersive and escapist five-track work of stunning sound designs and inventive rhythm that feels both organic and natural yet synthetic and futuristic. The tracks explore deep, mysterious sonic landscapes that are both tranquil yet complex and make for an immersive, thought-provoking listen from the dubscapes of 'Beats Of The Congo Cosmos' to the more psychedelic realms of 'Subaquatic Sonic Voyage'.

The year is 1974 and we are in Kingston, Jamaica: Lee Scratch Perry has just presented Susan Cadogan's album 'Sexy Suzy' on his Upsetters label. The Jamaican singer, who is just under 25, sees her cover of 'Hurt So Good' flirt with the top of the UK and JA charts but has no idea that 50 years later, she would still be a household name among Jamaican music fanatics.

On the B-side of this LP, produced by Mr Perry himself, the penultimate track is a cover of Little Willie John’s "Fever". Over the years this song has taken an unshakable place in the hearts of reggae lovers worldwide. With nearly 700 different versions referenced to date, Fever already enjoyed classic status at the time, mainly thanks to the success of Peggy Lee’s version released in 1958. Since then, in all styles, across all continents, the song has been reinterpreted, so much so that it's rare to find a year since 1956 without a new version hitting the market! Universal, timeless, this love song is known to all music enthusiasts, but in the reggae scene, it’s Susan Cadogan and Lee Scratch Perry’s version that still reigns supreme.

50 years after its release, Stand High Patrol offer us their own version. Recorded at the end of 2023, the Susan Cadogan / Stand High Patrol collaboration wasn’t initially meant to move beyond its dubplate status. However, due to the track’s success in the dance and a growing demand, it became the first pressed collaboration on record between a Jamaican artist and the Dubadub Musketeerz. Accompanied by its dub version, Stand High’s take on Fever is a creative reimagining and brings to mind that classic 90s UK dub style. Its sits firmly on its foundations, a stepper roots-flavored drum beat. Some might find the interpretation ‘more jazzy’ than Lee Perry’s, but everyone will have their own take. One thing’s for sure—its impact on the dancefloors is undeniable!

Nupharmic, duo from early 2000s with just one release on the record, are back in the game! Tony Goldstone & Phil West reunited one more time to bring back their dubby, exclusive and timeless sound to our music era. 

Special thanks to Tony for recreating lost files and making this possible!

Last May, Hard Times captivated us with The Lost D.A.T.S (Part One)—a remarkable collection of unreleased and freshly unearthed gems from the vaults of NYC legend DJ Romain. But the story didn’t end there. To our surprise and delight, Romain had delivered an even larger treasure trove of beats—too many to reveal all at once.

Now, Hard Times is proud to present the next chapter: DJ Romain – The Lost D.A.T.S (Part Two).

"1996-97? Yeah, that’s when New York was still NEW YORK!

That was around the time we really started to get hold of exotic herbs. Copper Haze, hydroponic! The vibes in the studio were always lovely. I had hair at the time! Dread-Locs down to my shoulders... I was still rockin’ the Wallabees, or British Walkers as we called them - representing for Brooklyn and my West Indian roots!

There was no social media, no supervision, nobody all up in our business… It was classic "mind your own business" NYC Vibes! I was DJing at a lot of the hot clubs and THE hottest afterhours in the city. There were nights when I saw Micheal Douglas roll into the afters with Grace Jones - they were there to party and unwind and I was there dropping the dope tracks for the people.

When it was studio time, with my homie Matt Echols...I was probably setting things off with some quality herbage, a big ass bag of Funyuns and my trusty SP-1200, lol. I had picked up some tips and tricks from Todd Terry and by '96-'97 I was a Shaolin with it myself! This was around the time tracks like "Flowers" and "Only Love Can Break Your Heart (Dub)" were tearing up the clubs. I wanted to be able to get my ideas out with no problem, and by then I had a lot of confidence...

Being able to Dj in some of the hottest NY hot spots at the time, I was able to really see what worked and what didn't on the dancefloor. The best House Dancers from around the world and around the Tri-State area would be at my jams. I'm talking Ejoe, Voodoo Ray, maybe kids from the Mop-Top Crew... I was definitely taking note of the kind of rhythms and sounds that would make them go crazy on the dancefloor!

And that's how we went about it - I laid down the rhythms that made it happen in my sets and translated the vibes I was picking up from NYC itself. Matt threw down musically and we were just being as creative and inventive as possible! But we always kept in mind that our job was to make the people on the dancefloor jump!

A lot of the jams from those days got signed to various record labels, we dropped a lot of them on our own label...and some of them ended up in the archives - until now!"

2025 Repress

Midnight In Tokyo 2, the second installment to the compilation series that rounds up hidden gems by Japanese artists that's perfect for listening at night in Tokyo, is here. This time the collection brings together some tasty electric jazz fusion from the '80s , compiled by Dubby, the man behind the online record store Ondas.

The compilation begins with "Hikobae," a dark and slow cosmic jazz by saxophonist Genji Sawai, followed by "Danza Lucumi," an odd Caribbean-style jam by Today's Latin Project, a band fronted by Tadaaki Misago of Tokyo Cuban Boys, with arrangements by Yasuaki Shimizu. "On The Coast" is a soulful and mellow vocal track arranged by Ryuichi Sakamoto, from guitarist Shigeru Suzuki's album White Heat, and fusion boogie cut "In The Hot City" is by Mr. Theodore, which was a one-off project by a mysterious artist.

The melancholic soul jazz number "So Long America" is the title track from the album Yasunori Soryo released in '82, following a stint in America with the band Brown Rice. "Twisty" is a tropical reggae tune from the album Samba Kathy, an underrated classic by Jugando which was released on Trash, a sublabel of one of Japan's finest jazz labels, Trio. "Samarkand" is an electric Latin jazz jam that sounds like something Miles Davis and Santana could have played on, performed by a Latin funk band from Fussa. "Imagery" is a primal African fusion track by Katsutoshi Morizono, a member of the prog rock band Yoninbayashi.

"Windmill" is the most acoustic sounding tune on this compilation, a breezy Brazilian affair with a Hermeto Pascoal feel. "Mystery Of Asian Port" is by the band Parachute, which consisted of Japa-nese fusion giants like Akira Inoue, Tatsuo Hayashi and Masaki Matsubara. The cosmic jazz record sounds like something Daniele Baldelli would play in his sets. "Bay Sky Provincetown 1977" is a classic Japanese fusion tune by guitarist Yuji Toriyama.

The set also features the mellow but danceable "Heatwave" by keyboardist Keiichi Oku, featuring a female vocalist (which some have identified as Rie Ida), and last but not least, closing out the 13 track compilation is "Day Dream At The Bob's Beach," a wonderful urban fusion with a beautiful vibraphone melody, from the Japanese fusion classic album that was a one-off project by studio musicians

Poor Man’s Friend Records is proud to present a brand new 7” featuring the legendary Cornell Campbell. This 45 delivers a powerful message from The Gorgon, a prolific artist whose recording career spans over 60 years. First recording for the venerable Coxone Dodd at Studio one, Mr Campbell has built a cult following with his trademark Falsetto voice. Equally adept at writing beautiful love songs as he is deep spiritual roots cuts, It's fair to say many of his works have become Iconic milestones in the evolution of the genre. In the year 2025 Cornell Campbell warns us of the pitfalls of living our life in an egotistical way, “ Just try sweeping up your backyard, before you find fault with people's yard.” A searing condemnation of those that judge others based on their wealth, this mid seventies style roots production was cut by the Poor Man’s Friend Rhythm section at their studio in Bristol. The B side dub was masterfully orchestrated by label stalwart Yakka, whilst the horns were played by Cornerstone Horn section.



This one is super limited, only 300 copies have been printed.

Either Recordings welcomes Icelandic artist Hjalti onto its roster with the Skarðsheiði EP, accompanied by a remix from Thor under his Sanasol guise.

Jamie Clarke’s Either Recordings has moved from strength to strength since its inception back in 2020, acting predominantly as a home for the label bosses own music while also welcoming remixes from the likes of Barac, Silverlining and Ryan Crosson, plus original material from Jay Tripwire and now, Hjalti.

Title-track ‘Skarðsheiði’ opens, an eight minute dynamic excursion through delicately intertwined synth melodies, bass grooves and expansive effects before ‘One Small Step’ shifts gears into a more loop-led territory, fusing organic percussion with classic stab sequences, airy chord melodies and weighty subs.

Icelandic icon of Dub Techno Thor then steps up under his Sanasol alias to open the flip side, reworking ‘Skarðsheiði’ with their unique twist on the ‘Found Space Mix’, extracting fragments of the original and shaping it into something deep and atmospheric whilst still retaining a sturdy dance floor focused foundation. ‘Kjölur’ then concludes the EP, embracing minimalistic rhythms with cinematic electronica textures and classic stab sequences throughout.

Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.

“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.

West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.

“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing

With her new “Let Me Be Your Fantasy” remix package, Anané continues to solidify her position as one of the most talented and charismatic recording artists in the world today. It’s never easy to take on a classic disco tune, which in this case is a song originally released in 1978 by The Love Symphony Orchestra. But working with producers Two Soul Fusion (Louie Vega and Josh Milan), Anané has crafted a new version of this song that retains the glamour of disco while also injecting a raw toughness and rhythm perfectly suited for today’s dancefloors. As is her custom on her remix packages, Anané has pulled together an outstanding team of producers to lay down their own very unique and high impact mixes, including Masters At Work, Dimitri From Paris, Mousse T, Blackchild and Moplen.

The time has arrived for the release of the long awaited EP by LEBA, with the prolific title - Into The Lights.

Carefully and thoughtfully crafted over two years, the legendary record producer of High Power Music, General Lee, teamed up with the magnificent Legends Sly and Robbie, to produce the daughter of legendary Jamaican Icon Toots Hibbert: LEBA.

This LP features 7 songs including a feature from Jamaican Portland deejay Blackout JA, on track "No one loves you like me", which was released in 2021. These songs carry you on a musical journey of time and space, on a dub and reggae background, which soothes the ears of its listeners, and gets them grooving to the bassline of the late Robbie Shakespeare OD and Sly Dunbar OD and Taxi Gang.

The songs paint a picture through conscious words and messages, heavy and spacey instrumentation, recorded & mixed at One Pop Recording Studio Kingston Jamaica by Rorey Baker. An atmosphere that will surely transport its listeners into the calm and relaxing space of reggae and dub music.

In memory of a long lost friend, Patas comes forth with a relic of a vinyl release in the name of that loved one, featuring one dreamy side in memoriam of the flesh, and one bouncy side for the spirit.

Title track starts it out in a lush and vibrant synthworld pairing up with a dubby techno groove, whole track foaming over with saudade, an emotional concoction of joy interlaced with melancholic sadness, one part looking back in tears, the other going forward with a subtle smile.

ILU 2 MUCH takes a bit too much sweet emotions stuff and turns it into a restless standstill.

Flip the record over and you get two certified dancefloor scorchers in different trajectories. Bontelabo is a deep and trippy broken beat keepsake using only sampled guitar for its harmonic and melodic content.

Og Sa ? is a fresh take on the techno tool, constantly flipping and changing up the material around some good ol machine funk, a tune for all the serious clowns looking to get down.

Repress!

Next up on Accidental Jnr are 2 club ready tracks from Sydney producer Cassius Select that straddle genres somewhere between techno, bassline and hardcore. 90 is a gurgling brutal post-dubstep wobble fest at a house tempo whilst HERD offers up Select's trademark idiosyncratic vocal snippets wrapped up in most broken and shuffled of techno rhythm. Cassius Select lives in the undefined sonic boroughs of the hardcore continuum. His first EP explored the grittier end of techno under Australian label Hunter Gatherer followed by a 12" of unstable rhythm workouts under DJ Haus' UTTU label. The Toronto native is hell bent on inciting movement in the most unorthodox ways. Sonics crush genre-defining sounds into a pastiche of cryptic one liners and side eyes. Drums that invoke an impossible sense of swing and momentum. Most importantly Select's sound defines itself on the mission to deconstruct the world around him,to level out the playing field so everyone can have a bite. This year, Select joins with UK imprint Accidental Jr. to release a two-track fury of sound that snarls with every grimace.

To close out the year, Life In Patterns presents Spektrum II, the second installment in the compilation series curated by Ferdinger. This 16-track VA, scheduled to release in early December 2024, comes as a double vinyl with four digital bonus tracks and download codes.

Spektrum II ventures into the depths of dynamic techno, combining driving beats with intricate, groove-rich patterns. The compilation seamlessly shifts from deep, dubby tones to bright, euphoric moments, embodying the labels signature sound. Its a bold exploration of diverse sonic textures, blending harmonic and dissonant elements for an immersive listening experience.

Embarking on a 50 minutes journey through the ethereal, TRANSCEND by Moonglade Sound is a meticulously curated double-sided compilation, mixed and compiled by Kirill Matveev, that unveils a realm of sonic exploration.
Featuring a diverse lineup of artists—such as Cousin, Dub Tribe Sound System, Vision of 1994, Nice Girl, Molez, CosineVi, Gyu, VTL One, 99HP, and Angus Mills—the album highlights the allure of the rare and the extraordinary.
Each track radiates a subtle, enigmatic charm, intricately blending avant-garde nuances with deeply resonant soundscapes. The selections are masterfully restrained, yet rich in emotional depth, offering serene moments of reflection alongside vibrant, soul-stirring beats. TRANSCEND delivers an immersive listening experience, bridging the tangible and the transcendent.
This release transcends the boundaries of a traditional compilation; it stands as a musical gem, crafted for discerning collectors who value the exceptional. A true treasure for those looking to elevate their record collection, it serves as a timeless homage to the art of sound.

G-Man (aka Gez Varley, formerly of LFO) returns with a new excellent dub techno 4-track EP on Syncrophone Records. Don’t miss this one ! Comes in a limited coloured vinyl.

Adam’s Bite label manager Martinesuqe delivers his new EP ‘Curtain Call’ this November via the label, comprising two original compositions and one instrumental mix.

Basel, Switzerland’s Martinesque has been etching his mark into the underground over the past decade through releases on Adam’s Bite and as an integral part of the Swiss scene, heading up the bookings of the widely beloved Elysia club on his home turf up until 2023.

Here, Martinesque makes a welcome return to Adam’s Bite following on from his debut album ‘Think Outside The Box’ on the label in 2023.

‘Drama’ leads the EP and sees Martinesque lay down twitchy synth lines, squelchy acid bass tones and resonant flutters alongside spiralling dub echoes, murky vocals and crisp, shuffled drums.

The ‘(Instrumental)’ version of ‘The Final Hour’ follows next, shifting gears down to deeper realms courtesy of airy chord sequences, intricate off-kilter percussion and gritty bass notes all dynamically nuanced throughout. Lastly the ‘(Vocal)’ mix of ‘The Final Hour concludes the package, introducing a hypnotic spoken world vocal to the composition

ReKaB drops another strong four-track EP, rooted firmly in the Detroit sound with a nod to the soulful techno styles that shaped the UK underground in the 90s. His second EP for Cologne's YORE Records. The production, as always, is spot on—sharp, detailed, and endlessly listenable. While the tracks carry the weight of tradition, they’re not stuck in it. There’s a fresh, forward-facing energy here that keeps things exciting.

My Inspiration opens with classic metallic strings and a tight, robotic square bass that locks you in straight away. Just when you think you know where it’s going, the vocal drops—a bold touch that shifts the track into more human territory, giving it an emotional pull without losing its edge.

Soul Brother is a late-night cruiser. Rhodes chords, rolling bass, and lush strings set the scene for a proper cityscape vibe. It’s smooth, it’s warm, and it glides effortlessly, all while keeping enough groove to move.

Future Times kicks things up a gear with more tempo and bite. Acidic basslines and a writhing lead sit alongside deep chords, making it equal parts hypnotic and urgent. It’s the kind of track that turns heads in the club—direct and effective without being predictable.

Wrapping it up, Random Fragments pulls things back into a more reflective, dubby space. The layers are rich but restrained, with chirps and analogue echoes drifting through a hazy atmosphere. It’s introspective but not sleepy, the perfect comedown to round off the EP.

ReKaB’s consistency is something else—each release feels like it’s levelling up, pushing his sound forward without losing its roots. This EP is no different. It’s a tight package of ideas, all executed with precision and style. One for the heads, no question.