Anthony Shakir, Kech Harrington, Martin Bonds, and Brian Bonds recorded the Fairmount Squad EP as a side project. It was released in 1998 and played on Detroit radio station mix shows and in local gentlemen's clubs, selling out quickly and never repressed until now.
Swinging street rhythms and spacey, funky basslines define this classic release.
Heels & Souls Recordings step back to 1988 for their sixth reissue, relicensing and remastering Flair's anthemic soul number 'Chasin' The Rain.' For the uninitiated, strap yourself in for six blissful minutes of heavy bass licks, soaring vocals, and infectious synth lines.
Consisting of Janet Rose (aka UK Soul queen JB Rose), Joe Matz, Peter Bielig, and Peter Shindler, Flair was a predominantly German affair, with Rose being the only UK band member and Bieling living in London during the late '80s. This is a curious detail considering 'Chasin' The Rain' is often lauded today as a UK Soul classic - partially due to its release on the prolific UK label Champion. However, it's squeaky-clean production values, and the fact it was mixed and mastered at the famous Jankowski studio in Stuttgart by three Germans, reveals a somewhat different story.
The track has that UK street soul heavy low-end, but with a synth-pop flavour sprinkled in the mix - swinging synth lines and gated snares aplenty. Yet from chatting to Peter Bielig, who's been instrumental in getting this record reissued, the sounds sweeping across the Atlantic from the likes of Jam and Lewis, who blended R&B, funk, soul and pop, were clearly a big influence too.
Those were heady days for four young twenty-something musicians, with Peter recalling cherished memories these tracks bring back, telling of his and JB's PA sessions at London's Gulliver's nightclub. However, while 'Chasin' The Rain' had all the hallmarks of a chart-breaking hit, Champion prioritised other projects and the record never broke. Sadly the group disbanded after only two releases, and this musical gem was consigned to the crates of those in the know. Soon after, Peter Bielig went to Jamaica to work at Tough Gong Studios, working on albums for Rita Marley Music. He now lives in Brazil, producing local artists in his studio in Salvador.
Unfortunately, the master tapes were nowhere to be found, so we had the maestro, Sean P, rip and restore a mint copy of the record, with award-winning mastering engineer Cicely Balston working her studio magic for that added punch.
After the release of "3.3 magnitude" and the remixes of the single "1.3 HDG" unveiled last February, H3 Records continues its musical exploration between rap and electronic music with a new release, "Music 4 Tesla".
This time, rapper Kaba joins forces with producer Hyas and unveils a slender and festive 6-track track, true to the label's identity.
Hyas started producing music in 2017 and released his first projects completely independently. Today, he has more than twenty releases on labels such as 99CTS and Casa Voyager. The Lyon native, resident of Le Sucre and Rinse FM, has a string of dates and festivals in France and abroad and founded his own label Bardouin Music in 2020.
For his part, Kaba has released three singles this year, including two featuring Karmen (formerly Tortoz) and Samy Ceezy, and a 10-track "Long Story Short", a joint project with the young beatmaker Keno.
The connection between the two artists was very natural: the rapper's ambitions and Hyas' influences complemented each other and led to a first draft of tracks, convincing enough to form the basis of a joint project. With influences from UK Garage, Acid House, Ghetto House and 2step, "Music 4 Tesla" is a high-flying, catchy, danceable, warm and sunny project. Throughout the tracks, Kaba borrows incisive old school flows (like on "4daMob") but also "DMV" (overlap flows where the phrases overlap like on "Original G") and enriches the musical universe of the project, which carries in it this fever of H3 Records' sounds.
Between pervasive house influences and bouncy bass, borrowed from funk sounds, "Music 4 Tesla" depicts throughout its 20 minutes a captivating gradation of festive ambiences, and proves again that the marriage of rap and house is definitely made to last.
Irish DJ and producer, Ben Prophet, has caught the attention of some of the electronic scene’s most influential names in recent years. Currently residing in the underground music hub of Newcastle, his dark and exhilarating tracks have proven to captivate dancefloors. Now the artist is set to embark on his most monumental release to date, with the four track EP ‘From Dusk’. Staying distinctly true to himself, the EP channels Prophet’s love for bassline, electronica, and techno, whilst placing a key focus on mechanical vocals that add a mind-bending element that listeners can get lost in. ‘From Dusk’ will be released to the world via HAAi and Alice Pelly’s Radical New Theory label, a proven base for projecting emerging talent.
‘From Dusk’ is an EP that serves as a bold declaration. Prophet was determined to take listeners on a journey across the four tracks. Never resting on his laurels, the artist ventured into many corners of the dance world, whilst maintaining a core signature sound. Opener ‘Telepathy’ Sees Prophet build an emphatic, heavy hitting techno track, centring around a manipulated spoken-word vocal. It’s a sound that holds nothing back and is showcased again on ‘Down The Rabbit Hole’. Equally dark in its design, Prophet once more places distorted vocals at the forefront, this time displaying an industrial take on breakbeat. On the flip side, we see ‘Ocarina’ and title track ‘From Dusk’ turn the dark energy on its head with a distinctly melodic approach which adds a touch of psychedelia and high emotion to the EP. What’s clear is there’s something on ‘From Dusk’ for anyone that loves club music.
Speaking on the release, Prophet states:“HAAi has been one of the biggest inspirations for my sound, so to have become friends and to release my music on her label Radical New Theory is a massive moment for me. I’ve taken a different approach on each track, but each has my signature sound and is ready for the dance floor.”
HAAi also offers an insight into why she wanted to release ‘From Dusk’ on Radical New Theory: “Ben Prophet’s tracks have such a driving force and a dark energy to them, which is so powerful in the club. I’m extremely excited to get this record out in the world.”
Prophet’s previous releases ‘Hyper Funk EP’ and ‘King Of Rock’ on Chapeau music and Happy Wax Records respectively reached dancefloors across the world with regular plays from the likes of Mall Grab, Skream and VTSS. His gritty and energetic productions are born for the peak-time dance floor where its power creates intoxicating effects. No longer a hidden gem of the North East, the artist's music has gathered serious momentum and ‘From Dusk’ might well be the record that makes Ben Prophet a household name.
‘From Dusk’ is the third release on Radical New Theory, a label created in 2020 by HAAi and Alice Pelly which aims to shine a light on unique emerging talent, and the inevitable stars of tomorrow. Last year the label released LUXE’s debut ‘Belonging EP’ which was championed by MaryAnn Hobbs on BBC 6Music, and the artist has since gone on to tour across Europe. Whilst Ozzy, who released the labels first record ‘Een’, has since released on Barnt’s Schalen imprint. Radical New Theory was born out of a love for the craft of dance music and the careful consideration of what they release ensures the highest standards. A safe space for emerging talent, be sure to keep your eyes out for what comes next from the label
Revered house mainstay Junior Sanchez makes his debut on Carl Craig’s renowned Planet E Communications imprint today with the digital release of his latest EP ‘‘Art O Fact’ out now with a 12” to come this July. Hailing from New Jersey, Sanchez remains a pioneering force in house music for over three decades and a close ally of Craig’s.
‘Art O Fact’ is an exemplar of the energized rhythm and infectious groove that has become synonymous with Sanchez’s work and genre defining productions. The package seamlessly connects scenes and eras, paying homage to the soulful sonic atmosphere of Detroit, Junior Sanchez’s says:
“Art O Fact -- was created purely and simply out of creative inspiration. I walked into the studio one morning not really knowing what to do, so I let my inspiration guide me and my inspiration really was Detroit. I thought about that city, what it meant to me and what techno really meant to my heart. I have loved so many records by Carl Craig, DJ ROLANDO, Derrick May, Kevin Saunderson and Juan Atkins, so the result is something really beautiful and organic, and the fact that it's coming out on Carl Craig's planet E imprint is such an honor.”
In addition to the original mix, the ‘Art O Fact’ EP features a bouncy ‘Luv4Detroit’ Dub, energized edit, and melodic reprise.
Sanchez’s eclectic palette can be credited in part to his time spent in the sonic melting pot of New York City in the 1990s. A pillar of the underground club scene, Junior Sanchez began DJing at iconic New York City institutions such as Limelight and Club USA at the mere age of 13 and released his first track on iconic house imprint Strictly Rhythm at age 15. Sanchez went on to co-found Da Mongaloids collective, composed of the likes of Daft Punk, Armand van Helden, LaidbackLuke, and more which laid the foundation for him to form multi-generational turntablism trio S-Men alongside Roger Sanchez and DJ Sneak.
Sanchez's extensive repertoire of collaborators includes Madonna, Ariana Grande, Good Charlotte, Azealia Banks and more while his own imprints Cube Recordings and Brobot Records have seen releases from the likes of Felix Da Housecat, Sébastien Léger, and Steve Mac.
Led by legendary Detroit techno pioneer Carl Craig, Planet E Communications has been an integral force in shaping electronic music for the past thirty years. Standing testament to the timeless spirit of techno, over the past two years alone Carl has released the leftfield ‘Attenuator’ jazz fusion project from himself and Moritz Von Oswald, DJ Holographic’s multi-genre Detroit Love Vol. 5, and the first electronic music album from Mexican-American percussionist Francisco Mora-Catlett. Planet E continues to transcend the dance floor, as it perpetuates the unifying spirit and unwavering creativity of Detroit.
Thomas Brinkmann creates a new moniker for his latest project to push technical limitations and challenge perceptions; classic Brinkmann agendas. Mele is Italian for Apples, and with Mele Boy, Thomas Brinkmann uses Apple Loops and Apple Logic Pro as the foundation of this music, invoking what he terms Apple Incest, apropos the controversy surrounding Serge Gainsbourg and the song Lemon Incest. What he has produced here for the Seduction ep is simply brilliant music regardless of the machines used or the sounds he works with, reinforcing the axiom that it's the artist not the tools that establishes the greatness of the work.. Those who are prejudiced against such ubiquitous tools may not be swayed. But Brinkmann is not attempting to change opinions, instead he is asking us to challenge our perceptions and the fact that we have prejudices at all... through some brilliant music for the body and the soul.
Members Only is a group XXXTentacion formed as he was still bubbling beneath the surface of the mainstream. The album features XXXTentaction, Ski Mask The Slump Godd, Kid Trunks, Robb Bank$, Craig Xen, Bass Santana, Flyboy Tarantino, Kin$oul, Killstation, Coolie Cut, Tank Head.
Following the release of their fourth project, “Members Only, Vol. 4,” the collective has gone on an indefinite hiatus, with some of its most prominent members such as Craig Xen and Wifisfuneral exiting the group. Three former members including XXXTentacion have sadly passed away. 2LP & 23 tracks in length.
Lazy Reflex Complex lands their second release with a split EP by Clone's techno-ambassador Lenson and Sculpturism / Miller & Keane; two collaboration projects of Dave Miller that were produced back in 2003. Tranquilizer, originally released on the Schenk1 compilation (Onderwereld), has been remastered for vinyl and is exclusively available for the fitting format. Label head 543ff reworks Tranquilizer in an ominous and hypnotic fashion. Big room beats built to shake floors and move crowds. Mastered by Audiosculpture.
red LP[24,79 €]
LP includes Poster.
When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.
Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.
Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.
The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.
So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.
Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.
black LP[21,22 €]
LP includes Poster.
When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.
Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.
Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.
The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.
So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.
Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.
Throughout 2022, The Wedding Present’s ‘24 Songs’ series saw the legendary indie band release two new tracks a month as double A sided 7”s, ultimately creating a much-sought-after box set. David Gedge has now re-curated full-length versions of all twenty-four tracks for a new compilation album that will also comprise five bonus recordings including one featuring The Wedding Present’s first guitarist, Peter Solowka.
‘24 Songs’ was a doff of the cap to The Wedding Present’s ‘Hit Parade’ project of 30 years previous. That series proved to be a real milestone for the band with them becoming only the second-ever artist to achieve twelve Official UK Top 40 hits in a calendar year – at the time something that only Elvis had achieved!
David Gedge says: “When it came to compiling the ‘24 Songs’ album, I decided not to sequence the tracks in chronological order. With six sides of vinyl, you have six ‘beginnings’ and six ‘ends’ to play with, and I felt that the opportunity to build some kind of a musical journey was too good to miss! Listening back to this collection, I have to say that I genuinely believe that, for this project, The Wedding Present have recorded some of the best tracks in our history. I loved releasing the singles, but it’s satisfying to have them all rounded up together.”
“The idea of releasing another collection of twenty-four tracks did initially seem quite daunting,” admits David Gedge in the deluxe-CD sleeve notes but, with Jon Stewart (also of Sleeper) having joined the band at the end of 2019 and their subsequent writing partnership flourishing, he began to feel confident that they would be able to produce a year’s worth of music. And, with one of the UK’s most influential independent record labels by their side in Clue, a key partner to EMI North who will be distributing the record - there was no looking back.
[xa] 27. Jump In, The Water’s Fine [Japanese Edit]
[xb] 28. We All Came From The Sea [Utah Saints Remix]
An incredible 45 of Latin disco – recorded in Peru during the late 70s by funk pioneers Black Sugar, and right up there with the best from New York and LA of that era! It’s taken over four decades 'Baila' to become a winner spin at international events in the soul and disco scenes, a sought-after collector's item and, above all, the dancefloor hit that should have always been. First time reissue. Black Sugar is a Peruvian band, considered a pioneer group in Latin America in mixing funk influences with rock and Latin rhythms. In 1976, following their gig at Coliseo Amauta in Lima, opening the night for the legendary Spanish band Barrabás, they started to show a growing interest in disco music, resulting in some line up changes with members leaving the project due to their lack of interest in the new sound and new ones joining in. Word is that Sono Radio, home to a bunch of local Tamla MoTown releases for the Peruvian market, thought that Black Sugar's prestige, and their credibility in the new orientation towards disco sound, would benefit from seeing their new single pressed with the labels of the famous record company from Detroit. And so it was. Under certain lights and shadows, ‘Baila’ was finally released in Peru only in 1978, sporting the same look as the releases of the likes of Marvin Gaye, Diana Ross, Commodores or Thelma Houston. A clever marketing ploy that however failed in boosting the sales of the single…Only a few original copies have survived to this day, of either the first and the second edition from 1979 released on the US label Libra, and reached the collectors market. It’s now, over four decades later, when the interest on this recording has gone stronger and ‘Baila’ is getting regular spins at international soul/disco scene events, having become a very sought-after collectors item and, on top of that, the dance floor anthem that should have always been. The stunning piano arrangements of the intro, the outstanding brass sections —faithfully copied from the disco recordings coming from the States—, a very catchy chorus… ‘Baila’ has all the necessary ingredients to become an addictive invitation to join the dance floor. On the B side, a cover version of Barry White’s hit ‘Sha La La (Means I Love You)’ —as appeared on the original issue of this record— shows what the interest of the band was at the time. First time reissue. TRACKLIST Side A Baila Side B Sha La La (Means I Love You)
Taken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project. This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars. Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience. musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023. Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.
“U Wasn’t There” the long-fabled collaborative project between superstar DJ/producer/Fool’s Gold founder A-Trak and New York trendsetter/lyricist/cultural icon Cam’ron—drops via Empire. Arriving nearly a decade after the elite duo dropped their first singles “Humphrey” and “Dipshits”, the album features masterful production by A-Trak, Just Blaze, DJ Khalil, !llmind, Thelonious Martin and more, as well as uniquely introspective verses from one of the most elusive rappers in hip-hop. “U Wasn’t There” recalls 2000’s-era Dipset sounds and sets the stage for Killa Cam to deliver his hard-hitting, sharply-penned wordplay exemplified on standout "What You Do" featuring Damon Dash. “All I Really Wanted”—a soulful Harlem anthem in which Cam effortlessly recounts his teenage years as a basketball player, growing up with fallen heroes Big L and Bloodshed, and hustling his way to legendary status—perked ears at Pitchfork, Rolling Stone, Complex, Vibe, Stereogum, and more. The cold-hearted “Ghetto Prophets” featuring Conway The Machine followed suit, earning nods from XXL, HipHopDX, Revolt, and Brooklyn Vegan. 1xLP + 24”x24” poster.
Ugly is Beautiful’ is the first full-length release from Gen Z’s meme-making extraordinaire Oliver Tree, who announced his early retirement in March - only to return in May with the announcement of his debut after a hacker held Oliver hostage in exchange for 1 million Instagram likes (which Oliver logged in under 24 hours).
To commemorate the digital release, Oliver partnered with Guinness World Records on his secret, longtime passion project of building the world’s largest scooter. He rode the completed 20 foot tall scooter for half a mile.
On ‘Ugly is Beautiful,’ Oliver Tree takes his millions of followers on an unpredictable roller coaster ride through a cracked world full of comic disaster. ‘Ugly is Beautiful’ then is the product of all of Oliver’s otherworldly experiences distilled into fourteen songs - the promise of his EPs, ‘Alien Boy’ and ‘Do You Feel Me?’ fulfilled. “The truth is, it’s my life’s work,” Oliver says.
You’d be forgiven for not knowing about these Studio Ghibli-commissioned jazz reworkings of much-loved classic soundtracks with the three-piece All That Jazz being one of Japan’s best kept secrets until now. Originally put together by the power-house animation studio for a series of jazzed-up covers, the group took off with their simple yet moving set-up of piano, bass and drums, and afterwards went on to do another record of anime classics. Sprinkled with complementary instruments, the project is tied together by the soothing vocals of Yukiko Kuwahara. On this first record you can find the hard-hitting main themes from My Neighbour Totoro, Princess Mononoke, Kiki’s Delivery Service and Nausicaa of the Valley of the Wind among other carefully curated tracks.
After a first release by a member of the crew, Love Reaction is proud and humbled to welcome on the label one of Geneva’s rising stars and longtime friend, Mirlaqi.
With this record, he offers a simple yet poetic groove : Disco and balearic in their broadest sense, tinged with his signature touch of Spatial House.
A very personal project, produced in collaboration with family and friends. He has known the instrumentalists on bassoon and sax since high school. The singer, with her spellbound voice, is now a recurring partner, featured on every record he released. He also brought his cousin into the equation, to help him on his journey back to his origins, as she translated parts
of the texts to Armenian.
A-side includes the most organic tracks of the record, that, while still suited to make you dance, will also fit perfectly as a soundtrack to end a shiny afternoon in front of the ocean. On the flip, the clubbier tracks : An original production, This Color, which is the track that inspired the cover art, and a remix by parisian italo-maestro LeonxLeon. Expect the most infectious grooves the balearic spectrum could offer and prepare to dance, not on the beach this time, but rather in orbit, on the red sand of Mars
Original release date: May 5, 1980
An album made by Kim Chang-wan in place of his two younger brothers who were serving in the military, together with the project ‘Broken Spaceship’ composed of session musicians such as Park Dong-ryul (bass), Yu Ji-yeon (acoustic guitar, harmonica), and Kim Yeong-guk (drums). It is the same work as the beginning of Kim Chang-wan's 'Sanullim Alone', and the energetic rock sound and lyrical folk coexist in harmony.
Including Red Balloon with an attractive psychedelic fuzz tone guitar and Please Wait A Little Longer funky, as well as Long Lost Memories Will Come To My Mind Vaguely Through The Window, Still Life with Sunflowers, and A Teacup, Sanullim's best works of the mid-year period It contains beautiful songs that are faint, cozy, and beautiful.
The Alpha Transmissions EP is a new project from Dubbyman that has been long in the making. The always classy producer brings his trademark deep house sound to Inner Shift Music with label owners Brad P and Rai Scott getting in on the action. 'Transmission #1' is smooth, serene and dubbed out deep house with cosmic energy, while 'In The Space (Song For Joey)' is a more loose-limbed groove peppered with gentle percussion.'Transmission #2' first comes as a Man-Drake edit that is widescreen and drenched in prog rock guitar licks and as a Rai Scott remix that is more rolling and heady. A typically versatile package from Dubbyman.
When Transform-I was released in 2009, Bristol’s Dubkasm were unmistakably prominent on the reggae scene but it is this LP - their tenth release - that put them on the map and cemented their status as outernational roots innovators and one of the most creative outfits in reggae. By 2006, Jah Shaka had been rinsing their percussive vocoder smash ‘Zulu Dawn’ (track 15) at the end of every dance for close to three years. Dubplates from the LP became firm favourites on some of the greatest soundsystems in the world, including Aba Shanti-I, Iration Steppas, and Channel One.
DJ Stryda and producer Digistep’s reputation grew still further when the pair managed to get an extremely rare vocal from the legendary Dub Judah, who at the time had not voiced a tune for many years. The resulting 7”, ‘From the Foundation’ (track 2) was the first tune to be released from Transform-I, an album which took the music world by storm with its singular blend of a deep, conscious roots reggae sound with instrumentation that drew on Digistep’s Brazilian heritage.
As the great DJ and journalist Steve Barker said in his rave Wire magazine review of the initial release, ‘Like many innovations heard for the first time, you wonder why this has not been done before’. Indeed, the LP’s blend of percussion instruments like zabumba, cavaquinho, and cuica with an absolutely stellar cast of vocalists including Tenastelin, Christine Miller, and Ras B, with a pre-Reggae Reggae Sauce fame Levi Roots recording from his living room, became timeless the moment it was released. Barker praised the album for being ‘more orthodox than expected’, by which I think he meant that the album is a completely authentic roots record, rather than an attempt to mix musical flavours to conceal a lack of ideas. Instead, ideas flew back and forth across the Atlantic, as basic tracks were laid in the Dubkasm Studio (then in Brazil, now in England) and overdubs and vocals were recorded in London, Nottingham, Bristol and Norway, with the final mixes being done at the Daddy Roots studio in Bristol. The combination is seamless both because Digistep grew up with Brazilian music, courtesy of his father, and because Dubkasm have lived and breathed reggae since their formation in 1994 – just go and listen to early releases like ‘Chemical Reaction Dub’ (1996) or ‘Hornsman Trod’ (2003) and you’ll hear heavyweight productions with a Rasta ethos immersed in U.K. soundsystem culture.
Since the album’s release, Dubkasm have gone from strength to strength and collaborated with a dazzling array of artists. Transform-I was remixed by some of Bristol’s best electronica producers in 2010, and 2013’s 12” ‘Victory’ became a huge soundsystem hit around the world, before being voiced by two of the greatest singers of all time, Luciano and Turbulence, and being remixed the following year by one of the world’s finest dubstep producers, Mala (who in 2016 released his own project fusing Latin music with electronic bass – the excellent Mala in Cuba).
The first project of its kind, beautifully reissued in its original format by Dubquake (the outfit behind France’s incredible OBF Soundsystem), Transform-I is the LP that launched Dubkasm on their current trajectory and has truly lived up to its name.
