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Aurous, Irreligious, Meandrous

Tresque continues to strive towards his unique hedonistic feel for progression and tribalism on the Aindanão EP. His minimalist techno sound is defined by unlikely shifting patterns that aim directly into your muscle memory.

After his Lensomni EP and Geissle EP on -OUS and an EP on "Care of Editions", Tresque shifts his pace and delivers two hypnotic dancefloor tools on the Aindanão EP. Coming from an extended artistic career as improvisation and experimental musician, Geneva's D'Incise returns to his roots under his moniker Tresque. Inspired by restless dances and the sensation of seemingly endless potential, he explored the interconnections between advanced Techno, Dub and Minimalism with a polyrhythmic approach. Tresque adopts an attitude of purism to formulate an own take on the nature of traditions and rituals.

First single taken from the forthcoming Miniman's album "Digital Harmonies". Miniman, a true-to-the-roots French producer and live artist. Fierce proponent of sound system music for more than two decades, the veteran is at it again in full force. Full album to be released on the 16th of November 2018 by Moonshine Recordings. This 7" vinyl contains two exclusive mixes that will not be included on the album. Limited to 300 pcs!

* Pev re-masters and re-issues a lead track from his debut LP 'Jarvik Mindstate' on Punch Drunk alongside a newly unearthed and previously unreleased track from 2008.

* A leading protagonist of a nascent, more techno indebted sound in the 07/08 dubstep era, alongside peers such as Martyn, 2562 & Appleblim, Peverelist released a series of tracks that helped shape and define that scene. Alongside 'Infinity is Now' (Tectonic), Circling (w/ Appleblim - Skull Disco) and 'The Grind on Punch Drunk to name a few, Bluez was a standout track fusing melancholic Detroit style synths with the dub-wise aesthetics of the UK underground. Peverelist has since explored these themes further with his pioneering Livity Sound label. This release revisits the roots of his sound a decade on.

At 83 Years Of Age, Lee Scratch Perry Is Proud To Present To The World His Next Full Length Solo Album (with Dub Versions) , Continuing His Inimitable Roots Reggae Legacy.

Lee's Brief For The Album, Was To Blend The Vintage And The Obscure, During The Sessions Lee Referred To The Sound And 'black' And Wanted Space, Light And Darkness In The Songs And Their Respective Dub Versions.

The Result Sees Lee Having Mixed Up An Analogue Concoction Of Ultra-rare Effects, Sonic Wizardry And Deep Heavy Roots Rhythms.

Over 2017 and 2018, Lee Scratch Perry re united with Producer and Mixer Daniel Boyle, to start work on their second Solo album project for Lee.

Picking up where their last efforts ''Back on the Controls'' left off. Lee wanted to continue the raw analogue sound they had cultivated together over multiple past releases, and take it to the next level with new effects devices to create another sonic signature.

They entered the studio in 2017, to begin to put together ideas for the tracks, which were then taken to RAK studios in London with their ever changing Rolling Lion All Stars session band; to lay down the rhythm versions.

Using strictly vintage analogue equipment, they employed Neuman valve and RCA Ribbon microphones, and RAK's early model vintage API desk to record, the 'sound' for the album was sculpted in these sessions. Vintage, but punchy, which was then blended with Lee's choice of super rare and custom analogue effects. Ursa Major Space Station and Stargate delays and reverbs, old choruses, Plate and spring reverbs, and tape delays were used to create a tight vintage feel but retaining the rawness of the 'Low Fi' roots sound Lee was aiming for.

With the music coming together, the vocal sessions were held in Abbey Road studio 3, again using vintage RCA ribbon mics, over driving their EMI TG console and Fairchild compressors to create a pleasantly distorted Lo Fi vocal sound.

Lee and Daniel then returned to Daniels Rolling Lion Studio, to mix and Dub the album, live, on the mixing console.

'Rolling Lion All Stars' Musicians: Vocals: Lee 'Scratch' Perry Drums: Ed West Bass & Guitar: Hughie Izachaar Keys: Robbie Lynn Additional Keys: Calvin Bennion Percussion: Daniel Boyle Kete Drum: Mathias Liengme Hurdy Gurdy: Brian McCoy Horn Section: Rory Sadler, Robert Landen Melodica: Puraman Backing Vocals :

Blackfilm is an anonymous Hungarian artist who introduced himself with his self-titled debut in 2008, sold out in a few months and later reissued on both CD and vinyl format via Denovali in 2010. His debut has garnered widespread attention - "Evolving from downtempo electronic music to orchestral paroxysms and, insanely, passing from down-pitched nothingness to frozen urban landscapes, it becomes inevitable to resist." / "Dark and brooding, Blackfilm envelopes you like a thick fog creeping off a cooling swampland." (Headphone Commute) - and is still a classic.

Since then, he has relocated to London and released the collaboration master-piece - Along the Corridors' with Italy's heavy dub producer Eraldo Bernocchi in 2010. After eight years of silence Denovali now proudly presents his second solo album - Zero One Seven', in line with a re-issue of - Along the Corridors' on vinyl for the first time.

On - Zero One Seven', Blackfilm merges tracks spanning across drum and bass, dub and electronic. The sounds on the album are built from the ideas on the original Blackfilm - S/T' and - Along the Corridors' and progress to a sound built on new ground mixing modern production techniques and influences while at times referencing the Blackfilm sound we know from his previous releases.

The album maintains a consistent focus on atmospherics, beats and heavy bass ranging from darker dub and drum and bass influences to vocal tracks and complex ambient soundscapes. Production wise, the familiar Blackfilm style incorporating the use of synthetic sounds mixed with samples enables the album to create an intriguing, shifting atmosphere as the album progresses. A dystopian journey through haunting vocals, hypnotic drum patterns and complex sound design.

*Another UK roots reggae treasure unearthed by Partial Records in the shape of
Mikey Mystic's` Burial' which originally appeared on the CD version of Mikey's `Warzone'
album on Roots Records in 1994.
* Produced by Nick `Manasseh' Raphael, who back in the 90's was running Manasseh sound system and also the label Riz Records, along with Gil Cang.
* First time on 45 for this gem, backed with a Manasseh dub cut.
* Tracklist:

Alma Negra are back on Heist! After their much applauded 2017 release with that great Soulphiction remix, they've been rather busy taking over the scene. They started their new label 'Alma Negra records' where they released 3 ep's in quick succession, with new as well as older material that showcases their tropical roots and keen ear for clubby reworks. They launched their live show, doing gigs across Europe with a highlight at one of London's more intimate live venues: the Jazz Café. Their latest outing -making their release count a total of 4 in only 8 months - was on Marcel Vogel's Lumberjacks in Hell and explored the more live / rework side of their project. Now they're back on Heist with 3 new tracks, supported by an Awanto 3 remix. 'Conversation' is a track we wanted to put out on Heist badly, simply because it's a beast of a track. It sits somewhere between a live African drum track, percussive techno and moody Midwest electronics, with pads and strings coming in and out of play while a relentless kick drum keeps the energy on a haunting level. This track is Alma Negra at their filthiest, and it feels like they've taken a next step from last year's dark and heavy Luanda dub, bringing it from an intimate dreamy stage straight into the main room. 'This is the place' shows a different side of the house spectrum with the Alma's love for dreamy deep house. The track flows up and down, with soothing Rhodes chords, arpeggio's and mumbling vocals setting a summery mood that's perfect for your warm up or daytime party. Meanwhile, their third original track 'From the heart' goes even deeper and navigates around a smart vocal loop topped with strings, bleeps, claps and rimshots that just keeps going.

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others.

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others

* As we all know, reggae music was created in the Ghettos and has helped many people in their struggle & creating many opportunities for those who worked hard for it. Reggae developed its own alternative industry with the support of sound systems and gave opportunities to so many deejays, toaster and singers. In Brasil, with the rise of sound systems inspired by the UK and JA scene, Monkey Jhayam was one of the first artists to express his art and also build a solid and prominent career alongside many sound systems in his country. Out of São Mateus, Monkey broke barriers and has been collaborating with producers from all over the world with his uplifting Portuguese message.

Kendrick Andy's Roots song 'Great Old Men' lends itself to a new version by the major Brasillian Reggae artist, Monkey Jhayam. The 7 single features back to back versions, both in English (A) and Portugese (B). Rhythm: Alien Dread. The tracks also feature Alvin Davis (Hornz), Asha B (Congos & Percussion) and Rhythm/Lead Guitar by Steven 'Marley' Wright.

A fresh iteration of the mid-eighties LP (itself a compilation of recordings from the previous five years or so), replacing two tracks — Dancing In The Rain and All Things — with their full 12' versions.This is a deeply personable, expert, limber blend of roots and lovers, kicking off with an exclusive mix of the deadly Mash Down Babylon; dropping classic, lush, spaced-out Wackies dub science to close; and taking in reworkings of Lickshot, Billie Jean and The Righteous Flames' I Was Born To Be Loved, along the route.The moniker 'Chosen Brothers' is Lloyd Barnes' spiritual way of sharing the credit for his solo projects. "Anyone in the studio at the time could be a Chosen Brother,' he says. In this case a full crew includes Sugar Minott and Prince Douglas at the desk; Jah Batta, Milton Henry, Wayne Jarrett and Junior Delahaye all on backing vocals; and such dream-team Bullwackies instrumentalists as Clive Hunt, Jerry Johnson, Fabian Cooke and Ras Menelik.

The Moment We've Been Waiting For. Youngsta's Sentry Records Continues To Set The Pace And Raise The Standard With One Of The Most Sought-after Artists In The Current Dub And Dubstep Scene. After Releases On Institutions Such As Deep Medi, System And Zamzam Sounds - Egoless Is Back For Another 12' Shell. Revealing The Next Masterpiece Of The Croatian Heavyweight, The Prolific Imprint Welcomes Its Next Family Member And Two Mammoth Tracks. From Vintage Fx To On-the-fly Arrangements And Live Instruments - Egoless' Production Style Encapsulates The Jamaican Roots, Transferring Its Spirit Into The Modern Era.

Heading Straight Into The Abyss Of 'decolonize', We're Being Greeted With Tastefully Overdriven Tape Hiss, Obscured By Reverb. Oriental, Sitar-esque String Plucks Take Form, Wielding An Increasingly Inquisitive Nature. Alongside The Organic, Percussive Swing The String Plucks Cease For A Moment - A Fierce Vocal Statement Excites The Air As The Full Intensity Of This Sonic Weapon Hits The Speakers And Every Last Fibre In Your Body. The Superbly Orchestrated Arrangement Flows In A Continuous Groove, Led Onward By Haunting Surges And Psychedelic Flute Arpeggios. On Top Of The Stomping Foundation, Longing Spheres Conclude The Anthem And Leave Us Crave For A Rewind.

Turning To 'global' - The Alarm Bells Of An Apocalyptic Future Reverberate Into To Your Ears. Gargantuan Drone Pulses Lead The Way For Tribal, Acoustic Drums To Stir The Dance. A Daunting Swing Hurls Its Monumental Weight. Deeply Imbued With Rhythm - The Meticulously Crafted Sound Design Leaves Us Dancing In Awe. Life-like, Vibrant Flute Performances Form A Harmonic Composition Of Exceeding Quality, Sure To Fire Up Any Dance. Polished By Creative Vocal Sampling And Egoless' Fine-tuned Sense Of Controlling Tension & Release - These Tracks Will Stand The Test Of Time - For This Year And Beyond.

Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl.

Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born.

Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration.

It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!.

Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.

For its tenth year as a label, 4Weed Records proudly presents Zion Kingdom, a special EP we've been working on since long time. A feature between historical sound system Dread Lion Hi Fi, also active as producer and promoter, and Mr Biska, this release is enhanced by legendary Henry Tenyue's trombone melody, aka Matic Horns, and it is mixed, dubbed and mastered by Steve Vibronics.
Over the years Matic Horns has been collaborating in studios and live performances with the best Jamaican and English talents such as Gregory Isaacs, Freddie McGregor, John Holt, Luciano, Aswad, UB40, Horace Andy, just to name a few. Dread Lion Hi Fi crew is a historical Italian sound system, that has been a reference point for the reggae vibez in Italy, promoter of historical events such as the Milano Dub Club and the Dubwise Festival, where the best producers, singers and selectas of the international scene have been hosted. The combination with master Steve Vibronics was born far away in time, from a consolidated relationship over the years that brought about this collaboration.
The track opens with a magical trombone melody by Matic Horns that perforates the pad carpet laying down the whole tune while indicating the path, a victorious march to Zion. The guitar riff, which perfectly fits to the trombone melody, introduces the drop of a deep overwhelming rhythm that transmits the desire of moving and dancing, and at the same time a spiritual mantra for high meditation. The production is enriched by three different dubs, mixed and made unique by Steve Vibronics' technique, reverbs, filters and delay, a very guaranty for the lovers of Uk Dub in roots and culture style.

We Are Proud To Announce The Latest Addition To The Moonshine Recordings Artist Roster - Halcyonic & G Roots - Two Young Talented Producers Out Of Bristol, Uk. Their Debut Moonshine Release Entitled 'future' With Vocal Support From Junior Dread And Additional Remix By Violinbwoy Will Be Released On The 6th Of July On Vinyl & Digital.

teppas Records presents 'Osaka Steppas' Vol. 3, the third in a series of releases showcasing the Japanese underground dub movement. This edition features Osaka producers Hiroshi and Roots Masashi in collaboration with Spanish producer Ojah and well-respected UK singer Rudey Lee. The Osaka Steppas' raw and unrelenting sound developed in the subterranean clubs of Osaka, a port city famous for its counterculture night life. Inspired not only by the sounds of Jamaica, but also drawing inspiration from UK and European soundsystem culture with enough bassweight to test even the toughest of soundsystems. Presented in a beautifully designed full colour sleeve inspired by the works of the legendary ukiyo-e woodblock artist, Hokusai. This release is not to be missed.

Side A features an earth rocker riddim from Ojah & Hiroshi, with conscious lyrics sung by the legendary Rudey Lee.

Side B features a much sought after dubplate from Osaka producer Roots Masashi, a deep, dark & mystical steppa.

Repress

Micah Shemaiah Teamed Up With Fruits Records' Studio Band The 18th Parallel Earlier This Year To Produce The Unanimously Acclaimed roots I Vision' Album On Evidence Music Label. The Album Hit Every Charts In The Reggae World And Is Seen As One Of The Best Effort Of 2018! In Collaboration With Evidence Music, Fruits Records Is Proud To Release On 12' Maxi Vinyl Two Of The Toughest Tunes Of The Album In Their Eight Minutes Extended Versions : A Side Features Heavyweight Stepper zion Trod' And B Side Gives The Rub A Dub Anthem soul Rider'. This One Is A Sound System Must Have! Killer Tunes + Ultra Heavy Pressing In A Early 80's Jamaican Simmons Style!

The penultimate release in the Eight Trigram series. This edition coming from Brazilian producer Spiritual Rockers, and played up until now as an exclusive and much sought-after dubplate. Super limited edition press housed in the reverse-board Trigram house bag. Raw, unadulterated tribal bass music with a deep roots foundation. This is the sound of Trigram.

"After a deceptively quite 2017, Especial picks up the pace pace by welcoming back the peroxide, youth filled Fairplay (re)version and a 2nd EP of old-skool-meets-the-new-school flavoured House and Breaks to lock, jock and spin.

After the criminally overlooked 'How Do You Like Me Now' EP - how is Classic Version not a...classic...version - Junior gets back on the (lino) floor. The EP starts with a look north to the 'other city of 7 hills' that birthed a Warp'd British retake on House in his bleep-dub ode, End Of Love. The autobiographical title belies a forward approach with his trademark echobox kick'n'hats underpinning uplifting keys and nodding bleep finger solo.

Who to join the party then, than another man of mystery, Roy Of The Ravers. After his debut EP on sister label Emotional Response became a most played from Aphex et al, it is only right bring him to E'Special. His brooding, hoover rush Remix 1 heightens the vibes with a heads down bleeping half-steppa. Righteous!

The flip is given over to Junior's roots, bringing the hip-hopper back with the anthemic The Shazsquatch Goes Back Into The Woods. No shoc(k) horror here, just more upwardly mobile breakbeat meets UK techno licks. You can hear Fairplay at one with man and machine, pushing a sound that looks back but most definitely goes forward with 'Sunrise' on the mind.

To close is the swagger of EP title cut, Faxes From The Future. Hair of the (black) dog fuses a swinging break with proto-dub-meets-Giallo stylings to rework the senses and say, now is (still) the time!

A return to making the noise while keeping tongue planted firmly in cheek. What are u like Top. Buzz."

First released in 1995 on Jonah's own Aba Christos Tafari Records,Intergalactic Dub Rockis a trip. While the 90s rave continuum buried down the hole of cosmic sci-fi culture, dub's fascination turned elsewhere after 80s touch-stones like Shaka'sBrimstone & FireandCaptain Ganja and the Space Patrol(re-issued by Bokeh last year). But Jonah takes things way far on this, his most adventurous outing: let your needle cruise along these bleeps and strings of 50s space travelling dreams, and the flutes and melodicas of planet earth, hear them clang with the hardest dub FX units the UK could buy at the time. It's one of the most righteous and outward-looking steppas LPs, now liberated from the hands of Discogs-types with a previously CD-only bonus track, 'White Nile'.

Inyotef, Bongoman, Jahman Dan, Kheru - Jonah Dan goes by many names and many trades - akete nyabinghi master, vocalist, producer and filmmaker. For many years he was the go-to studio percussionist for the UK dub scene, collaborating with basically everyone: Paul Fox, Jah Warrior, Robert Tribulation, Jah Fingers, Tony Roots, Alpha and Omega. Along with Bush Chemists (stars of BKV 020...) and Disciples, he toured the continent, spreading the message of UK dub and laying the seeds for a lot of the EU scene today. At some point his Aba Christos Tafari Records morphed into Inner Sanctuary, one of the greatest 90s labels still in operation, go check.

On The 50th Anniversary Of The Band's Inception At An Event In Harlem, Ny To Commemorate Malcolm X's Birthday On 19 May 1968, Influential Spoken Word Artists, Poets And Commentators The Last Poets Are Set To Make A Glorious And Relevant Return With Their First Album In Over 20 Years, 'understand What Black Is'.

Produced By Ben Lamdin (nostaglia 77) And Brighton Legend Prince Fatty, Whose Speciality Is Traditional Reggae And Dub Production's, 'understand What Black Is' Is A Ten-track Album Which Speaks Of A Revolutionary Struggle Defined By Both Race And Identity, That Has Never Sounded More Relevant. Released On Studio Rockers, There Will Also Be An Accompanying Single Featuring Remixes Of The Title Track "understand What Black Is" By Mala (south London Collective Digital Mystikz) And Uk Dance Music Innovators Dego And Kaidi.

Since The Initial Line-up Of Dahveed Nelson, Gylan Kain And Felipe Luciano Formed In East Harlem's Marcus Garvey Park, The Last Poets Have Produced Under Various Guises Over The Subsequent Years. However, It Was Their Seminal Output, Namely 1970's 'the Last Poets' Under Both Umar Bin Hassan And Abiodun Oyewole That Secured Their Legacy, Becoming One Of The Most Important Influences In Early Hip Hop.

Throughout The Last 20 Years, The Band Have Remained Largely On Hiatus. But Their Influence Could Still Be Felt With Their Tracks Being Sampled By The Notorious B.i.g, Nwa, A Tribe Called Quest, Dr.dre And Snoop Dogg. Umar Has Recorded Various Solo Albums And Featured On Common And Kanye West's Grammy Nominated 'the Corner'. Abiodun Appeared On The Red Hot Organization's Album, Stolen Moments Which Was Named "album Of The Year" By Time. He Also Conducts Weekly Open House Poetry Readings, Where He Constructively Critiques Upcoming Poets, Helping To Nurture Them. He Has Also Conducted Classes At Columbia University, Where He Teaches Creative Writing.

The Inauguration Of Donald Trump As Us President In 2016 Inspired Hassan And Oyewole To Resurrect The Group To Create A Brand New Record, Modern And Edgy, And Deeply Relevant And Reflective Of Our Times.

Tracks On 'understand What Black Is' Include 'how Many Bullets', Which Bridles With Defiance As Oyewole Works Through A Litany Of Injustices Suffered By Black People In The Us: " You've Tried

To Blow My Brains Out With Bigotry, Chopped Off My Wings, So I Couldn't Fly Free, And Dared Me To Be Me, Took My Drum, Broke My Hands, Yanked My Roots Right Up Out Of The Land, And Riddled My Soul With Jesus" 'what I Want To See' Describes A Utopia - A Refuge From Hurt And Those Who'd Make "our Vision Blurred, And Our Faith Obscure", Whilst The Title Track 'understand What Black Is' Aims To Transcend Ethnicity: "understand What Black Is....it's The Source From Which All Things Come...black Is A Hero, Not A Villain."

The Album Even Takes Reference From Prince's 2003 Album Of Instrumentals, 'news', Which Hassan Drew Comparisons From With His Own Childhood Experiences: "that Poem Took Me About A Year To Write....i Just Kept Writing And Writing But Not Getting Too Far And Then I Heard That Album And The Musicianship Was Amazing. I Was Left Wondering If It Was Jazz, Classical, Rock Or Maybe Something New But All Those Images That I Write About Came To Me From Listening To That Album. I Loved Prince In That Movie Purple Rain Because My Father Was A Talented Musician But He Was Into Brutalising Mama At Times And In The Movie There's A Jerome And My Name Is Jerome, So It Was Like He Was Telling My Life Story As Well."

The Album Acts As A Body Of Work Between Individual Members Each Speaking Of Their Own Personal Journeys, But Feeding Into The Much Larger Narrative Of Struggle And Oppression, Alongside A Fervent Hunger For Social Change. These Are Struggles And Tests Of Personal Resolve That Have Directly Shaped And Moulded The Bands' Unique Sound Over The Course Of An Impressive 50 Years, And Their Powerful And Influential Commentary Remains As Relevant As Ever.

Scottish producer & DJ Graeme Clark AKA The Revenge releases his second album 'When The Thrill Comes' on his own Roar Groove imprint on 11th May 2018.

'When The Thrill Comes' is a demonstration of a producer achieving a point of maturity in their work, able to exercise a sense of restraint, to allow for their sound to have space. It is also the opportunity for The Revenge to explore his own electronic music roots with a deeper pared-back sound more in touch with his earliest production experiences in house and techno.

Clark is no novice to the art of production and the sweaty alchemy of animating bodies on dance floors. He has been producing and playing electronic music since 1995, in many forms, though is well known for 'some of finest modern disco dubs and re-edits on the block' (DJ Mag). This passion for dusty disco and deep cuts is reflected in his long-standing collaboration with Craig Smith as 6th Borough Project which has yielded 3 albums and provided the foundation for the influential but now defunct Instruments Of Rapture label.

2015 was a momentous year for Clark with the release of his debut album 'Love That Will Not Die' on his own Roar Groove imprint. The LP picked up 'Best British Album' from DJ Mag, was shortlisted for Scottish Album Of The Year and drew support from leading DJs including Jackmaster, John Talabot, Solomun, Craig Richards, Axel Boman amongst others. Recent production work has both cemented and extended his reputation; with his future-facing remix for Auntie Flo being re-touched by Dixon for the Philomena label and his two EP's for Berlin's Dirt Crew Recordings reinforcing his love for solid club jams

First production undername of Dub Master Clash. Party organisers since 2016, with a core compsoed with Pilah (Kaly Live Dub Addict), Roots Raid and Fabasstone (Hight Tone) and... Dub Sheperds with Anti Bypass from Dub Addict.... Nevertheless !! Echo Minott, from Jamaica purely sing his song over that solid musical base. And here comes the point : release party take place on 7th of april... and will be a Dub Master Clash !! in Pérignat Les Sarlièves (63). BLASTER !!!

Mikkel Metal returns to Copenhagen's Echocord this May with his new mini LP 'Just Enough Light', comprising six originals from the Danish artist. Copenhagen based producer and DJ Mikkel Metal has been a beacon of light in the Danish electronic music scene and further afield for nearly two decades now, with the Dub Techno imprint from his hometown, Echocord, being the predominant home for his output, whilst also releasing material on Cologne's Kompakt, Tartelet, Semantica and Avant Roots, a telling sign of the quality embodied in his work. Here though we see Mikkel deliver a mini album concept in the shape of 'Just Enough Light' and opener 'Awake' perfectly sets the tone with emotive, dynamically unfolding atmospherics, tension building bass drones and spiraling dub chords subtly easing us into the project. 'Bregnan' then stirs in some classing Dub-Techno tropes with billowing stab sequences, lumpy subs and off beat high hats carrying the hypnotic groove for six and a half minutes. 'Jech' then strips things back to an almost beatless amalgamation of murky chords and modulating synth whirrs. Opening the flip side of the release is 'Include' which embraces a brighter feel via ethereal pad swells, jazztinged synth melodies and bumpy 909 rhythms before 'Konkin' edges back into the eerie, brooding aesthetic with bubbling echoes, broken drums and menacing bass swells at its core. 'Restore' then closes the package on a stripped-back vibe, laying focus on an ever- eveolving singular dub chord to ebb and flow around thunderous subs, kicks and bright hats.

7"

*More classic UK roots gets revived from Partial Records, this time from the vaults of the Jah
Works stable and roots daughter Donette Forte.
* `Time For a Change' is taken from the now long-deleted Donette Forte LP from 1991 `Wilderness', and this welcome reissue comes backed with previously unreleased dub cut `Time For a Dub'.
* Mixed and produced by Rej 'Jah Rej' Forte at Channel One UK studio.

Here Appear is an invocation, a salutation, and a celebration — of past and perfect lives, forgotten and remembered, exchanged and borrowed. Eve Essex's solo debut is a multi-instrumental fea(s)t combining synthesizer, drum machine, alto saxophone, piccolo, electric organ/harpsichord, harmonica, slide whistle, bells, guitar pedals, and voice— composed, arranged, and performed by Essex herself. What began as an improv set at Berlin's Harlekin bar, developed over the past two years into a complete body of work evoking multiple time periods, genres, characters, and sonic landscapes. The seven tracks that make up Here Appear harness elements of classical, drone, avant-jazz, and distorted pop, coupled with an ambitious vocal delivery that draws on the phrasing and articulations of Essex's own woodwind playing, to create a quasi-narrative me´lange retaining the vulnerability of live performance. On the opening track Grind Away,' otherworldly harmonica strains set the stage for lyrics citing Chinese sci-fi novel The Third Body Problem as source material. Saxophone and piccolo interludes Immediate Communicator' and Colorless Stone' move between medieval-tinged melodic inventions and textural noise, recalling a Pharoah Sanders-influenced fever dream, while the linguistic abstractions of Russian conceptual poet Lev Rubinstein guide the looped, layered, and textured vocals of title track Here Appear.' The album closes with a languid take on Jacqueline Humbert & David Rosenboom's 1978 composition Clear Light' from My New Music, recently reissued by Unseen Worlds. Here Appear owes its minimal production to the conditions of its genesis, evidencing the restrained process of the solo artist, instrumentation is confined to what can be played simultaneously. True to the album's avant-garde roots, each song involves an element of improvisation, often taking the form of prompts or variations on a melody rather than explicit compositions. Even its most structured pieces make use of live-sampled loops, which inject a spirited unpredictability into the songwriting process and subsequent performance. Classically trained in bassoon at New England Conservatory before receiving a BFA in sculpture from RISD, Eve Essex has performed as a solo artist at Artists Space, Commend, Safe Gallery, Signal, Trans Pecos, and U.S. Blues, in New York, Harlekin/Mathew Gallery and StudioAcht in Berlin, and the PUFFERSS Festival in Providence, RI. In addition to her solo practice, Essex regularly performs as one half of Das Audit (with Craig Kalpakjian), as well as in trios Hesper (with James K and Via App) and HEVM (with MV Carbon and Hunter Hunt-Hendrix), and has collaborated extensively with Juan Antonio Olivares as installation/performance-art duo Essex Olivares. Prior to the LP release on Sky Walking (April, 20), Here Appear arrives via New York City-based label Soap Library on March 9, 2018 in both cassette and digital format, mastered by Helmut Erler at Dubplates & Mastering, Berlin and recorded by Al Carlson at Gary's Electric, Brooklyn.

The second of Alma Negra's 12 Rhythms Series is dedicated to the Maloya sound from La Réunion, a tiny island where a
melting pot of cultures is reflected strongly in its music. Maloya's roots go back to the time of slavery, its quick tempo and raw
energy making it not only a popular dance music but also a powerful protest through movement.
On their Maloya EP, the Basel collective pay tribute to the hypnotic rhythms that were feared both by the Catholic Church and the French government for the musical form's subversive part in the rebellion against colonialism.
The release revolves around two contrasting Alma Negra re-workings of Lindigo's Tany Be. The first takes a classic call &
response structure in 12/8 and 6/8 rhythms, adding a driving bass line and guitar licks. A solid 909-kick locks things in step,
along with a sax flourish and FM synths. Their re-imagining of African and Tamil influences for modern dancers is a triumphant
manifestation of the music's origins.
With the main reworking focusing on a rolling dance floor groove, the Dub Mix concentrates on trance-inducing aspect of
Maloya. Using a modular set up to pick apart layers of percussion, it is a dense and heady trip into the spirit world.
The B side focuses on Christine Salem, one of today's stars of the Maloya scene. Without wanting to squeeze the soul from her
deep tones, Kabaré is slowed down a notch, with drums added sparingly. This sensitive treatment gives the track just enough
weight and tension to punch in on todays dance floors without losing the intent of the original.
The source material for this EP has been road tested from the very beginning of Alma Negra's journey. The collective have gone
to great lengths to ensure the original creators are on board with their treatment of their music and are honoured to be given the
chance to distil their own ethos into a record that is bubbling with today's dance floor drive. Their reverent treatment aims to
preserve the power and beauty of the source material, to bring uncovered gems to a new audience.

90s soundsystem legend TNT Roots on his first official vinyl release (!) after years of dubplates and CDs sold through Ebay and Blood & Fire forums. Two new productions presented in classic 90s stylee with alternative mixes.

TenGrams are brothers Alessandro and Davide, who collectively have a deep and long understanding of dance music. Davide is a co-founder of N.O.I.A, one of Italy's first electronic live acts to perform and record with drum machines and synthesizers as early as 1978. He was also behind seminal Italo outfit Klein + M.B.O and proto house hit 'Dirty Talk.' Since then they have released under an array of aliases, have clocked up numerous club hits and this new project brings them back to their electronic roots, with influences like sci-fi movies and old school electro and italo looming large.Devious' is a very breezy and energetic track with a rolling arpeggio and rich keyboards section over a simply but groovy Tr-808 pattern. Classical Italo Space Disco sound updated to nowadays. 'Translucent' sounds like a dreamy electro-ballad heavily influenced by Kraftwerk. 'Pop Song' keeps the same 80's electro vibes with simple, wistful melodies and a great funk bass line. 'Disco Dub' is a pretty damn cool early eighties electronica, with a great pumping 'robo-funk' Linndrum!

Grand Ancestor's eleventh release in the catalog features the legendary dub controller, Ras Muffet, of Roots Injection fame who's had his tunes played by the likes of Channel One, Aba Shanti, and Jah Shaka. With decades of dub experience, Ras Muffet dug deep into his vaults to produce two eerie dubs focused on the bottom frequencies and the continued evolution of the genre. Steppers enthusiasts worldwide will be delighted to get this weighty 12" onto their turntables before this limited pressing is all gone.

Nottingham's Origin One returns with another bass heavy anthem. Traversing roots reggae, hip hop, dub and steppers this is a perfect example of Origin One's style of production, eclectic in influence and heavy on the bottom end. As the title may suggest the track is a tribute to the herb, delivered by Ghanaian born MC/rapper Kweku (K.O.G) who absolutely destroys the track. Already getting spins on some of the UK's biggest soundsystems, this should see some heavy rotation!

Back to back in-demanders from producer - King Jammy's vaults recorded and mixed by Jammy at Channel One studio, Two of Johnny Osbourne's finest roots classics seeing first time single release complete with their lethal dub companions. Hi-Times band in full effect, top draw vocal and dubs cut loud and proud and housed in the classic Greensleeves 12" bag.

Max Romeo has teamed up with UK based, Grammy Nominated Producer Daniel Boyle, to create a stunning return to form, Roots Reggae album with accompanying Dub versions.

''Max is noted for his critically acclaimed work with Lee Scratch Perry in the 1970's, and for his timeless classic songs penned over the last 50 years - Such as 'War ina Babylon' 'Melt away' 'one step forward' and the worlds most sampled reggae song ever -''Chase the Devil'. Picked up by artists such Jay Z, Kanye West, The Prodigy and Blockbuster hit movies.

Max and Daniel have teamed up with an all-star cast of musicians to create a true Part 2, to Max's legendary, ''War Ina Babylon'' album. Using strictly Studio equipment ranging from between the 1950's - 1970's, recorded and mixed in 100% analogue format, and presented with stunning artwork in Physical format.

Another dig from the vaults results in another reissue in a 90s roots / dub classic which was recorded and produced by two of the most respected producers in the UK reggae scene: Nick `Manasseh' Raphael and Dougie `Conscious Sounds' Wardrop.
* Originally released on an extremely hard-to-find Conscious Sounds 7' in 1990.
* Featuring UK based roots reggae singer Tena Stelin and Centry which was the given name to any project that Dougie was involved with before he formed Bush Chemists.
* This 10' slab features the original vocal and dub cuts plus two extra previously unreleased dub cuts.
* `Can't Touch Jah' has been played extensively for nearly 30 years by the sound system heavyweights Aba Shanti I and Jah Shaka.

* Boom 90's sought-after selection from versatile JA/UK vocal veteran Danny Red licking out against bad boys and gangsters alongside Boombastic Crew aka Nick Raphael (Manasseh. Riz Records, Roots Garden) and Gil Gang (Tuff Scout, Riz Records)
* Riddim-wise this is a sound system bullet which has hints of the mid 80's in the style of King Jammy, Jah Tubbys and Unity Sounds.
* This track originally came in the early 1990s on a Riz Records LP `Themes From Riz' which is now a wallet-busting records to secure.

Originally issued as a cassette on the ROIR label alongside the likes of Bad Brains, Suicide and The Contortions, this second album from 1983 is an uncompromising collection of heavy dub manners and experimental studio soundscaping. Dreader than dread roots rhythms sit alongside delay-baked post-punk instrumentals such as Drilling Equipment' and Synchroniser'.
.
First ever international vinyl edition, re-cut as a double LP at 45rpm for improved frequency response, includes bonus track Blood Shed Dub' from the classic disco plate series, download card, and gatefold sleeve with sleevenotes by Michael Dub' Shore and Steve On The Wire' Bar

A kind of intimate scrapbook of the startling collaboration between the techno maestro and this long-standing musical collective based in Bishkek, devoted to the roots music of Kyrgyzstan. Loose-leaved but balanced, lucid and intimate, it sets out from stunning a cappella and virtuosic komuz and kylak, mouth harp and traditional percussion: not field, but expert studio recordings, using marvellous vintage microphones, made over several days in Berlin. Further, a few of these are deftly treated by Moritz, using Reichian de-synced double-tracking, and discreet effects. Also two ten-minute dubs: a deadly, signature Berlin steppers, plus its version; and an echoing, mystical drum session, recorded live on stage in Bishkek. And a side-long, dream-like summation: the locomotive, oceanic, clangorous, dread Facets. Ravishing, rooted, searching music; beautifully presented.

* Aquatic Lab Records presents a very special release to close out 2017. LAB018 plays host to Bristol luminary and Tectonic boss Pinch, who delivers three menacing and forward-leaning apocalyptic cuts.

* The pointed and growling ragga-style techno of A-side 'Brain Scan' is built on battering rhythms and dubwise sonic techniques, in the vein of an old school revivalist production. True to the roots, futuristic in scope.

* On the flip, 'Street Light' is an equally abrasive bassweight roller, counter-balanced by Pinch's cavernous and cinematic sound design. Strictly war sounds for the dance.

* Rounding off the release is soundsystem meditation 'Abducted', an icy, gangster half-stepper drenched in thick reverb and melancholic DMZ-style laments.

* Mastered by Rashad Becker at Dubplates & Mastering (Berlin). 180-gram vinyl.

Steppas Records presents 'Osaka Steppas' Vol. 2, the second in a series of releases showcasing the Japanese underground dub movement. This edition features Osaka producers Dub Kazman and Roots Masashi. The Osaka Steppas' raw and unrelenting sound developed in the subterranean clubs of Osaka, a port city famous for its counterculture night life. Inspired not only by the sounds of Jamaica, but also drawing inspiration from UK and European soundsystem culture with enough bassweight to test even the toughest of soundsystems. Presented in a beautifully designed full colour sleeve inspired by the works of the legendary ukiyo-e woodblock artist, Hokusai. This release is not to be missed.

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivaled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12" release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones,'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan s vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'dod' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.

Alongside De Gama, Pierandrea The Professor aka Les Inferno is the man behind the much-loved Samosa imprint. A DJ for over 30 years, 'The Professor' is well known in his native Italy as a true vinyl connoisseur, a fact that's no doubt attributable to a seventy-thousand strong vinyl collection.

And so it is that he pipes up with the label's latest. Under his Les Inferno alias, Pierandrea concocts two classic jams (and two neat interpretations of each). A full-scale disco explosion, the EP is a treat for fans of sun-kissed house, the likes of which is sure to win plaudits from DJs such as Prosumer, Hunee and Ben UFO.

The action kicks off courtesy of the original Everything I Do'. Produced with an obscure disco sample at its core, it's a dreamy anthem with roots that will speak to fans of vintage Loft records especially. Effortlessly simple but devilishly catchy, it's the perfect tonic with which to help ease the autumn blues. The 'breakdown'

version strips the original of its vocals, allowing the drums to take centre stage alongside its gorgeous melodies.

On the flip, What Do You Think' goes even funkier still, with its dancefloor prowess epitomised by a vocal that wouldn't sound of place in Paradise Garage. A truly momentous record, it's sure to unleash pandemonium on any DJ it's allowed to let loose on. If you're after something similar but without the campness of the original,
there's a dub version that ought to do the trick. A stunning release throughout.

On Arise , Zara McFarlane returns to a buoyant UK jazz scene with a head-turning third album. Exploring the musical possibilities of British-Jamaican identity, it's a cultural exchange that's born of London's current musical climate. Released on Gilles Peterson's Brownswood Recordings, it sees her working with much-feted drummer and producer Moses Boyd. Both rose through London's Tomorrow's Warriors programme, a finishing school for many young vanguards of the live, ascendant jazz scene springing up across the UK capital. Sharing Caribbean family heritages, it's a product of their joint exploration of the meeting points between jazz and the rhythms of Jamaica, reggae, Kumina, calypso and nyabinghi, shaded with hints of the psychedelic.

Zara's breakthrough 2012 track, a jazz cover of Junior Murvin's 'Police and Thieves', provided a jumping off point to further explore the blurred, colourful territory in between jazz and roots-reggae. Covering Nora Dean's 'Peace Begins Within', she breathes a syncopated groove into a soulful, reggae classic. A beautifully poised version of the Congos' Fisherman teases out the poignant lyrical content of the 1977 classic. Meanwhile new, original compositions from Zara, like 'Fussin' and Fightin'' and 'Freedom Chain', combine a deep, reverberating bass with a steady-stepping roots rhythm. Album opener 'Ode To Kumina' touches on the kumina tradition brought to Jamaica by indentured labourers from The Congo in the later part of the 19th Century. Part of Zara's deeper research into her Caribbean heritage, it alludes to a deep-rooted culture encompassing music, dance and religion.

Similarly, 'Silhouette' arose from that same research, in this case, however, it was about how records and documents often get lost in Jamaica. It kind of came out of the idea of black history and blackness and feeling like you're trying to find yourself,' she explains. Trying to be proud of your history and who you are. And never forgetting the things that brought you to where you are.' Alongside drummer Moses Boyd on production, the album features a stellar line up of some of the key players on the London scene Binker Golding on tenor sax, Peter Edwards on piano, Shirley Tetteh on guitar, Nathaniel Cross on Trombone and an unusually restrained turn on Clarinet from Shabaka Hutchings.
Shared between all of them is a tendency to find the common points between different musical ilks: from US hard bop jazz, to dub and London-rooted hybrids and permutations, the band on Arise reflect the musical diversity of their home. Boosted by new platforms, like East London showcase Church of Sound and a newly-refreshed Jazz Café, the record surfs the momentum currently propelling jazz-influenced music in the UK.

For Zara, Jamaica's musical legacy is deeply intertwined with her sense of the place itself. Spending whole summers in the hills of Jamaica, it's the sounds and smells which she most vividly associates with her stays there. In particular the local sound systems which were an everyday feature of the local area, be it in shops or bars, each of the small local shacks would have a sound system where they'd play music through the day and evening.

From where my nan used to live, in Cauldwell there's a sound system almost opposite her house,' she says. So you feel this boom of the bass, and then all the smells of the hills and the greenery of Hanover. When you land in Jamaica and you go to walk off of the plane, the heat and the smells hit you and it feels like home away from home for me. When I hear Jamaican music, these are the senses that come.'

No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences, whilst retaining the subby funk-and-hot-breath pressure of Shackleton's soundboy, club roots.The result is an evolutionary, truly alchemical music — great shifting tides of dub, minimalist composition and choral song (Five Demiurgic Options), ritual spells to ward off the darkness (Before The Dam Broke, The Prophet Sequence), radiophonia and zoned-out guitar improv (Seven Virgins), even the febrile, freeform psychedelia of eighties noise rock (Sferic Ghost Transmits / Fear The Crown). Over the five years since Music For The Quiet Hour, Vengeance's vocal and lyrical range has rolled out across this new terrain. Throughout these six transmissions he's hoarse preacher, sage scholar and ravaged bluesman, blind man marching off to war, and exhausted time-traveller warning of impending socio-ecological catastrophe. Six dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo's early collaborative work into something subtler and more emotionally shattering — its shades of brightness more dazzling, and its darkness even murkier. "We almost didn't hear it when the foundations went."

Emotional Rescue and Jamwax come together to present the first of three essential 12's from NY/Jamaican label Capo Disco, all officially licensed and remastered for the first time. The brainchild of reggae vocalist, musician, producer and label owner Glen Adams, the label married disco with his Caribbean roots to perfection. TIP! Born and raised in Jamaica, Adams story is a similar one to the performers of the golden period post-Independence. Initially discovered as a vocalist by Coxsone Dodd, he went on to work with such luminaries as Ken Boothe and Stranger Cole before co-founding The Heptones and working Duke Reid, Bunny Lee and Lloyd Charmers.
As a session organist he worked for The Hippy Boys, The Reggae Boys and later with Lee Perry's The Upsetters. Here he came in to the orbit of The Wailors, touring England with them in the early 70s and with Perry co-wrote Mr Brown. When most of The Upsetters became Marley's rhythm section, Adams stayed with Perry before making the move to Brooklyn in 1975.
There he started Capo Records, running it and it's sub-labels, successfully until the mid-80s. During these later years he ventured in to mixing Reggae with Boogie and Disco rhythms and released just four 12's under Capo Disco as well as recording boogie and hip-hop influenced releases with T Ski Valley and as Glen Adams Affair for SAM and Moonglow Records.
Here then the spotlight is on Adam's nascent disco releases and the series starts with the wonderful, uplifting A Beat For You. Actually appearing on a one off sister-label, Top Secret, this is a beautiful 'Lovers' anthem from Adams over a laidback dub-bass riddim. Backed with a simple instrumental Version, the space and interplay of the keys and guitar over drum and bass is superlative. 'There is a beat in my heart, just for you...just for you.'

12 whitelabel, limited to 250 hand stamped and numbered copies

The 2nd drop on Through My Speakers comes straight from NGHT DRPS' dubby chambers. Showcasing his musical roots and influences, it blends earthy grooves and heavy drums with his signature deep and trippy vibes. From killing it on FACTMAGs 'Against the Clock' producer series - collecting almost half a million plays and making it into the all-time top ten of 'Against the Clock' - to remixing Moderat's 2016 'Eating Hooks", we are very happy to announce NGHT DRPS' debut EP on Through My Speakers. Vital Sales Points: - already played by dBrigde, Plastician, Toddla T, Sarah Farina, Kabuki, Scratcha DVA, Zed Bias, Moderat and more - Releases on tba - airplay on Rinse FM, NTS, BBC Radio 1 & 6,

'Great Many Arrows' is the 6th studio album from Damien Dubrovnik, the Danish duo of Loke Rahbek and Christian Stadsgaard. It is also the 200th release on their Posh Isolation label, marking 8 years for both the label and project. The label's inception came with Damien Dubrovnik's debut album, and since then the two have been inseparable. Without Damien Dubrovnik there would most likely have been no Posh Isolation, and vice versa.

'Great Many Arrows' is undoubtedly a high point in the varied discographies of both Rahbek and Stadsgaard. It is the most realized Damien Dubrovnik recording to date, and a standout in Posh Isolation's troves.

As a record, 'Great Many Arrows' manages to translate the intensity of the duo's often unrestrained live shows in to carefully crafted studio productions. Unlike the pair's earlier and largely electronic recordings, the compositions on 'Great Many Arrows' set organs, cellos, violas, wind and other acoustic instruments against the backdrop of an electronic landscape.

The new toolset is as apparent on the surface as it is in the enclosed detail, taking the project further from its noise roots than it has ever been. This is not to say that Rahbek and Stadsgaard have traded ferocity for formal constraint. It is rather the opposite. While 'Great Many Arrows' is certainly the pair's most 'musical' work to date, its veneer of accessibility might also make it their most terrifying.

The strength of the recording lies here in the interaction between the melodic, acoustic instrumentation and the bulldozing electronics. Moments of beauty and light are transfigured into utter chaos and rage, the mesmerising change an expression of the equal and opposite form's natural sway as it beckons and slips between its own passing.

'Great Many Arrows' takes its name from a historic archery competition in Kyoto, Japan, in which archers would shoot as many arrows as possible for a 24 hour period. On April 26, 1686, Wasa Daihachiro from Kishu successfully shot 8,133 out of 13,053 arrows, averaging 544 arrows an hour, or 9 arrows a minute, becoming the record holder.

We are very proud to welcome back one of our greatest artists and good friends Scott Monteith aka Deadbeat. Scott original comes from Canada but now lives in Berlin for some years.
Scott is mostly known for his own BLKRTZ label, but have been releasing on many other labels over the years.
The track "Put On Your Red Shoes And Trance" is a peak time bomb, dubby, deep, powerfull and melodic track.
The B-side, "Just Jackin Around" is Techno bomb full of dubby chords and build-up-madness.
300 limited marbeld vinyls. When the coloured edition is sold out we only have black vinyl left.

*Restless Mashaits hailing from Geneva are based around the core of Jil and Stuf. They released a sizeable amount of new roots classics throughout the 90s and 00's. Recently becoming active again, they are best remembered for the sessions they recorded at Kingston, Jamaica in the mid/late 90s with legendary musicians such as Vin Gordon, Deadly Headly and Dizzy Moore. The original releases have been since long deleted, but some are now unearthed thanks to Partial Records.
*`Lion' from 1996, features the legendary Jamaican percussionist Scully Simms (who recently passed away) and was in every box of all serious roots selectors back then. Now long deleted, this will fill in the gap for the many collectors who have this on their wants lists.
*`Dub Lion' is a different dub version to the one previously released in 1996.

Ninth instalment of Redscale. Grad_u with a masterpiece of dub techno. Vinyl only.

"Holdback", an unexpected twist of events for followers of Redscale, is actually a bold step forward in terms of pace and light. The enticing chords work like a magnet, and the potential of the lady on the mic is no lower than that one of a siren. The personal weapons of grad_u, the most powerful of which are the embracing loops, are of course out there, indicating the
producer's inner spirit and roots.

Picking up where "Holdback" left off, "Outwards from Laniakea" is a statement more rugged, yet as absolute as the message on side A. It's an invitation to put that jacket back to the
cloakroom, switch off that phone and let yourself go, again and again. It's, once again, a compelling statement against conformity.

***

Early support by DJ Deep, Cari Lekebusch, Jonas Kopp, Shlømo, Josh Wink, John Osborn, Echoplex, Don Williams, Wata Igarashi, Regal, Mark Broom, Marcus Intalex / Trevino, Ryan James Ford, Francois X, Albert van Abbe and many more... .

After a first release by Dub-Techno father Brendon Moeller, Submersive Records is back with a various artists ep. The Paris based label, launched in 2016 by Process B, is now introducing 3 artists who were invited to present 3 different visions of the label's musical identity, completed by a Albert van Abbe remix. The ep starts with the first appearance of french duo Bevel (Positive Clearance & Process B). Slow yet electric saga, 'Hob' swings between atmospheric, industrial and deep techno sounds. A perfect introduction to the label's roots. Elements come one after the other while holding a certain incisive vibe and giving birth to a track that can fit in both warmup or peak time sets. 9beats, young producer from Lyon, explores a more melodic side with 'Through An Interstellar Cloud'. Used to dive people into his spatial universe through his tracks or analog live sets, 9beats's travel is a good transition from ambient to techno.We said Techno Isolated Lines will not contradict and brings us straight in the middle of the night. Saturation, noises and modular variations are confronted to some melodic slackening, making this track a great immersive weapon.Invited to one of Submersive's label night at Batofar in 2015, Albert van Abbe closes the ep by giving us a completely new version of Bevel's Hob. We easily recognize the original track's lead, mixed this time with raw classic drum jams. Somewhere between Electro & Techno the Remodel version of Albert van Abbe overwhelms by its effective authenticity.From Brendon Moeller to the young and promising Techno scene, this second ep pursues Submersive's mission into the Techno abyssal depths.

FUSE bosses Enzo Siragusa and Seb Zito have been invited by the highly respected Rawax to bring a taste of their beloved London rave culture roots to the labels first release of 2017.
Since their launch in 2011, Rawax's catalogue has beamed with nothing less than the finest, and Enzo and Seb are a welcomed addition to their already colourful and diverse roster. Barac, Boo Williams, Fred P, Paul Johnson, Ricardo Villalobos, Ron Trent and Unbroken Dub are just a small portion of an incredible list of artists that have released via the labels original monarch and many offshoots thus far.

With 'Woonie Trax' Enzo and Seb perfectly resurrect the sounds of early UK rave culture into the present by digging out the early gems of their record boxes as inspiration.

'Barring the kicks, I think almost everything came from sampling old garage, hardcore and jungle records from the 90's. For those in the know, the clues are in the names of the tracks'. - Enzo Siragusa

Whilst 'Shades of Riddim, 'Lil Ley', and 'Blue Notes' all lend themselves to the early UK sound, each track has its own individual quirk making the EP a diverse representation of the days Enzo and Seb fell in love with rave.

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records softer, more melodical and experimental side. Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time!

Aleksander Zekovski might not ring a bell but it should ring a bell within a few months.
We warmly welcome Moda on OrbisX with his very special and pure analog feel to sound.
Unique, funky, very good arrangements and multi-talented. Nothing more, nothing less.
Someone who deserves to be discovered or at least get a bigger audience.

We re taking the leap of faith with Moda, serving him a full EP to experiment.
The Roots EP was born.
The full EP is a mixture of funky beats with some housy touches with, in some phases, gentle and experimental dirty glitches.
Something to add to your collection. This EP can be played in quirky eclectic DJ sets, lounge bars or just at home with a nice glass of red wine.
Background music while having dinner with friends and you want to serve something special This is one of those special EP s!


Something To Talk About is funky, dreamy and sparks that twitchy leg movement when you doubt if you should be dancing or be slightly head banging to that tune.
That kinda track. Serves well with candles, wine and late night talks.

Under Her Skin might take off on a weird bit quirky dirty start, but when that lead kicks in, ... we were sold.
Extremely funky. Be aware: you can t hold yourself from clapping to this song.

On the B-side, "Winter Tale" counts as the second A track on the EP. Deep! Gentle and yet so snappy in it's own dirty way.
We fell in love from the first note, or should we say that filthy deep baseline, those dirty well mixed-in toms and snappy rude claps!

"Running Man". Well... if you like dreamy catchy house. This is for you.
A nice extra track, making this EP a brilliant pressing.

We can't emphasize the talent Alexander has.
We hope he gets more attention with this EP.
Full support for you Alex.

- mau

Touching down for the inaugural release on the newly formed label, North of 7 Sounds, is the mighty Rumbleton - a true heavyweight with over 2 decades immersed in sound system culture, running the Stand Firm Hi-Fi label and releasing music on Scientific Wax, Rupture LDN, Outsider, and Samurai Music to name but a few. A true master of his sound, we are extremely proud to have Rumbleton set the bar for future North of 7 excursions. A New Day' takes you on a journey filled with haunting pads, razor-sharp drum kit clashes, and infinite amounts of low-end. Bottomless swathes of atmospherics respire in and out of the mix, culminating in a breathtaking breakdown - crafted with utmost devotion to the Godfather of Soul himself. A truly honourable homage to jungle's roots in sample culture and breakbeat science.Conscience' on the flipside is weightiness refracted in minimalism. Rumbleton fully submerges your mental space in a cavernous, dubwise fog, while militant, scorched-earth drums power the tune forward. A warm, subterranean bassline churns endlessly beneath, all the elements occasionally exhaling and collapsing under their own weight, only to regenerate once again...

*Singer-songwriter Amelia Harmony is a welcome addition to the Partial Records roster. Although relatively a new comer, over the last few years, Amelia has been playing with bands of varying genres and styles in and around her native Derby, as well more roots reggae-orientated releases on labels such as King Earthquake, Instrument of Jah, Mellow Vibes and her own recently established Soulshine Music label.
*`Fear and Love' is an uplifting rootsy steppers rhythm with a positive message and soulful vocals topped off with some tasteful acoustic guitar licks. Amelia's delivery oozes cross-over appeal. We will be hearing lots more from her.
*Produced by Liam McGurk for his own well-established Partial Records label.
*The Dub version is mixed by UK dub master legend Dougie Wardrop at Conscious Sounds studio, London

Jerome Meyer AKA Von D is a master craftsman, well-known for releasing dubstep and bass music since 2009. On an increasingly prolific trajectory since last year, recent 12's on Infernal Sounds, Trojan Audio and Scotch Bonnet have signaled his renewed focus on dubwise productions. We are proud to say that Von D's Khaliphonic debut sees him fully committing to reggae and dub - in his words, going back to my musical roots.'

Politricks' is a masterwork, cut from the same living rock as the classic Cuss Cuss riddim, a simply huge bass and drum workout that is truly one for the ages. Politricks is an anthem for now, a call to avoid the dead-end of politics-as-usual and a warning to beware of the lies politicians tell to keep themselves in power - full of promises but changing nothing. Von D says that working with Don Cotti was very natural,' and their easy relationship is audible - the tune fits the vocal like a glove, and Cotti's instantly-recognizable singjay style gives even more gravitas to an already heavy track. The dub version spools out Von D's signature saturated echoes even further, and opens up spectral chambers of reverb that shimmer and glow.

The B side Ygrec' is an equally massive tune, just as compelling if more meditative and mysterious, coming in both one drop and power-steppers mixes for maximum versatility and vibes. Both tunes and their versions feature an incredibly robust, warm, human sound - one that simply can't come from machines alone - live drums, bass, and kete drum among other instruments maintain the tradition of live musicians in dub - to say nothing of expert desk-based mixing and deployment of live analog effects the way the elders intended. Both tunes dial in at 140 making them perfect for roots and dubstep selectors alike.

Von D got his start as a drummer and engineer outside Paris, in the heady days of original jungle. Early releases on Disfigured Dubz, Hench, Boka, Black Acre and the seminal V Recordings, as well as his reggae-oriented Liquid Wicked project, cemented his reputation. Don Cotti is a prolific producer, DJ and MC with releases stretching back to 2006 on labels as varied as Bass Face, Studio Rockers, and Soul Jazz.

Mastered by Lewis at Stardelta. Art & design by Polygon Press.

Simbad (aka SMBD) is a stalwart of the underground music scene in UK and because of his vast arrays of releases it's very hard to put him into any box or music category. Since his 2007 album Supersonic Revelation & his worldwide acclaimed dancefloor hit Soul Fever, the London based frenchy has been constantly travelling the five continents entertaining delighted clubbers with his super energetic dj skills or producing and recording various artists from many different genres including deeper Dubstep don Mala (DMZ), UK Hip Hop star Roots Manuva, Cuban songstress Dayme Arocena, Detroit House producer Kai Alce, Berlin based deep Techno artist Fred P, Seun Kuti from Afrobeat's most famous family, Brazilian superstar artist/actor Seu Jorge and being production mentor for the king of cool, radio DJ Gilles Peterson (who made him one of the resident at his Worldwide Festivals). With the Moon Theory EP Simbad demonstrates his talent on some deep analog frequencies for the very solid & ever growing label that is Apron Records. As the music wizard puts it himself : 'im just trying to make some timeless shhhhh man, soul in all forms really, trying anyway ! And I guess that the best is yet to come.

Sometimes in life you find yourselves at a point where you need to walk away and leave something behind if you ever want to go back to it. Other paths must be walked, other experiences learnt from to give you a fresh view of where you've come from. In that sense going back to the roots, rediscovering their past with fresh eyes, is the concept behind Richard Dorfmeister & Rupert Huber's new Tosca album, 'Going Going Going'.For over two decades and several albums Tosca has served as a vehicle for Richard and Rupert to express their personal moods and impressions, each release holding up a mirror to their inner lives. Now though after ten albums the journey has come full circle and once again they've returned to the kind of instrumental tracks, full of deep beats and dubbed out textures that made Tosca's name. The result is 'Going Going Going', an album that Tosca fans will immediately recognize and yet one that doesn't just trade on former glories. Hitting the ground running opening track 'Import Export' sounds like a Lee Scratch Perry version of a Ennio Morricone soundtrack, a motif reoccurs throughout the album, most notably on 'Dr Dings', their reinterpretation of America's classic 'Horse With No Name'.

There's a myth about music critics that says we are frustrated, wannabe performers. Evidence to the contrary: Vivien Goldman. Ever since she migrated from pitching editors on the little-known music of Robert Nesta Marley to becoming one of the foremost chroniclers of the perfect storm of reggae, punk, hiphop and Afro-Beat, the London-born, New York-based Goldman has made documenting music her primary life work. But between 1979-82, Goldman was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare girl grooves are now collected for the first time on Resolutionary, courtesy of Staubgold Records.

Resolutionary takes us through Vivien's first three musical formations: first as a member of experimental British New Wavers The Flying Lizards; next as a solo artist, with her single 'Launderette,' featuring postpunk luminaries; and then as half of the Parisian duo Chantage, with Afro-Parisian chanteuse Eve Blouin. Goldman's synthesis of post-colonial rhythms and experimental sounds are threaded together by her canary vocal tones and womanist themes. Her eclectic musical crew included PiL's John Lydon, Keith Levene and Bruce Smith; avant- gardists Steve Beresford and David Toop; The Raincoats' Vicky Aspinall; the mighty Robert Wyatt; Zaire's Jerry Malekani; Manu Dibango's guitarist; and Viv Albertine, then of her good friends, the Slits. The majority of the tracks were produced by dubmaster Adrian Sherwood, and Resolutionary channels the history of a time when the bon-vivant voice of music was in the air, and Vivien Goldman was its eyes, ears, and mouth.

Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.

Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.

In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.

Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).

La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.

* From the vaults of veteran Dubplate-Master Keety Roots' Black Legacy Studio comes this slice of instrumental dubwise meditation dating from early 1990's.
* `Why' originally came on the `Dungeons of Babylon EP' from 1994 which fetches `silly money' on the collectors market, making this reissue a god-send for fans of this genre.
* On the flip side is a previously unreleased dub mix of the same tune.

Landside is the collaboration between Italian producers Hunter/Game and the Icelandic band Kúra.
The sound draws as much from the deep vibe and

melancholy ambience of Kúra's reflective, dubby moods, as it does from the more insistent groove of Hunter/Game's dancefloor roots
Landside - Signs Of Change EP
Signs of Change is the fourth chapter of Landside's journey through diverse sound researches that cross over to industrial ambients, basslines and a whirling melody accompained by a crescendo of sonorities that won't release you from the flow.
Distance is a throw back voyage in a melodic orchestra of ethnic sonorities that elevate you to an esquisite and new dimension.
Luke Hess Remix, is a night bounce into into dub techno that will hypnotize you with its hazy yet enthralling use of vocals.
Kelpe Remix is a deep and intense dreamlike hazy trip, accopanied by trippy melodies that melt with the voices of the original track.

Digging deep into the annals of Gospel now, the name Pastor TL Barrett should be familiar to the eagle eyed crate diggers amongst you. An extremely "colourful" character from Chicago's Southside neighbourhood who found himself on the wrong side of the law for his involvement in some activities of a dubiously illegal nature, more importantly, besides this the pastor was widely known for his community activism and positive sermons preaching love and responsibility. Shady past aside, this fantastic 1976 LP entitled "Do Not Pass Me By" is a real Gospel beauty and features 8 tracks of resplendent hands in the air rejoicement. Having never been reissued before this rare as gem is finally back out in the open, complete with it's incredible untampered with sleeve artwork and design. Barrett's unique voice and message is timeless and instantly recognisable, you can't help but become one of the congregation whilst listening to these wonderfully rousing and positive paeans to the lord almighty. Saying that, even if you find yourself to be a non-believer, the soul, funk and jazz stylings (with the odd flourish of synth!) the good pastor is laying down will be equally as alluring to those of you who dig those particular sounds. "Do Not Pass Me By" was originally released on Miami's TK Disco offshoot Gospel Roots, it's the Pastor's second release on the label and is a beautiful snapshot of how things might have gone down at his "Mount Zion Baptist Church of Universal Awareness". A unique LP with with a somewhat lo-fi charm, the tracks contained run the gamut from slow, downtempo ballads to roof raising, danceable Disco-esque anthems.
This is the first time that "Do Not Pass Me By" has been reissued on vinyl, fully remastered from Gospel Roots/TK's original tapes, represented the way the the LP was issued in 1976 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

* Partial Records return to the vaults of the legendary Jah Works label, originally based in Reading and formed in the late 1980's. The label produced some of the most essential UK roots reggae with a string of artists recording for the label including Martin Campbell, Donette Forte, G.T. Moore and many more.
* Reading-based Mene Man recorded a handful of tunes for the label including `Who Are You' (reissued in 2014 on a Partial Records 10" " PRTL10002) and `Dub Them' (reissued simultaneously with this release on a Partial Records 7" PRTL7036).
* `Save This World' is a slice of vocal roots and indicated by the title, deals with the perils and tribulations of our planet. The rhythm is hard as nails.
* Backed with a different dub mix from the original release in 2002.

Based out of San Francisco, Extra Classic is a unique live band formed with a keen appreciation of vintage reggae & vintage sounds. The aesthetic, and certainly the skilled method of their production, is an ode to the art of that classic style as referenced to the term coined by the Cool Ruler himself. Recording in their own studio, Nopal Recording, the band employs a taster's choice of analog equipment and is devotedly tracked, spliced and mixed in-house direct to tape. However, as the group's name itself implies, there is a dose of something extra and new in this swirling mixture of space echo, heavy phase, and emotive, psychedelic California-soul.Built upon the rock of an early-era dancehall swing, their first single in conjunction with Brooklyn-based imprint Names You Can Trust entitled In This Life, is a perfect slice of lover's rock gone sideways, a decidedly left-coast piece of roots and bliss driven by Adrianne deLanda's lovely lead vocals and the steady, dusty echoes of the locked in players. Presented in the traditional format with a version as per NYCT fashion, the dub mix incorporates a soothing dose of synare beams and underwater instrumental dreams.

*Partial Records are proud to announce their 50th release!
*This one features the melodic and soulful vocals of El Indio - an ex-member of Reality Souljahs - who gives us a history lesson in true traditional roots and culture reggae style.
* This rides a cut of the same steppers rhythm featured on Danny Red's `False Preacher Man' (PRTL7033).
* Backed with a ruff and tuff dub version entitled `Royal Legacy Dub'.
* Produced by Liam McGurk and mixed by Dougie `Conscious Sounds'.

Deep'a & Biri's Black Crow Records further expands its horizons with its seventh release, welcoming another new artist to the family following appearances by 2030, Aril Brihka, Hakimonu, Luke Hess, ROD, Inland and Markus Suckut. The Analog Roland Orchestra's label debut follows the widely acclaimed 2030 EP and shares with it a widening of the label's sonic scope to once again showcase Deep'a & Biri's desire to reach beyond techno and explore ambient and cinematic musical textures. Michal Matlak's Analog Roland Orchestra finds the Poland born & Berlin based producer in the conductor role among an array of classic electronic hardware, taking on the role of shaping & directing a free flowing sound that moves across genres, whether in a studio or live setting. His previous releases for labels including Ornaments, Rotary Cocktail Recordings and Pastamusik have seen the project indulge in an array of sounds across the techno spectrum. 'Aftermath II' is no different, moving from the classic roots techno sounds of 'Plant' and 'Father Detroit', through the dub excursion of 'Urei Dub', to the cinematic, Boards of Canada & Tangerine Dream-recalling pair 'Her' and 'Aftermath. For those with a taste for electronic music's widescreen possibilities, TARO's arrival on the Tel Aviv imprint will be a long term favourite.

Thomas Blanchot, 40 years old percussionist and drummer, started his production structure Mato Production in 2001, where he collaborated and directed for many projects.

Composer, music publisher and producer of music for TV, advertising, films and records, he also began a career as reggae producer since 2006, under the name "MATO". Since then he's released music through various projects concepts, coming out through labels such as Makasound, EDR Records or Big Singles. In the meantime he developed a real trademark: taking over classics French, Hip-Hop, or Pop song, into roots reggae-dub new versions.

Besides since 2010, Mato has built a solid reputation thanks to his hot remixes of Hip-Hop classics on Stix Records. And in 2014, he presented Homework Dub, giving his own vision of the multiplatinum classic album by Daft Punk, quickly acclaimed internationally as a true performance.

Today, Mato is back with another target for his special skills as a tailor of reggae music, this time focusing on classic musical themes from original soundtracks. Imagine if Lalo Schiffrin, Nino Rota, Gorgio Moroder, Ennio Morricone or John Williams had been blunted at Lee 'Scratch' Perry's Black Ark studio... there you go, this is Hollywoo Dub!!

Heavyweight soul providers Fat Freddy's Drop are about to take flight once again with the worldwide release of new album Blackbird on 24th June 2013. Blackbird is the third full-length release from the New Zealand band and will see Fat Freddy's Drop exceed half-a-million album sales worldwide, the result of playing over 800 shows in their career-to-date, clocking up 412 appearances in Europe, 27 Australian Tours and over 300 shows in their homeland.

Fat Freddy's Drop celebrate a decade of European touring by releasing Blackbird in East London. The already sold-out show at Village Underground attracted over 4,000 hopeful ticket ballot entries in just 24 hours for only 500 lucky spots.

Featuring nine tracks, Blackbird was written and recorded at Bays, the band's own studio, which was one of the last vinyl pressing plants in New Zealand and then an apostolic church. Fitchie says, 'What you hear on the album is the sound of Bays, the room itself, the vibe of the place and the performance we can get out of the band in there.'

'Blackbird is truer to FFD's musical philosophy than anything else we've done', says Chopper Reeds. 'The song structures are open and unruly - just like our live shows - whilst we've pushed ourselves to deliver rich and deeply layered arrangements that showcase Joe Dukie's exceptional voice. We feel totally at home melding together this unholy mix of disco, rootsy dub, blues, soul and electronic funk - it's what we do.'

Fat Freddy's Drop have released two studio albums, 'Based On A True Story' (2005) and 'Dr Boondigga & The Big BW' (2009), two live albums, 'Live At The Matterhorn' (2001) and 'Live At Roundhouse' (2010) and a stash of limited edition vinyl singles, including the now legendary 'Midnight Marauders' and 'Hope For

Soul Jazz Records' new 'Studio One Dub Fire Special' brings together 18 heavyweight dub cuts, all recorded at 13 Brentford Road in the 1970s.
Featuring a stellar selection of dub cuts to classic and foundation songs recorded at Studio One with music from the legendary in-house bands - The Sound Dimension, New Establishment, Soul Defenders and Brentford All-Stars - featuring the likes of reggae's finest musicians - Jackie Mittoo, Leroy Sibbles, Cedric Brooks, Freddie McGregor and more.
These fresh dub sounds employed the mighty mixing desk skills of The Dub Specialist, aka Clement 'Sir Coxsone' Dodd, Sylvan Morris and Scientist to full effect. Studio One Dub Fire Special features our latest chapter of raw, stripped-down bass and drum sounds direct from Studio One, 'the University of Reggae'.

Released as CD with slipcase and heavyweight 2xLP vinyl (with free download code).

Outstanding and miraculous, this record is an international effort, resulting in a great combination, relevant for both bagging it or playing out on a soundsystem. The original music is by one of Russia's most prolific and gifted reggae musicians - Rebelsteppa. Melodic instrumental music, a swing-stepper with a saxophone.

None Shall Escape the Judgement', vocals by Stikki Tantafari from Jamaica is on the A side of the record. This song is rough and tough, dynamic and persistent. Stikki Tantafari has previously released music with Paul Lush on Nucleus Roots Records.

On the B side "Give Unto Jah' by Sista Sherin, the German singer. Compared to the record's first side, this one is smoother, the voice of this young lady is glorious and captivating - positive vibrations.

Both sides feature Rebelsteppa's dub-mixes - His style is always a mixture of classical energy combined with peculiar intelligence of sound given by restrained echoes, created for the soundsystem.

By all accounts, Whiskey Disco has matured. Each release unique, but compiled meticulously to meet some of the highest standards in the edit community.
WD45 continues the trajectory with 4 tracks combining equal parts soul, boogie and disco. Rastanils cuts up cheesy obscurity to reveal heavy disco vibes—this edit was smashed by MCDE at numerous festivals in 2015. Next up, the 'intriguing' Corsican Brothers reappear after a 5 year absence from Whiskey Disco with a sliced version of I Like It, beefed up bass and space on the platters with a touch of dub. Side B exemplifies the weirdness only a b-side can... Albion's Disco Chopper is a stretched and phased party jam that DOES NOT Stop.
Move to the inside for the lengthy and epic Big Time, a 9 minute exploration into rocking disco roots, courtesy of the eponymously named Blaxploitation movie from 1977.

Reaching the milestone of its 100th single/EP release, Circus Company welcomes back Aquarius Heaven with a new EP of poignant, uplifting house music loaded with a meaningful message for these transient times. It's nearly three years since Brian Brewster delivered the Parallela Mundi 12', and in that time he has been on a relentless mission to spread his unique blend of house music, Caribbean roots and psychedelic magic across the globe in a whirlwind of live performances and collaborations. In a manifestation of his well-travelled soul, these new pieces call upon traditional influences in amongst the modern motifs that Aquarius Heaven has been built on, while lyrically dealing with the pressing issue of refugees escaping conflict, poverty and famine. The proud drum throwdown and carnival bleeps of 'Bato Chargé' conceal the seriousness of its theme. In Brewster's native tongue Creole, bato chargé translates as overloaded boat. With the Caribbean as equally rooted in the history of displaced humanity at the hands of sinister powers, the groove of 'Bato Chargé' takes on a defiant, hopeful tone directly inspired by the traditional percussive music style Gow Ka. '50 Drops' by way of contrast takes on a noirish tone with its gritty, street-weary tale and nocturnal melodics played out through enchanting arpeggios and warbling leads. Cooling off the tempo and heading into a digi-dub skank that plays off Brewster's roots in reggae and dancehall, 'Marie Galante' takes those same warm synths and runs them through a low-but-heavy stepping landscape; the perfect backdrop to the vocalist's dexterous ramblings on the mic. It's not often you hear Creole New Release Information delivered in contemporary electronic music, with a rare exception being the legendary work of Tikiman et al with Rhythm & Sound in the 90s.

*Restless Mashaits hailing from Geneva are based around the core of Jil and Stuff. They released a sizeable amount of new roots classics throughout the 90s and 2000's. Recently becoming active again, they are best remembered for the sessions they recorded at Kingston, Jamaica in the mid/late 90s with legendary musicians such as Dean Fraser, Vin Gordon, Deadly Headly and Dizzy Moore. The original releases have been since long deleted, but some are now unearthed thanks to Partial Records.
*`Africa' from 1999, is a storming roots rockers piece which features saxophonist Dean Fraser and Dwight Pickney (Roots Radics and Zap Pow) on guitar.
* Both cuts are different mixes to the ones that previously surfaced on 45.

*Restless Mashaits hailing from Geneva are based around the core of Jil and Stuff. They released a sizeable amount of new roots classics throughout the 1990s and 2000s. Recently becoming active again, they are best remembered for the sessions they recorded at Kingston, Jamaica in the mid/late 90s with legendary musicians such as Vin Gordon, Dean Fraser, Deadly Headly and Dizzy Moore. The original releases have been since long deleted, but some are now unearthed thanks to Partial Records.
* This blazing horns instrumental `Good Conquer Evil' is another bonafide classic which was originally released in 1999, which features Dean Fraser on saxophone and Nambo Robinson on trombone.
* These are alternative cuts to the one previously released

Grand Ancestor and The Illuminated join forces again, this time teaming up with Distant Roots and Clinton Sly in order to bring you 'Straight To Mi Brain' the latest 7" record from GA. Clinton's energetic and powerful presence on the A side is further interpreted on the B, with The Illuminated and Distant Roots collaborating on the dubwise version. This is a limited pressing, hand stamped, with no repress or digital offering.

Ruff Daft returns, and after a various artist EP for number 7, number 8 on the label goes back to the founder, with three new tracks from Cottam'Washed Out' kicks things off, at the cross roads between Mood Hut & Basic Channel where dub techno sensibilities meet dreamy chords for a delectable deep house track. 'Horns' harks back to Cottam's earliest releases, with an afro-ish horn loop teased out over four minutes until the full loop and bass kick in to devastating effect.A Ruff Draft' sees Cottam look back towards his techno roots, with a killer kick drum and raw acid lending an abrasive edge to a well rounded EP of varied styles.

*A late 70's roots rockers instrumental from the London-based reggae band Investigators led by Michael Gordon who had a string of hits in the late 70's / early 80's on labels such as Fine Style (Fashion Records off-shoot) and Private Eye.
* Investigators were predominantly a Lovers Rock band, but occasionally wondered into more roots territory as heard on this 7' musical disc. The result being a heavyweight melodica-led instrumental, favoured in the late 70's by sound system legend Jah Shaka. This cut sounded not too dissimilar to the works of Augustus Pablo.
*Backed with a compulsory dub cut.
* This release will be welcomed by collectors of the genre, as the original 12" whence this came, changes hands for silly money.

Prolific electronica polymath Emika found acclaim once again this year with new studio album 'DREI', an opus that picked up Ibiza Spotlight's 'Album Of The Week' accolade and was called a fascinating album' by Rolling Stone. With six new remixes on this EP, further life has been breathed into her latest LP - with stunning results.
UK techno legends The Black Dog provide a foreboding rework of Battles, all brooding pads, electro glitchery and stomping breakbeats.
Kamikaze Space Programme's version is more dramatic still, returning the favour after Emika appeared on his own 'Choke' recently.
CNCPT (Brenda, Natch Records) kicks off the remixes of What's The Cure with an industrious slab of dubbed-out, reverb-heavy techno, doing away with Emika's vocals entirely and instead making use of her sound design expertise with subtle finesse.
Mysterious German Clone and Bunker affiliates The Exaltics tap into their electro roots on their rework with a thick, rubbery bassline working its way under a simple, atmospheric arrangement that allows Emika's honeyed delivery to take centre stage.
Borai (Tasteful Nudes) teams up with Emika herself to provide a stripped-back, heavily-swung, stomping take on the track, boiling it down to its melodic and textural essence.
Eomac rounds off the package with his stunning string-laden instrumental interpretation.

Following the huge success of the lead single "Settle Down" (played twice on one show by David Rodigan!), Blend Mishkin and the Roots Evolution band deliver their stunning debut album "Survival Of The Fittest" for NICE UP! records. Having spent most of his professional career behind either a computer screen or pair of turntables, Athens based producer Blend Mishkin (real name George Mantas) has been putting in work since the mid 90s with releases on labels such as Pork Recordings, Tru Thoughts, Shadow Records and many more. For this, actually his 8th studio album, he decided to do something a little different and step out from behind the computer. A chance meeting with some like minded musicians led to a conversation about them re-creating some of his past tracks for a potential live show, but after much thought it was decided that something brand new and fresh was needed. After numerous sessions and jams, a collection of tracks had begun to take shape. Recorded live and then taken back to the lab for mixing and dubbing, "Survival Of The Fittest" is the fruits of these sessions. The next step was to scout for vocal performers to bring the rhythms to life, with the focus on using both international and local talent to give a wide breadth of influences and themes. Lining up are Rebel Salute show-stopper and Juno award winning Exco Levi and seasoned veteran Skarra Mucci from Jamaica, UK reggae/dancehall don Gappy Ranks, Italian raggamuffin KG Man, Mandinka Warrior from Denmark and fellow Greek BNC amongst many others. Retaining an authentic vibe whilst keeping it current, "Survival Of The Fittest" is a truly modern roots reggae album.

Waou ! What a bloody record ! A savant melt of Dub and Dubstep, super modern and super respectfull with the Dub Roots... sound is as big as Empire State Buildeing... A BOMB !! !! Specially for this Babylonbuster Pachamama tune... this guy has the voice of Shaggy... even more insane and bassy... That Dubstep tribal tune, very dark, is absultly delicious... The Big Techn oDub from Lisa Benett is also a super tune... with a fat kick and a superb sound...The Ai Sammy-I tune is also a big needling melt of Dub and Dubstep, To finish i'd suggest that amiga dub Little Lion MC, superb brass du... FAT FAT FAT !! MUST HAVE !!!