Search:the roots of dub

Praha’s EchoBoy comes forth with 4 Roots-Centric Steppers full of swing, skank and bass, destined for the dance.

Digital Bonus Tracks (Exclusive to Vinyl Purchasers)
01. Radikal Guru - Unity Dub EchoBoy Remix
02. EchoBoy - 420 Dub

Over the past year, No Drama, the label founded by Roy Rosenfeld, has established itself as a space for creative independence and artistic authenticity. Known for his refined fusion of house, techno, and downtempo, Rosenfeld channels the same principles into his imprint, prioritizing artistic freedom, emotional resonance, and sonic exploration.

The label's fourth release, No Drama V.2, delivers a cohesive four-track EP spanning over twenty-six minutes of forward-thinking electronic music.

Opening with Dubi, Rosenfeld crafts a composition built on contrasts and playful percussion set against a wistful melodic backdrop. Over nearly seven minutes, the track unfolds gradually, expanding into a hypnotic crescendo that captures both dance floorintensity and introspective depth.

Next comes Coral by Dulus, a Colombian-born artist, based in Santiago, Dominican Republic. With roots in guitar and vocal performance, his understanding of musical structure permeates the composition. Layers of subtle vocal textures, resonant basslines, and scattered sonic details create a sense of depth and movement. The track's hypnotic progression rewards close listening, revealing intricate nuances beneath its steady groove.

The third track, Pink Hearts, by Sydney-based producer Luka Sambe, draws from his experience in Australia's festival scene. Sambe blends melodic house structures with acid-tinged flourishes and offbeat sonic details. Each element lands with intent, building an infectious energy that feels effortless yet deeply crafted.

Closing the release is Oscar Wave by Darco, a rising artist celebrated for his immersive live performances that blend electronic textureswith organic instrumentation. The track channels early trance influences and Middle Eastern tonalities into an uplifting, psychedelic journey. Its central section bursts into a wave of euphoric release, bringing a fitting conclusion to a compilation that celebrates both diversity and unity in sound.

No Drama V.2 stands as a testament to Rosenfeld's curatorial vision and sincerity. Each track resonates with purpose, offering a glimpse into a global community of artists united by their shared pursuit of creation.

With this new 7"", Orchestre Tout Puissant Marcel Duchamp continues to blur musical boundaries through bold collaborations. On one side, Revenant du Nord - co-written with Frànçois and the Atlas Mountains - weaves stories of migration, Moroccan memories, and layered polyrhythms into a swirling orchestral movement. On the flip side, Siilent, composed with Jo Burke, dives into darker dub territory, inspired by a late-night Geneva dancefloor and shaped by the ensemble"s signature instrumental finesse. Two tracks from different roots, united by the same drive for organic power and musical vertigo.

'Fully licensed, all tracks restored & remastered for the 1st time!
'Lots of Loving was the third album, originally released in 1980 by Freedom Sound Record, by legendary and controversial Jamaican deejay and singer Ranking Dread.
'Recorded at Channel One studio, with Barnabas as engineer and produced by Sugar Minott the album featured musicians from the Black Roots Players, Sly & Robbie, Steeely (Steely & Clevie) and many others... Voiced and mixed at King Tubby's Studio!
'One of the most dangerous rub-a-dub deejay lp’s!'

Astropolis Records — the label born from the legendary electronic French festival — celebrates a decade of electronic devotion with a generous and deeply emotional anniversary compilation - a bit late, but never short on flair.

This double vinyl gathers the many faces of the Astropolis galaxy: in-house artists, long-time companions of the festival, and rising voices from a perpetually vibrant French scene. Across 18 artists, listeners are invited on a sonic journey where rave legacy, electronic dreamscapes, and collective fervor intertwine — true to the DNA of a festival that’s never known boundaries.



The record opens with grace and wonder courtesy of Rone, whose electronic touch channels both the intimate and the infinite. Between electronica and downtempo, The Dolphin Ambassador bathes in luminous melancholy, offering a moment of calm before the storm. In the same contemplative vein, we’re proud to unveil one of the first productions from Célélé alongside Théo Muller: Drum and Drift, a subtle blend of dubby vibrations and sunlit textures.


Astropolis has always thrived on happy collisions — and this compilation is proof of it. The unlikely meeting between Mézigue and Swooh sends house spiraling into a g-tech vortex on Broken Roll To Venice, a playful burst of groove, hybrid energy, and cheeky mischief. The same spirit of alchemy fuels Belaria & Madben, whose Into The Void burns bright as a 90s rave-meets-EBM anthem wrapped in hypnotic trance. Zaatar & Trunkline bring raw intensity to Come Into The Light, a sweaty, visceral banger at the crossroads of techno, dark disco, and EBM.


French techno pillars Scan X & Electric Rescue deliver a masterclass in elegant machine soul on Lost In Time. When Manu Le Malin teams up with Kmyle, the result is as sharp as it is cinematic: Little Big Man pulses with dramatic tension, balancing raw emotion and restrained fury. Elsewhere, Oniris & Benjamin Rippert reconnect with the melodic techno spirit of the label’s early days on Sonate, guided by a craftsman’s sense of harmony.
For the machine lovers, Legowelt & Cuften resurrect the spirit of early electroclash on Liar, a carnal fusion of analog synths and DIY attitude. And for the diehard dancefloor devotees, KiNK finally releases a cult track from his live sets: Give Me, a breakbeat-meets-vintage-house stormer tailor-made for those late-night sweats.

This anniversary compilation reaffirms the label’s openness to new generations and hybrid sounds, while paying tribute to the techno roots that shaped its foundation. Like the festival itself, it embodies sincerity and collective energy — a small manifesto linking generations, aesthetics, and territories, celebrating roots without nostalgia and the future without bending to trends.

We welcome Toronto’s own Demuir to Makin’ Moves. A “rare breed” in the world of electronic music. With a passion that runs deep in his veins, Demuir has risen to the top of the underground house scene with his soulful, funky, and unapologetically authentic sound. Here he presents a classy three track EP, all tracks worthy of working the dance floor in equal measure! “What Deep House Use To Be” is the first of two instrumental tracks. This one is a bouncy house groove taking us back to the early roots of house music, with a very catchy groove. “What’s Happening To Me?” is a full on jazzy house affair, and uplifting feel good instrumental with a guitar solo which keeps the toes tapping and energy high! “Emotional Seasons” completes the package, another infectious chunky house groove filled with jazzy keys and stabbing chords sending a positive house message!
Demuir has only continued to push boundaries. In 2024 and 2025, he’s released stand out projects on his Purveyor Underground and Purveyor Underground Limited imprints. His output remains in demand across respected labels including Hot Creations, Kaoz Theory, Heist, Nervous.

Vesu's goes dub!

Vesa-Matti Kivioja, aka Vesu's aka Torolf Stendik has been making waves as an integral part of the multi-faceted Ljudverket & Meltdown Deejays crews in his native Finland for many years. He is perhaps most recognised for his "List of Lizards" saga which began in 2019 on Brian Not Brian's Going Good imprint.

Tokage No Risuto, the third instalment in the lizard saga, sees Vesu's migrate deeper into the dub tradition. The beats have slowed down; the atmospheres thickened. Downtempo rhythms, ambient drifts, and dub-infused echoes weave through the landscape, joined at times by guest voices that shimmer and dissolve into the mix.

The 12-track album is available on a special edition cassette with a vibrantly riso-printed card housed inside a laser printed case, with a striking green cassette. Mastered for tape by Giuseppe Ielasi.

Tokage No Risuto has a number of guest appearances, most notably the legendary musical pioneer and woodwind instrumentalist Tapani Rinne of RinneRadio.

Roots Mechanics invite Tuff We Tuff out of Italy on melodica &
Amsterdam's veteran Change The Mood on the horns for the first release on their Grounded Sounds label. Rough but rootsy.

Panama meets Havana on this new 7" from Nino Augustine & AfroQbano on Future Rootz. Both artists are Atlanta and Chicago-based, respectively but they brilliantly channel their Afro-diasporic roots into a sound that's equal parts street heat and global groove. The record is anchored by rich Afro-Caribbean rhythm with slick modern production and the kind of cross-border energy that this label is now well known for. It's music for the dancefloor and the diaspora that merges soulful vibes with kinetic grooves that make you feel alive. A great snapshot of what Afrolatino futurism sounds like right now.

Makyo taps into his love of roots reggae for this deep, dark and dreamy cover of Things Ah Get Tough by the legendary Bristol band Talisman. The Tokyo-based producer transforms the original, while keeping true to the essence of the original, whose lyrics meditate on the greed and destruction caused when corporations benefit from a nation’s downfall.

Makyo has charted his own course through the world of dub, often with an eastern or tribal twist, since the early 90s, working with collaborators like Bill Laswell, Natacha Atlas and Muslimgauze, but with this release, he’s entering a new phase.

“I’ve listened to this song for years,“ notes Makyo, “and it just felt more relevant than ever when I started working on it in 2024, with all the wars, election madness, wildfires, inflation and nuclear posturing. The mood just seemed to reflect where people were at.”

Having overcome crippling tinnitus and hyperacusis (to the point that he couldn’t even listen to music for several years), Makyo’s finding joy in the past whilst looking to the future, with this sparse and bittersweet version of Talisman’s tune the first in a series of contemporary covers he has planned.

Killer mid 70s roots rocker from The Cool Ruler with the sound of babylon dubwise on the flip from The Mighty Two Joe Gibbs

MAL welcomes Hiroshi Takakura aka Element & co-owner of Riddim Chango Records with a heavyweight session of deep roots mutations and dynamic steppers.

A truly unique and well loved character, Hiroshi is one of Japan’s key figures for dub wise experimentation and this release presents a decade of influence distilled into a selection that bridges Jamaican and UK lineages with a very personal slant.

The centrepiece, ‘Longest Summer Pt.1 & 2’, is a radical remake of the theme from Fruit Chan’s Hong Kong cult film. He flips the wistful, naïve melancholy of the original alongside deep bass weight and syncopated hats with a slink and roll that feels as well suited to the steaming tarmac of LA as any smoke laced, late night Blues dance.

Born from the momentum of live set preparation, the raw sketches that make up the ep were shaped into full-blown dancefloor weapons, particularly the percussion-heavy, tribal mayhem of the title track, ‘Motion Exchange’.

All in all the release captures a snapshot of heady obsessions: UK roots and dub pressure channeling echoes of Jah Shaka, Jamaican dancehall’s roughneck energy, and a wide selection of experimental electronic influences from the early 80’s to the present day.

Motion Exchange delivers a weighty steppers sound that honours its roots while pushing into bold, forward-thinking territory.

Like Element’s sets, this is music for the rig but has layers of detail that reveal themselves on repeat listens and in selector tradition, the EP offers multiple versions for extended play.

A further milestone in MAL’s journey, with Takakura charting heavy new territories in modern dub. RIYL 5 Gate Temple / Bokeh Versions / Lord Tusk / Seln etc.

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repressed !

Miraculously rare and seriously obscure killer dubs..., one of the very few hard core seventies dub albums mixed by Errol Brown.

A selection of solid dubs originally recorded by BB Seaton at Duke Reid's legendary Treasure Isle studio and mixed in-house by the Duke's nephew Errol Brown. A radical departure for all concerned this bold dub album was never officially released although a few clandestine copies reputedly did the New York rounds at the time

The first single from the forthcoming Skinshape x Horus dub album, "Act Like You Know" is a soulful reggae reworking of Fat Larry's Band's 1982 classic, featuring smooth vocals from Andy Platts (also Mama's Gun, Young Gun Silver Fox). Produced using fully analogue techniques and recorded in the spirit of vintage Jamaican dub, this 7" is a perfect blend of oldschool authenticity and modern production finesse. Skinshape (Will Dorey) and Ben Bell (Horus Records / Lion Vibes) bring over two decades of collaboration and deep roots to this project. Known for their love of rare roots reggae and dub, the pair are now crafting original material with the same dedication to sound and detail that defined the golden era of Jamaican music. Released as white label 7" vinyl in plain white sleeve with dub version of Act Like You Know on the flipside.

This debut album captures Massive Dread at an early stage of his career when he was starting to make a name for himself as a unique voice in reggae. The production has that classic late-70s roots vibe—deep basslines, steady drum rhythms, and dub influences mixed with Massive Dread’s distinctive vocal style.
The album contains a mix of vocal tracks and deejay toasting, showcasing Massive Dread’s versatility. His style helped bridge the gap between the roots reggae era and the rising dancehall movement.

180-gram Vinyl incl. insert with sleeve notes.
Musicians
Drums: Lowell ‘Sly’ Dunbar
Bass Guitar: Robert ‘Robbie’ Shakespeare
Lead Guitar: Winston ‘Bo Peep’ Bowen
Organ: Ansel ‘Pinkie’ Collins

Hector Lavoe's "Alejate" (Joe Claussell Mix) Extremely Limited yellow Vinyl repress 12” of the timeless Joe Claussell remixes of the Fania Records masterpiece.

Legendary New York DJ, producer and soul magician Joe Claussell delivers yet another of his stunning reworks of one of Hector Lavoe's Iconic Songs the classic "Alejate." Taken from him universally praised Hammock House Remix produced for the Iconic Fania Records Label. As usual, he brings his signature touch while honoring the original's spirit and with great respect for its Latin roots. Claussell still manages to breathe new life into the track by mixing up organic rhythms and
percussive flair to create a version tailor-made for any dance floor. There is a Dance Dub with a heavier low end and plenty of jazzy expression before the Alt instrumental shuts down. This is a 12" that bridges tradition and modernity with care and creativity.

'Bite The Hand That Feeds You' is the debut EP from Amsterdam-based DJ and producer Jasmín. Blending genres, moods, and eras, it draws on her Dutch-Argentinian roots while channeling the nostalgia of teenage discovery: "that formative era of girlhood where you're growing up online and building your world digitally." Across three tracks, Jasmín explores the tension between this lasting inner world and the harsher realities outside, weaving techno, bass, and dub into percussion-driven music defined by both force and introspection.

Two tracks feature London-born, Lisbon-based artist Older Brother, whose vocals move between meditation and proclamation. 'Overdriven' was built on Jasmín's original instrumental, while 'The Ride' emerged from reworking a fragment of its vocal. Together, they highlight her ability to transform personal dialogue into public expression – music that invites both reflection and release, as much to ponder as it is to dance to.

A must-hear for dub lovers, beat heads, and adventurous ears alike - Gwaan is genre fusion done right. Catalan vocal powerhouse Sr. Wilson joins forces with producer Geliks for Gwaan - the bold debut of Cinta Gara Records. Rooted in dub but fearlessly genre-hopping, this EP delivers four distinct versions that blend hip-hop, roots reggae, techno, and trap with finesse. Sr. Wilsons dynamic performance commands the spotlight, while remixes from Krystian Shek, Quindactiv, and Sascha Reder push boundaries.

The special one! Mr. G’s productions are distinctive, deep, driving and, above all, a listen to behold. Like the man–machine interface between hypno house and roots techno, he manages to unite dance floors either through his High Mass–like live sets full of swing, grit and soul, or simply through other DJs playing his records.
Blessing Running Back for the second time, Mr. G’s Reconnection EP is the result of a serious dive into his vaults.
City Heat (G’s Underground Dub) is a picture-perfect example of his skill to groove without a doubt: raw, funky and fabulous. Serendipity and Work on the flip side complete this picture. Decades of record buying, music making and a love supreme for this culture rolled into one. Made yesterday, released today, and it will still sound great tomorrow. A personal gift from Mr. G’s archive to Running Back.

First chapter of a futuristic dub experiment series by The 18th Parallel. Geneva based collective invites engineer extraordinaire Roberto Sánchez to revisit 10 scorcher riddims from the Fruits Records vault to craft this inventive modern classic. Reminiscent of the greatest dub albums by King Tubby, Scientist, Prince Jammy, or Lee ‘Scratch’ Perry.

Fruits Records presents the first volume of a series of dub albums by Swiss collective The 18th Parallel. Following in the tradition of Jamaican producers who revisited their catalogues in dub versions, such as Bunny Lee and his Aggrovators with King Tubby, Junjo Lawes or Linval Thompson teaming up with Roots Radics and Scientist, or Joe Gibbs and his Professionals with Errol Thompson, Fruits Records is launching a series of dub albums produced by the label's studio band, The 18th Parallel, which will invite different sound engineers to (re)mix the tracks throughout the albums: DUB AVALANCHE. This first volume offers a deep dive into the label's catalogue through ten classic or unreleased riddims revisited by Fruits Records' long-time partner, Spanish sound engineer extraordinaire Roberto Sánchez. The instrumentals are brilliantly performed by The 18th Parallel and punctuated by the voices of legendary artists such as The Viceroys, Lone Ranger, Cornell Campbell, and Dennis Walks, who appear fleetingly before disappearing into clouds of echo. Roberto Sánchez performs ten explosive, creative sound deconstructions, playing with stylistic codes to stimulate our memory and offer a timeless sensory experience.
Like the classics of the genre, the cover art evokes a quirky retro-futuristic imaginary space where, breaking with convention, the talent of Mexican artist Melissa Santamaría is expressed through a striking metaphor of a sonic avalanche.

DUB AVALANCHE VOL. 1 is already establishing itself as a future must-have for fans of uncompromising reggae and dub!

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Two titanic forces in reggae history — Roots Radics and The Mighty Revolutionaires — unite for a powerful dubwise journey on Outernational Riddim. This long-anticipated collaboration blends heavyweight rhythms, militant drum patterns, and deep, atmospheric dubs that channel the essence of Jamaican roots music with a forward-thinking production style.
The Roots Radics, known for backing icons like Gregory Isaacs, Barrington Levy, and Israel Vibration, bring their unmistakable heavyweight style to this session. Meanwhile, The Revolutionaires, studio legends behind countless Channel One classics, lace the tracks with their tight arrangements and classic rockers grooves.
Produced and mixed in true dubwise tradition, Outernational Riddim delivers:
Authentic Studio Vibes – Mixed on analog boards with vintage effects and tape echo for that raw, immersive sound.

Rotterdam's Bright Message Records' second release is the highly anticipated 12-inch vinyl "KING INNA THE RING," produced by Imperial Sound Army. The title refers to the powerful vocal version, sung by UK-based King Stanley, which immediately creates the impression of a true anthem and a strong tribute to Jah Rastafari. The vocal version is paired with a dub cut that strongly emphasizes this element of praise. The way this dub connects the A-side and B-side of the record, reveals both Dan-I's years of experience as a soundsystem selector and excellent production skills.

The B-side contains the fantastic melody version "TROMBONE INNA THE RING." With an unexpected intro and upfull vibes, Matic Horns shows he grooves like no one does and keeps the melody tuff till the end. The final track is a dub of Matic's melody version, in which Dan-I explores the full depth of his riddim.

"King Inna The Ring" is a versatile record that captivates from start to finish and was played as dubplate by a handful of well-known soundsystems during the summer of 2025.

Play it loud and let the world know who's the KING INNA THE RING!

Vocals: King Stanley (UK)
Trombone melody: Matic Horns (UK)
Horns vocal riddim: Ital Horns (UK)
Keys: Smiling Roots (IT)
Riddim, mixing and production: Imperial Sound Army (IT)
Mastering: Pressure Mastering (UK)

To mark three decades of Classic, this special edition double vinyl comes housed in a raw reverse board sleeve, calling back to the very first ‘Season’s’ release on the label. The inner sleeves feature stunning orange and pink GMUND card stock, complete with embossed detailing—a tactile nod to Classic’s design-led legacy and attention to craft.

Volume 1 of the 3-part compilation series dives into Classic’s most cherished moments—spanning both foundational tracks from the label’s early years and key highlights from its post-2011 rebirth.

Record One celebrates some of the first outings of Classic's original era.

It opens with Matthew Herbert’s sought-after 1996 cut ‘Got To Be Movin’—a raw, Chicago-inspired groover that captures the sound of Classic’s roots.

Also featured is the monumental ‘Somewhere Between Distance and the Impossible’ by Chris Nazuka (of Rednail Kidz with Derrick Carter), a 1997 masterpiece steeped in atmosphere and widely regarded as one of the label's most transcendental releases.

Flip to Side B for Blaze’s legendary ‘Lovelee Dae’, remixed into a club ready, ethereal dreamscape by Jon Marsh of The Beloved.

To finish we have Gemini’s hypnotic ‘In My Head’, transformed by prolific remixers on Classic - Freaks (Luke Solomon & Justin Harris) into a dubbed-out vocal trip that oozes character.

Record Two picks up the story with Classic’s reawakening in 2011.

Seven Davis Jr’s ‘The One’ (Live Edit) was the track that caught Luke Solomon’s ear, paving the way for his Friends EP and long-standing connection with the label.

Red Rack’em’s infectious and eccentric ‘Wonky Bassline Disco Banger’ found its perfect home on Classic in 2016, quickly becoming one of the most talked-about records of the year.

Then there’s Eli Escobar’s ‘Happiness Pt. 2’—a rich, emotive standout from his Classic album work, showcasing his skill at blending deep grooves with raw soul.

Rounding out the release is the iconic ‘Play the Game’ by Kenny Hawkes & Louise Carver. A pillar of UK house history, this essential track was reissued in 2019 with a powerful remix from his best buddy’s The Space Children (Luke Solomon, Jonny Rock & Leon Oakey), honouring Kenny’s lasting influence.

Toni Wobble is looking back on over 20 years of roots in punk, free parties and political movements. From anti-nuclear activism to the Gaggeldub performances, Toni's dug deep into the Dub universe: from Dubstation to Rootsbase to Subardo. By 2012, Toni became a respected operator of Leipzig's Plug Dub Soundsystem. Soon after, he didn't hesitate to create the very own solar- powered Sunplugged sound. Toni's live dub sets hit with all depth and energy of low bass sound culture, shaking the foundations with refreshing freakuency adventures. After a guest spot on our 18th release, helping RUZ dubbing out a deep b-side, it's time to unleash the full Wobble fury on 45Seven!

Out In Da Streetz was born in a lockdown, when urban life got stall, opening space for experiments. Inspired by Juke and Footwork at nights such as Bassmæssage, Toni ventured into Jungle production - the genre him love from way back. The result is an opus of subs, breaks, skanks and dubs. Expect 30 Hertz bass, wobbly midranges, halftime snares and Jungle edits sharp like razor. Don't miss the Ini cameo and hand-made skank work straight from the lab. The result ain't just a track, it's a state of inner and outer emergency, a deep dive into groove, texture and creative chaos.

Irie Cruise rolls up like a cloud of green smoke riding through the streets with a sick ride in a surreal vibe. Rootsy rhythms meet subtle Jungle twists inbetween the twinkles of Dub and the flickers of breakbeats. When the hook drops, the impulse fires up, the lowrider bounces through the turns of skanks, throwing dub delays and gliding deep into the night. By the final tone, you didn't just take a ride, you're actually a bit closer to the sun.

Toni Wobble is giving the full hundred. Dub ain't just a genre, it's a portal to infinite spaces of sound. It's a culture, a process and an attitude, all about echo, bass and space. But it's also about experimentation, consciousness and transformation. Each delay loop is reshaping reality, tearing it down and rebuilding it from the ground up. D.U.B. equals to deep universal beats, the universal frequency... Deep, wide and open. Tune in and dub out!

2024 Reissue

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Die britischen Afro-Dub-Meister Soothsayers liefern mit "Fly Higher" ihr wohl bestes Werk ihrer drei Jahrzehnte langen Geschichte ab. Ihr mittlerweile 12. Studioalbum spiegelt die Essenz der Band aus Afrobeat, Soul, Jazz und Dub-Grooves wider. Die mitreißenden, eingängigen Melodien kommen durch dreistimmige Harmonien, Bläser-Hooks und hypnotisierende Basslines voll zum Ausdruck. Der Sound ist organisch und warm im originellen Soothsayers Songwriting-Stil, der eine Vielzahl von Einflüssen kombiniert, aber Klischees und Vorhersehbarkeit vermeidet. Featuring u.a. Youthsayers, die jamaikanische Jazzikone Tommy McCook, die britisch-nigerianische Sängerin Lizzy Donsumu, den ehemaligen Fela Kuti-Keyboarder Dele Sosimi und die britische Jazzmusikerin Julia Biel.











[i] BJP (Big John Price) [feat. Youthsayers]

Multi Culti dive deeper into muso alchemy with ‘Cimbal Tanz,’ a record release that bridges the cult solo 'cimbal’ performance of Emil Jourjou with fellow Moldavian producer Bliz Nochi’s electronics.

Bliz Nochi began learning music at age 7 playing the accordion, later mastering the guitar and piano. By 17, he was experimenting with new metal genres, Dub, electronic, and indie music. In 2016, he released his first works under the name Bliz Nochi, blending world music and exotica infused with Balkan elements, which led him to connect with master musician Emil Jourjou.

Emil Jourjou, a master cimbal player born in Chisinau, Republic of Moldova, studied at the prestigious Ciprian Porumbescu music school. His years of experience and deep connection to Balkan musical traditions build a cultural bridge between classical and folkloric orchestral music, having performed at such events as the World Expo in Hanover, and for the Philharmonic in Lübeck.

In 2021, the pair began recording together, remixing their friend and mentor Andi Otto for Multi Culti (later licensed to last year's Buddha Bar compilation). That collaboration paved the way for this full-length LP, with one side focused on traditional cimbal recordings and the other side a fusion featuring Bliz Nochi's production, a format Multi Culti initiated to showcase the too often obscured talent of the solo musician.

Bliz Nochi's LP is more than an album; it’s a journey through sound blending tradition and modernity, offering listeners a unique blend of Moldavian music and contemporary electronic styles. This project highlights Bliz Nochi's dedication to his roots and innovative spirit, bringing a fresh perspective to the music scene.

A decade after its release, A Fragile Geography returns transformed. This limited edition cassette accompanies the AFG10 anniversary reissue, offering an inspired re-envisioning of Rafael Anton Irisarri’s landmark compositions. Reworks presents distinctive readings of these pieces, with each artist leaving their personal mark on the material. The titles remain unchanged, with the sole exception of “Hiatus,” reborn here as “Ausencia.” Together, these reimaginings extend the emotional cartography of the album into new terrains.

KMRU reframes “Displacement” with expansive, glimmering layers that open into meditative ambient landscapes. Nairobi born and Berlin based, he is known for morphing field recordings into vivid aural experiences, often capturing the texture of footsteps, foliage, and distant city life and weaving them into contemplative soundscapes. In this version he introduces subtle new sounds, including stringlike synths that trace and heighten the piece’s emotional arc. The result invites close listening, offering enveloping tones where the organic and the synthetic gently collide and flow.

Penelope Trappes renders “Reprisal” as a voice-led invocation of the delicate and the intimate. Her wistful vocals bloom with fragile sorrow, rising over shimmering strands of strings to create a sound world at once sacred and shadowed. She is adept at channeling inherited grief into music that is transcendent and otherworldly. The interplay of her voice, the strings, and her use of space and depth draws those qualities into Irisarri’s orbit, imbuing “Reprisal” with the same spiritual weight and clarity that define her most powerful work.

Kevin Richard Martin (a.k.a. The Bug) transforms “Empire Systems” into a cavernous “Iced Mix,” driven by polyrhythmic double bass motifs and sculpted from subterranean pressure and negative space. Known for pushing sound to its physical limits, Martin brings the stark intensity of his dub and noise infused practice into Irisarri’s architecture. The track seethes with harmonic distortion and erupts in white noise rhythms, its brooding low end depth and icy reverberant textures amplifying the tension. Vulnerability and force are set in stark relief, as silences feel as heavy as the bursts of sound themselves. The result is a stark study in atmosphere, restraint and impact, reframed through Martin’s singular lens of sonic mass and low end intensity.

On Side B, Mabe Fratti opens with a cinematic, dreamlike, Lynchian reimagining of “Hiatus” in her native Spanish (“Ausencia”). She threads cello and voice so wondrously that her rendering feels at once hauntingly beautiful and disquieting. Emotionally charged melodies shift in unexpected directions, while her soft, intimate vocals hover above Irisarri’s brooding synth textures. Fratti’s gift for blending experimental and avant pop sensibilities with visceral, emotionally powerful expression shines resplendently here. She gives voice to Irisarri’s reflections on the passage of time and his growing desire to reconnect with his familial roots.

Abul Mogard stretches “Persistence” into a vast drone elegy. A master of patient sound sculpting, Mogard layers evolving waves of analog synths into a dense shroud that radiates its own internal light. Gradual surges of tone and subtle harmonic shifts emphasize the piece’s endurance and inevitability. Irisarri’s original composition, in Mogard's hands, becomes a rumination on time’s unrelenting flow. Melancholy and transcendence coexist in equal measure in this engulfing, cathartic rework.

William Basinski and Gary Thomas Wright close the cycle with a spectral version of “Secretly Wishing for Rain.” Basinski’s field recordings of Reseda rainfall and birdsong, which open and close the rework, add a personal touch and evoke the imagined sound of a grainy film reel flickering to life. The piece suspends Irisarri’s yearning for the Pacific Northwest, lodging it hazily between memory, place and an unreachable dream. It feels like a fading recollection, half forgotten and half felt. A final gesture that dissolves the album into vapor, leaving the listener adrift in its lingering afterglow.

Mastered with great care by Stephan Mathieu and featuring a remixed version of the original artwork by Daniel Castrejón, this edition refracts the language of the original through new prisms. Less a return than a passage, across time, across interpretation, into uncharted emotional realms.

cv313 and Federsen join forces again for the ‘Altering Dimensions Part One’ release, the initial drop in a series of collaborations which will later form together as one long player project.

Detroit-based dub techno pioneer cv313 (Stephen Hitchell of Echospace fame) and Federsen join forces on the forthcoming collaborative EP Altering Dimensions via Federsen’s own Alt Dub imprint. cv313, known for landmark releases such as Seconds to Forever and the deeply influential Dimensional Space LP, has been central to shaping the modern dub techno sound, blending immersive atmospheres with hypnotic rhythms. Federsen, celebrated for releases on Echospace Detroit, Grayscale, Synchrophone, Lempayung, Avant Roots and others. has also established himself as one of the genre’s most forward-thinking producers, bringing a meticulous, analogue driven warmth to his productions. Altering Dimensions marks a meeting of two highly respected producers in contemporary dub techno, bridging Detroit’s timeless legacy with Federsen’s cutting-edge sonic explorations.

The release comprises four alternate interpretations of the title-cut and leading the way is the original mix of ‘Altering Dimensions’, a seven-and-a-half-minute excursion through weighty low-end pulsations, spiralling atmospherics and ever unfolding nuance throughout. The ‘Redesign’ follows and shifts gears into a more robust deep techno realm as cavernous reverberations and shifting echoes ebb and flow alongside murky bass and sturdy drums.

The ’Dub’ mix follows on the flip-side, as the name would suggest laying focus on a more classic dub techno style with crisp percussion, billowing spaced out delays and vacillating subs before the ‘Reduction’ mix concludes the project, as the name would suggest stripping things down to the composition core atmospherics elements alongside oscillating percussive elements and fluctuating pads.

On December 8, 2023, Siska unveiled a first single titled Arabian Knights, a cover of Siouxsie and the Banshees, and it’s a 4-track EP that she is preparing to release on March 29.



« Diggin’ the Roots » 4 times that she was unearthed deep in her emotional discotheque; from her high school years (Arabian Knights) to her encounter with Rasta (Igziabeher), from her Watcha Clan period where she mixed Arabic and Hebrew (im Nin'alu) to the soul music that has marked his journey since his childhood (Troubles...).



This EP is produced, arranged and mixed in-house with Clem a.k.a Adelo Basileus and Soupa Ju at VLB Recordings and it’s thanks to the solidity of its foundations that the Marseille singer can continue to always move forward.



A 2nd ep of compo this time, will be released in September with 2 new productions signed by Prince Fatty and some surprises to come.

Almost fifteen years since the release of her self-titled debut LP on Mr Bongo, reggae’s orator of love Hollie Cook is returning to the label for Shy Girl, her fifth studio album and her most authentic yet. Woven with tight grooves, beautiful vocals and catchy melodies, Shy Girl hears singer and songwriter Hollie Cook revel in her contemporary lovers rock sound, more confident and open to vulnerability than ever before.

A sun-drenched exploration of love in all its guises, Shy Girl tells stories of the magical and the melancholy, the heart-lifting and heart-breaking, across 12 luscious, analogue reggae compositions - the culmination of a soft-hued and instantly recognisable “tropical pop” sound that Cook has made her own.

Put together across three years and four cities – from LA and NYC, to Vejer de la Frontera in Spain and Cook’s hometown London – Shy Girl was written with long-time collaborators, The General Roots Band, and features a contribution from legendary dub MC Horseman, who lends his voice to the album’s first single ‘Night Night’.

The album opens with the title track ‘Shy Girl’, a buoyant and elastic slice of lovers rock that was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that Iove as possible.” It is this honesty which shines throughout, from the chugging deep dub of ‘Frontline’, complete with raking electric guitar lines, to the bittersweet roots ballad ‘We Share Love’, which closes out the album.

It's clear to see that Cook’s songwriting draws on a lifetime of musical influences and inspirations. From her father, Sex Pistols drummer Paul Cook’s record collection and touring with post-punk icon Ari Up’s The Slits, to her love for strong female-led pop music and the bassweight of London’s sound system culture. Enamoured with the music of Janet Kay and Phyllis Dillon, Shy Girl represents a homecoming and a coming-of-age for Hollie Cook, distilling and refining a shimmering reggae sound that will capture your heart, as it first captured hers.

Almost fifteen years since the release of her self-titled debut LP on Mr Bongo, reggae’s orator of love Hollie Cook is returning to the label for Shy Girl, her fifth studio album and her most authentic yet. Woven with tight grooves, beautiful vocals and catchy melodies, Shy Girl hears singer and songwriter Hollie Cook revel in her contemporary lovers rock sound, more confident and open to vulnerability than ever before.

A sun-drenched exploration of love in all its guises, Shy Girl tells stories of the magical and the melancholy, the heart-lifting and heart-breaking, across 12 luscious, analogue reggae compositions - the culmination of a soft-hued and instantly recognisable “tropical pop” sound that Cook has made her own.

Put together across three years and four cities – from LA and NYC, to Vejer de la Frontera in Spain and Cook’s hometown London – Shy Girl was written with long-time collaborators, The General Roots Band, and features a contribution from legendary dub MC Horseman, who lends his voice to the album’s first single ‘Night Night’.

The album opens with the title track ‘Shy Girl’, a buoyant and elastic slice of lovers rock that was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that Iove as possible.” It is this honesty which shines throughout, from the chugging deep dub of ‘Frontline’, complete with raking electric guitar lines, to the bittersweet roots ballad ‘We Share Love’, which closes out the album.

It's clear to see that Cook’s songwriting draws on a lifetime of musical influences and inspirations. From her father, Sex Pistols drummer Paul Cook’s record collection and touring with post-punk icon Ari Up’s The Slits, to her love for strong female-led pop music and the bassweight of London’s sound system culture. Enamoured with the music of Janet Kay and Phyllis Dillon, Shy Girl represents a homecoming and a coming-of-age for Hollie Cook, distilling and refining a shimmering reggae sound that will capture your heart, as it first captured hers.

First official vinyl showcase from Untamed Sounds Studio featuring Lucadread on vocals. Digi Killer style.

Untamed Sounds Studio was established in 2015 in Northeast Italy as a sound system, hosting regular events for several years. In 2019, the physical system was sold, and the project moved to the UK, shifting its focus to music production. Since then, Untamed Sounds has collaborated with a wide range of sound systems, DJs, and singers, particularly in the dubplate field, providing exclusive tracks to sounds across the globe. Whether it's roots, dub, digital, or year 3000 style, Untamed Sounds continues to staying true to its foundation, rooted in Jamaican music.

Produced and Arranged by Untamed Sounds.
Mixed by Dougie Conscious at Conscious Sounds Studio, UK.
Mastered by Dubfiles.

A Dark, Cinematic Soundtrack for Urban Life! UK duo Nightbus release their debut album Passenger, blending trip-hop, indie sleaze, and electronica into a hypnotic exploration of identity, addiction, and emotional tension. Produced by Alex Greaves (Working Men"s Club), the album features standout tracks like the pulsating "Ascension", the dub-heavy "Host", and the haunting "Angles Mortz". With roots in Manchester"s underground scene, Nightbus combine immersive soundscapes with introspective lyrics, crafting a sonic world that"s both unsettling and deeply relatable. Passengeris more than an album - it"s a multi-sensory experience, extending into club nights, fashion, and visual storytelling.

NATURAL ROOTS MUSIC, tuned to the rhythms of the Earth! A special mix by Rooing SWE from the previous Roots & Foundation (CD) release, Side A: All
Those Who Love the Earth (Roots Man Foundation). Side B: The Danjiri Festival (Prayer for a Good Harvest) in Senshu, Southern Osaka. This first 7-inch release
pays tribute and gratitude to the local area.

As a DJ, I prioritize three key points when selecting music. I'll introduce this record in relation to those points.
The first is the power of the intro. I'm always grateful for killer tunes that get the floor moving naturally. The A-side, which begins with a catchy trombone, is a
perfect example of that. Natural Roots' performance is so dark that it almost makes you forget that you're in Osaka, the city of laughter.
The second is about the lyrics. Especially in times like these, I want to share a positive message with everyone. Frontman Livity Tabasuke sings straightforwardly
about his feelings for the Earth. It reminds us of the gratitude we often forget in our daily lives. Above all, his voice is soft and soothing.
The third is the 7-inch format. If you're going to take it to a venue, nothing beats a small, light record. The older I get, the more my hips instinctively tell me to.
The dub-inspired instrumental tunes on the B-side are also fantastic, and the album's functionality continues to increase. I also appreciate the addition of the
shinobue flute, a unique instrument unique to Senshu, a renowned Kansai reggae region, which adds to the local feel.
This album, which captures all of these elements, is extremely practical for me. I'm sure I'll be using it for a long time to come. I sincerely hope that the limited
edition of 300 records reaches reggae fans all over the country.

Next up on Bosconi, the ever-persistent Italian outpost helmed by DJ sorcerer Fabio della Torre, comes a bold new chapter from label mainstay Lapucci—a familiar name to heads who remember his trippy debut Levitated Sensor Detector (LSD).

With Level of Control, the Florence-based Burbi Dub dubplate conjurer delivers a four-track EP that travels across moody electronics, psychedelic grooves, and off-world rhythms.

Kicking off the A-side is “Radio Controller”, a dark and melodic new beat jam with deep ‘80s roots—think obscure synths, rolling drum-machine funk, and a haunting vocoder line that crackles like forgotten transmissions.
Next up, “Einstein”. This one’s a jacking electro-techno burner, all drive and tension—built for those peak-time moments where things feel like they could go off the rails. There’s a cinematic sense of anticipation here, a nod to the cosmic weight of relativity and dancefloor gravity.

Flip to the B-side for “Level of Reality”—a trance-soaked electro weapon, laced with a screaming guitar-like lead and a soaring, emotional melody. It’s peak-time power with sunrise sensitivity—equal parts rave and revelation.
Closing things out is “Irabijanti”, a stripped-back, hypnotic afterhours tool with a fresh, effortless groove. Subtle nods to Middle Eastern scales and rhythms give it a dreamlike, drifting feel—like getting lost in the dunes of some alien desert.

Another must-have from the Bosconi mothership—Lapucci pilots us further out, not with a bang but with a slow magnetic pull into somewhere weird, warm, and wired.

Like sneaking an extra scoop (or two) of ice cream for dessert, what do you do when you know something’s bad for you, but its vice-like nature makes it all the more irresistible? Vega Records explores this conundrum in its latest release, “Can’t Let You Go” by the late, great Loleatta Holloway.

“Can’t Let You Go” is one of the last unreleased recordings Loleatta completed before her passing in 2011. In the main mix, she addresses a relationship she knows she should end but can’t bring herself to leave because the lovin’ is just too good: “I keep coming back time and time again,” she ruminates with raw emotion. “We got to make things better or we got to do whatever to make it right… oh, let’s make it right, ‘cause I can’t let you go.”

For the unfamiliar, Loleatta Holloway, a.k.a. the “Queen of the Night,” is a bona fide disco and soul icon. The singer behind successful singles such as “Hit and Run” and “Love Sensation,” she is one of the most sampled artists from the disco era.

The posthumous single was written and produced by prolific artist Yvonne Turner, whose resume includes production and remix credits for music greats such as Whitney Houston, Willie Colon, and Jeffrey Osborne; as well as mixes for Lenny Kravitz, Lalah Hathaway, Mica Paris, and more. Providing subtle, smooth background vocals for the track, she allows Loleatta’s belting vocals to be the star of the percussive house groover; while Vega Records boss Louie Vega offers a “Roots” mix and emotion-charged “Soul House” mix. Louie Vega also invited his vocalist friends Tawatha Agee (of seminal R&B and soul group Mtume) and Cindy Mizelle (Louie Vega’s longtime collaborator) to add powerful hooks and new background arrangements, enhancing the track with some call and response to Loleatta's adlibs during the vamp. Gene Perez on Bass, Axel Tosca on Fender Rhodes, and Roberto Quintero on percussion. In all, the record is club-ready catharsis made for dancing all your troubles away.

“Loleatta Holloway was one of the most dynamic vocalists of our time,” says Yvonne Turner. “She was blessed with the gift of song and her energy was electric! Loleatta's passion and artistry is on full display as she masterfully interprets a lyric then delivers her signature adlibs, which never disappoint. To describe her in a few words, Loleatta Holloway was the truth... my friend... extraordinary!”

Adds Louie Vega, “Loleatta Holloway has had a huge impact in my life as a DJ, producer, and clubber. She touched me in many ways through my music-making and even style of DJing; to this day, I still play many of her songs and acapellas. This is just our little way of saying thank you so much for what you've done for so many lives with your beautiful voice, you've affected us all!!!”

The record’s cover artwork is a mural of Loleatta Holloway created by Richard Wilson, a London-based artist who takes inspiration from DJs and producers from the house music and disco scene. Last month, Louie traveled to Liverpool, England for the mural’s unveiling.

By the end of the 1970s Linval Thompson had cut out a successful dual career for himself as both singer and producer. Naturally he moved in the dub field as well, getting further use out of rhythms he used in his other works. Dub had begun strictly as an album format with limited pressing runs for scene insiders, but it had swiftly gained the interest of the rank and file reggae buffs.

'Negrea Love Dub', originally released in 1978, is a cornerstone in the reggae dub scene.

Linval Thompson produced riddims which were laid at Channel One studio by The Revolutionaries – at the time a celebrated studio band led by drum and bass partners Sly Dunbar & Robbie Shakespear – and mixed at King Tubby's renown studio at 18 Dromilly Avenue in Kingston by Prince Jammy.

The sound of the ten dubs featured here is hypnotic and its effects are euphoric to say the least.

After their epic run with Channel One beginning in the mid 1970's, the Mighty Diamonds moved to producer Gussie Clarke for a string of albums starting in 1979 and running thru the 1980s. Among the many many great tunes from this run, the title track of their 1982 album "The Roots Is There" is simply one of the Diamond's best ever, and probably the most lyrically militant tune they ever made. This tune was never released as a single at the time, though new mixes were released as a single in 2017. But prior to the release of the album back in the day, this song was played on dubplate in a raw mix without the horns and added percussion that made it onto the final album mix. This raw vocal cut, followed by a raw instrumental version, changes the whole tone of the tune and brings it into another level of militancy right up there with the hardest stuff you can name, even in an era filled with so many extra tough stepping classics. Rather than remaster from an old dubplate, for this 45 we had producer Gussie Clarke and Music Works' close associate engineer Curtis Lynch go back to the original tapes, and with an original dubplate as reference, perfectly recreate the original raw cut, now released in pristine tape quality. Again we present this release on Music Works' original early 1980s dubplate label design, just like the original slate would have been adorned with. If you only know the sweet harmony side of the Diamonds, give this one a try to see their other tuff side, and listen to the lyrics, as relevant to the struggles of right now as they were in 1982.

Clement "Minkie" Moore's introduction to the music business came via his friend the great deejay U Roy. Back in the mid 1970s, Minkie and U Roy were both living in the Tower Hill area of Kingston, and U Roy was resident deejay on King Tubby's sound system. Minkie followed his friend and the sound, and occasionally U Roy let him hold the mic and deejay on Tubby's set. U Roy encouraged Minkie to take music more seriously, and with that encouragement, his first record "Wickedness" was made. Minkie got a cut of a rhythm from his friend the late Sydney Wilson, and voiced and mixed the rugged deejay tune "Wickedness" at King Tubby's studio. Sydney had earlier voiced this rhythm as a tune called "Why Do I Cry", but alongside "Wickedness", voiced it again with a new vocal called "Time Has Gone". In fact that tune and "Wickedness" share the same dub version. Clement continued to move in the music scene, next recording for Harry J's Jaywax label in 1979 with a tune called "Jah Is Real", as a duo named UNI-TONE along with his friend Denzil. Then in 1980, Clement revisited the great rhythm of "Wickedness", deciding to this time sing rather than deejay on the rhythm. He returned to Harry J studio, adding some choice new instrumental overdubs on the rhythm for this new cut, "Every Time I Do My Thing." In the decades since, astute roots collectors have honed in on this excellent rhythm and its several cuts, not least of all this pair of them by Mr. Clement "Minkie" Moore. It should be noted that in the manner of the day, other associates of Tubby's studio, Prophets Yabby You and Alric Forbes, also utilized this rhythm. Minkie's musical journey continued thru the 1980s, when he linked with American group Lambsbread, writing and performing on their second album which was recorded at Channel 1 in early 1987. In the 1990's Clement returned to self-production on his Allah label, in addition to cutting a 45 for Chinna Smith's High Times label. Nowadays Clement is still going strong, occasionally dropping new music like "Greedy", recorded at Bravo's Small World studio in downtown Kingston.

Clement "Minkie" Moore's introduction to the music business came via his friend the great deejay U Roy. Back in the mid 1970s, Minkie and U Roy were both living in the Tower Hill area of Kingston, and U Roy was resident deejay on King Tubby's sound system. Minkie followed his friend and the sound, and occasionally U Roy let him hold the mic and deejay on Tubby's set. U Roy encouraged Minkie to take music more seriously, and with that encouragement, his first record "Wickedness" was made. Minkie got a cut of a rhythm from his friend the late Sydney Wilson, and voiced and mixed the rugged deejay tune "Wickedness" at King Tubby's studio. Sydney had earlier voiced this rhythm as a tune called "Why Do I Cry", but alongside "Wickedness", voiced it again with a new vocal called "Time Has Gone". In fact that tune and "Wickedness" share the same dub version. Clement continued to move in the music scene, next recording for Harry J's Jaywax label in 1979 with a tune called "Jah Is Real", as a duo named UNI-TONE along with his friend Denzil. Then in 1980, Clement revisited the great rhythm of "Wickedness", deciding to this time sing rather than deejay on the rhythm. He returned to Harry J studio, adding some choice new instrumental overdubs on the rhythm for this new cut, "Every Time I Do My Thing." In the decades since, astute roots collectors have honed in on this excellent rhythm and its several cuts, not least of all this pair of them by Mr. Clement "Minkie" Moore. It should be noted that in the manner of the day, other associates of Tubby's studio, Prophets Yabby You and Alric Forbes, also utilized this rhythm. Minkie's musical journey continued thru the 1980s, when he linked with American group Lambsbread, writing and performing on their second album which was recorded at Channel 1 in early 1987. In the 1990's Clement returned to self-production on his Allah label, in addition to cutting a 45 for Chinna Smith's High Times label. Nowadays Clement is still going strong, occasionally dropping new music like "Greedy", recorded at Bravo's Small World studio in downtown Kingston.

Brand new music/previously unreleased.
Mfg. by Jerry Harris, distributed by DKR/Bond Export.

Brand new release on Jerry Harris' Motive Records, top notch modern roots reggae with a classical feel from the veteran himself. Proper message music, much needed. Excellent stuff here from a true solider of the music still out here making the real thing.

UK sound system culture stays strong with the heavyweight new 7” release from Vibronics and veteran roots vocalist Tann-I Browne, dropping now on the SCOOPS label. Titled “COLD WORLD”, this is a hard-hitting vocal and dub cut.
A first-time collaboration between these two UK reggae powerhouses, “COLD WORLD” is a potent slice of UK Roots Vocal + Dub, driven by Tann-I Browne’s unmistakably rich and powerful voice and reality-driven lyrics. The production is signature Vibronics: an up-tempo, militant stepper riddim laced with deep bass, crisp percussion, and the unmistakable touches of future dub.
The B-side version strips it down and dubs it out in true Vibronics style—ready for sound system play at full power.
This release is pressed on 7” vinyl and presented in a full-colour printed SCOOPS label sleeve, making it a collector’s item as much as a sound system weapon.

Five years on from their iconic debut album, the Red Robin posse return with another epic full length LP - this time featuring the ruffneck deejay styling of their longtime friend Tippa Lee.

With ten hardcore riddims from Naram stretching the full spectrum of 80s roots, rub-a-dub, and digi - and uncompromising street level lyrics from the LA-based Jamaican veteran Tippa Lee - Musically Bad is an absolute must-have for any discerning reggae collector.

The culmination of nearly a decade of collaboration, with multiple trips to LA where they improvised studio set ups at a range of cheap motels. Tippa takes listeners on a journey through his history in reggae, lamenting the rise of slackness and gun culture, firing shots at politicians and oligarchs, and shining a spotlight on the struggles of people of all colours and creeds suffering in the ghetto.

Despite the serious messages conveyed, and the heavyweight militant riddims, the album contains plenty of moments of humour and levity thanks to Tippa's lyrical nous.

With all riddims recorded and mixed to half inch tape in Naram's analogue Whanganui studio, and crisp mastering from Downbeat Studios, the LP is fine tuned to mash up any dancehall or living room.

Here we are with the Earth perched on a thin tenuous wire. The neo-liberal order and its fascist mirror world burning through fossil fuels and the souls of vulnerable peoples the globe over. Conflict, warfare, climate degradation, misinformation. The time is nigh to break the spell with music.

Right on time comes IC007 – Four cuts of progressive elektro roots to shine a light on only four of the multitudinous hot spots of suffering while also inspiring a musical movement forward through the storm. Dedicated to the peoples of the Sudan, Palestine, Ukraine, and Taiwan this tune is another ITAL COUNSELOR sound system scorcher.

The message at its very core is to keep keeping on. Never give up. Forward through the storm like an ITAL WARRIOR! This RHYTHM SHOWER is a guideline toward a better tomorrow.

Delivering this message are some of ITAL COUNSELOR MUSIC’s stalwart players. Inyaki Basque Dub Foundation returns to the fold with yet another top-notch original rhythm – A drum and bass workout that harkens back to the best of Sly & Robbie’s Compass Point era science fiction dubwise and just a little bit of Aswad’s “To The Top” era progressive roots. Both raw and rhythmically complex, Inyaki makes the drum and bass hit hard with the mixing help of top studio man James Zugati. The dubwise cuts on side two are of course custom made to make bass bins rumble and weakheart drop.

Alas, we cannot forget Soothsayer horns – here as always proving that they are the best horn section out there. They feel it. They know it. They execute it in the hardest and sharpest of manors. Heavy heavy hornsman manners…

Progressive. Heavy. Horns. Elektro. Roots. Forward.

One Love and Guidance along the Way,
Andy G, IC

Blue House Rockin’ is the result of a unique collaboration between Soul Sugar and Dub Shepherds — two projects united by a shared love for roots reggae, vintage studio gear, and warm analog sound.

The album was recorded live over two intense days at Blue House Studio by Christophe “French kiss” Adam, using ribbon and tube microphones from the ’50s and ’60s from the ’50s and ’60s, a Hammond organ, upright piano, Fender bass and Gibson guitars, classic amps and preamps, along with drums, syndrums and percussion. The sessions were transferred to a 24-track tape machine, and final mixes were crafted the old-school way by the Dub Shepherds at their own Bat Records Studio, using analog consoles and hardware vintage effects.
The tracklist brings together deep cuts, timeless classics, and original compositions. Curtis Mayfield’s Give Me Your Love and Aaron Frazer’s My God Has a Telephone (Colemine Records) — two soul gems, one vintage, one modern — are reimagined in reggae style, both featuring the great Jolly Joseph on lead vocals, working wonders with his falsetto. He also shines on Hold My Hand, a sweet and mellow original composition with lovers rock flair, written on the spot during the session.
Other standout moments include the soulful fire of UK singer Shniece McMenamin, who lights up Family Affair (Mary J. Blige / Dr. Dre) — flipped into a fiery hip-hop-meets-reggae version packed with energy and attitude.

Instrumentals like Disco Jack, Choice of Music, and Drum Song — all originally composed by Jamaican organ legend Jackie Mittoo — bring Guillaume “Booker G” Metenier’s Hammond work to the front. The playful exchange between organ, guitar, and a rock-solid rhythm section is elevated by swirling spring reverb, dub echoes, and filter sweeps.
The album’s explosive title track — Blue House Rock — was composed and recorded on the spot at the end of the session. A raw, greasy groove that sounds like The Meters jamming at Studio One or a lost instrumental from a Beastie Boys B-side.
Blue House Rockin’ is a vibrant blend of soulful roots reggae and funk, wrapped in the deep, dusty tones of analog tape. A joyful and authentic studio experience, captured live — and played loud.

A unique sonic journey blending jazz, candombe, dub, hip-hop, and electronic music. Written, sequenced, and recorded by Ian Lampel (Uruguay), the album captures Montevideo's vibrant essence with innovative beats and deep roots. Embark on a sonic journey through the rich tapestry of Ian Lampel's multicultural heritage with his debut solo album, "The Parque Rodó Tapes." From the echoes of his grandparents' wartime exodus from Europe's tumultuous past to the rhythms of daily life in Parque Rodó, Lampel's artistic vision was shaped by a kaleidoscope of influences: Science fiction and fantasy books, graphic design annuals, comics, films, early computers and videogames as well as music; the haunting melodies of Russian and Polish classical composers hummed by his grandmother while cooking, the choir and hammond music of the synagogue, his early explorations in club music and dub or the syncopated drumming of candombe and carnaval echoing in the streets of Montevideo. The composer, producer and bass player, wrote, sequenced and recorded practically everything that is heard throughout the album. With meticulous attention to detail, he has crafted a sonic landscape that seamlessly blends elements of jazz and Uruguayan music with the innovative spirit of dub, hip-hop and electronica; from the infectious rhythms of candombe and the raw energy of murga, to breakbeats, moog's and samples. Drawing from a treasure trove of samples collected over two decades, "The Parque Rodó Tapes" weaves together a tapestry of sound that is both nostalgic and forward-thinking, from the haunting voice of Marosa Di Giorgio and the vibrant cacophony of a carnival field recording by Lauro Ayestaran, to the guest contributions from notable musicians including Lampel's wife, singer/songwriter Eco Lopez, multi-instrumentalist Luciana Giovinazzo on flute, and Ferna Nunez on repique drum. Each track is a testament to Lampel's eclectic vision. A debut album with a certain degree of melancholy that works as a soundtrack to the world in which the artist grew up, a world now gone, without cellphones or social networks, in which everything had to be proactively pursued "in the streets".

To All That We Lose And All We Fight For is the debut album by Vera Logdanidi - the
culmination of nearly two decades of musical evolution. Her journey began in the world of drum & bass and jungle, gradually expanding into deep explorations of house, dub techno, and techno. Over the years, Vera has performed on leading stages across Ukraine and internationally, while also mentoring a new generation of DJs and producers, hosting radio shows, and supporting the scene through her label and community work.

This album was written during a time of deep upheaval. The outbreak of full-scale war forced Vera to leave behind a well-established life and begin again on the international stage. While the music often feels dreamy and introspective, To All That We Lose And All We Fight For is a profoundly personal record - a sonic refuge shaped by grief, uncertainty, and resilience.

The album doesn't follow formulas; it's driven by intuition, texture, and a genuine connection to sound. It's rich, emotional, and occasionally unexpected. The tracks form the core of Vera's current live set, which has resonated at major festivals such as Draaimolen or Strichka - captivating audiences with its depth and subtle, immersive energy.

The cover art, created in close collaboration with Vera's longtime visual team, is a real
photograph - not a digital effect. It captures the tension between anxiety and hope: a glance back, and a step forward into the unknown. This visual metaphor reflects the emotional landscape of the album - the fragility of what's been lost, and the courage to embrace what lies ahead.

This release also marks a new chapter for Rhythm Buro Records - one that moves towards music that is more personal, intimate, and unconstrained by expectations.

To All That We Lose And All We Fight For is released alongside another important Rhythm Buro release: RB011 - Your Curves EP by Na Nich. Ukrainian producer Oleksandr Pavlenko, formerly known as Sunchase, returns to his roots in broken beats and bass music, blending them with house and techno sensibilities. The four-track EP ranges from deep grooves to melancholic late-night moods - a compelling counterpoint to Vera's album and a testament to the label's evolving identity.
Order RB012 n

Spanish roots singer Marcus I is well known among the reggae community for his masterpieces ‘2000 Years Showcase’ and ‘Jesus Was Black’ or more recent works with producer aDUBta on F-Spot Records and Hornin’s Sounds. Backed by the heavyweight sound of The 18th Parallel, Marcus I delivers a heartfelt anthem for every selector and music devotee who treasures the magic of black wax. A tune dedicated to all vinyl lovers and record collectors worldwide, ‘Wax Box’ is a celebration of the sound system culture. Reggae has been shaped by sound operators and selectors collecting the best and most obscure 45rpm records and revealing the full potential of a tune with heavy bass and crisp trebbles to their audience.

fabric, the iconic hub of electronic music culture, proudly announces its latest addition to the fabric mix series: "FABRICLIVE. presents Pola & Bryson". This mix will be a dynamic exploration of contemporary drum & bass, fluid in genre, rich in emotion, and sharp in sound design. It navigates the space between soulful reflection and controlled chaos, painting a vivid picture of contrast and transformation.

Showcasing a unique blend of melancholy, emotion, and euphoria that elegantly yet purposefully harnesses the immense power of electronic music, UK-based duo Pola & Bryson have solidified themselves as one of the most talented production duos flying the flag for the genre today.

Throughout the mix, you’ll hear liquid textures layered with depth and warmth, tracks that breathe with shimmering pads, smooth rolling drums and emotionally resonant melodies. These moments evoke late night introspection and spacious clarity, tapping into the more human, melodic side of drum & bass.

But the mix doesn’t stay in one mood for long. It periodically plunges into darker, more technical territory, where the basslines twist, the rhythms fracture and tighten and the atmosphere becomes tense and futuristic. Here, the emotional gives way to the mechanical, driving energy through razor-sharp precision and relentless force.

Experimental soundscapes weave throughout, blurring genre lines and adding moments of unpredictability. At times ambient and abstract, other times intensely rhythmic, the mix balances structure with freedom, always pushing forward without losing emotional weight.

For 25 years, fabric has stood as a cornerstone of the UK’s drum and bass movement, a place where the genre has not only thrived but evolved. More than just a club, fabric has been a vital incubator for underground sounds, consistently championing drum and bass alongside a wide spectrum of electronic music. From early pioneers to cutting-edge innovators, its legendary room two has become hallowed ground for DJs and ravers alike. As a bastion of innovation and inclusion, fabric has shaped the soundscape of UK nightlife, influencing global trends while staying fiercely true to its roots.

In addition to the mix album, fabric and Pola & Bryson unveil the brand new original single "Worlds Apart" an emotional vocal lead anthem featuring the incredible vocals of Emily Makis. The track balances Emily’s heartfelt lyricism with Pola & Bryson’s signature crisp liquid drums and deep and intoxicating basslines. The 2 acts first combined on the track "Complete" alongside Monrroe and followed it up with the certified hit, "Phoneline", dubbed by Radio 1 as the D&B Anthem of 2023. With a history of making pure magic happen when they join together in the studio, "Worlds Apart" certainly delivers on those high expectations.

Influenced by the vibrant Caribbean community and the reggae sounds that permeated his environment, Danny Red was drawn to music at a young age. His journey began in the 1980s, but it was in the early 1990s that Danny Red truly started to make his mark in the reggae scene. Rise to prominence was marked by his unique voice and his commitment to the Rastafari movement, which heavily influenced his music. In the 1990s, as dancehall began to dominate the reggae scene, Danny Red stayed true to his roots reggae origins, focusing on socially conscious themes and spiritual messages.

Known for his powerful vocal delivery and a profound lyrical approach, Danny Red’s music often explores themes of cultural identity, social justice, and spiritual awareness. Here teamed up with south Italian collective Mystical Powa to bring lyrically rich and musically vibrant single. Exploring Rasta believe in holy place called Mount Zion that awaits for each good person. Backed with highly popular anthem horn piece entitled Kunta Kinte played by Eddie T-Bone. Both tunes comes with tuff dub versions ready to mash up all dances worldwide.

Amoul Bayi Records continues its mission of discovering and showcasing West African artists. After introducing talents such as Daba Makourejah and Saah Karim, the Dakar-based label returns with a new release from one of the most soulful
voices in Gambian reggae: Royal Philosopher.

"Thank You Jah" is a song of gratitude, carried by the emotive and distinctive voice of Royal Philosopher. With humility, he expresses his thankfulness for the talent he has received, the path he has walked, and the strength that has guided him along the way.

Built on a dynamic Digi Roots riddim produced by Yared and mixed by Rootical45, the track provides the perfect space for his voice to shine. The refrain – “Thank you Jah for giving I talent” – echoes like a personal prayer and a universal message, able to resonate beyond belief systems.

Royal Philosopher is a Gambian singer whose powerful and precious voice is shaped by spirituality, African heritage, and musical commitment.

Born in Banjul, he first discovered his vocal gift in a church choir, where he developed a heartfelt and sincere expression. He fell in love with reggae through the voice of Garnett Silk, whose intensity and devotion deeply influenced his path. He began his journey with the group The Royal Family, before pursuing a solo career, releasing music with consistency and authenticity.

Today, he presents "Thank You Jah", a single produced by Amoul Bayi Records, imbued with gratitude and faith, true to his artistic vision: sincere, elevated, and deeply connected.

Designed both for turntables and streaming platforms, the single will be released in digital format and on 7" vinyl. The artwork is by renowned Senegalese graffiti artist King Mow.

Legendary postmodern, post punk, post human, past caring collective Mekons return with a brand-new album for 2025. Their first release on Fire Records, ‘Horror’ a collection of songs written in late 2022 but providing a horribly prescient reflection of the world in its current miasma and how we got here. ‘Horror’ looks at history and the legacies of British imperialism with mashed up lyrics set against a typically eclectic sound that amalgamates everything from dub, country, noise, rock & roll, electronica, punk, music hall, polka and you can even take your partner for a nice waltz on ‘Sad And Sad And Sad’. The roots of their global sound reflect their nomadic journey through time and space from Leeds to California in the West and Siberia in the East and is woven into the fabric and intricacies of their song creation… Sounding like The Chills and R.E.M circa the I.R.S Records years, ‘Mudcrawlers’ sees just about the whole band joining Jon Langford on vocals speaking of Irish famine and refugees journeying to Wales. ‘War Economy’ shivers in the cold of such Boroughs spiked one-liners: “Clinical coercion will not achieve dominance!” Sounding like its straight off a Jenny Holzer neon sign (she of Abuse Of Power Comes As No Surprise), it’s held together by a disgruntled swaggering riff that underpins an explosion of disquiet. Meanwhile, Rico takes the lead on the maliciously luscious ‘Fallen Leaves’ an appalled and appalling Hammer Horror take on climate breakdown reminiscent of Rolling Thunder Dylan, that recalls The Pogues at their most introspective, its Celtic twilightism augmented by Susie Honeyman’s keening violin as the dying sun sinks down and the river Styx flows on in the pitch black night. Almost 50 years in the making, these Mekons continue to astound, their sound, sentiment and method of delivery blended to perfection by bass player and studio wizard, Dave Trumfio. The Mekons are Jon Langford, Sally Timms, Tom Greenhalgh, Dave Trumfio, Susie Honeyman, Rico Bell, Steve Goulding, and Lu Edmonds. "Effortlessly eloquent post-punks" Pitchfork // “The Mekons are still vital” Rolling Stone // “The most revolutionary group in the history of rock ‘n’ roll,” Lester Bangs // UK Tour 8-15 May 2025 (including London, Manchester, Glasgow, and more).

2025 Repress


Blue Channel is a brand-new dub-roots collaboration between Bluetrain aka Steve O Sullivan, and Another Channel - two titans in the dub techno scene. They are accompanied by Prince Morella, who adds his smooth vocals on top of the scapes of chords and delays. If you are into legendary labels like Maurizio, Burial Mix, and Rhythm & Sound, then this one is for you. Limited coloured vinyl.

This years annual Dub-Team-Up 7" from Moss Norway, 10th issue, a decade strong with double A-side. Kambo Super Sound flexing a hard & heavy, ultra steady ghost-town stepper. Don Papa meets DJ Sotofett in the matters of dub & funk with that significant Latino Dub twist, live drums & percussions. A true crossover – true to its roots!

With the 7th Grade of the Riddim Dub School series, Prince Istari enters
Junior High School. Prince Istari returns with his Riddim Dub School
series now on 12inch, pushing deeper into the intersection of dub, drum
and bass, and sound system culture. This 6-track EP, titled "lessons
into drum and bass wise", explores raw rhythms, analog feedbacks, and
heavy low-end pressure.

The EP starts with a Drum and Bass cut with a One Drop of the DUB ME
LOOPY tune from Riddim Dub School 5th Grade. INTIMACY COORDINATOR
follows with a heavy Disco Dub. The last track on Side A is LABOUR’S
DUB, with deep bass polished through spring reverb. The shakers come in
late and push the whole thing forward. Side B begins with GONE TOO SOON
from Riddim Dub School 4th Grade, in an alternative version. It’s
followed by the most upfront track on the release CONQUERING DUB – brass
fanfares and a deep disco rocker beat with minimalistic arrangement. NO
DUB INNA DI WRONG ends the 7th Grade with a roots way style. It suggests
that dub music doesn't belong to or support negative, corrupt, or unjust
actions or spaces. Dub music stays righteous, true, or positive, and
doesn’t associate with bad vibes or wrongdoing.

Smalltowndubz are back on the BCSM label.

After their big ''My Garden'' EP and the great ''Way Of Dub'' tape, the austrian producer duo returns with a extra heavy 12“ vinyl release.

The A Side comes with a deep and meditative cut featuring the unmistakable voice of Fikir Amlak. ''Never Get Burned'' is a roots-infused anthem built for sound systems, followed by a thundering dub version.

Flip the record and things get mystical. ''Sitar Dub'' brings in Lance Hume on sitar, weaving hypnotic eastern melodies into a deep bass meditation – again paired with a powerful dubwise version.

This one’s for the selectors and the steppers. Dub with pressure. Don’t sleep!

Bringing together over 50 of Jamaica's greatest session musicians, whose work spans from the birth of reggae in the late 1960s until today, Roots Architects is the largest gathering of Jamaican musical talent on one all-instrumental album. Never before have so many veterans, who helped create the immortal rhythms that made reggae internationally successful, been assembled to play on new material without vocals. This project aims to celebrate and pay tribute to the unsung heroes of reggae music: the rhythm builders or Roots Architects. Following the outstanding success of the first chapter of the project, From Then 'Til Now (2024), Fruits Records is pleased to reveal the dub album From Dub 'Til Now. A veritable immersion in the mythical sound of Kingston studios in the late 1970s. Dub master Roberto Sánchez sublimates the work of the Roots Architects with wildly inventive sound experiments. Reminiscent of the finest years of King Tubby, Lee "Scratch" Perry and Scientist.

The project is the brainchild of Swiss keyboardist and producer Mathias Liengme. In 2013, he travelled to Kingston, Jamaica, to produce The Inspirators project, an all-star album gathering Leroy ”Horse-mouth” Wallace, Lloyd Parks, Earl ”Chinna” Smith and Sangie Davis, the four of them acting both as musicians and vocalists. This first experience in Kingston studio life paved the way to what would become the Roots Architects project. In February and March 2017 Mathias Liengme travelled for the fifth time to Kingston to record as many of reggae’s greatest living veteran musicians as he could. With the help of a few of these Architects like Robbie Lyn, Fil Callender or Dalton Browne, he managed to gather over 50 session musicians aged 60 to 85 on nine instrumental songs.

Roots Architects are legends back together in Kingston studios doing what they do best: creating in-strumental music all together!

Reality Shock is proud to announce the release of "Mission", a brand new 7" single by Afrikan Simba, with accompanying dub mix by Kris Kemist.

Mission is the title track of the recently released third studio album from the internationally acclaimed roots reggae chanter Afrikan Simba. Originally hailing from Nigeria & residing in East London, Afrikan Simba is well established in the roots reggae world, known for his conscious, spiritual, and uplifting lyrics. With a career spanning several decades, Afrikan Simba has worked with legendary sound systems like Jah Shaka, Aba Shanti, and Channel One as well as artists like Luciano, Nereus Joseph, Little John, Earl Sixteen & many more, performing at countless shows & festivals across the globe.

Mission 7" is produced by Mercury nominated producer Patrick Williamson in collaboration with Kris Kemist of Reality Shock Records, who has been working closely with Simba for over 20 years. The song features Backing vocals by Indra & brass by Tribuman. On the flip side of the 7" is a heavyweight dub version mixed by Kris Kemist at Reality Shock Studio.

Though Scratch may have at times seemed crazy, it is worth noting that creative
genius appears so because geniuses see things others do not see and inhabit
realities unseen. As the music on this album reveals, Lee Perry's Black Ark creations
re-arrange the familiar into something new and magical.
Lee spent his early days working with legendary producers Coxsone Dodd, Duke Reid,
Joe Gibbs, Clancy Eccles and Prince Buster, and by 1968 he was an independent
producer, naming his studio musicians The Upsetters and scoring instrumental hits
with innovative rhythms that helped forge the new reggae style. In 1970-1971 he
produced what many consider the greatest works by the Wailers; in 1968 one of his
Upsetters productions hit #5 on the UK pop chart and more hits followed. That gave
him the funds to build his own studio and in 1973 the legendary Black Ark was born.
Among the many landmark classics cut at Black Ark are such incisive political
commentaries as Max Romeo's "War Ina Babylon," and Junior Murvin's "Police and
Thieves" (covered by the Clash). The Congos' "Heart of the Congos" album is a roots
classic and there are many wonderful obscure singles such as Carlton and the Shoes'
"Better Days." Many dub creations made innovative use of Scratch's sonic wizardry via
echo, phasing, reverb, fanging, wah-wah and various sound effects.
It all came to an end in 1978 as Lee, besieged by extortionists, freeloaders, religious
fanatics and assorted pilgrims, let the studio lapse. And then he set it on fre, some
say due to frustration, others say from mental collapse. He left Jamaica, collaborated
with musicians around the world, toured as a sort of mystic trickster/ shaman and
prospered. But his work at Black Ark will always stand as his ultimate creative
achievement.

Representing the spirit of the underground in Dubai, Shadi Megallaa is a multifaceted music lover whose unwavering passion for music permeates throughout all of his endeavours. A pioneer of Dubai’s electronic music culture, Shadi’s roots lie with the foundations of modern day electronica: all shades of house, techno and beyond. His commitment to preserving and evolving the culture is inherent in his record shop, The Flip Side, which has been intrinsic to the growth and development of music culture in Dubai. As a DJ and producer he draws on a multitude of experience, diverse taste and a refined ear that has instilled the ability to craft compelling productions. On Spirits Of The Deep we find Shadi exploring the deeper side of electronic music, creating layers of vibration designed to immerse the listener in layers of positive vibration.

As prescribed by Shadi himself, we start the traditional way, with Side B (the info side), where ‘Microgravity’ transports us into the cosmos. Soothing sonics envelop a taut low end with crisp percussion and swathes of pad work cultivating an interstellar atmosphere. Subtly shifting layers keep you locked into a groove, as the track maintains its energetic pulse. The synth lines increase with intensity midway through, adding more potency. Across almost nine minutes Shadi takes us on an excursion beyond the stars…

This is followed by ‘G-Dub’, a smooth jazz-inflected piece full of soul nourishing goodness. Intuitive drum programming with a groove-laced low end form the propulsive backbone of this track. The dreamlike melodic elements are almost transcendent in their illuminating impact. With all of its elements combined, ‘G-Dub’ is a glorious foray into the depths of true deep house. Shadi keeps things interesting throughout, adding and subtracting layers to complement the pace. Those hi-hats and intermittent cymbal crashes are especially impactful. A delight.

On the flip we have ‘Pressure’, where Shadi’s UK breaks influence comes through. A characterful vocal sample features throughout the intro before we enter a world of unusual sounds. The beats are, once again, impeccably executed, accompanied by a dubby bassline and an ever-evolving cacophony of squelchy sounds and chirps. Running at just over 9 ½ minutes, ‘Pressure’ sees Shadi flexing his creative muscles with a heady, expansive composition that invites us on a deep musical trip.

Finally, ‘The Poet’ closes out the EP on an emotive tip. The track is dedicated to the Palestinian poet and activist Refaat Alareer, who was killed during an airstrike on Gaza in December 2023. It utilises Refaat’s powerful poem If I Must Die, with the spinetingling words taking centre stage, as Shadi’s beats, bass and bright pads provide the backdrop. A piano-led melody appears in the latter part of the track, amplifying its emotionally-charged atmosphere. A wonderfully imagined homage to a martyr for peace. As the samples state, Let it bring hope…

* Speaker distressing early 1990s UK dub from The Disciples.
* `Chant of Freedom and `Armageddon' are dubplate cuts only ever heard before in sound system dances.
* The original versions of `Chant of Freedom' tracks appeared on 10' on the Boomshackalacka label in 1995, while `Armageddon' is previously unreleased on any format.
* Disciples, along with the likes of Sound Iration, Manasseh, Alpha and Omega and Conscious Sounds are the forerunners of what became known as the UK roots/dub scene.
* Highly regarded for their custom built dubplate cuts for Jah Shaka. Disciples have a sizable following worldwide, particularly in the UK, France, Germany and Japan.

2025 Record Store Day title - now available for general sale. Transparent Red colour vinyl 12". Limited edition of 500. For Record Store Day 2025 Reggae Archive Records return to the beginning and reissue our very first release from 2012, Tribesman's "The Tribe"/"Dub" coupled with "Finsbury Park"/"Dub". Originally released in 1979 originals were already very sought after when we chose it as our inaugural release and we were immensely happy to expose the tracks to a wider audience, thirteen years later and that first release has itself become an expensive collectors item with many people asking us to repress.
As with our original run we've kept the sides switched from the original issue and lead with the fantastic roots reggae anthem "The Tribe", 1979 may have been the pinnacle for UK roots reggae and "The Tribe" is in the leading pack, in four minutes it encapsulates 400 years of history and suffering whilst tying things into the present. The addition of Maria Folkes female vocal, a rarity in roots reggae, adds a sweetness that rather than diluting the roots message makes its delivery even stronger and more effective. The band's excellent tribute to their North London home "Finsbury Park" occupies the B side and both sides are full extended disco mixes with the vocals leading into excellent period dub mixes, a great double header, all killer and no filler on this essential reggae 12" First time on colour vinyl, new label art, hype sticker.

"Militant roots missile delivered by the one-of-a-kind voice that is Daweh Congo. Daweh’s haunting delivery and spiritual fire set him apart in the roots revival movement. On “Prophecy Reveal,” originally released in 2000, Daweh’s mystical chant rides a heavy digital rhythm, while the flip side unleashes deep ’90s electronic dub vibes."

The 1985 B Side Classic!! ‘The Creator’ Made famous from Mad Professor’s ‘Ffwd to Dub’ where he looped hook phrases of Aisha vocals. Then sampled by ‘The Orb’ in the 90’s & introduced to a new psychedelic audience. This is one of the first Roots songs made with a Drum machine! Coupled with lovers rock gem - ‘Dancing Time’

Detroit’s own Brian Kage returns with Timeless Times Remixed, a interstellar re-imagination of his album "Timeless Times" featuring an all-star lineup of remixers. Timeless Times Remixed brings together some of the finest minds in house and techno, delivering deep, timeless grooves with Detroit soul.

Brian Kage, a staple of Detroit’s electronic music scene, brings together a heavyweight lineup of producers to rework key tracks from his latest album. The legendary Delano Smith infuses Detroit Techno City with his signature deep and hypnotic touch, while Scotland's Milton Jackson reworks Just The Groove with a dose of his classic rolling house energy. The collaborative Reference (Luke Hess & Brian Kage) Remix of Nordhouse leans into peak time dub-techno atmospheres, while Detroit's newest and finest young talent from the Submerge crew Max Watts takes Galaxian into raw, driving 808 Electro terrain.
This essential four-tracker bridges deep house, techno, electro, and dub, while staying true to the classic and timeless sounds of Detroit’s roots.

With Bass Temprature, rediscover on one single CD the first three vinyl EPs by High Tone: Bot Dub Seasons, Low Tone, and Bass Temperature-a total of 12 tracks that propelled the Lyon-based group into the ranks of electro-dub heavyweights. In addition to these two reissues, four extra tracks have been added, making for a 12-track album just as compelling as it's predecessor. It marks a shift toward a more roots-oriented sound while remaining firmly grounded in the electro-dub genre. The album opens with Echo-Logik, a warrior-like chant followed by a driving bassline that makes you want to move-DJ Twelve's scratches laid over the groove offer a brilliant showcase of the band's talent. The title track, Bass Temprature, follows-perhaps the least striking piece, though that's only relative given the strength of the rest. Worth noting are the mystical vocal samples in Train to Transylvania, evoking vampires and devils, while N1 Station brings a heavy psych sound, a more energetic beat, and moments that border on hard-tek. Other influences also emerge, such as the strong Eastern vibe in The Orientalist. As always, High Tone delivers a stunning dub album sure to delight ears tired of the everyday noise pollution that surrounds us.

Limited to 300 copies.

Japanese musician MERMAID, focusing on new roots dub with all bases in sine wave.

The songs have plenty of echoes of chamber music, Japanese folk songs and chopped his own voices, giving the listener layered sounds with a rather odd sense of humour :)

MERMAID is one of the members of DDM (Dangerous Dance Music), which is the movement spread from 'Los Apson?' record store in Tokyo.

After participating in dub & electronic compilations, continuing his own research into Reggae, he has finally unleashed 10 songs in DUBMAID.

Senselessness 1/2 is the very first solo issue of the Swiss electronic composer Robin Félix, on his own label De l’Aube (Of Dawn), the occasion for him to prove that field recordings can be (or should be?) an integral part of the global matter, when so often they are just something hovering in the background because it’s “nice” or reminds the artist of a place he loves.

Throughout the length of these four tracks, they are litterally central; moreover, they are electronically transformed, manipulated, skewed and twisted in order to form some sort of framework, a backbone on to which sounds and genres intertwine. On Cluster, violins and cellos (recorded in the gardens of the Venice Biennale) are soon transmuted into the abrasions of the electroacoustic realm, until the pulse of a relentless bass introduces a pure and pristine electronic music that knows and uses the roots of dub, drum’n’bass and the meticulousness of Jan Jelinek’s Glitch aesthetics. A tad “housy”, Chi comes as a second pulse where a modified didgeridoo and African percussions (recorded in a Swiss forest) lead the listener to a sort of tribal mode, as suited to dancers than to those who prefer inner journeys; here, the spatial dub of King Tubby moves from background to foreground.

The more abstract Boiler verges on the IDM and the heady, elegant and spartan Detroit techno – headphones reveal its numerous minute and delicate details. Based on the recording of insects, of which one can hear the actual rubbing of elytras, the closing Swarm ends the record with and intricate blend of ambient, which in some way winks to the Aphex Twin and The Future Sound Of London. Overall Senselessness 1/2 is a mesmerising and concise update of the famous Deutsche elektronische musik of old, that gathered on its way the other genres that made Robin Félix tick. Since field recordings have hardly been that meaningful, one wonders where Senselessness 2/2 will lead us to

Hollie Cook, one of reggae’s most exciting voices, makes a return to the label that released her cherished debut album in 2011. Landing back on Mr Bongo, 'Night Night' is a stand-alone aperitif and taster of what to expect from the next era in Hollie's musical journey

Revisiting her roots, this latest single embraces the trademark reggae / tropical pop sound Hollie found fame with on her first two albums. With a career that has gone from strength to strength since those formative days, the buoyance, charisma, and confidence gained in those subsequent years are on show for all to see.

Recorded at Crosstown Studios in London with the General Roots band and produced, mixed and dubbed by Ben McKone, ‘Night Night’ documents the longing of a lonely lover. Grounded in a sound system rattling bass line, strutting guitars and shimmering keys provide a sunshine-infused contrast. Hollie’s smooth sultry tones radiate throughout, backed by the legendary Horseman on toasting duties - a collaboration that hasn’t been heard since Hollie’s first album. Trading verses, the warmth of Hollie's velvety vocals balances Horseman's raw explosive energy in an absorbing harmony.

In true reggae style, the 7" single is backed with a classic dub mix, adding spacey reverb and delays, whilst giving Hollie and Horseman a more spacious streamlined flow in the mix.

Introducing 'Higher' - the first release in a powerful new series from the Higher label.
This heavyweight track is a collaboration between renowned producer Bukkha and soulful vocalist Ites Vibration. It features the rich brass of King David Horns, deep-rooted percussion from Don Fe, and an analogue mix from Mysticwood.

The Higher series proudly delivers bass-heavy, rootikal music built to resonate through sound systems - music that moves the body and speaks to the heart, mind, and soul. Each release honours the foundations of traditional roots while pushing spiritual and sonic boundaries.

'Higher' calls us back to our natural state-a reconnection with the earth and surrender to the universe's rhythm. With its mystical melodies, swinging groove, and deep flow, this track invites listeners into a space of elevation and meditation.

OVERVIEW: DUB TREES is one of Youth’s most revered dub projects, it helped define the Liquid Sound Design sound that fans around the world hold dear. This project is the third in a triptych of albums Youth has made with a specific Celtic / Hindu fusion. Starting out with the classic Celtic Cross ‘Hicksville’ 20 years ago, featuring the mythical Simon Posford (Shpongle) through to ‘East of the River Ganges’ (ft Klaus Shultz / Tangerine Dream amongst many others) in 2004 followed by the last piece of this mystical puzzle ‘Celtic Vedic’ ,released on compact disc only in 2016 , which charts the journey of the Celt from Northern India to Snowdonia. The idea stems from Youth’s firm belief that there is a strong correlation between Celtic and Vedic cultures and their Northern Indian roots. Youth has assembled a host of collaborators to weave their labrynthine magic on ‘Celtic Vedic’: Jah Wobble (PiL) on bass, Matt Black/Coldcut (Ninja Tunes) on warped soundscaping duties, Galician Celtic pipe and flute player Daniel Romar, Bollywood contemporary Indian singer Shridevi Keshavan and Elfic Circle. It features many field recordings made by Youth on his various Indian odysseys and is all harnessed together with cutting-edge electronica that the Liquid Sound Design team pioneered 20 years ago. The team today are still pioneering new directions within ‘Downtempo Electronica Music’ and beats that create 3 dimensional landscapes for the helioscopic imagination to explore and psychoactive maps for the inner astronaut in all of us. ‘Celtic Vedic’ promises unchartered bass annihilation and heliotropic soundscapes, pounding basslines overlayed on 3D holographic beats and wrestles with serpentine melodies and psychedelic textures.

Since launching in 2019, NuNorthern Soul’s Summer Selections series has become something of a must-check release for those seeking the sun-soaked pulse of the White Isle of Ibiza. It not only acts as a sampler for forthcoming digital-only EPs due for release over the summer season, but also a showcase for both established artists and label newcomers.

2025’s ‘selections’, the fifth in total, marks the popular series’ return after a three-year hiatus. Once again, it boasts six tracks, each taken from a forthcoming NuNorthern Soul EP, and touches on a variety of Ibiza-ready styles and sounds.

Up first are Manchester twosome Nightdubbing, who’s eponymous ‘Nightdubbing’ – first featured on their self-released 2023 debut album – is remixed by Archeo Recordings label boss Manu Archeo. He opts to brilliant blend slow motion electronic grooves and deep, warming bass with waves of ambient textures, eyes-closed melodic motifs and attractive lead lines.

George Koutalieries steps up next with the languid shuffle of ‘Seasons’, where imaginative vocalisation arrangements, mazy synth bass, calming acoustic guitars and cosmic electronics create a yearning afternoon delight, before label newcomer James E Burton combines pleasingly live-sounding drums and bass with picturesque electronics and the dreamiest of chords.

Next up is a teaser of what’s to come from recent signings Visions of Light, a fresh collaboration between Free Booter Lounge label founder Simon Sheldon and two of his artists, Muzka and Dan Dub Lounge. ‘The Mandela Vortex’ is a lightly dub-flecked Balearic shuffler rich in infectious hand percussion, meandering guitar solos, heady aural textures and echoing melodic motifs.

To draw the expansive collection to a close, we’re treated to two more yearning, picturesque and atmospheric treats. The first comes from another label debutant, Seafront International and Strictly Dub Records founder Saimon under the Roots Artefact alias. Deep, toasty and smothered in vintage effects, ‘The Big Calm Dubwise’ is a picture-perfect Balearic dub classic in the making.

Rounding things off is former Les Yeux Orange Contributor – and rising star of the French Balearic movement – Jilo, who gently takes us by the hand and leads us towards the dancefloor. Underpinned by a heavily electronic, nu-disco adjacent groove, ‘Shadow’s Tango’ is smile-inducing aural joy writ large – all huggable chords, Italo-house pianos, chugging bass and the most kaleidoscopic of chords. It provides a wonderfully uplifting conclusion to another fine collection of ‘Summer Selections’.

Hidden Sequence returns, this time to kick off a new label Magistrate, and hot on the heels of their quick-to-sell out 'Silent Roots' last year. This fresh EP seamlessly bridges classic 70s Jamaican dub with modern, bass-heavy and dubwise delights, starting with 'Isms & Schisms'. The horns are brilliantly inviting as are the low ends which have been well worked on a vast desk and come packed with echo and effects. 'Magistrates Dub' is an immediately infectious skank that shifts into a deep, dub-heavy exploration and unites past and present dub influences.

A new vinyl album from Nat Birchall, this is the Dub version of his Dimension of the Drums LP, a roots reggae instrumental set that was very enthusiastically received last year, ending up on many best Of The Year lists.
For this album Nat has remixed the tracks in classic early to mid - 1970s style. Inspired by the classic Dub LPs like Keith Hudson’s ‘Pick A Dub’ and Winston Edwards’ ‘King Tubby Meets The Upsetter at the Grass Roots of Dub’ the tracks have been reimagined in Roots Dub fashion, some with new horn lines and all with hand drums, giving the album a very authentic Rootsy sound. Additionally there are two different mixes of a new rhythm track that wasn’t on the previous album.
Once again Nat plays all the instruments and did all the recording, mixing and mastering.
Drums in Dub features eight tracks of instrumental Dub delight, specially designed for the 1970s Dub connoisseur.

OVERVIEW: DUB TREES is one of Youth’s most revered dub projects, it helped define the Liquid Sound Design sound that fans around the world hold dear. This project is the third in a triptych of albums Youth has made with a specific Celtic / Hindu fusion. Starting out with the classic Celtic Cross ‘Hicksville’ 20 years ago, featuring the mythical Simon Posford (Shpongle) through to ‘East of the River Ganges’ (ft Klaus Shultz / Tangerine Dream amongst many others) in 2004 followed by the last piece of this mystical puzzle ‘Celtic Vedic’ ,released on compact disc only in 2016 , which charts the journey of the Celt from Northern India to Snowdonia. The idea stems from Youth’s firm belief that there is a strong correlation between Celtic and Vedic cultures and their Northern Indian roots. Youth has assembled a host of collaborators to weave their labrynthine magic on ‘Celtic Vedic’: Jah Wobble (PiL) on bass, Matt Black/Coldcut (Ninja Tunes) on warped soundscaping duties, Galician Celtic pipe and flute player Daniel Romar, Bollywood contemporary Indian singer Shridevi Keshavan and Elfic Circle. It features many field recordings made by Youth on his various Indian odysseys and is all harnessed together with cutting-edge electronica that the Liquid Sound Design team pioneered 20 years ago. The team today are still pioneering new directions within ‘Downtempo Electronica Music’ and beats that create 3 dimensional landscapes for the helioscopic imagination to explore and psychoactive maps for the inner astronaut in all of us. ‘Celtic Vedic’ promises unchartered bass annihilation and heliotropic soundscapes, pounding basslines overlayed on 3D holographic beats and wrestles with serpentine melodies and psychedelic textures.

Jahtari label compilation full of all-new Outsider Dubs, Dancehall bangers and lots of cosmic low end, marking twenty years of Reggae oddness from Leipzig.

Vol. 5 is the first addition to the Jahtarian Dubbers series in over ten years, starting off with ‘The Loop Jerk’ by DJ and activist Dave Watts aka KingLMan (who sadly passed away in 2024).

Kiki Hitomi turns up the heat with ‘Red Mustang’, a raw but sweet PG 18-rated Japanese lofi Reggae gem, followed by ‘Casio HipHop’, an addictive synth & drum machine session by UK bedrock producer Kris Kemist (Reality Shock Records).

Singjay miracle El Fata brings the positive energy with ‘Boom Sound’, a synthie dancehall scorcher hot off the tape reels at Naram’s studio in the New Zealand bush, while Jura Soundsystem’s hypnotizing ‘On My Way (Dub)’ easily shifts gears into Sly & Robbie-mode.

Side B starts off with Pupajim’s prophetic ‘Tidal Wave’, produced by digi-reggae specialist Raggattack and coming in an epic extended Disco Dub version.

Melodica wizard Taka Noda (Mystica Tribe) and synth shaman Danny Wolfers (Legowelt) enter into deep magnetic communion with their Sacred Tascam tape deck on ‘Cabal of Puppeteers’, followed by DJ veteran Speng Bond chanting ‘Wha Mek’ over a spaced out depth charge by Jahtari co-founder Rootah.

Gameboy-whisperer DJ Scotch Egg (WaqWaq Kingdom, Seefeel) joins forces with disrupt and Dub trumpet black belt Pablo Volt (STA) for a mindbending journey going all the way from synth heavy Roots to Acid Jazz, on Namahage‘s ‘Voidout Dub’.

The voyage ends with a hazy and mystical Ambient Dub version of ‘Muuri’ by Finish singer Tiiu Helinä, with Tapes on keys – not to be missed!

All lovingly mixed by disrupt, coming with iconic artwork by Disko 69 (Doppeldenk).

COMPUMA's new new album “horizons”now available on vinyl via his own label Something About!

The album “horizons” is a further development of COMPUMA's “horizons EP”, which was released in July 2023 as a digital-only EP on his Bandcamp. The songs are inspired by the scenery and environment of Lake Ezu, Kumamoto, where the artist's roots lie, and by his walks in various places around Japan.

Horizons 1”, in which the undulations of electronic sounds seem to represent a leisurely walk across a clear expanse of sky and lake scenery, and the vocoder voice somewhat reminds us of people's activities, and the piece changes to a more minimalistic play of rhythms and electronic sounds, as if focusing on introspection in the midst of walking. The album also includes “horizons 2,” which changes with exquisite salinity, “horizons 3,” which pays homage to early electronic music, and “horizons 4,” a more stoic minimal electro-dubwise piece that seems to be immersed in the act of walking, The last track on the album, “horizons 5,” is a non-beat ambient track with a hint of the waterfront, as if the artist is gazing at the vast sky, as if the steps of the first half of the album are expanding into a faint memory, and is accompanied by a field recording. The album includes “horizons 5”, a non-beating ambient taste that is covered by field recordings and depicts the atmosphere of a wandering waterfront, and five versions of “horizons” that remind us of the days of “walking”, sometimes immersed in the scenery and walking, sometimes lost in thought, with “horizons interlude” in between, which reminds us of the surface of a bobbing lake, and is a self-titled version of “View 2” from the previous album, “A View”. The album contains seven songs in total, including a self-remix of “View 2” and an electro version of “view 2 electro”, reminiscent of the shimmering surface of a lake.

Personally speaking, this work reminds me somewhat of Kraftwerk's “Autobahn,” which depicted the countryside of West Germany with minimal electronic sounds, and this work also seems to depict a scene of a “walk” with electronic sounds. However, what is different from “Autobahn” is that there is an element in the middle part of the album that seems to go into introspection in the midst of walking, and it is a work that shows various views (including feelings) throughout the album. From a macro perspective, this album is a new response to the recent environmental music revival and generalization of ambient music, which he has introduced as a DJ and record buyer for a long time.
The album was co-produced by hacchi, who also works with Deavid Soul, Urban Volcano Sound, and as a recording/mastering engineer, and mastered by Nakamura Soichiro of Peace Music, a studio that has produced many masterpieces, including Shintaro Sakamoto's solo work. The package artwork is by designer Seiichiro Suzuki. The package artwork is by designer Sei Suzuki. （The package artwork was designed by designer Sei Suzuki.)

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Compuma is a Tokyo-based log-serving DJ whose extensive knowledge of obscure and left-field music across so many genres and different regions of the world established himself as one of the most respected record buyers in Japan,
a country well known as record collectors’ paradise. While he built his career in record business over decades, he has also been sharing his expertise in music as a DJ just as long. Not only the breath and the depth of where his selection derives are hard to compete, the way he blends them all together is also a state of art. Often intricately layered and collaged, Compuma is capable of sculpting something entirely new with bits and pieces of existing tracks in various forms such as ambient soundscapes to dubbed out club sets. In 2017, his unique ability caught the attention of Berlin Atonal directors and he was invited to play at the festival in Berlin.

He extends his skills into remixing which can be heard on the released from EM Records - “Compuma meets Haku” (2015) and “Bangkok Nights” (2017.) In June 2022, he released his first solo album, A View.
He is also an active member of a DJ trio called Akuma No Numa (which translates to “devil’s swamp”) in which he explores darker and more psychedelic periphery of dance music.