MUSIC

Death Is Not The End turns 10 years old in May and as part of the celebrations we are committing a selection of DINTE NTS Radio shows from over the years to cassette. Kicking off with this recent special Skateland Soundtapes, 1980-1986 - comprising a selection of clips from sessions held at Halfway Tree, Kingston's most storied roller skating rink during the dancehall era's golden period of the early to mid/late 1980s. Audio sourced with the indefatigable efforts of the Who Cork The Dance crew - big thanks going out to Jayman, Ruff House, Keimo, Omar, Gee Wizz and the one Jah Humble.

OK this is a full madness; visually impaired pensioners Anne Goss (75), Kathleen Allott (74) and Mick Gladwin (65) aka Rotherham Sight & Sound play the music of persistent prism disruptor Rian Treanor with a knockout set of mutant dancehall and mercurial electro-styled zingers, a huge tip if you’re into Autechre, SND, Kakuhan, Iueke, Shubharun Sengupta. Rian Treanor keeps knocking new doors of possibility with his new label Electronic Music Club and its initial focus on Rotherham Sight & Sound, participants of a community-based initiative in their shared post-industrial home town Rotherham. Utilising software synths designed by Rian and his dad Mark Fell, the trio twist out vortices of shearing, asymmetric anarchitecture, rudely resembling the sort of hyper-contemporary styles alluded to in Rian’s solo works, but inflected with cranky timing and an intuitive freedom that bears extraordinary results, especially when considering the fact the trio had no prior musical ability, and only encountered electronic music a few years ago. After a couple of years of practice and performance, ‘Action Potential’ now firms up their quicksilver sound for club and home buzzes with seven actions that warp and morph from the needling jolts and hoof of ‘Pass The Go’, to shuddering detonations in ‘Dial’, each with a properly electrifying force carrying a genuine futureshock. Working within Rian’s systems-based framework, Anne, Kathleen, and Mick deploy a tactile feel for the machines, finely honed over the course of many sessions at the Rotherham Sight & Sound facility, that uses their visual impairments to synaesthetic advantage. Between the wickedly metallic ragga swivel of ‘Hold’, the diffractive chain reactions of ‘When It Ends’, and more tempered, sloshing sensuality of ‘30 Seconds’, the trio follow their noses down wormholes that manifest an ideal of accessibility and expressionism within electronic music contexts that Rian and Mark have long worked towards, with Anne, Kathleen and Mick’s relative lack of cultural conditioning in this paradigm prompting them to act on pure instinct. Seriously, this has to be one of the most unexpectedly brilliant and boundary shattering sides of the year, not to be missed by any self-respecting follower of the future or hyper present.

Our mixtape-style selection of clips from tapes recorded live at soundsystems playing during London's Notting Hill Carnival between 1984 and 1988, originally broadcast on NTS Radio in 2018, is the latest to be committed to cassette as part of our 10th anniversary series. Featuring sounds from the likes of Jamdown Rockers, Saxon, Java Nuclear Power, Killerwatt Turbotronic, Stereograph, Sir Coxsone, Volcano Express, King Tubbys and more.

333 reissues a serious all-timer of an LP from the peak of reggae/dancehall's mid-to-late 1980s digital era, in the form of Horace Ferguson's Sensi Addict - recorded for Prince Jazzbo's Ujama label and originally released back in 1987. Produced & arranged by the late great Jazzbo (and issued here under license from the foundation deejay & producer's family) the Sensi Addict LP pulls together a selection of vocals recorded between 1984 & 1987 at Michael Carroll's Creative Sounds studio in Kingston, recorded by engineer (and singer & producer in his own right) Paul Davidson. Horace's infectious falsetto can be found riding a collection of Jazzbo's digital rhythms - from the inspired Replay version on 'Jah Order', to the updated take on the foundational Sleng Teng rhythm track on 'Tranquilizer' - representing some of the most forward-thinking production of the period outside of Jammys and King Tubby's Firehouse stables. The bulk of these rhythm tracks were performed by revered multi-instrumentalist Tyrone Downie (a long-time member of Bob Marley & The Wailers since the mid 70s, who sadly passed last November) alongside Tony "Asher" Brissett - another massively undersung session musician perhaps most notable for laying down the initial Sleng Teng rhythm track for Jammys in 1984. Also on display here are a couple of choice early 80s rhythms, recorded for Jazzbo by Errol "Flabba" Holt's legendary Roots Radics backing band. All of this comes paired with sympathetically reproduced artwork - featuring images of Horace by photographer and reggae documentarian, Beth "Kingston" Lesser.

Death Is Not The End’s 333 sub-label follows the reissue of Devon Russell’s Darker Than Blue LP late last year with a first-time reissue of a veritable reggae-dancehall holy grail – Robert Ffrench’s 1985 LP ‘Wondering’. Pioneering artist and producer (and cousin of the late, great Pat Kelly) Robert Ffrench was born in central Kingston in 1962, recording his first records in 1979 at the age of 17. Coming out off the back of a slew of roots & early dancehall-style 45s cut with a wide range of producers thoughout the early ’80s, the Wondering LP followed closely after two acclaimed LP sets (‘Showcase’ produced with Lord Koos & ‘The Favourite’ for Ossie Thomas’ Black Solidarity label – plus a split showcase LP with Anthony “Gunshot” Johnson for Jah Thomas’ Midnight Rock label). Ffrench would write and produce the Wondering LP himself in it’s entirity, laying down the tracks at Herman Chin-Loy’s Aquarius & Michael Carroll’s Creative Sounds studios with the help of engineer Christopher Daley. Representing the sound of an artist first confidently sriking out on his own, the album elegantly mixes a classic rub-a-dub & lovers rock-inspired sound with nascent digi-esque flourishes. It boasts an enviable list of contributors too, incl. Sly & Robbie, Dwight Pinkney, Robbie Lyn, Nelson Miller (Burning Spear) and Ronald “Nambo” Robinson among others, with Beres Hammond also providing backing vocals in places. Following the release of Wondering, Ffrench would continue to write and produce, soon after releasing two further self-produced LPs for Edgar White’s Parish label – and founded his own ‘France’ label in the late 80s, through which his productions would start to hit big, most notably alongside Courtney Melody on ‘Modern Girl’, and with US rapper Heavy D on the track ‘More Love’. Robert’s productions released through later label ‘Ffrench’ would go on to boast the cream of the crop of dancehall artists throughout the 90s and early 2000s, and he is often credited with discovering Buju Banton (producing his first single “Ruler” on the Stamina riddim). Ffrench is still actively producing music of his own to this day, having released singles ‘Everyday of My Life’ and ‘Black Is a Colour’ in late 2022 and Feb 2023 respectively, available through all digital platforms now. 333, under exclusive license from Robert Ffrench.

Dancehall might have emerged in Jamaica, but over the last few decades the popular genre's tendrils have stretched out across the globe. In Kampala, Ratigan Era is adding a distinct Ugandan twist to dancehall, fusing it with East African humor and hyper-melodic afrobeats elements imported from Ghana and Nigeria. The versatile MC grew up listening to Jamaican music like Vybz Kartel, Busy Signal and Mavado - in his hometown of Kawempe there was almost no way to avoid it - and it blurred into the background, blending with local church music, US hip-hop and radio pop. He developed this diverse range of influences into a completely unique Afro-dancehall flow that simmers between Luganda, patois, Spanish and English, reflecting the melting pot of cultures and dialects that characterizes contemporary Africa.Ratigan broke out with a memorable feature on Pallaso's Ugandan hit 'Nsaba', a track that echoed throughout the country booming from nightclubs, motorcycle loudspeakers or from convenience stores. Now he's assembled his first album "Era", a furiously inventive interweaving of rubbery vocals and memorable chants backed by futuristic beats from Hakuna Kulala's most boundary-pushing producers. Congolese producer Chrisman takes the reins on 'Gorilla Attack', providing a downtempo groove that echoes recent Jamaican chop deployments from breakthrough artists like Skillibeng and Skeng. For his part, Ratigan ducks and dives between Chrisman's gqom-inspired low end womps and corrosive synths, commanding attention with his smart, dextrous flow and tongue-twisting lyrics.The Modern Institute and Golden Teacher's Richard McMaster handles 'Top Strike Force' leaving space in his wiry, minimal beats for Ratigan to flit between anthemic repetitions and ice-cold AutoTuned wails. On stand-out track 'Badman Style', Ratigan's guttural patois is measured against a dizzy trap-dancehall hybrid beat from HHY & The Kampala Unit's Jonathan Uliel Saldanha, aka Lithium Beats, while on the surreal 'Drop it Down', Japanese mad scientist Scotch Rolex brings out Ratigan's cheeky sense of humor with toytown bleeps and laser zaps. MC Yallah collaborator Debmaster appears on 'Gan Dem', meeting Ratigan's double-time raps with soundsystem destroying rolling subs, and veteran US noisemaker Kush Aurora sprinkles magic dust on 'Cool and Deadly', galvanizing the link between global bass mutations, Jamaica and East Africa.And despite the grab-bag of producers and inspirations, "Ratigan" is a strikingly coherent listening experience that accurately snapshots Kampala's colorful froth of sounds and phrases. Ratigan's outsized personality is welcoming and captivating, providing the sights, sounds and smells of the city with a frenetic rhythm that's as intimate and local as it is far-reaching. It might just be the future we so desperately need.

Rare late 80s reggae/dancehall heat coming yet again on DINTE sub-label 333. This time it's the turn of Hugh Maddo's Pop Style LP. Recorded in Jamaica at Byron Lee's Dynamics & Herman Chin-Loy's Aquarius studios for the Bronx-based Jamaazima label in 1987, it is issued here under license from co-producer and label owner, Nami Harmon. The record features a host of celebrated and renowned musicians incl. Winston Wright, Bobby Ellis, Carlton "Santa" Davis, Dwight Pinkney, Willie Lindo and Mikey "Boo" Richards amongst many others - alongside the sublime vocals of Killamanjaro's Hugh Maddo aka UU Madoo. A must.

333 reissues a serious all-timer of an LP from the peak of reggae/dancehall's mid-to-late 1980s digital era, in the form of Horace Ferguson's Sensi Addict - recorded for Prince Jazzbo's Ujama label and originally released back in 1987. Produced & arranged by the late great Jazzbo (and issued here under license from the foundation deejay & producer's family) the Sensi Addict LP pulls together a selection of vocals recorded between 1984 & 1987 at Michael Carroll's Creative Sounds studio in Kingston, recorded by engineer (and singer & producer in his own right) Paul Davidson. Horace's infectious falsetto can be found riding a collection of Jazzbo's digital rhythms - from the inspired Replay version on 'Jah Order', to the updated take on the foundational Sleng Teng rhythm track on 'Tranquilizer' - representing some of the most forward-thinking production of the period outside of Jammys and King Tubby's Firehouse stables. The bulk of these rhythm tracks were performed by revered multi-instrumentalist Tyrone Downie (a long-time member of Bob Marley & The Wailers since the mid 70s, who sadly passed last November) alongside Tony "Asher" Brissett - another massively undersung session musician perhaps most notable for laying down the initial Sleng Teng rhythm track for Jammys in 1984. Also on display here are a couple of choice early 80s rhythms, recorded for Jazzbo by Errol "Flabba" Holt's legendary Roots Radics backing band. All of this comes paired with sympathetically reproduced artwork - featuring images of Horace by photographer and reggae documentarian, Beth "Kingston" Lesser.

Modern Love with a new 7” series reserved for asymmetric bangers and pop diversions, opening with a double A-side from Andy Stott, his first single in 11 years. Inna bare, dancehall style ‘Out (Version)’ on the A side feels out skeletal drums and stabs for a pure adrenaline rush in the dance. On the AA, ’Love (Version)’ cranks martial drums for propulsion; a euphoric rhythm searching for a vocal. Aye it’s a special one. Some heat coming in this series, keep it locked.

Founded in 1981 in Britain's second city Birmingham, the band Sceptre were part of a thriving local music scene, a scene that for the most part revolved around live shows in the region's community centres, university campuses, pubs and nightclubs. Neglected by major labels, many bands went unrecorded and of those that did get documented most managed to release just one or two singles. Fortunately, Sceptre recorded and released an entire album, 1984's “Essence of Redemption Ina Dif'rent Styley”. Poorly pressed, in very small numbers and with limited distribution, the album didn't sell well and barely made an impact on its release. However, whatever its problems the music itself was first class and over the last three decades, has acquired numerous fans and an ever growing reputation as a classic of the British reggae genre. Whilst still remaining underground and unknown to the vast majority of reggae fans, demand amongst those in the know has been such that used copies have fetched as much as £180. As part of our mission to document and reissue Britain's lost, forgotten and unreleased reggae heritage, Sceptre were high on our list of projects. Through the good offices of Black Symbol who had released Sceptre's previous two recordings on “Black Symbol Presents Handsworth Explosion Volume One”, (also reissued on Reggae Archive Records), we were introduced to Jean McLean and able to get the band members approval and cooperation with this project. Musically this is one of the strongest UK albums there is, with not a single weak track and many stand outs. Six of the ten songs are roots, varying between a classic roots sound based on a 1970s Jamaican blue print on “Essence of Redemption”, “Nuclear Disaster”, “Soul Searching” and “Pestilence and Bombing” to a more contemporary UK feel on “Right Time Coming,” whilst “Get Up And Go” incorporates a funk feel into the mix. Three of the tunes, “Play the Music”, “Me on My Own” and “Goodbye” are Lovers Rock with Jean McLean taking over lead vocal duties from the men, whilst Jean's sister Beverley aka Rankin Bev demonstrates her MC skills on the dancehall orientated “Ina Dif'rent Styley”. The album is brim full of great tracks and not only showcases the band's versatility, but also what talented songwriters and musicians they were. The fact that it didn't enjoy greater success and get heard by the reggae audience at large is a travesty we can finally put right. Sceptre's “Essence of Redemption Ina Dif'rent Styley” is reissued by Reggae Archive Records on 20th October 2014 and will be available on premium quality vinyl, CD and digital download from all leading outlets. To coincide with this release our sister label Sugar Shack Records is releasing former Sceptre guitarist, horn player, keyboard player and vocalist Jean McLean's new album “Everlasting” on the same date. credits

Our sub-label 333 returns again with... 333. Originally released on his seminal Ujama label in 1988, Prince Jazzbo's 333 (aka Mango Tree) features the foundation deejay riding an absolutely killer update on the famous MPLA riddim. One of the best 45s to come out of this late 80s digital era, no doubt.

333 returns to follow a reissue of the sub-label's eponymous 45 by Prince Jazzbo, with another crucial shot from his Ujama catalogue - a much-needed reproduction of the original Replay 45, complete with vocal & version. Fully licensed from the late great foundation deejay's family. A must.

Death Is Not The End’s 333 sub-label follows the reissue of Devon Russell’s Darker Than Blue LP late last year with a first-time reissue of a veritable reggae-dancehall holy grail – Robert Ffrench’s 1985 LP ‘Wondering’. Pioneering artist and producer (and cousin of the late, great Pat Kelly) Robert Ffrench was born in central Kingston in 1962, recording his first records in 1979 at the age of 17. Coming out off the back of a slew of roots & early dancehall-style 45s cut with a wide range of producers thoughout the early ’80s, the Wondering LP followed closely after two acclaimed LP sets (‘Showcase’ produced with Lord Koos & ‘The Favourite’ for Ossie Thomas’ Black Solidarity label – plus a split showcase LP with Anthony “Gunshot” Johnson for Jah Thomas’ Midnight Rock label). Ffrench would write and produce the Wondering LP himself in it’s entirity, laying down the tracks at Herman Chin-Loy’s Aquarius & Michael Carroll’s Creative Sounds studios with the help of engineer Christopher Daley. Representing the sound of an artist first confidently sriking out on his own, the album elegantly mixes a classic rub-a-dub & lovers rock-inspired sound with nascent digi-esque flourishes. It boasts an enviable list of contributors too, incl. Sly & Robbie, Dwight Pinkney, Robbie Lyn, Nelson Miller (Burning Spear) and Ronald “Nambo” Robinson among others, with Beres Hammond also providing backing vocals in places. Following the release of Wondering, Ffrench would continue to write and produce, soon after releasing two further self-produced LPs for Edgar White’s Parish label – and founded his own ‘France’ label in the late 80s, through which his productions would start to hit big, most notably alongside Courtney Melody on ‘Modern Girl’, and with US rapper Heavy D on the track ‘More Love’. Robert’s productions released through later label ‘Ffrench’ would go on to boast the cream of the crop of dancehall artists throughout the 90s and early 2000s, and he is often credited with discovering Buju Banton (producing his first single “Ruler” on the Stamina riddim). Ffrench is still actively producing music of his own to this day, having released singles ‘Everyday of My Life’ and ‘Black Is a Colour’ in late 2022 and Feb 2023 respectively, available through all digital platforms now. 333, under exclusive license from Robert Ffrench.

A mixtape pulling together extracts from soundsystem tapes out of Manchester's storied street soul scene of the late 1980s to mid-1990s. Featuring DIY cassette recordings of sounds such as Broadway, Stereo Dan & Soul Control playing live at dances and blues parties in south & central Manchester from 1988 through to 1996.

Born Yallah Gaudencia Mbidde in Kenya and raised in Uganda, MC Yallah has been involved in East Africa's rap scene since 1999. Alternating rhymes in Luganda, Luo, Kiswahili and English, her conscious, poetic and experimental style was slow to creep into Uganda's mainstream. Following a brief but necessary hiatus, she returned to the stage in 2018 with a new lease of life accepting her role as a central component of the Nyege Nyege/Hakuna Kulala family. "Yallah Beibe" is the fiery follow-up to Yallah and Berlin-based producer Debmaster's acclaimed 2019 debut "Kubali". After her tour plans were cut short as COVID-19 broke out in 2020, Yallah returned to Kampala and started work on her sophomore album at Nyege Nyege's villa. The process was more complicated this time around, developing pointedly from an initial back-and-forth with Debmaster and flourishing as beats appeared from Japanese producer Scotch Rolex and Congolese club maestro Chrisman. The finished album is an international patchwork of futuristic cyber-rap experiments fastened together by Yallah's unforgettable personality and elastic flow. More charged than its predecessor, "Yallah Beibe" is an apt soundtrack to a challenging era. Yallah is an experienced and versatile MC and channels her layered understanding of the complicated global cultural landscape into 12 stories that skate through trap, dancehall, club and industrial styles. Her authoritative guiding force is never more evident than on 'No One Seems To Bother', a collaboration with Duma's gravel-voiced singer Lord Spikeheart. Trading bars over Debmaster's slippery, bass-heavy rhythm, Yallah and Spikeheart ink an alternative East African sonic landscape, with activated lyrics ("the world is going under, no-one seems to bother") and rasping, death metal-inspired groans. "Yallah Beibe" is a call to action, a loud siren that's intended to educate the wider world of East Africa's shrouded history and bright future. Yallah's collaboration with rising star Rati Gan 'Bigbung Song' is the best evidence of this, looping Rati's Afro-Caribbean dancefloor flex and Yallah's politicized flow around a twisted bass-heavy beat from Chrisman, joining hands between the DRC, Uganda and the wider diaspora. Tracks like 'Baliwa' and the anthemic 'HERA' meanwhile completely center Yallah's signature lyrical dexterity, playing her tongue twisting raps against Scotch Rolex's pan-global foley-trap splatter. At times, the sounds feel as if they're from their own planet entirely - a fourth world that's rooted in collaboration rather than appropriation. If "Kubali" re-established Yallah as a force to be reckoned with, "Yallah Beibe" cements her status as one of the world's most exciting MCs, both on record and on the stage. There's nobody doing it quite like her.

The “Step In Time” EP is the latest release from prolific Nottingham-based producer, engineer, songwriter and DJ Kevin Thomson AKA Origin One. The project features vocal offerings from Rider Shafique, Nadia Latoya (MELONYX), Charlie P and K.O.G, documenting the struggles and experiences of Origin One’s peers during Covid-19 and lockdown. Funded by Help Musicians UK as part of a proposal to support musicians impacted by the pandemic, the release is available on extremely limited 200-press vinyl.

Musically mapping the journey of reggae through the decades, the EP features both vocal stylings and instrumentals from Origin One. Opening with “Babylon 19 feat. Rider Shafique”, reminiscent of 2006 dubstep and steppers music, the track highlights the Tory government’s failures to deal with the pandemic in a considerate way for artists. Referencing the Rastafarian belief system where Babylon refers to the corrupted, capitalist and colonial world, Rider Shafique highlights his reluctance to adhere and agree to the Babylon 19 measures.

Shifting through to a classic lover’s rock groove with a nod to the roots and reggae releases of the 1970s, Origin One collaborates with one half of Nottingham-based duo MELONYX, Nadia Latoya, on “Just Beginning”. With a love of reggae dating back to her childhood, additionally influenced by her uncle King Jammy and the records he would bring round to her house while he was on tour in the UK from Jamaica, Nadia’s timelessly soulful vocals glide across Origin One’s production. On the track, she pieces together a widely experienced tale of a romance cut short by isolation; "Kev wanted to use the concept of our experiences through the pandemic so you’ll hear some subtle references to this in my lyrics… a lover’s spin on a lover’s rock feel”, she explains.

Harking back to the mission at the heart of the EP, “Dance Again feat. Charlie P” sees the renowned Essex-born reggae vocalist speculate the energy and excitement that comes with returning to the dance after two years. Set against a backdrop of a 1980s dancehall riddim, the parallels between the frustrations of the shutdown of live events during Covid-19 can be drawn between the restrictions of blues dances during the 70s and 80s. Aligning with the theme of live music, recent Nubiyan Twist collaborator K.O.G shares his experiences as a touring artist on closing track “Nuh Money Nuh Fren”. Finding his whole world pulled away with lockdown, he found himself questioning the recognition of his value when faced with no money, no friends, and a lack of opportunities. Bringing together trap-influenced reggae, hugely prominent on Jamaican radio, with elements of UK and US 808 influence, the track pulls together the widespread influence of the EP, further highlighting the restrictive nature put upon musicians during lockdown.

Origin One’s vast skillset has led him to produce and engineer releases for the likes of Bru-C, Harleighblu, Devilman, MC Spyda, Irah and more. Additionally, he has toured with UK Hip Hop legend Klashnekoff as his DJ, written and performed as part of a live orchestra for Natalie Duncan and worked as a studio engineer for Wiley. Closer to home, Origin One is a key player in the Nottingham community and is the director and owner of the city’s DTR Studios. Ordinarily known for his sounds reflecting UK Bass music, Jungle, DnB and Hip Hop, coming together to form his own interpretation of Sound System culture, his 2021 Tru Thoughts release saw him collaborate with Portuguese-London songstress Nãnci Correia.