MUSIC

Following the runaway success of their first joint EP, The Nassau Excursion, long-time friends François Kevorkian and Dimitri From Paris are back with a similarly sensational sequel – a second deep dive into the pair’s joint love of the synth-heavy dub disco sound pioneered by Island Records’ Bahamas-based Compass Point studio in the early-to-mid-1980s. Simply titled The Nassau Excursion Volume 2, this hotly anticipated sequel sees the iconic, long-serving artists further explore the fertile meeting point between dub, disco, electrofunk and proto-house. Yet while it comes from the same headspace and starting point, the three tracks on show also display a fresh perspective. Even so, it still sounds like a long-lost Compass Point session from 1983. ‘Rock That Groove’ sees them pick up where they left off, with delay-laden drum-machine drums, echoing syn-toms and scattergun fills ushering in Paul Simpson style synth motifs, weighty dub disco bass, Boyd Jarvis licks and urgent vocalisations. Throw in a clutch of Hubert Eaves III style synth-solos and a mix structure that recalls Kevorkian’s work of the early 1980s and you have a future classic with a nostalgic twist. The pair take a different tack on ‘Let’s Do It Together’, where more live-sounding drums and Nile Rodgers style clipped guitar licks provide a solid foundation for an increasingly wild and percussive workout. Following a classic, Larry Levan style breakdown in which the echoing synth bassline comes to the fore, François and Dimitri take us to the Paradise Garage at 4am – all kaleidoscopic synth solos, nods to Gwen Guthrie’s magnificent Padlock mini-album and dub-wise effects aplenty. 
As they did on the predecessor, François and Dimitri round on volume two with a cut that pays tribute to the synth-heavy, disco-fired future dub of legendary NYC label Wackies. This is ‘Steppers Return’, where deep space electronics, echoing sound-man bleeps, reverb-heavy horn riffs, crunchy Clavinet licks and fluid piano solos ride a heavy steppers reggae groove. The natural successor to volume one’s ‘Steppers Revenge’, it’s another nostalgic-but-far-sighted dancefloor delight.

Keith Hudson's Pick A Dub is a classic album by many standards; released in1974, the session features performances from reggae legends Augustus Pablo, Big Youth, and Carlton and Aston Barrett. The 1994 re-issue on the Blood & Fire label introduced a new generation to its 'austere sonic qualities' and genre defining techniques. Pick A Dub showcases the enduring strength and pivotal importance of the rhythm to the development of reggae and dub music. Keith Hudson's complete mastery of the genre and the unqualified praise that followed its release was fully justified.

Originally issued in 1973, Blackboard Jungle Dub is considered a milestone in the history of dub. Tracks include "African Skank" -- based on Junior Byles' "A Place Called Africa" -- and "Dreamland Skank", "Moving Skank" and "Kaya Skank" which are dub versions of Wailers" "Dreamland", "Keep On Moving" and "Kaya".

2025 repress; clear vinyl with white Hi-melt. "1998: Tortoise's third studio album TNT is released. In and out of print over the past decade we are happy to finally give everyone what they have been asking for - TNT on vinyl again! Pressed on high quality virgin vinyl, the two LPs are packaged in a deluxe old-style tip-on gatefold jacket fully replicating the original artwork and includes a download coupon for the first time!"

Dynamic Sounds upgraded to 16-track recording in 1972 and King Tubby purchased, again with the help of a deal brokered by Bunny Lee, the old 4-track equipment and the MCI console from their Studio B. The four tracks now gave him a 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 onto vinyl and the first-ever King Tubby album 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. 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.

New York producer Daniel Creahan returns as Alien D with his debut full-length on Theory Therapy — following last year's For the Early Hours of a World in Bloom EP, Smoker's Choice takes on a decidedly more spacious and inward bent, softened rhythms and arrangements given more room to breathe as electronics and acoustic composition fold into a shifting, ethereal wash. A record of drifting forms and blurred boundaries where nothing feels entirely fixed. Collaborations run throughout — guest vocals from his wife Ellen, washed-out zither, bowed banjo and scorching saxophone leads, each instrument buffed into a mass of sound through Creahan's dubwise interpolations. A sub-bass tone might linger beneath the surface before receding into the haze; a groove can feel steady one moment and subtly shift the next. Repetition becomes less about locking into a pattern than watching it slowly change, like the same view seen through moving water. Smoker's Choice finds its depth in these small shifts — dub rhythms, soft-edged electronics and acoustic inflections reaching something dreamlike but tactile, where atmosphere and groove are never quite separate. A landscape of slow-moving forces, entirely absorbing.

Treasure Dub captures Arthur ‘Duke’ Reid at the controls, transforming his Treasure Isle productions into spacious dub workouts. Bass and drums take centre stage as vocals and instruments flash through echo, reverb and sudden drop-outs. Rooted in Reid’s hugely influential Kingston studio work, it’s a potent dose of Jamaican dub from one of the producers who helped define the sound.

Maruyama follows Vapor Curve with grainy film, a hardware-only mini album created without the use of computer-based recording software. Built from synthesizers, samplers and delay units alone, it finds beauty in restraint, combining minimal harmonies with glowing ambient passages, shimmering arpeggios and the warm, grainy character of vintage samplers. Inspired by the faded texture of old film stock, grainy film expands on its predecessor with a deeper, more abstract and dub-inflected sound. Maruyama describes it as "music for a cigar" – understated electronic music that quietly transforms the atmosphere rather than demanding attention. Nostalgic melodies and lingering echoes capture a sense of impermanence, making this a meditative and deeply absorbing listen.

On his standout debut LP, DJ Grzyb marshals a rudely squashed swamp dance at the head of his octet, The Make-Believe Ensemble, landing with early support by Nathan Gregory Wilkins, babyschön, Skyrager (Psychemagick), Tom Ravenscroft, Elena Colombi The lessons of dub, new age ambient and Italian cosmic disco that fed into the proto-Goa melange continue to inspire DJ Grzyb and his band of slow disco marauders on this trippy 14-track journey. Their first venture unfolds as a sort of album-cum-mixtape, all handling a vast array of East-West instruments - from brass and woodwind sections to sitar, tanpura, and trad. Thai khaen, ching, pi phu Thai - in a wandering sort of cinematic, narrative-driven fashion. It’s almost entirely yoked to a purposefully slow pace, but does prang out a sore thumb ‘The Three Deaths’ ft. Naphta, aiming it all squarely at the feet of Vladimir Ivkovic or Andrew Weatherall fiends.

Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (2) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (3) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (4) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (5) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (6) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (7) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (8) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (9) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (2) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (3) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (4) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (5) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (6) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (7) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (8) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (9) Buying Options CD (Compact Disc) Available Now SPS26126 CD | Release date: 8th October 2026 £14.99 LP (Black Vinyl) Available Now SPS26126 | Release date: 8th October 2026 £25.49 LP (Colour Vinyl) Available Now SPS26126 CV | Release date: 8th October 2026 £30.49 Blue vinyl with hand written insert. Mystica Tribe and Scopeotaku, having formed an international dub alliance, release "Mystica Tribe Meet Scopeotaku" via 13 / Silentes. "Taking their sounds into melodic experimental electronic dub territory. Previously, both have fused their own cultures and personalities into numerous dub releases. Now they are expanding their parameters by collaborating on a project that encompasses both their love for psychedelic and electronic audio combined with heavyweight dub reggae rhythms. Mystica Tribe is the musical alias of Tokyo, Japan based producer Taka Noda. Drawing on a wide range of influences from dub, soul, bass and rhythm & blues. Mystica Tribe has been developing a very distinctive sound that exists in a weird freaked out zone, between dub and techno. Noda is especially interested in deep psychedelic music and this is reflected in his productions. Which are equally suited for late night listening sessions or on bent broken dancefloors. Scopeotaku is the alter ego of Scott Prentice, a Glasgow, Scotland based artist. Scopeotaku has experimented with audio since purchasing a sampler and a four track cassette deck many many moons ago. His love for left-field dub and eccentric sounds have led him to create a variety of output, from industrial ambient, illbent electronics to mutant dub."

Ewart Brown aka Cobra (later, and more prolifically known as Mad Cobra) released the Goldmine LP in 1993 for Prince Jazzbo's Ujama label. This is the first LP pressing for a collection of dubbed out versions in Jazzbo's inimitable prouction style, showcasing the talents of engineer Albert Thompson aka Junior Chemist at I&I recording studios, alongside Delroy Thompson otherwise known as the prolific mastering engineer Spiderman

Brought to life in 1976 on his small imprint Stars, In Dub is one of the most sought after Tappa Zukie album. Alongside Man Ah Warrior it is a mandatory purchase for any reggae lover more akin to the spacey reverberation of the studio facilities. With his deep, rumbling bass and the prodigious engineering of King Tubby (the album was cut at his own studio) the record still maintains his adventurous tenure. This crucial re-issue present the complete original tracklist with the addictions of two extra tracks. Dig deep into the ark-eology of dub side.<iframe width="560" height="315" src="https://www.youtube.com/embed/DXl7e7BbI5Q?si=tckc7kJqvCk7b6Cg" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

Scientist was only 20 years old when, working with fellow producer "Junjo" Lawes, he came up with this 1980 stunner, a sinuous groove party with cartoonlike special effects (a lot of bongs and boings like pans hitting one another, blips and squeals that sound like a Pac-Man game). All the "song" titles are references to boxing (a motif that Scientist was obviously mining for all it was worth), and all are great individual bits of dub sound that cohere into a meaningful whole. As it says on the jacket, "This ya a youthful sound fe come mash y'down."

‘Original & Vintage Dubs’ is a collection of 18 unique dub plate mixes from Fashion’s legendary A-Class Studio. The album features live and digital rhythms built in the 1980’s for various projects, some of which never saw an official release. The dub mixes were were initially shared to a select circle of sound system operators to be cut and played as exclusive dubs. For the past thirty years these tracks have been swopped and traded between collectors and members of the sound system fraternity, and now the time is right for the music to be made available to all dub addicts and music lovers, especially as the album has never been pressed on vinyl. The tracks on the 'Original & Vintage Dubs' album were all mixed at the A-Class Studio by the Dub Organiser.

One of two fine LPs Scientist cut from Linval Thompson rhythms -- the other is the even more impressive Scientist Meets the Space Invaders -- Scientist Encounters Pac Man finds the onetime King Tubby protege forging his patented minimal sound, a landscape resplendent with steely piano, depth-charge drums, and futuristic dub effects. Scientist also delivers one of his most progressive mixes here, deconstructing the originals down to their skeletal base and adding just the right amount of mixing board-generated Echoplex and reverb. And helping out considerably with the heady proceedings, the early dancehall period's greatest band, the Roots Radics, lay down the brutal rhythms and subtle keyboard and guitar interjections. Plus, one gets another of artist Tony McDermott's spectacular comic-book covers, this time depicting all of the studio Svengali's horror-movie nemeses from album jackets past (vampires, zombies, Frankenstein, those space invaders, and now the computer game's star of the day, Pac Man). A mind-warping yet eminently enjoyable way to check into dub central. ~ Stephen Cook

From 1993, a hallmark UK Dub album returns to the light. Pressed in small run and extremely hard to find. Produced at Earthquake Studio by TNT Roots and Winston Dread. Raw, undiluted music reflecting the evolution of Dub and contains the seeds of all their future work. Heavy sounds that stand the test of time. Back on the streets after 30 years,fully restored and remastered to honor the dubplate masters of UK Sound System culture.

It began somewhere between sleep and memory. After first meeting in dreams, in Brussels and Berlin, on landscapes that felt strangely close to Vilnius, Marija Rasa aka emer and Ugnė Uma leisurely rewrote those visions into songs. What followed became a collection of moments suspended in idle summers, familiar faces, gentle motions, skin touched by golden sun. These songs wander through closeness and distance, tracing the delicate emotional shifts between us, who almost understand each other completely. ‘you and me’ lives in the space where magical realism meets everyday intimacy: honey-colored evenings, recurring thoughts, and the slow surrender to things unfolding on their own.

Fourth volume in Dave Huismans' beloved ex_libris series - a tightly focused suite of slowly unfolding, percussive midtempo mosaics. Bare-bones with maximal dynamics, the narratives are driven by rhythm this time. A diversion of sorts, yet very much from the same environment as previous volumes. Alive as ever.

The Story Behind "Rhythm Matter” The origins of Rhyth Matter trace back to 2011, shortly after the Great East Japan Earthquake. While visiting Yony in New York, the artist Marter recorded a series of demos. When Marihito heard these recordings, he immediately saw the potential for a full-length project and envisioned a concept centered on "Live Dub" with a distinct Basic Channel influence. Over several years, the project evolved through a rigorous analog process. The multi-track recordings—originally captured on cassette tape, 4-track, 8-track, and reel-to-reel—were eventually digitized into Pro Tools to be meticulously shaped into the final album. At the time, Marihito was releasing an album through Bill Laswell’s label. When he shared the works-in-progress with Bill and asked if M.O.D. (Laswell's label) would be interested, the answer was a definitive yes. Initially, the album was set for release via a licensing deal with M.O.D. However, complications during the vinyl production phase at M.O.D. led to the difficult decision to scrap the record release. Refusing to let the vision of a physical LP die, Marihito took the project back to his own label, Personal Affair, finally releasing it on both vinyl and digital formats as it was always meant to be heard.

„Öd“ marks the long-awaited return of Institut für Feinmotorik - the Black Forest collective known for using eight prepared turntables to investigate acoustic micro-phenomena generated by everyday objects - with a new album and their first full-length release on Faitiche. It is also the return of their almost comical understatement as personal artistic principle: „making almost nothing out of almost nothing,“ compressed into the dots on an umlaut. The Öd-nis, the wasteland, is a field that the collective has been ploughing in sound since their first release in 1997. Eight prepared turntables, four mixers, no records, six hands (give or take) merge into what they call the „Octogrammoticum“. A rotating organism of surfaces in friction, fed with the clutter from a drawer: rubber bands or tin foil, CDs, a discarded socket board. Under IFF's scrutinizing stylus, mundane almost-nothings get scratched open to reveal the acoustic density of negative space itself. Last year’s „Adhesive Tape“ drew IFF closer together after an almost ten-year hiatus. An eponymous event series at Berlin's silent green set in motion what would become their most twistedly funky release since „Penetrans“ on Staubgold in 2002. The only thing öd about „Öd" (meaning „barren" or „boring“ in German) may well be its title: layers of improvised play and randomized loops convolve around porous, dubby groove locks, tugging at each other in a call-and-response with howling static that cuts through bulbous ambient techno into a scrap-metal Dixieland phantasm. Stratified yet spacious, these sonic double exposures always hover on the verge of collapsing. What you think you hear might not be what you actually hear. The album’s track titles resemble Conceptual Poetry, extending this psycho-phenomenological gesture into the realm of spoken language. Conceived by renowned poet Dagmara Kraus, they become word molecules - „stern,” „dies,” „lose“ - tilting delicately between German and English, constantly changing depending on the ear’s perspective and pointing back to the deeply unstable fabric connecting meaning and sound. Which also makes „Öd“ an unusual cross-disciplinary collaboration - at least in the field of electronic music. PS: Since its beginnings in Bad Säckingen, IFF has always been more than the sum of its rotating parts, moving tirelessly between multimedia art, theory, solo projects and collaborations. With IFF Expanded, the collective now opens its eight-doored apparatus, inviting artists working with CDJs or samplers to join - an ambitious live format that loosens its former purity law while carrying forward a long-standing curatorial practice. The same thread also runs into the related event series Acephalic Headspace. (Text: Sonja Matuszczyk)

1974's "Natty Locks Dub" is well sought-after by reggae afficionados and viny collectors alike. Producer Winston Edwards left Jamaica to reside in the UK in 1974 and through his strong connections with reggae luminaries such as Joe Gibbs, Lee "Scratch" Perry and King Tubby began to travel back and forth between London and Kingston (JA) to bring back recordings to issue on his Fay Music label in the UK. In 1974 he issued his first dub album, the heavy hitting Natty Locks Dub featuring rhythms built at Lee Perry’s Black Ark and Joe Gibbs' new studio with overdubs done in the UK. These early dub tracks have a mystical atmosphere all of their own, cool, jazzy, melodic, with a great sound.

Previously dubplate only, serious heavyweight soundsystem business. Produced by TNT ROOTS, can't miss

A very welcomed reissue for this rare Jackie Mittoo album, originally released in 1979 on unknown label, Rite Sound inc. The original release was sold without a jacket, adding a mysterious vibe to the whole thing. The dubby effects-intensive sound of the album extends from "Russian Satelite" to the whole side A, with "Harder Than The Rest," "Stepping Tiger," and "World Of Love" being an excellent triptych of note. The thrill of Jackie's crazy keyboards intertwining with the floating dub sound like a heavenly space is beyond description. Space is the place.

Released on Cherry Red in 1981, Threat To Creation spotted the collaboration between two mystical entities : Creation Rebel and New Age Steppers. Forerunners of the british dub scene the two bands shared several members, a who’s who of the On U-Sound school and key figures of the Bristol and London scene. Adrian Sherwood is – obviously – the man behind the desk a craftsman on its own, a character with no borders and one of the most sought after producer of the time. The supergroup is ran by post-punk stalwarts Bruce Smith (The Pop Group) on drums and Keith Levene (PIL) on guitar. Ari Up of The Slits sits on piano and organ, while masters Crucial Tony is both on bass and guitars. Members of African Head Charge – bass player George Oban, Eskimo Fox and Style Scott on drums – are welcomed addition to the line-up. Threat To Creation is still recognizable as an album ahead of its time, a futuristic blend filling the gap between the Jamaican heritage, the so-called (post) industrial revolution and the studio witchery of the whitey man.