MUSIC

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.

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

Darkai returns to Artikal with his next EP featuring 2 tracks of deep, dark, dubstep pressure. 'See Jah' takes the lead with it's unique mystic dubbed out swing of sub low weight. 'Low Tek' flips the script, the dark heavyweight stomper has been mashing up venues worldwide. With support by Mala, Youngsta, J:Kenzo, Distance and Mantra.

Smacking that sweetspot between grime, techno, bassline and soca, Anthoney J Hart (East Man, Imaginary Forces) aka Basic Rhythm delivers a full-bore pack of rampers for Bristol-via-Berlin’s bassbin overlords, Sneaker Social Club. Active in a vein of uchronic, ‘nuum-bending invention since the 2010’s, but with roots reaching back to ‘90s pirate radio, Hart’s decade-straddling steez yields the crankiest horsepower as Basic Rhythm on ‘8 Bar Techno’. Hewing hard to the brief, he dissects and recombines styles & patterns with a fiercely upfront quality, trampling on putative borders with a rudeboy alacrity that works a treat on up-for -it ‘floors. The durable torsion of OG jungle tekno and its myriad derivations are twisted into tensile girders, variously splitting the difference between 4/4 grime and hard groove techno in ‘the title tune, or panel-beating sublow into rictus bashiness on ‘Weed Killer’, while firing killer rounds of vocal cuts including the dancehall-grime of ‘Vibez’ with NyNy, or electroid drill with Lyrical Strally and Eklipse. Along with the precision-tooled rufige of ‘Kонец века’ with Moscow Legend, the mutant soca gallop o ‘Ice cold’, and diesel-fuelled grime-techno of ‘More Pricks than Kicks’, or the dive-bombing darkness of ‘The Deluge’, it’s a hard set for discerning 140BPM shotters, and surely one of Basic Rhythm’s deadliest.

This 4th chapter of the Dubatriation Dubplate Style series presents Philosofy, an epic melodica instrumental crafted by Italian producer Crazy Hertz in a combination with his mentors and UK dub legends Alpha & Omega. While most of the lead instruments have been played by A&O, bass, drums and soundscapes have been provided by Crazy Hertz who also showed his terrific mixing skills on both sides, delivering an immersive dub on the flip.

"Dub & Fire" is a collaborative album by Ashanti Selah, a leading force in the next generation of UK dub, and Hark, a producer known for his soundsystem-ready riddims. Building on their previous release, "Smoke & Fire," the album deconstructs and reshapes those tracks into a tighter, heavy-hitting dub counterpart built straight for the dancefloor

"As if this Anglo-Brazilian duo´s debut album wasn´t impressive enough, its version arrives training a magnifying glass on the studio wizardry of Dubkasm. This dub is lean, stripping the original´s rich sound far down to the bone – ”Ta Gravando Agora` is empty streets and alleyways in which we catch glimpses of a lone, wandering melodica. Out from among the trees denuded of their leaves soars the lone sprial of a saxophone on ”Woodsman Dub”. Tena Stelin opens ”Play I Some Dub” strong and brash before slipping down the echo chamber to a fanfare of horns, after which the bass and drums are left to explore the chasm left open. Stelin attempts to regain a foothold in the song, but the edges of the bottomless pit are too slippery. And when Christine Miller´s beautiful voice rises with a single, "only so much to give", the entire less-is-more aesthetic is justified for all time. Not every track is boiled down to the skeleton. ”Beto´s Yard” is lush in detail and features the bounciest bassline on the entire album. And not every track reworks album material. ”Memories of Xylon”, for example, is a tribute to Lidj Xylon, a passionate, lion of a singer who recently passed away in Ethiopia. The partnership of DJ Stryda and Digistep, though stretching back to the mid-nineties, has certainly spilled forth delights in the past months from the horn of plenty which is the Transform I project. The trilogy was completed recently with a remix album featuring exciting and innovative names from the far reaches of the reggae diaspora." - Stephen Fruitman, Sonomu

Dubkasm teamed up with some of the top Dubstep producers from their home town, Bristol. Each producer was given a copy of their debut album 'Transform I' and asked to pick a favourite track to remix. Over time, the original LP was reinvented. The result is a highly varied ten-track set featuring a heavyweight selection of Bristol bass scientists. in 2011, the album was followed by a series of 12” vinyl discs.

Definitely ahead of its time, Black Jade approach was very sophisticated, creating more than a serious cult in downtown London. While their debut ‘Contempo’ was a ‘religious’ dub affair, their sophomore album showcased a more rootsy direction. Published as a mere private press in the second half of the seventies, the album is finally available in a long overdue re-issue.

Ancient Infinity Orchestra return with their third album, It’s Always About Liberation, a new record that deepens the vision of their acclaimed recent work while moving into darker, more searching emotional territory. Conceived as a partner to It’s Always About Love, this new body of work shares its predecessor’s generosity and spiritual openness, but carries a different charge. Where the previous album focused on healing and warmth, It’s Always About Liberation is largely animated by struggle, perseverance and the desire for transformation while still offering a path to betterment. It is music made in full awareness of a fractured world, yet unwilling to surrender to it. Like It’s Always About Love the album title draws inspiration from words spoken by Moor Mother during their 2024 We Out Here festival performance that deeply affected bandleader Ozzy Moysey: “It’s always about love / It’s always about liberation.” Those twin ideas became a framework for the two albums Ancient Infinity Orchestra were creating. If one album explored love as repair, this one explores liberation as movement, continually striving toward freedom, clarity and deeper connection.

“Life is nothing without love. Love is the force that drives our journey in life. Life is love and love is life.” UK jazz master Chip Wickham follows last year’s brilliant soulful long-player Cloud 10 with a deftly crafted, reflective EP of beautiful spiritual jazz influenced by the soulful sounds of Yusef Lateef. Chip’s music has always drawn on a broad world of influences: from hip-hop to Roland Kirk, and from classic funk to the ‘60s Brit-Jazz of Tubby Hayes. But Love & Life finds him foregrounding his wonderful flute playing, producing a perfect four-tracker of reflective, peaceful jazz that elevates and inspires as well as a trademark slice of boppish soul jazz – the jaunty Space Walk. Elsewhere lead single Love & Life is a joyous jazz waltz with an uplifting, bouncing groove and Slow Down Look Around is introspective and intimate, featuring Chip’s signature flute with a beautiful solo from UK trumpeter Malcolm Strachan. Chip explains that the track presents “a big lesson for us to learn as the world changes around us with such speed. The technology changes but our human needs remain the same: peace, tranquillity and time to think.”

Saxophonist and composer Jasmine Myra presents nine beautiful and powerfully grounded compositions that express her ruminations on life, growth, and progression, powered by the artist’s vision of duality. “It’s those bittersweet moments which are heart-breaking but so important. Looking forward and trying to make sense of life,” she says. “Pain is unavoidable, and you’ll have hardship no matter what, but you don’t grow or learn about yourself or the world around you without it. The duality is the growth and coming out the other side. I had the concept from the start.” Jasmine Myra’s verdant musical vision and talent for instrumental storytelling came to life over five days, with her long-standing ensemble gathering in one room at The Nave studios in Leeds with the addition of a string section – all recorded live. Myra had crossed paths with Ancient Infinity Orchestra bandleader Ozzy Moysey before she moved from Leeds to London, often attending and playing at the same jam sessions. This made him the perfect choice to conduct the 13-piece band, freeing her up to bring maximum tenderness and elegiac tones to the alto sax lines she’d written. Her own playing sits deliberately within each track, never flying above. Instead, it wraps gently around precision melodies she wrote for strings, piano, flute, guitar, vibraphone, and harp which themselves furl and unfurl gorgeously around tenor sax, double bass, drums, and percussion. Melodies that sparkle like sunlight on water.

Saxophonist and composer Jasmine Myra presents nine beautiful and powerfully grounded compositions that express her ruminations on life, growth, and progression, powered by the artist’s vision of duality. “It’s those bittersweet moments which are heart-breaking but so important. Looking forward and trying to make sense of life,” she says. “Pain is unavoidable, and you’ll have hardship no matter what, but you don’t grow or learn about yourself or the world around you without it. The duality is the growth and coming out the other side. I had the concept from the start.” Jasmine Myra’s verdant musical vision and talent for instrumental storytelling came to life over five days, with her long-standing ensemble gathering in one room at The Nave studios in Leeds with the addition of a string section – all recorded live. Myra had crossed paths with Ancient Infinity Orchestra bandleader Ozzy Moysey before she moved from Leeds to London, often attending and playing at the same jam sessions. This made him the perfect choice to conduct the 13-piece band, freeing her up to bring maximum tenderness and elegiac tones to the alto sax lines she’d written. Her own playing sits deliberately within each track, never flying above. Instead, it wraps gently around precision melodies she wrote for strings, piano, flute, guitar, vibraphone, and harp which themselves furl and unfurl gorgeously around tenor sax, double bass, drums, and percussion. Melodies that sparkle like sunlight on water.

“One of my favourite bands, wonderful work” Gilles Peterson BBC 6 Music “Another great album from Matthew Halsall” Jamie Cullum - BBC Radio 2 "Trumpeter Halsall is one of the success stories of new British jazz..." The Independent "Beautiful, spacious and spiritual music." All About Jazz

At Our Best! were one of the greatest and most influential bands to emerge in the early 1980s as part of a new wave of independent acts. DJ John Peel championed them, playing their singles repeatedly and inviting them to record a session for his programme. Wry vocalist Judy Evans and brutal yet melodic guitarist James Alan who’d met at art college in Leeds fronted Girls At Our Best!, the proto-Indie band that formed from the ashes of Alan’s 1977 punk band SOS! Pleasure, the sole album, reached number two in the Indie Chart. It was an album so different from the rest of the post-punk indie pack that you can still play it now and completely baffle new listeners. As John Peel said about Roxy Music, it just doesn’t seem to relate to anything else.

Undisputed grime heavyweight and sublow architect Jon E Cash is spotlighted on an overdue retrospective hustling rare plates back on vinyl for 1st time in decades - utterly essential tackle for UK ‘nuum fiends on the line from jungle to UKG, grime and dubstep. A serious VIP for Sneaker Social Club and the grime scene at large, ’SUBLOW’ scrolls back a quarter century to grime’s earliest days - before it even had a name - when artists such as Jon E Cash, Jammer, and Wiley were reshaping prevailing UKG styles and patterns in their own image, coming out with something rudely altered in translation - or by their technical limitations. While the latter melded Jamaican sound system inspirations of dancehall and jungle into their grimy prototypes, Jon E Cash would bring a ruggeder swerve, carried over from his early ‘90s days as part of the pivotal Britcore hip hop sound with Construction, and prevailing traces of later ’90s R&B and D&B, to his take on the 140bpm framework, with the exaggerated bass levels of his productions, and their bashy drums, bestowing the sound its mantle, SUBLOW, and soon recognised as a whole subgenre in its own right. These are sacred plates for grime, a key part of its DNA, and Sneaker Social Club are doing the Lord’s work by saving you a month’s rent in Zone 3 if you were to pick them up individually. All from the fascinating interzone 2000-2004, when the sound was shaped as an ecology of pirate radio, white labels, and raves, it’s burstign at the seams with legendary gear from the murky steez of ‘Hoods Up’ thru the NSFW intro of his absolute steamer ‘Kettle’, brukking out the digi-dub style horns on ‘War’ and ‘Battle’, or ramping R&B with speedy G pressure on ‘All About the Sex’, not to mention his Timba-turned-horny Terminator turn ’Spanish Fly (V.I.P.).’ If you ask us, it’s one of the hardest reissues/compilations of 2025, bar none, and a strong example of how much perceptions of grime have changed over the decades, from outlaw genre to something to be fetishised, archived, admired as distinguished cultural artefact, rather than feared and legislated against.

Mysticisms’ returns to the music of the Conscious Sounds label and their short-lived but highly prized Dub meets Funk project, Dub Specialists. Created by label head Dougie Waldrop and Chris Petter (Love Grocer) to explore their interest in samplers and a love of Funk and Jazz. A hugely respected “Digital” and “Roots Reggae” label, Conscious Sounds has been a mainstay of the East London digidub sound for over 30 years. Dub Specialists released 3 albums on the Crispy Music sub label, they have recently gained considerable interest in digger circles, with rising prices to match. As with their first Dubplate outing, the release features extended re-edits by the label and friends, this time featuring versions by Lexx, Miles J Paralysis, Chuggy and Vanity Project. Working with the simplicity and skill of his studio craft, Dougie utilised the Atari 1040, Cubase and Soundcraft mixer to effect. Petters’ chords sit atop reggae basslines, funk samples, loops and this time, a heavy dose of cut up vocals in to the mix. While the first EP came from their debut album, Breat To Break, here the source material for the re-edits comes, in the main, from their second outing “Dub To Dub Beat To Beat”. A more expansive album that also dipped in to 4/4 rhythms and touches of House / Techno. Opening track Dynamic Duo is a 4/4 stepper bomb – with comedic samples from Adam West’s iconic interpretation of Batman – expertly extended by long-standing DJ, producer and edit master, Zurich’s own Alex Storrer aka Lexx, who dials things to max for a club stop. A new name on many lips, Miles J Paralysis takes it all back down with a beautifully drawn out, acid-tinged tripper. Bumpin’, the mid-tempo groove sucks you in, psychedelic and mind expanding. The flip returns to the more traditional Dub Specialists vibes of Breaks’n’Funk’ cut ups, first with (co-)label head Chuggy’s faithful extension of Heavy Dub. Featuring the classic Ijahman Levi’s vocal, the breaks flow and piano / horns stab, a dance floor shaker for the discerning. To close, secret studio fixer to many, Matt Bruce again dons his Vanity Project moniker to perfectly tease and live dub (out) the half-stepper, Reality Dub and close this latest in the Dubplate series.

Street Druid merges acoustic, manipulated and electronic sound using saxophone, synth, voice, guitars & drum machine, and features drum kit from Mercury-nominated artist, Moses Boyd.

It features artwork by Byzantia Harlow. It is at once tender, psychedelic and fierce. It is not interested in genre or category. It lasts just under 45 minutes.

A prelude for the future, hands join to cast a peace spell. Consciousness is vast water seeking divine essence and meaning where colours merge and refract. The street druid walks through the night, a benevolence in the darkness, guiding you home. Immersed in noise, life can feel empty, like hollow vessels, a sentient interlude. At times we are found in Gaia's rhythm, kinetic and rebuilt, transcending through the impact of sound on the body. Every moment is a new change, a new challenge, a new life, we must ride the wave if we are not to be caught adrift or drown. Trying to keep hope intact, we must not retreat into fear, recognise we all live here in Longville and stop the fire before it engulfs us all.

RSD exclusive, fully licensed ! Never reissued and long lost, this UK dub foundation album Addis Rockers is the brainchild of Tony Addis from the legendary London studio “Addis Ababa.” This hidden gem helped define dub music in the 1980s. Remastered and featuring the original cover design.

The opening 12” salvo from the Ital Counselor Record Stable has arrived. The fruits of a long bubbling idea to bring back from the sands of time the moral thrust and crystalline conviction of the mighty Martin Luther King Jr. in a dubwise style. In a time like now as the individualistic ethos of the Century of the Self arrives at its logical end game we call all massive and crew to sit tight and listen keenly… A double A-side bass thriller with a message for the ages, NOT ENOUGH, features the musical legacy of two dear friends and two of our favorite contributors to the global reggae sound system community. JAH WARRIOR meets RSD (Rob Smith)…Paired together for the first time ever in a back-to-back dub conference… Side A sees JAH WARRIOR bring the weight and force we have all come to expect from Steve Mosco’s 25 plus year body of work. Like sheering frequencies bouncing off the brutalist architecture of our modern urban landscapes, his rendition is direct and to the point. MLK’s words lay on top of a horns man stepper ready built to rattle speaker boxes outernationally. Brace yourself… Side AA features a re-imagining of Jah Warrior’s cut by the stalwart of bass culture Rob Smith under the guise of his RSD moniker. All dubb’ers will recognize the name. From Smith & Mighty, More Rockers and Blue & Red Rob has influenced a generation of fans, sound system operators, and selectors worldwide. This Re-Rub keeps up the quality, the subtly and sub that we have come to appreciate from his body of work.

Label co-founder Conrad Pack returns to SELN with what is in essence a Dub EP, but so much more. The failsafe formula of stepping percussion and “ital” bass lean on a familiar soundsystem nature with engulfing pads finishing the job to evoke a true BIG SMOKE FEELING. Although the melody itself wouldn’t sound out of place in a UK Drill number the song overall still touches on DIY ++ sonics (yes it’s as good as it sounds if not better). Recorded during the height of the Scram era, masterminded by Leeway (Guy Gormley), and hosted by the late soundsystem luminary Julian Fairshare at Ormside Projects, the influences are crystal clear; Steppers-esq, leaning heavily on London’s musical legacy past and present, whilst still pushing for SOMETHING NEW. Praise EP will be available as a limited edition Vinyl (edition of 200) and digital download. You can catch Pack performing a special live set at our forthcoming 'late night event’ at Ormside Projects on 4th October alongside Kerrie, Jah Vibemaster & Sam Clarke.

LP version on CLEAR vinyl in PVC sleeve with double-sided printed clear plastic insert. CD version is the mini replica of the vinyl version, in slim plastic case with clear insert.

“Love Will Tear Us Apart” should have been the band’s most shining moment…instead it became their tragic swan song. Released just a month after frontman Ian Curtis’ heart wrenching suicide, the song came to be seen as the unheeded warning of the impending tragedy.

This special edition LP features all three versions of the song that transformed Joy Division from mere band into legend. In addition to the original single version, we have two versions remixed by American producers Don Gehman of John Mellencamp fame (the “radio version”) and Arthur Baker (who also produced a hit single for Africa Bambaataa around this same time).

The remaining tracks include “These Days” (which appeared on the original “Love Will Tear Us Apart” single), along with “Transmission” (their debut single released in 1979) and “Atmosphere” (originally released as a France-only single) in 1980.

Cruddiest nightglyde steez by the mysterious Sister Marion, voiced by Mass, for John T. Gast’s 5 Gate Temple A must check for anyone feeling Dean Blunt’s circle or Tribe of Colin, ‘B Safe’ scries early ‘10s road rap styles thru JTG’s murky crystal ball with Mass seemingly rapping from the other end of a long corridor over a blend of dungeon synth vamps, road rap/proto-UK drill and dread soundsystem rumbles, revealed in starkest terms on the version.

An air of ancient ritualism cloaks Modern Love’s midnight meeting between UK producer MOBBS and French-Egyptian spellcaster Susu Laroche, carving out a channel between hexed trip hop and shoegaze that’s one part DJ Screw, one part MBV, operating within a long shadow of influence cast by Curve, Leila, Cocteau Twins, Nearly God.

Clasping chiral energies on their debut collab, MOBBS brings a history spanning shadowy production work for big name artists to the grimly stylised vein of performance art and musick explored by Susu Laroche, an Egyptian-French with strong binds to chthonic contemporary London. 

Their maiden sacrifice heightens the senses to blends of monotonic, sandalwood scented incantations and carpet-burned downbeats swept in slurred dub. Songs are subtly variegated in tone to spell out shifting plays of light evoking bedsit antechambers and warehouse innards lit by iPhone candle or extractor hood and emergency light bulbs on their last lumens. 

It's music that's as elaborately serrated and blemished as early MBV, but positioned in a vastly different cultural landscape, drawing from hip-hop, drone, psych and basement noise. The pair’s range of cultural obsessions maintains a precarious balance between shadowy histories and an asphyxiating present; all too often, when the past is projected it's thru a mollifying, nostalgic lens, so their critical, prudent hybrid sound is a vital, chilling corrective.

From the bell-ringing, chain-rattle jag of ‘Throne’ thru the sleepwalker drift of ‘Roam’, and concrete plangency of ‘Forest’, the marriage of MOBBS’ illusive textures with Laroche’s feel for analog image and film (as evinced in her art for the likes of Blackhaine and Mica Levi) imprints their sound in gauzy layers that leave fleeting impressions on the mind’s eye. At their heaviest, Laroche’s arcane declarations descend in impressive enactments, undressing the excesses of over-glossed trip hop to reveal and revel in the sound at its starkest, sexiest, for new waves of washed up souls.