Reggae / Dub

Echocord welcomes Mike Schommer onto its roster with hiz ‘Heirloom Signal’, featuring remixes from Mathimidori, TM Shuffle and Another Channel.

Mike Schommer co-founded Deepchord Records alongside Rod Modell and was associated with the label from 2000-2003, considered by many to be at the forefront of the second wave of dub techno in the early 2000’s following on from the legacy left by Basic Channel in the 90’s. Since then, Mike Schommer has gone out to unveil an impressive back catalogue of material beyond his own such as Steve O’Sullivan’s Mosaic, Greyscale, Lempuyang and Kontakt Records. Here the musical story continues with a new project for the equally beloved dub techno powerhouse, Echocord.

Opening is ‘Violet’s Dream’, a dropped tempo dub excursion employing an off-kilter, swaying rhythm section, pulsing subs, spiralling echoes and spring reverberations, Mariner’s Dub follows and employs broken percussion alongside hazy atmospherics and expansive stab textures before ‘Moon Serpent’ concludes the original material on the A-side, embracing a more loop-led feel with choppy stab sequences, robust 4/4 drums and resonant flutters.

The ’ Another Channel Version’ of ‘Violet’s Dream’ kicks off the B-Side, diving deep into a true roots reggae aesthetic with organic percussion and heavy doses of bottom end intertwined with the original elements. Mathimidori’s ‘Sensuikan Remix’ of ‘Mariner’s Dub’ then delves back into raw dance floor energy before TM Shuffle’s interpretation of ‘Moon Serpent’ rounds out the EP on a raw, reduced tip with stripped down drums and intricately processed stab lines.

Copenhagen’s Echocord returns this September with the ‘Invincible Nature’ EP by Altone,backed by a remix from Thomas Fehlmann and Another Channel. Atone is the guise of Tokyo’s Yuki Takasaki, one of the leading figures of the genre out of Japan with releases on the likes of Greyscale, Lempuyang, Vuo, Æ Recordings, Primary [colours] and

many more. His distinctive twist on Dub Techno has earned him accolades worldwide within the underground and here he joins the roster of the esteemed Echocord, the Kenneth Christiansen helmed label that’s been at the forefront of Dub Techno for more than two decades now. The original mix of ‘Naturally Unnatural’ opens, showcasing Altone’s unique style via subtly nuanced chord flutters, expansive reverberations, pulsating low end tones and ever unfolding,

subtly unfurling feel. The ‘Naturally Flowing Thomas Fehlmann Remix’ follows, the Swiss sonic wizard and former member of the legendary The Orb among many other projects delivers deep, throbbing subs and glitched out synth modulations intertwined with fragments of the original composition.

‘Unnaturally Balanced’ then opens the B-Side with Altone diving deeper into dub realms courtesy of ever alternating, billowing dub echoes and a raw, reduced rhythm section. The ‘Another Channel Version’ of ‘Unnaturally Balanced’ then rounds out the EP, embracing a more classic dub techno aesthetic as crunchy drums, swirling atmospherics and spaced out echoes ebb and flow amongst one another across the six and half minute duration.

I Against I is the third studio album from Bad Brains, originally released in 1986 on SST Records. It remains influential to this day, inspiring countless punk, ska, reggae, and hardcore bands with its innovative sound and uncompromising attitude.

This reissue marks the eighth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains’ recordings. The audio was mastered by Dave Gardner and pressed at Furnace Record Pressing.

These tracks are far more than just the initial glimpses of an upcoming collaboration between I-TIST and TOROKI.

They represent the beginnings of a deep human connection, an ever-growing artistic and spiritual synergy that has flourished since our first meeting in 2022 in our Bordeaux Dub School sessions.

And this is just the beginning... WAY MORE TO COME !!

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Ces tracks sont bien plus que de simples aperçus d'une future collaboration entre I-TIST et TOROKI.

Ils représentent les prémices d'une connexion humaine profonde, d'une synergie artistique et spirituelle en constante évolution, qui s'épanouit depuis notre première rencontre en 2022 lors de nos sessions à la Bordeaux Dub School.

Et ce n'est que le début... LE MEILLEUR RESTE À VENIR !!

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald.

Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace.

As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us”

He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Jim Coles once again turns the tide towards a new horizon and travels further into the echo chamber. Leading on from the much-lauded ‘Secret Location’ mini-album with Seekersinternational, one-offs such as ‘Open Palms dub’ (Dub Stuy) and other teasings, ‘Acid Dub Studies’ is the fully-fledged result of the merging of the calligraphic expression of the 303 Acid bassline with the stern sway of Dub Reggae and the hazier edges of Dub Techno and Ambient music.

For those who have been paying close attention, this project will come as a welcome return to the vulnerability and playfulness of early Om Unit records such as his sub-radar single from 2010 ‘Lightgrids/Lavender’ (All City Records) or the unearthed chugging ambience of ‘Friend of Day’ (Idle Hands) and indeed in some sense draws from similar wellsprings as moments on 2013’s Bass classic ‘Threads’.

Whilst being perhaps an ‘interim project’ this is still a vital and important expression of exploration and playfulness. A study in the true sense and borne out of a subtle but pervasive frustration with the rigidity found in musical words he has up to now been cohabiting, Acid Dub Studies comes from the pressing need to break with perceived expectation and to explore an honest and natural space away from the genre labels and tags that had been often lazily applied to his sizeable catalogue of music.

With no desire to reinvent the wheel, rather to paint pictures in an honest framework, the LP was crafted using a medley of classic analogue mixing techniques inspired as much by the adventurous dubbing of Adrian Sherwood as by the inward-delving haze of Scott Monteith’s Deadbeat project. Created during a period of lonely introspective walks through his home town of Bristol, the cover art is a photograph of some of the iron kerbstones that are found almost exclusively in the characterful and hardy city which were installed in the late 1800’s to protect pavements from cart wheels. Something about the permanence of those iron slabs and cobblestones inspired a sense of comfort and determination.

Acid Dub Studies is due for release as yet another self-released label-free project leading on from recent EP titles ‘Violet’ and ‘Submerged’ both of which hinted at some of the shapes found in this full length album.

Once again Jim has shown a rare convincing adaptability that few electronic artists can embody. Another step on the journey of personal and creative curiosity that fans are sure to appreciate. 

Isle of Jura presents ‘Archipelago – Cosmic Fusion Gems from France (1978–1988)’, a deep dive into overlooked corners of the French musical landscape, compiled by French digger and DJ Arnaud Simetiére aka Switch Groove.

Drawn from years of early-morning flea market hunts and second-hand record store hauls, Archipelago unearths a hidden layer of French music that maps an alternate France including music from Francis Bebey, Cécilia Angeles, Carla Music Orchestra and a Dub remix from Dennis Bovell.

From the French Caribbean to the outer suburbs of Paris during the ‘Sono Mondiale’ era, these tracks capture a time when musicians embraced new freedoms and electronic tools—synthesizers, drum machines, home studios—to create boundary-blurring, genre-defying music. The result is a cosmic, hybrid sound that’s both distinctly French and radically global.

“These records shaped a new map of French music for me,” explains Switch Groove. “They’re treasures that emerged not from the mainstream, but from the crates—lost in plain sight, waiting to be found.” Archipelago is an invitation to explore that map: a crate-digger’s dreamscape of fusion, funk, and far-out frequencies from 1978 to 1988. The album also includes two Ambient soundscape tools.

Production and Co-licensing by Kevin Griffiths. Pressed on 180g Heavyweight Vinyl with full sleeve jacket design by Bradley Pinkerton.

PLEASE NOTE THE DIGITAL DOWNLOAD OF THIS ALBUM DOES NOT CONTAIN CARLA MUSIC ORCHESTRA DUE TO LICENSING RESTRICTIONS.

Captain Ganja + Haruomi Hosono + A. Russell !? This is the rumored Pure Land Dub New Age Base! A natural talent who fell in love with that Tapes, a new album of all 7FO songs has been completed !!!! A fluffy daydream experience with Nirvana BGM with a faint grassy scent. Offers from leading labels such as RVNG and Bokeh Versions are coming in, and the attention is rising overseas overseas, but Japan is left behind? I hear a voice saying, but wait! We kept waiting for this talent to stone and explode, and finally it was time to awaken !!!!!! The decisive difference between 7FO and conventional electronic music writers is that it treats ambient-new age synth electronics with natural ethnicity like dub-reggae, with a feeling that Westerners do not have. That's the point. That sense is the reason why it produces the sound that the times demand, and is supported by RVNG-like new age-electronic music, new roots revival to extreme bass music, and La Monte Young to Equiknoxx fans. In a metaphorical way, what would happen if Haruomi Hosono from the YEN-Monad period appeared in the 2010s base scene? That is, it still has a mysterious potential. If you tell someone who doesn't know anything about the charm of "Ryu no Nukegara", you can get the true value straight away! ?? Natural high additive-free chill-out decision board that will be a landmark of 7FO that told that Tapes "There is no reason for me to make music ..." (The binding by Hiroto Higuchi is this sound Successful visualization.)

2025 repress. There are certain albums which shake the world immediately upon release, and others which come from far underground and whose shocks and aftershocks rise to the surface gradually over the years, gaining momentum and power. “Ten Dubs That Shook The World” is of the latter type. Since its original vinyl release in 1988, the prescient impact of this Australian homemade dubwise solo massive by Anthony Maher aka Sheriff Lindo has become ever-more apparent and influential. With its dual-island combination of Jamaican dub and UK industrial and post-punk, and the twinning of spaced electronic drums and effects with some very fine, superbly rooted bass lines, the tectonic "Ten Dubs" has proven to be a durable, doubly-solid shaker. This 2025 repress is dedicated to the original producer John Blades, founder of the Endless Recordings label, who along with Maher and Richard Fielding constituted The Loop Orchestra.

2025 repress. There are certain albums which shake the world immediately upon release, and others which come from far underground and whose shocks and aftershocks rise to the surface gradually over the years, gaining momentum and power. “Ten Dubs That Shook The World” is of the latter type. Since its original vinyl release in 1988, the prescient impact of this Australian homemade dubwise solo massive by Anthony Maher aka Sheriff Lindo has become ever-more apparent and influential. With its dual-island combination of Jamaican dub and UK industrial and post-punk, and the twinning of spaced electronic drums and effects with some very fine, superbly rooted bass lines, the tectonic "Ten Dubs" has proven to be a durable, doubly-solid shaker. This 2025 repress is dedicated to the original producer John Blades, founder of the Endless Recordings label, who along with Maher and Richard Fielding constituted The Loop Orchestra.

One of Jamaica’s greatest voices lights the way from roots reggae to dancehall on rhythms laid by Roots Radics, produced by Hyman “Jah Life” Wright and tweaked out by Scientist at King Tubby’s studio

Maybe more strictly one of dancehall’s greatest voices, Barrington Levy served ‘Bounty Life’ in 1979 - one of four albums that year - initiating one of the greatest catalogues of the era in the process. It shares classics ‘Shine Eye Gyal’ and ‘Shaolin Temple’ with the LPs of the same names, along with aces such as the title tune catching his distinctive flow in action, whereas ‘Moonlight Lover’ is a mango-sweet romantic anthem, and his version to Horace Andy’s ‘Skylarking’ brings the OG closer to the dancehall, where ‘Don’t Fuss or Fight’ signs off with a classic flourish.

Sons Of Jah were a vocal trio formed in Trenchtown, Jamaica, in 1976, led by the enigmatic Trevor Bow. This album -- originally released in 1980 and recorded at Treasure Isle Recording Studio -- assembles a fantastic cast of musicians: Negus Dawtas contribute superb backing vocals, Aston 'Family Man' Barret is on bass, Earl 'Chinna' Smith on guitar and the great Rico Rodriguez has the horns. Enlisting also a couple of mandatory instrumental tracks, The Sons of Jah delivered a majestic third album.

Fully remastered and licensed, limited to 500 copies. Reissued here for the first time, in an extended version, the only album by the British reggae band, originally released on Ball Record in 1978. One of the best kept secrets of the British reggae scene of the late 70‘s and mid 80’s who, with Steel Pulse, competed for the title of best reggae band in Birmingham. The album includes these eight tracks plus both sides of the band's final single and a couple of unreleased tracks.

Matthew McAnuff, son of the solitary roots singer Winston McAnuff, tragically lost his life in 2012. After his passing, the song “Be Careful” was released and sent shockwaves through reggae communities not only in Jamaica but around the world. Now, more than a decade later, this iconic track returns, revived with two previously unheard versions. Carrying the strength and sorrow inherited from his father, Matthew’s voice brims with conscious message and undeniable presence, affirming his brilliance as a torchbearer for a new generation. Alongside the original, newly unearthed alternate and dub mixes expand the depth of his expression, offering a fresh glimpse into his artistry. Though his life was heartbreakingly short, the few recordings he left behind still resonate with urgency—an essential reissue that preserves his legacy.

unification of techno and dub reggae. The long-awaited 2023 repress of the Rhythm & Sound catalog number 7, which was originally announced in 2002! A one-of-a-kind solitary acoustic space by Mark Ernestus & Moritz von Oswald's Basic Channel.

unification of techno and dub reggae. The long-awaited 2025 repress of the Rhythm & Sound catalog number 4, which was originally announced in 1999! A one-of-a-kind solitary acoustic space by Mark Ernestus & Moritz von Oswald's Basic Channel.

"As a man who can see far, I know one day Triston Palma style is gonna reach far, so I -- Man Jah Thomas, the music maker from Jamaica, take pleasure in presenting this show case to nice-up the place." Originally released in Jamaica, 1982. Rhythm tracks laid at Channel One Studio. Voiced and mixed at: Channel One and King Tubby's Studio, Kingston Jamaica. W.I. Bass: Errol (Flabba Holt); Drums: Style Scott; Engineer: Barnabas, King Tubby, Professor (10), Scientist; Guitar (Lead): Dwite, Sowell; Guitar (Rhythm): Bingy Bunny; Horns: D. Headly, D. Frazer, Nambo; Organ: Stelle, Winston Wright; Percussion: Sky Juice; Piano: G. Anderson; Producer: Nkrumah Jah Thomas; Toasting (Featuring): Jah Thomas.

Long-hidden dub recordings from Nick Barber, better known as Doof and celebrated as a pioneer of ’90s UK trance, finally see vinyl release via esteemed imprint Mysticisms. Spanning four tracks brimming with immediacy and raw energy, each piece was captured through live desk dubbing and on-the-fly improvisation. Title cut “Love Dub So” reworks Augustus Pablo’s classic riddim into a fusion of ambient drift and heavyweight bass pressure. The variations that follow—“Mantra,” “Skunked On Planet Dub,” and “Sticks And Stones”—stretch across dub house, trip-hop, and breakbeat, channeling the fervor of the UK underground at its peak. Mastered anew from the original tapes, this release encapsulates the true essence of dub where tradition and experiment collide.

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.

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

Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell. 

Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.” 

After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”. 

This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents. 

Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’. 

Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell’s music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.  

Deeeeeep from the Ariwa archives... all unreleased music on here. Sounding absolutely essential to us. Dates of production uknown at time of writing... The A Side is a Mad Professor produced version of Aisha's 'Give a Little Love', given the UK treatment. The Dub is a proper roller. Side B is the unheard African Message Dub (Parts 1& 2). Recordings ft Jah Shaka on bass, Norman Grant (Twinkle Brothers) on Drums, Sgt Pepper and Mad Professor on the desk. Masterful UK Dub from these key figures.... pulled out of nowhere.

Active between 1987 and 1997 out of Leeds, UK, cult unit Drug Free America was led by Brian Moss of Vicious Pink alongside the late Steve Dixon and Hayley Windsor. Their sound evolved from early industrial/techno roots into darker, post-punk-leaning experiments. Now arriving via Noir Age, this archival release draws from their 1995 CD Narcotica, including the sprawling title cut “Baby Doll and the Dolphin Burger.” Here, cyberdelic electronics collide with shadowed vocals across tracks that stand as strange, singular constructions. Capturing both the dreams and menace of the city, these recordings channel the heat of the UK underground into the present. Limited to 200 copies.

French synth-dub duo Froid Dub continue their blast of organic and digital material on this brand new 6-track album. Pushing the clash between synth wave and dub even further, the electronic beats of the TR-808 are more than ever engulfed in the slow motion vibes of the digi-bass echoes.French synth-dub duo Froid Dub continue their blast of organic and digital material on this brand new 6-track album. Pushing the clash between synth wave and dub even further, the electronic beats of the TR-808 are more than ever engulfed in the slow motion vibes of the digi-bass echoes.