Reggae / Dub

Re-up of vital 1975-’77 dubs by the wee legend, cooked up long, strong and odd at his fabled Black Ark Studio for DJ play and dancers’ satisfaction. The 4th in a slew of cherry-picking Perry comps scrolls farthest back into his golden era of productions with six top drawer examples of his innovative tekkerz developed at the storied Black Ark Studio. Up top, his psychoacoustic magick is in effect on an hypnotic Upsetter special edit of Augustus Pablo’s melodica meditation ‘Vibrate On’ and 8 mins of gorgeous choral harmonies and toasting to ‘History’ by Carlton Jackson, and Perry with his crackshot band on the Rasta devotional ’Stay Dread / Kingdom of Dub’ edit. Down below, ‘Babylon Deh Pon Fire’ sets flames to the B-side along with Junior Murvin’s signature falsetto on the anti-gravity steppa ‘Tedious’, and Raphael Green’s ‘Rasta Train.’

Khadim is a stunning reconfiguration of the Ndagga Rhythm Force sound. The instrumentation is radically pared down. The guitar is gone; the concatenation of sabars; the drum-kit. Each of the four tracks hones in on just one or two drummers; otherwise the sole recorded element is the singing; everything else is programmed. Synths are dialogically locked into the drumming. Tellingly, Ernestus has reached for his beloved Prophet-5, a signature go-to since Basic Channel days, thirty years ago. Texturally, the sound is more dubwise; prickling with effects. There is a new spaciousness, announced at the start by the ambient sounds of Dakar street-life. At the microphone, Mbene Diatta Seck revels in this new openness: mbalax diva, she feelingly turns each of the four songs into a discrete dramatic episode, using different sets of rhetorical techniques. The music throughout is taut, grooving, complex, like before; but more volatile, intuitive and reaching, with turbulent emotional and spiritual expressivity.

Not that Khadim represents any kind of break. Its transformativeness is rooted in the hundreds upon hundreds of hours the Rhythm Force has played together. Nearly a decade has passed since Yermande, the unit’s previous album. Every year throughout that period — barring lockdowns — the group has toured extensively, in Europe, the US, and Japan. With improvisation at the core of its music-making, each performance has been evolutionary, as it turns out heading towards Khadim. “I didn’t want to simply continue with the same formula, says Ernestus. “I preferred to wait for a new approach. Playing live so many times, I wanted to capture some of the energy and freedom of those performances.” Though several members of the touring ensemble sit out this recording — sabar drummers, kit-drummer, synth-player — their presence abides in the structure and swing of the music here.

Lamp Fall is a homage to Cheikh Ibra Fall, founder of the Baye Fall spiritual community. The mosque in the city of Touba is known as Lamp Fall, because the main tower resembles a lantern. Soy duggu Touba, moom guey séen / When you enter Touba, he is the one who greets you. After a swift, incantatory start Mbene sings with reflective seriousness. Her voice swirls with reverb, over a tight, funky, propulsive interplay between synth and drums, threaded with one- two jabs of bass. Cheikh Ibra Fall mi may way, mo diayndiou ré, la mu jëndé ko taalibe… Cheikh Ibra Fall amo morome, aboridial / Cheikh Ibra Fall shows the way forward, he gives us strength, he gathers his disciples… Overflowing with grace, Cheikh Ibra Fall has no equal.

Interwoven with Wolof proverbs, Dieuw Bakhul is a recriminatory song about treachery, lies, and back-biting. Over moody, roiling synths and ominous, lean bass, Mbene throws out fluttering scraps of vocal, as if re-running old conversations in her head. The music shadows her despair to the verge of breakdown, at one moment seemingly so lost in thought and memories, that it threatens to disintegrate. Bayilene di wor seen xarit ak seen an da ndo… Dieuw bakhul, dieuw ñaw na / Stop judging your friends and companions… A lie is no good, a lie is ugly.

Khadim is a show-stopper; currently the centrepiece of Ndagga Rhythm Force live performances. The song is dedicated to Cheikh Ahmadou Bamba, aka Khadim, founder of the Mouride Sufi order. Serigne Bamba mi may wayeu / Serigne Bamba is the one who makes me sing. The verses name-check revered members of his family and brotherhood, like Sokhna Diarra, Mame Thierno, and Serigne Bara. Though Islam has been practised in Senegal for a millennium, it wasn’t until the start of the twentieth century that it began to thoroughly permeate ordinary Senegalese society, hand-in-hand with anti-colonialism. The verses here recall Bamba’s banishment by the French to Gabon, and later to Mauritania, in those foundational times. During exile, his captors once introduced a lion to his cell: gaïnde gua waf, dieba lu ci Cheikhoul Khadim / the lion doesn’t budge, it gives itself over to Cheikh Khadim. Deep, surging bass, steady kick-drum, and simple, reverbed chords on the off-beat lend the feel and impetus of steppers reggae. A reed plays snatches of a traditional Baye Fall melody; the dazzling polyrhythmic drumming is by Serigne Mamoune Seck. Mbene compellingly blends percussive vocalese, narrative suspense, exultant praise, introspection, and grievance.

Nimzat is a devotional tribute to Cheikh Sadbou, a contemporary of Bamba, buried in a mausoleum in Nizmat, in southern Mauritania. Way nala, kagne nala… souma danana fata dale / I call upon you and wonder about you… If I am overwhelmed, come to my aid. The town holds special significance for Khadr Sufism. An annual pilgrimage there is conducted to this day. The rhythm is buoyantly funky; the mood is sombre, reined-in, foreboding. Punctuated by peals of thunder, Mbene sings with restrained, intense reverence; huskily confidential, steadfast. Nanu dem ba Nimzat, dé ba sali khina / Let us go to Nimzat, to seal our devotion.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1993 by Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1993 by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2023.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1994 by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

After Differently (released in 2024), The Tighters (Roots Reggae) are back with a new showcase album: Lovely Love — a celebration of unity, spirituality, love, and freedom. Side A brings together the vocal versions, while Side B features the dubs. The album was mixed and dubbed by Roberto Sánchez at A-Lone Ark Muzik Studio (Spain) and mastered on tape by Dr Charty at Bat Records Studio (France). Recorded at Jah Jazz Studio with Julien “Yout” Barker, Lovely Love captures all the spontaneity and strength of the band. The album unfolds like a spiritual and emotional journey: from the meditative Countryside to the love song Lovely Love, and the radiant Worship the Sun. The high point comes with Africa Will Rise, a true freedom anthem performed by the legendary Jamaican duo Keith & Tex (on the Lovely Love riddim). After their acclaimed collaborations with Oku Onuora (Balance) and Jah Myhrakle (He is Haile) in 2025, The Tighters continue their path with this new opus, asserting their identity within the international reggae scene. A sincere album, blending rich musicality with a powerful, deeply relevant message.

Pilah started his carreer as guitarist in Kaly Live Dub, a band from Lyon, in 1995. Pioneer of the french dub, Kaly Live dub made a lot of international tours. He founded in 2000 the well known Dub Addict Sound System with the selector Nineteen Dub in 2000. This Collective gather other producers like Anti Bypass, Boudou, Roots Massacre, and singer like Joe Pilgrm and Learoy Green. They adapt studio mixing method to the live. Pilah mixes live his own productions and offer some rough sets of sharp reggae-dub, DIY manipulations, with voices of singers like Rod Taylor, Echo Minott or Shanti D. During his live sessions, he likes to snake up norms and standards, combining reggae sounds to corrosive dub and neat arrangements. He released his first production in 2005 with Dub Addict Sound Sytem for the S.O.U.N.D 12” serie. Since then, he collaborated with many labels, like Jarring Effect, Hammerbass or Sound Around. Today, he presents his new album O’CLOCK with Bat Records.

Green Arrow Sound System is the DUB sound system from Paris, organising underground parties all around the city and the country. Home-made SUB is the rule here. The label is directly from DUB Diggler, the manager of this project. Von D and Moresounds are the only ones pressing music on Green Arrow. We do not need to explain who they are ? Do we ? StayReo, the official Graphist of Green Arrow, is a major StreetArtist from Montreuil/Paris, as well as a great DJ and party provider This production is a true Underground Project from Paris defending Street & Sound System Cultures !

Smalltowndubz are back on the BCSM label. After their big ''My Garden'' EP and the great ''Way Of Dub'' tape, the austrian producer duo returns with a extra heavy 12“ vinyl release. The A Side comes with a deep and meditative cut featuring the unmistakable voice of Fikir Amlak. ''Never Get Burned'' is a roots-infused anthem built for sound systems, followed by a thundering dub version. Flip the record and things get mystical. ''Sitar Dub'' brings in Lance Hume on sitar, weaving hypnotic eastern melodies into a deep bass meditation – again paired with a powerful dubwise version. This one’s for the selectors and the steppers. Dub with pressure. Don’t sleep!

Seasons pass and recording sessions flow. Flow one after the other. With each new release Dub Shepards & Bat Records solidify their undisputable position as one of the leading production teams and suppliers of reggae music. From the outskirts of Clermont Ferrand, the Dub Shepherds quench the thirst of roots lovers and soundsystem selecters worldwide. With their authentic sound and their studio built in the tradition of the Jamaican forefathers that is stocked with razor sharp musicians, MCs and singers- they are always ready to go to work. Equipped with an exclusive approach to dub: Jolly Joseph and Doctor Charty have the ways and means to produce and share their own take on this music they love so deeply. Today they produce a handcrafted sound that is made-in-France. Paying tribute to reggae music's foundation stones. Their new project coming out in May 2025 is the culmination of several years of collaboration between Dub Shepherds and Junior Roy, a regular at BAT Records Studio and a key figure in the global soundsystem scene. This release is the French singer and MC's very first LP, entitled "Troddin On". After the successful release of a 12 Inch 45 in the summer of 2023, the Shepherds and Roy naturally began to ferment new ideas. The arrival of this LP on the turntables is both a milestone and a stepping stone towards the future of this union. As is customary with BAT Records the sound is warm, the basslines heavy and the riddims groove on solid rhythmic footing. "Troddin On" revives the feel of 80s and 70s Jamaican music. Behind the mic, Junior Roy navigates the highs and explores the sacred themes of the genre. His voice is vibrant, his emotionally charged lyrics soar, embracing instrumentals. Perfectly tailored to fit. This is roots music, this is reggae, no detours—each track is paired with its dub version, giving the project a traditional album showcase format. And when it comes to Dub, with the Dub Shepherds it’s all about "Hardmix"—no compromises, just great mastery!

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.

To celebrate 100 years of the Theremin, Gaudi has created an album of Theremin infused dub, with precious contribuitions by some of his friends and collaborators. Developed in 1920 by Russian physicist Léon Theremin, the Theremin is an electronic device which works with magnetic fields and consists of one metal antenna controlled without physical contact. Predominantly a fairly niche instrument, it has featured in several styles of music since its creation, from classical works to sci-fi movie soundtracks, pop and rock. Gaudi was supported in this tribute by five of the world's top dub producers - Mad Professor, Adrian Sherwood, The Scientist, Dennis Bovell and Prince Fatty. All hugely respected individuals who have been representing the best of international dub production for the last 50 years, they have provided the riddims that underpin Gaudi's Theremin playing on this astonishing project. As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. In his 30 year career he has worked with legends of the reggae and electronic music worlds including Steel Pulse, Lee "Scratch" Perry, Michael Rose, Horace Andy, Michael Franti, Zion Train, Maxi Priest, The Beat, Sizzla, Dub Pistols, Hollie Cook, Dub FX, Youth, The Orb, Simple Minds, Nusrat Fateh Ali Khan, Deep Forest, Trentemøller and Lamb. As a Theremin player for over 25 years, Gaudi has often combined his passion for the instrument and for reggae music, playing it on several of his albums, but until now he has never dedicated an entire release to it. Known and lauded for putting his "dub-take" on many musical genres, '100 Years of Theremin (The Dub Chapter)' is Gaudi's brainchild. Listening to this blissful out-of-body-experience of an album, where roots reggae meets the enigmatic and ethereal sounds of sci-fi, is a deep and pensive experience. Haunting and mellifluous melodies meets earthy, bassy grooves in an unlikely yet undeniably successful union.

This classic Jamaican party album was recorded in 1967on Duke “the Trojan” Reid’s Treasure Isle label. It sold well locally and saw a UK release where it was a hit on the hugely popular ska and soul scene. It pre-dates the reggae boom and defines the short-lived rocksteady era fusing down beat ska with doo-wop and angst-drenched soulful vocals. The Paragons, featuring the signature vocals of lead singer John Holt, have been compared to a laid-back Four Tops with a tinge of Beach Boys thrown in. Whatever your view there is certainly an R&B flavour in the vocal harmonies and it’s easy to see why this sought-after album is at the foundation of any Northern Soul or reggae collection. The soulfulness of The Paragons is no more apparent on Harry Belafonte’s classic ‘Island In The Sun’, ‘Happy-Go-Lucky Girl,’ ‘Only a Smile’ and their original feel-good recording of ‘The Tide Is High’ which became an international hit for Blondie in 1980. A fabulous rocksteady record underpinned by the super-tight session band Tommy McCook and The Supersonics.

The Seed You Sow… Dud Shepherds met Echo Minott in 2016 through the Dub Master Clash project, a concept of dub events which saw several dub producers “clash” against each other (Pilah, Fabasstone, Anti-Bypass, Roots Raid, Dub Shepherds) with a lot of remixes and hardmix. Echo Minott Officiated as Master Of Ceremony on several occasions, and a solid friendship was born between the Jamaican and the young producers from France. From these clashes of reverb and echo was born a maxi 12”, “This World is ina Mess”, engraving in wax the first collaboration between Dub Shepherds and Echo Minott. To be continued... …You Shall Reap Someday In 2023, Dr Charty goes to Jamaica with a bag full of fresh riddims, and is welcomed there by Echo Minott. Do you see the blackboard ? We will spare you here the photos of the trip, and let us only select the fruit of this musical encounter, five titles that make up Mango Tree - Showcase. Enjoy Music Lovers!

Gaudi’s Jazz Gone Dub is a masterclass in genre fusion, seamlessly blending the improvisational essence of jazz with the heavy atmospheric grooves of dub. Known for his eclectic approach to music production, Gaudi pushes the boundaries yet again, creating a sonic landscape that feels both nostalgic and refreshingly innovative.

Four years in the making, from the opening track it’s clear that Jazz Gone Dub is more than just a mashup of styles, it's a thoughtful exploration of the intersections between two rich musical traditions.

Gaudi’s multi-instrumental talents are on full display, and the presence of reggae royalty is palpable, courtesy of rootsy melodies from David Hinds (Steel Pulse), Jah Wobble’s iconic bass grooves, Ernest Ranglin’s intricate guitar lines and Sly & Robbie’s rhythmic genius.

Add Colin Edwin of Porcupine Tree, Sardinia’s Train to Roots band, Manu Chao collaborator Roy Paci, veteran guitarist Marcus Upbeat, Mr Woodnote and Tim Hutton’s brass work, Gavin Tate-Lovery’s sultry sax and flute, Horseman’s percussive flair plus Vlastur’s serious basslines, and the result is a rhythmic foundation that’s both solid and fluid, allowing the jazz elements to float freely above the dub undercurrents.

Despite this star-studded line-up, Gaudi remains the glue that holds this gem together: his production is meticulous yet organic, allowing each track to breathe and evolve naturally. The use of space, delays and reverb—a hallmark of dub music—is expertly handled, giving the album a dreamy, immersive quality. Tracks like Susceptible and Alabaster Moon showcase Gaudi’s ability to create mood and atmosphere without sacrificing melodic and rhythmic complexity.

In Jazz Gone Dub Gaudi has crafted an album that feels both timeless and forward-thinking, a celebration of musical synergy where the free-spirit of jazz meets the deep resonance of dub. Whether you’re a fan of either genre or simply appreciate masterful musicianship and innovative production, this album is a must-listen.

The earliest musical memories of young Prince Istari are of his mother beautifying the home with her piano playing. She would repeatedly play the tranquil pieces of Erik Satie. Skipping school and sitting in the sun, young Prince would listen to these catchy, calm compositions. In the first week of 2024, the older Prince Istari rediscovered himself and found a box containing his mother's old sheet music. He transferred them to his computer and began spinning dub versions from them. It became a tapestry. As his mother used to say: "To weave a net, one must first spin." The form of the pieces dictated the direction each would take. The heavy dub transforms here into a light weightiness until it dissolves into a pure piano piece accompanied by a synthesizer. However, the last piece is much older, from the time when Prince was still known as Istari Lasterfahrer. The ending includes a distorted recording of Huberta, Prince's mother, playing a Gnossienne by Satie. At the end, she turns the sheet music, and the record can be turned back to the beginning. In the essence of its material, this record rejects the Loudness War. The originality of the compositions guided the dub within their tracks, thereby imparting to each a form descriptive of its essence. record release of 200 copies, printed sleave, numbered.

Holy grail of US roots reggae released in 1979. Old-style tip-on sleeve replicating the original sleeve. More Relation started in 1977 in New York as a backup band for reggae artists such as Melodians, Larry Marshall, Carlton Coffee, and Ken Boothe, but soon they started crafting their own melodic & deep roots reggae. They released many now sought-after singles such as "The Light", "Solve Them" and one self-titled album.

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.

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.

Kanazawa Akiko, a leading singer in the folk music world celebrating her 50th anniversary, finally releases her killer tune fusing folk and reggae.

This track (“Akita Ondo ~ Akita Daikoku Mai” medley) was featured on the hugely successful album “HOUSE MIX 1” (released in 1991), produced by Soichi Terada, founder of FAR EAST RECORDINGS, a pioneer of Japanese dance music currently experiencing renewed appreciation overseas.

At the time of release, a non-commercial 7-inch record was created for promotional purposes based on an idea by Soichi Terada, who arranged the album. Now, a 7-inch single featuring the original arrangement by Soichi Terada is officially set for release, just like the original.

Bonjo Iyabinghi Noah is on vocal duties and assisted with ground-shaking grooves from On-U mainstays Doug Wimbish, Skip McDonald, and Jazzwad (amongst others). The resulting sound sculptures on this 2005 album are whipped into a dubwise frenzy by label head Adrian Sherwood. A great entry in the rich AHC back catalogue, and a fitting way to mark their return to the label.

This is a 1975 dub classic by King "The Dub Master" Tubby, the founder of technique dub and a craftsman who repaired sound system equipment in Jamaica.

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marcia Griffiths. It's reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

This is the legendary Byron Lee and his Dragonaires carrying the flag of Jamaican Ska and Calypso! First released in 1964 on Kentone label this fine album sees the so called Jamaica's no1 band offering their special mixture of caribbean flavoured sounds. The album consists of a string of hits enhanced by a bunch of Kingston's Top Ska Singers such as Stranger & Patsy, Eric "Monty" Morris, The Charmers, Keith & Ken, The Maytals, Roy And Yvonne.