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Cecil McBee’s debut album, Mutima, stands as a landmark achievement in 1970s jazz, blending the deeply introspective qualities of spiritual jazz with adventurous post-bop and avant-garde influences. Released in 1974 on the revered Strata-East label, the album highlights McBee’s virtuosic skill on the bass alongside his remarkable gift for crafting compositions that resonate with emotional and intellectual depth. Backed by a stellar ensemble featuring luminaries such as Dee Dee Bridgewater, Onaje Allan Gumbs, and Dom Salvador, Mutima – translated as “unseen forces” – unfolds as a vivid musical journey. The album’s intricate interplay and sweeping arrangements reveal McBee’s ability to unite diverse voices into a cohesive, transcendent statement. A cornerstone of 1970s jazz, Mutima solidifies Cecil McBee’s reputation as a trailblazer, channeling the spirit of innovation and collective artistry into a timeless recording. Now remastered from the original analog tapes, this iconic album is available in digital format for the first time, inviting listeners to rediscover its brilliance like never before!
Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation.
Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation.
Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form.
These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Each individual album contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it. An OBI wrapped “box set” of all five albums is available at a discounted price. The box set only contains one booklet.
Mot Aykerim (You Can’t Cheat Death) gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from previously unreleased songs re-discovered on master tapes. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.
One of many projects on Strata-East spearheaded by bassist, composer, and arranger Bill Lee (legendary director Spike Lee’s father), The Descendants of Mike and Phoebe’s only album, A Spirit Speaks, enlists Lee’s brother and sisters—Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead—to form a group named in tribute to their enslaved ancestors. Combining elements of jazz, gospel, soul, and blues, among other influences, A Spirit Speaks has become one of the most sought-after albums from the catalog. Now remastered from the original master tapes, this one-of-a-kind album can be experienced in digital formats for the first time.
Black Editions presents the expanded and definitive edition of White Heaven’s brilliant third album Next to Nothing. Originally released in 1994 by Tokyo’s Noon Disk, the full album was only ever available in a limited vinyl pressing of 250 copies. Since then, it has become one of the most sought-after artifacts of the 90’s Japanese underground and is regarded as a highpoint of Japanese psychedelic rock. Led by vocalist, songwriter and conceptualist You Ishihara, the album finds the group in a phase of refinement. Taking a more intricate and open approach, the music is buoyant and light yet at the same time, nocturnal and introspective. Next to Nothing marks the first time guitarists Michio Kurihara and Soichiro Nakamura appear together on record after having separate turns as lead guitar on the group’s first two albums. The pairing is revelatory as they weave luminous melodic lines, sometimes in parallel, sometimes opening into sustained intricate counterpoint. Bassist Koji Shimura and drummer Ken Ishihara shuffle and swing in parallel with a fluid, sinuous rhythm, while flourishes of synthesizer, mellotron and the introduction of Go Hirano on keyboards and piano deepens the group’s sound with orchestral colors and a soft cinematic haze. Across the album, clear, shimmering guitar tones and gentle chord progressions are layered with bright arpeggiated figures and darker minor-key passages. The songs develop through gradual changes in tone and dynamics as Ishihara's voice reveals a gentle yearning and wistfulness. An extended version of Burt Bacharach and Hal David’s “The Look of Love” serves as the album’s entrancing focal point; Stretching the song’s familiar lounge-pop swagger, the group renders it as a slow-burning, psychedelic meditation crackling with electricity as it drifts into the night. Available for the first time on vinyl in over 30 years and for the first time ever digitally (a truncated four song CD EP was also released in 1994). Remastered and expanded to include a second LP featuring three previously unreleased song versions cut at 45RPM. Presented in a heavy tip-on gatefold with metallic and ink pigment foil stamping, spot colors as well as a gatefold insert. House in a custom vellum wrap with a mirror metallic sticker seal. Lacquers cut by Kevin Gray at Cohearent Mastering, pressed at Record Technology Inc.
"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
On Timeless Records: From The Archives (1974–1991), Antal rethreads the Dutch label’s glory years into a double‑LP of modal and spiritual fire - from Pharoah Sanders to Art Blakey, Woody Shaw and beyond - built for dancers, diggers and late‑night headphones alike. Timeless Records: From The Archives (1974–1991) is the sound of a crate‑digging DJ kneeling at the altar of a jazz label that quietly documented a whole other history. Amsterdam selector and Rush Hour founder Antal has spent decades slipping Timeless sides into house and techno sets, letting modal vamps and spiritual climaxes light up dance floors that never thought of themselves as “jazz” rooms. Here he steps out of the booth and into the curator’s chair, assembling a double album that pulls prime cuts from the label’s classic era into a single, deeply personal narrative. Rather than a label sampler, this is a love letter: tracks chosen not for rarity points, but for the way they still crackle when dropped between drum machines and deep‑cut disco. The line‑up reads like a roll call of late‑20th‑century improvisational heft. Pharoah Sanders bookends the set, his tenor and spiritual gravitation field framing everything that happens in between. Art Blakey & The Jazz Messengers bring the hard‑swinging core, a reminder that Timeless never treated “modern” and “tradition” as enemies. There are burnished, road‑tested grooves from George Adams, modal fire and lyricism from Joanne Brackeen, and muscular, harmonically charged excursions by Woody Shaw in league with the Tone Jansa Quartet. Carter Jefferson and Gary Bartz carry the post‑Coltrane torch in their own ways, weaving horn lines that tug between horizontal melody and vertical harmonic exploration. On the rhythm‑section side, records by Ronnie Mathews Trio, Rodney Jones, John Lee & Gerry Brown feat. Gary Bartz, and Joe Gilman feat. Joe Henderson testify to how deeply Timeless believed in documenting working bands, not just studio one‑offs. For Antal, the compilation is as much about ethos as it is about individual tunes. Timeless, founded and run by the Wigt family, built its catalogue on a combination of obsessive listening and independent stubbornness: recording American heavyweights in Europe, investing in younger European talents, and giving space to sessions that didn’t quite fit US label expectations. That spirit resonates with Antal’s own path as a DJ and shop owner, continually making the case that “a great song is a great song, no matter when or where it was made.” In his hands, Timeless’s recordings cease to be archival artifacts and become active tools again - modules for sets, lenses for hearing contemporary music differently, invitations for new ears. Musically, the focus leans hard into modal and spiritual jazz, the zones where repetition, vamp and chant open up into something trance‑like. You can hear why these sides speak to a house‑raised selector: bass figures that roll for days, drum patterns that sit right in the pocket, themes that ascend slowly rather than peaking in a hurry. Yet the set also honours Timeless’s breadth, folding in more straight‑ahead swing, Latin undercurrents and tightly written heads that showcase the compositional muscle of the label’s artists. The sequencing moves with a DJ’s sense of flow rather than chronology, arcs of energy and colour that encourage you to play both records front to back instead of cherry‑picking the obvious names. Physically, From The Archives (1974–1991) arrives as an object worthy of the music it carries. Housed in a sturdy gatefold sleeve, it features liner notes by Antal himself, tracing his long relationship with the Timeless catalogue and sketching out why each inclusion matters to him. Dirk‑Jan Deckwitz’s artwork nods to classic jazz‑sleeve iconography without lapsing into retro cosplay, placing the compilation firmly in the present. A 50th‑anniversary Timeless Jazz sticker on the outer sleeve quietly reminds you that this is not just any reissue project, but part of a half‑century celebration of one of Europe’s most quietly important jazz labels. For collectors, the compilation functions as both map and doorway into a discography that can otherwise feel daunting. For selectors, it’s a crate within a crate: ready‑to‑go cuts that can slot into sets without losing their edge. For new explorers, it’s an introduction to a world where Pharoah Sanders, Art Blakey, Woody Shaw, Gary Bartz and their peers still sound shockingly contemporary. In bringing these recordings back into circulation with a dancer’s ear and a fan’s heart, Antal turns Timeless’s past into a living resource, confirming that this music was never meant to stay in the archives.
Recorded during that unique period in the late ‘60s when jazz, blues and rock musicians found common ground in London’s vibrant subterranean clubs, 1968s Definitely What! was the second of the run of the four ground-breaking Trinity albums. Showcasing Auger's open-minded approach and his masterful organ & piano skills, the album whips up a rich blend of jazz, R&B, psychedelic touches and soulful grooves, complemented by the tight, dynamic rhythm section of Dave Ambrose (bass) and Clive Thacker (drums).
After the previous year’s Open (1967) with its 'Summer of Love' feel and its melting pot of Mod R&B, cover versions of US soul hits led by Julie Driscoll’s inimitable vocals, Auger considered Definitely What! as his first solo album, and so he travelled deeper into jazz territory, balancing original pieces with audacious covers. Tracks include versions of Mose
Allison's 'If You Live' and of Wes Montgomery’s ‘Bumpin’ On Sunset’.
“I got a letter from Wes's wife,” recalls Auger, “saying that it was Wes' favourite version. Can you believe that, Wes's wife wrote to me!
Elsewhere, we find a dramatic re-arrangement of The Beatles’ ‘A Day In The Life’ complete with orchestral strings and a punchy horn section, alongside a supercharged version of Booker T & The MGs’ ‘Red Beans & Rice’.'George Bruno Money' was dedicated to Auger's drinking pal of the era, Zoot Money, and 'John Browns Body' both combine prime Hammond jazz with the very British surrealist humour that was in vogue at the time. The title track goes further “out” in a sprawling instrumental piece rooted in experimentation. Brian himself specifically states in his sleeve notes that his concept “lies along a straight line drawn between pop and jazz and aims at the 'fusion' of both elements” - ‘fusion’ at that time was not even a recognised musical term, further reinforcing Auger’s credentials as an innovator.
That forward-thinking approach was developed in Open and Definitely What! would come to fruition a year later with the release of Streetnoise (1969) featuring the Trinity and Julie Driscoll. At the time, the move to bring together jazz, rhythm & blues, folk, gospel and pop into a progressive new sound may have annoyed the purists and confused the less open- minded, but these albums stand today as a testament to Auger’s unique position within British music, foreshadowing his future 1970s explorations with the Oblivion Express and beyond. Definitely What! remains a fascinating snapshot of 1960s musical experimentation - raw, eclectic, and unapologetically Auger!
This new Strut reissue is curated by Impressive Collective’s Greg Boraman in partnership with Brian and Karma Auger. The album is remastered by Cosmic Audio from the original tapes, and is packaged in Brian's favourite version of the 3 different sleeves the album was originally issued in.
Joe Quarterman & Free Soul emerged from the local scene in Washington, D.C., releasing their only full‑length album on GSF Records in 1973.
Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over.
Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore.
It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.
A wonderful collection of early seventies recordings produced by Alton Ellis himself. High-impact reggae tunes with a great horn section. Alton Nehemiah Ellis OD (1 September 1938 – 10 October 2008) was a Jamaican singer-songwriter. One of the innovators of rocksteady, he was given the informal title "Godfather of Rocksteady". In 2006, he was inducted into the International Reggae And World Music Awards Hall Of Fame.
“A legendary live album released exclusively in Japan in 1972. No tricks, no compromise — Roy Ayers unsheathed, cutting straight to the essence of groove.
We take the same and start again A winter week at One Buck studio, 4 musicians. Ocman Dread and Ras Salam once again call on Jolly Joseph and Dr Charty to accompany them on guitar, bass, keyboards... The recordings of this session do not suggest the negative temperatures and the frost outside, the riddims are sunny and sound warm. Pinnacle Sound's 5th album is in the wake of the previous ones, roots that make you smile. Breath is life The rest takes place at the Bat Records studio. The Dub Shepherds refine these takes where breath and grain mingle, in search of the authenticity that has made Pinnacle Sound special since its beginnings. With the help of vintage machines and magnetic tapes, the album takes shape and begins to take shape. Many guests Another Pinnacle Sound trademark, numerous guests behind the microphone are present on this disc as on the previous ones. We find the essentials: Marcus I and Jolly Joseph, to which are added new voices, like Payoh SoulRebel who opens the album with the unequivocal “Downpressure”: we are here to have a good time! Big news on this album, the presence of female voices! The trio The Steadies delivers the brilliant “Thank You”, and Nina Murple signs the ballad “By The Train”. You will have understood, Pinnacle Sound unveils a rich and generous new album, 10 tracks from the most kitsch to the most profound, which will leave no one indifferent.
The raw, thunderous power of Charley Patton resounds once again in this essential second volume of Father of the Delta Blues: Selections from Paramount Recordings. These tracks capture Patton at his most urgent and unfiltered, delivering fierce slide guitar, hollered vocals, and lyrics steeped in mystery, defiance, and deep Mississippi soul. This volume continues the excavation of Patton’s singular legacy: part preacher, part trickster, part storyteller. Lovingly restored and remastered by Dave Gardner, Volume Two is not just a document of early blues—it's a glimpse into the roots of American music itself, where rhythm met rebellion and history was etched into shellac. Pressed on color vinyl exclusively for RSD Black Friday 2025.
Just as the hippie era came to an end in America, a second 60s was beginning. In what is now Zimbabwe, young people created a rock and roll counterculture that drew inspiration from hippie ideals and the sounds of Hendrix and Deep Purple. The kids in the scene called their music “heavy,” because they could feel its impact, and it resonated from Zambia to Nigeria. At its peak in the mid-70s, the heavy rock scene united tens of thousands of young progressives of all racial and social backgrounds. The country was called Rhodesia then, one of the last bastions of white rule in Africa, and heavy rockers defied segregation laws and secret police to make a stand for democratic change. Wells Fargo was at the forefront of the scene, and the title track of this album, Watch Out, was the anthem of the counterculture. This is the first time their music has been issued outside of Zimbabwe. Matthew Shechmeister tells the story of Wells Fargo drawing on interviews with the band’s remaining members and numerous trips to Zimbabwe to investigate the genesis of the heavy rock scene under Ian Smith’s oppressive government, and its dissipation after Zimbabwe’s liberation. Never-before-published photographs and rare ephemera color the vibrant era of which this band was part.
the first-ever reissue on studio mule of the debut album by japanese jazz legend and bassist yoshio ikeda. having performed with such illustrious figures as sadao watanabe, masabumi kikuchi, and terumasa hino, ikeda’s first album as a leader features pianist and vocalist ichiko hashimoto—also known for her involvement with yellow magic orchestra—berlin-based jazz pianist aki takase, and leading japanese drummer motohiko hino. avant-garde yet imbued with a distinctly japanese sense of melancholy, this is a work that resonates profoundly with the present moment. the gem “whispering weeds,” highlighted by thrilling piano and hashimoto’s evocative scat vocals, was also included on a compilation by bbe. remastered from the original master tapes by kuniyuki, the album has been revived with a richer, more lustrous sound in this definitive reissue.
Despite their Michigan roots, but with their hearts anchored in the golden age of 1970s German Krautrock, Fling ii celebrate the sound of that sensational season of experimentation. In the chords of the band dwell the typical motorik style of Neu, the percussive obsessions of Can, as much as the pulsing, hypnotic electronic textures of Cluster and Kraftwerk. The absolute protagonist of this adventure back in time is the legendary Boss Super Phaser PH-2, the dual-circuit modulation pedal that shines through the entire development of all the tracks; it's the main demiurge of deep resonances, of impulsive intergalactic excursions, of dust and mists in perpetual motion. The sound is as dreamy and cosmic as ever, revealing such instrumental rigour in which the strongly emotional blend of the original sources of inspiration finds a perfect balance between rhythm and dynamics.
ZZK Records Presents TORNA #1 - ‘Hermetics’
New York. London. Berlin. These places are often regarded as electronic music’s most important hubs, but anyone who’s been paying attention during the past few years knows that the genre’s most interesting contemporary rhythms are coming out of Latin America. Reggaeton, cumbia, guaracha, raptor house… that’s just a partial list, and while these sounds have been popping on Latin dancefloors for decades, they’re no longer a strictly regional concern. Ravers around the world have developed a taste for these mutant (and usually bass-heavy rhythms), and TORNA is here to give them what they crave.
A new offshoot of ZZK—a label which has been pushing the limits of Latin music since 2008—TORNA is a new release series that’s specifically focused on the dancefloor. Its name is inspired by the concept of “La Torna”, an economic institution developed by indigenous Atacama Lickan-Antay, Aymara and Diaguita peoples (in territories now occupied by Argentina, Bolivia and Chile) with the aim of working together for the common good, for the benefit of the whole community.
This new iteration of TORNA takes a similar approach, providing a platform for groundbreaking Latin artists whose view of electronic music looks beyond the usual European and North American canon. First up is Hermetics, a Buenos Aires-based Colombian producer who’s previously appeared on powerhouse labels such as R&S, Optimo Music and Multi Culti, and has also been tapped to remix the likes of Nicola Cruz and Chancha Vía Circuito.
Curated by ZZK co-founder DJ Nim, the two-track TORNA #1 puts Hermetics’ talents front and center, along with his penchant for psychedelic atmospheres and hybridized sounds. “El Cordón Dorado” (“The Golden Cord”) taps into an ancient current of ancestral knowledge, its hypnotic Andean flute and fortified dembow evoking the magic, mysticism and wisdom that’s been passed from one generation to the next over the course of several millennia. “Uruz”—which takes its name from the second rune of the Nordic alphabet—follows a harder, darker and more dramatic path, splicing together slow-motion techno and half-time drum & bass as it evokes the archetypal tale of an untamed warrior being tested by the fires of battle.
TORNA is rooted in Latin America, but it’s aimed at dancefloors around the globe, and this is just the beginning.
Alpenglühen starts 2026 with two close friends working together in the 11th one.
Atàvic is the collaborative project between Estrato Aurora and Absis, merging two distinct yet complementary approaches to electronic music. The project is rooted in texture, atmosphere, and subtle narrative, allowing sound to evolve organically and without excess.
They together bring a refined sense of space and detail, working with ambient layers, restrained rhythms, and melodic fragments that unfold slowly. Here is a 4 track release with a more tactile and material approach, focusing on timbre, resonance, and sonic density, blurring the line between abstraction and structure.
The alignment between Atàvic and the label lies in a shared appreciation for subtlety, patience, and sonic storytelling, where each release is conceived as a complete and meaningful statement.
With this reference, Atàvic contributes a work that resonates with alpenglühen’s aesthetic ethos while reinforcing the collaborative project’s own identity: music that invites close listening and reveals its nuances slowly.
If you’re looking for a peak-time, dancefloor-driven banger to keep you moving until sunrise, this is not that record.
But if you’re after a mind-blowing experience that challenges and expands your listening (and dancings), this one’s for you. Don’t overthink it.
![GA Posse - Talk Too Much / Vakarm [Ltd Screenprint Version] (12")](http://meditations.jp/cdn/shop/files/1009175590_{width}x.webp?v=1776058154)
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 !
For the 10th release on vinyl, HVS is extremely syked to welcome Dope On Plastic!! This is part ONE of a two part series of amiga tunes from dop & I, showcasing both of our styles within trackers. The reason for the series is in large part due to dop having just an insane amount of good music under their belt, as well as a really large range in style when it comes to hardcore/jungle. Admittedly it's also because I am notoriously slow to finish amiga/hardware tunes (EDITS) and I didn't wanna drag them along for a double LP or something crazy. I really appreciate them hanging with me. I first heard about them from Coco Bryce when he came to Seattle to play a basement rave a few years back. Funny enuff, dop hit me up about a week after that with some fresh tunes, and I was rinsing them non stop at every show I was playing! I thought the timing of that was really cool, and also learning they were in the states was a nice bonus, as there's not many of us out here in the US! Dop's tracks were made using the Protracker Clone (PT2) and mine were made using Octamed V4 on the A1200, all Amiga emulated/paula audio, no MIDI. These are xxxtra crunchy tunes, mastered by Simon to get loud in the rave! The A side tunes, while still absolutely tearin' are definitely some of dop's more lowkey pieces they've made, as they are known for making some seriously diabolical tunes (as can be heard on their EP on Future Retro). The B side tunes are a bit more aggressive for the dancefloor but that was just the mood I was in. The selection for part two will most likely be a 180 for both of our tunes to again, showcase the styles. So much respect going out to Kim Lilly for drawing up the art for the stickers on this one. The A side is hand stickered by me for bandcamp and by the distro for international. Each record also comes with a bonus “non-applied” sticker with a drawing of an A1200 and the release's tracklist/credits for you to put anywhere you like! Really huge love to dop for pumping out some of the most unique, quality and uncompromising 8bit & hardware Jungle tunes around. And I wanna thank them again for their patience on this. Please enjoy the record and look out for part TWO!
Emotional Response is delighted to present Aaron Coyes (Peaking Lights / Leisure Connection) new project, as Exotic Gardens. An additional music universe as his love of dub expands to include new wave, goth and acid psychedelics across 5 catchy, bass heavy songs.
While the continuing journey of his duo band, Peaking Lights, with his wife Indra, earns plaudits and fans alike, his early years as a one-man lysergic music polymath that saw his youth in punk and hardcore bands, expanded during a mid-90s burst of “living in San Francisco” creative expansion, devouring music, genres, and influences for life.
Started as a sub-project to Peaking Lights and his personal dub excursions, Exotic Gardens pollinates a rich tapestry. Recording through the pandemic in their then home in Amsterdam, before being archived, assembled, and completed following the move back ‘home’ to the West Coast, California.
Re-embracing that love of his inner goth, the analogue warmth is all there, now featuring Coyes’ dub-languidity of stripped drum machines, widescreen bass, haunting guitar lines and an almost idle voice to peddle true, raw songs.
Combined, the pop layer of hooks and tight grooves instantly catch you. Opener and EP title, Drugs & TV is the perfect anthem for the Exotic Gardens sound, before the “dubwave” of Last Of The Light and Tonite shimmer that yearning melancholy of youth.
In the almost 10 minute dub house opus Organize Your Movement an appreciation and understanding of the psychoactive properties of the Roland 303 and 909, they also hark to a love of Industrial / Noise bands, a lineage from the death pulse of his cult project Rahdunes through to Sound Design and Sound System culture to the pop-dub psychedelics with Indra, now melded here to include a dark assault, whispering invocations and pulsing pads.
To close, Turn It On is a roaming multi-genre evocation, an exotic end from this constant troubadour, cassette junkie, record dealer, sound system builder, always looking to get back on the road, to live to roam.
“I turn it on, you lose your mind’.
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.
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!