Dub Vinyl 12 Inch 213 Items

In the Afro×jazz×global Bass scene, Galliano's Constantine Weir adds a new dimension. And incredibly, Congo Natty is joining as a producer. Featuring lyrics inspired by Islamic mysticism, accompanied by robust electronic bass music that floods the auditory senses. Constantine Weir initially signed with Acid Jazz Records, helmed by Gilles Peterson, and rose to prominence in the 1990s with the acid jazz group Galliano. He has also collaborated with S'Express, Paul Weller, Pressure Drop, Amy Winehouse, Outside, Ocean Colour Scene, Congo Natty, as well as contributed to works by Japanese artists such as United Future Organization (U.F.O) and Hirosi Kamayatsu.

Mysticism's Dubplate series has got a couple of great drops lined up at the moment and this is one of them - a boule pack from German digidub pioneers TVS aka Trance Vision Steppers. This was a project that never made it out of the studio but still cooked up some brilliant sounds, which in the case of this collection come from their earlier period between 1995 - 1999, all of which land on vinyl for the first time here. Fans of Adrian Sherwood, Dennis Bovell and Mad Professor will be head over heels of these dub delights - they are deep and atmospheric, with lush ambient pads, downtempo vocals and stoner synths next to more twisted rhythms.

The first in a series of mini compilations exploring instrumental Dub versions of sought after and long out of print titles from the world of Reggae, Disco, Boogie and House. Many of these versions still contain vocals, snippets here and there drenched in delay or reverb, a style you’ll recognise from many of the Jura Soundsystem edits on the label. The late Glen Adams & Finesse open proceedings with their Island Disco cover of Marvin Gaye’s classic, followed on the A2 by a super rare UK Boogie/Brit Funk mix of Tippa Irie’s ‘Panic Panic’ (shouts to Tippa for personally helping to push through the license) and the A side closes with the 80’s leaning ‘Yes I Do’ from Belgium’s Special Occasion. The first half of the B side comes from Carol Williams with the Special Club Dub mix of ‘Can’t Get Away’, originally a one sided promo only 10” from 1983 complete with spoken word intro from Carol thanking New York’s Metro DJs for their support of the song. The LP closes with a Jura Soundsystem Dubby Edit of La Palace De Beaute’s ‘Sin’ pulling back on the vocal and going heavy on the delay.

Pressed on 180g Heavyweight Vinyl.

Welcome to ‘Instrumental Dubs #2’, a deep dive into the world of the Dub version and beyond. The A side has a distinct boogie feel, starting slow with a George Kerr produced cut from 1984 followed by a Brit Funk-esq instrumental from Harold Melvin & the Bluenotes originally released on the Philly World label (home to ‘Voice of Q’). The B side closes with the ‘Sweeter’ instrumental mix of Boogie bomb ‘Loving Sweet Devotion’ by Idiater Edwards.

The B side opens with ‘h2s04’ from Mad Professor that defies categorisation, sitting somewhere between Electro, Disco and Dub. Last but by no means least there’s an uptempo Dub mix of Original Rockers ‘Push Push’ making its first appearance on Vinyl having only been on the CD single release first time around.

Limited edition of 750 individually numbered copies on gold & black marbled 180-gram audiophile vinyl. The British shoegaze band Chapterhouse released two albums during their existence, Whirlpool (1991) and Blood Music (1993). Blood Music spawned the single "We Are The Beautiful", which was released during that same year and also appeared as a 12".

Released in 2017, the much-talked-about Yasuyuki Horigome & THE NEW Shoes "Aliens (Lovers Version) (12")" will be re-released by Urban Discos in limited quantities! The flip side features a dub version of the song, as on the first pressing. It was re-cut from the original master and retains the 12" 45rpm spec.

After the recent Experiments re-issue with 90's off-style unclassifiable tracks composed by the legendary Dub producer - The Disciples - Androo (NS Kroo) sets out to re-create and freely adapt this material. The fact that Sound Metaphors chose Androo to re-construct these works in to new material is not random. Androo has been producing Dub since he was a teenager but he quickly turned to all kinds of musical experiences, mixing styles and influences. Once past the intimidation of working with material from one of his favorite and revered producers, Androo tried to pay homage to the free spirit that this Disciples album contains. Between reference and irreverence, the album is woven with a playful, DIY, and also serious weave. As you listen, a sometimes very harmonious and controlled landscape takes shape, then suddenly steep slopes and raw ridges appear. Almost like an art of sound drawing. A line in permanent oscillation between supposedly antagonistic registers. Danceable pieces cut for dancefloor brush against strange, problematic, and voluntarily irrecoverable elements. Consensual pop chords rub shoulders with sizzling blurred contours and sounds that are sometimes too loud. 4/4 rhythms get jackhammered out of the tempo with opulent delay effects. The “Dubmix” is here, constantly at work. It is, above all, an art of the hands, fingers handling the console which from then on becomes an instrument in its own right - for Androo Dub is experimental music.

Dub, the breaking down and rebuilding of the reggae rhythm, is a uniquely restorative music. And it is with this in mind, that Mungo’s Hi Fi have created their latest long-playing release. Antidote is a ten-track album of dub remixes to existing and yet to be released Mungo’s produced anthems: inspired by dub pioneers such as King Tubby, Scientist and Errol Thompson, crafted with a futuristic edge. This is an album designed for inner reflection, non-physical travel and communion with nature. In short, it’s an Antidote to all the stress and restriction of modern life.

At long last, in proper quality and officially licensed, here's a pair of records long worked at, historically important, largely unheard, and most of all, musically brilliant. Above all, the dub mixes on these records are known among connoisseurs as being among a handful which can not only be considered a definitive King Tubby's style statement, but also among the most radical, transformative and forward thinking mixes ever committed to tape by the King himself. This is proper King Tubby's music; Tubby the man, not just Tubby's the studio. These two 12"s represent most of the known cuts of this brilliant rhythm, played by the Wailers' Barrett brothers, alongside Earl Chinna Smith, Augustus Pablo and Gladdy Anderson, all together truly a rhythmic force to be reckoned with. "Message from the Congo" and "God Is Love" are two vocals cuts produced via the mid 1970's partnership of Milton "Billy Hutch" Hutchinson and the late Linton "Bob Soul" Williamson. Together these upstart artist-producers operated from a base of operations on King St. in downtown Kingston, nothing short of a historic location that was both concurrent with and adjacent to both the Wailers own record shop and Channel 1's first pressing plant.

With the Barrett brothers at the helm of the session, the rhythm was laid at Randy's studio with Errol Thompson as engineeer, then brought to Tubby for voicing and mixing. "Message from the Congo" finds Bob Soul & The United Stars chanting a message of rastafari over the propulsive uptempo rhythm driven by the late Carly Barrett's masterful drumming. The harmonizers in the "United Stars" as they are dubbed on this record, were actually members of both the Righteous Flames and Rocking Horses vocal groups. The dub mix, "Congo Dread Chapter 1", is actually worthy of the type of genre cross-referencing hyperbole I normally decry in music writing. In hindsight we find in this track, Tubby prefiguring not only the remix and the 'edit', but also the frantic yet orchestrated chaos of a lot of the complex electronic dance music that would being to come into its own a full decade later. To try and describe the magic herein would be pointless, you must simply listen to Tubby deconstruct and reconstruct the rhythm using a melange of his now famous tools and techniques to devastating effect. Indeed, it is tracks like this one which made the man himself and those very techniques now so famous. These two tracks were originally released in Jamaica on both the Gemini and Danger Zone labels (in identical mixes). On the flip side of this first 12" we find Billy Hutch's little known vocal on the rhythm, entitled "Ten Long Years." The soulful vocal finds Bill in top form, and this track was originally released on Bill's very first album "Reggae Showcase", released only in NYC and extremely tough to track down. Rounding out the 12" is a real treat, a previously unreleased different take of "Message from the Congo", with different harmonies, and a background voice telling you "this is a message…", bringing the title of the song sharply into focus.

Jahlin, whose real name is Colin Pitter, was born in Clarendon, Jamaica and moved to Canada in 1975 for his education. He graduated from high school majoring in welding in 1979 and began working as a welder in Toronto while pursuing his musical career. In 1980, Jahlin joined the reggae band Joshua on the recommendation of a fellow musician, Gregory Frank. Later, he recorded his first single "Roots Reality" under his own label, Black Echo. Jahlin's "Roots Reality" is a roots reggae song that was originally released on the Roots Reality label in 1983. Overall, "Roots Reality" is a powerful roots reggae song that showcases Jahlin's talent as a singer and songwriter, as well as his commitment to spreading messages through his music. Its particularity is the addition of violin which is rarely heard in roots reggae music.

Synth lovers rock at its best! Jamaican born and New-York based, Laury Webb is a singer, musician, producer, actor, former model and writer. He's been called both the Opera Dread and the Frank Sinatra of Reggae. Laury's musical career began with a role as keyboardist and later backing vocalist with the reggae vocal group The Meditations (with whom he continues to perform). Laury Webb posses a unique and eclectic vocal style. He has performed at some of New York city's premier musical venues, including Lincoln Center's Alice Tully Hall, The Village Gate, S.O.B.'s, The Ritz, The Lion's Den, Joe's Pub, Leopard Lounge, Kenny's Castaway, Central Park Summer Stage, The Baggot Inn and The Brooklyn Bowl. After enjoying years of being a back-up musician, Laury launched a solo career with his Tigerbone Band. During that period he recorded and releases singles "Woman My Queen" and "It Seems The Same". He was fresh out of college and touring with The Meditations, when he purchased a small organ for his girlfriend/mother of his two children for Christmas. By the time her birthday came around he was so broke and could not afford to purchase a birthday present for her so he gave her a writing pad and pen and told her to write down whatever came out of her mouth, and he sat at the keyboard and began playing and singing. “Woman My Queen”, was the result. “It Seems The Same” was begun in America but I did not finish writing it till the music was recorded. My cousin, Barry Biggs, worked with me on this one. We both sang on the backing tracks.

The one arm keyboard luminary is well known in the entertainment circle of Western Jamaica. Born on the 2nd of March 1954, the accomplished singer and musician hails from Hayes, Clarendon. In 1969 he went to live in Kingston until 1973. Ancel's first effort in a recording studio was inside the popular Randy's in downtown Kingston. He did a single called 'Riding On' on the Musical Barber label out of Mandeville. In 1977 he joined a group called Solid Foundation and stayed with them for two years. After that he moved to Montego Bay to sing with Stamma and the Sounds of Mobay, with who he appeared on Reggae Sunsplash festival in 1980. Johnny made the move for the United States in 1982, and formed his first own band 'Uprisers' in Pittsburgh city. One of the things he likes to talk about is how he once reunited the famed Clarendonians with Peter Austin and Ernest Wilson. Both pioneer icons were at irreconcilable odds with each other for quite some time. When he came back to Jamaica in 1985, he invited Ernest Wilson to do back-up vocals for him. For the same studio session, he also invited Peter Austin for the same back-up duties, and that was how the reunion came about. Inside famous Aquarius studio, there was Burning Spear's personal Band called Burning. The songs recorded there were 'Moving Out' and 'True Love' with top musicians : Tony Green on the saxophone, Bobby Ellis on the trumpet, Dwight Pinkney on the guitar, Calvin on percussion, Nelson Miller on the drums and Maurice Gordon on bass. This was not the first time Ancel was working with Peter Austin. When the split came in the ranks of the Clarendonians, Ancel was asked to fill the breach. He thus teamed up with Peter Austin and their first single together was entitled 'Out Of Sight'. They later entered the annual Jamaica Festival Song competition in 1975. Their entry was entitled 'Paradise On Earth' which Ancel said was quite popular. However, it was not popular enough to prevent the late Roman Stewart from copping the award with 'Hooray Festival'. After the release of 'Moving Out', Johnny moved to Miami and continued his career as a solo artist, singing with different local bands. He did a number of singles, notably were 'Faith, Patience and Love' and 'Stand Back' for a producer called Jolly in Miami. In 1988 Powell formed his second band Benja, a band which gained increasing popularity in the time in South Florida. They have performed on several festivals, played in most major clubs and were a big success in Andros Island in the Bahamas for an audience who not necessarily consider Reggae their prime choice of music. The saddest part of his life was when he lost his left hand to what doctors termed as a cancerous situation in 1977. This did not, however, stop him from learning how to play keyboards. Initially he was taught by the late Bobby Vaugh in Montego Bay and also got further teaching from jamaican saxophinist Reuben Alexander. Now approaching 70 years old, Ancel is still very active in his music. In previous years he performed at the Marcus Garvey Celebration and is currently working with the “Synergy Band” at Royalton Hotel in Negril under the stage name “Ancel P.” Let the one arm keyboard luminary life and music live eternally !

Record Store Day 2021 Drop 2 release limited to 7000 copies worldwide. This 12” features two reggae remixes each of “Jokerman” and “I And I” by Doctor Dread. The original versions of both tracks appeared on Dylan’s ‘Infidels’ album with Sly & Robbie as the rhythm section. The two “I And I” remixes were previously released on ‘Is It Rolling Bob: A Reggae Tribute To Bob Dylan’ (2003) while the ‘Jokerman’ remixes are newly commissioned and previously unreleased. Doctor Dread has worked withBob Marley, Black Uhuru, Jimmy Cliff, Inner Circle, Gregory Isaacs, Luciano, Mad Cobra, Freddy Mcgregor, Sly and Robbie, Steel Pulse, The Wailers and many others.

Really cool dubbed out electronics meet Haitian folk rhythms. This is a precursor to a new album next year and follows from their Vodou Alé album released in 2020.

Thompson Sound & Dubquake Records team up to offer modernised O.B.F versions of iconic roots and rubadub tracks from the last century. First released on the Jamaican singer and producer Linval Thompson's label, these tracks from the 70s and 80s have been reworked by Rico O.B.F himself. Each upcoming 12” will include a version with the original vocal, a dub version and a dub- poetry version by Nazamba.

After the release of "Curfew", here comes the second EP of this collaborative series: a fresh version of "Sensimelea" by the great Barrington Levy! A true anthem recorded in the early 80's at the legendary Channel One studios, first released on seminal album "Poorman Style" by a talented young Barrington Levy, then promised to a great career.

On "The Herbs" Rico O.B.F's late musical accomplice Nazamba rides along Barrington's vocals, adding his heartfelt

Dragon Dance is the third release by Twin Cities Sound System duo, Feel Free Hi Fi following the Prophet Noir EP and a split 12” with Kingston's Equiknoxx in 2021. Dragon Dance's instrumentals pick up where Prophet Noir left off. The dark dystopian industrialism of Prophet Noir remains present in Dragon Dance but in lieu of a dancehall influenced approach, Dragon Dance leans into the duo's love of foundation UK steppers and dub history. The blend of deep and subtle textures create tracks that are both heavy and minimal. Dragon Dance is another glimpse into Feel Free Hi Fi's uneasily defined musical vision.

The records come in double sided silkscreen printed DJ jackets, with Obi Strip style stickers and hand stamped white labels created and printed by Digital Sting.

DJ Sotofett remakes of the debut LP (Content To Write In I Dine Weathercraft, 1983) from Irish post-punk producer Stano. A whole load of styles on this one. TIP!

How this record came about has been lost a bit to the midst of (recent) time, back in 2018 when we repressed "Content to Write in I Dine Weathercraft" the 1983 debut LP of one of Ireland's more enigmatic musical characters - we slid it the way of the versatile Norwegian polymath who suggested a remix, which quickly became two and soon ended up a full suite. We put it aside for a bit, became a bit longer, then the artwork - pieced together by the Sex Tags boss himself cutting up features from Irish fanzine Vox - and the general lag of production in the post covid world and here we are the guts of 5 years later!

A member of the legendary punk / post-punk group The Threat which disbanded after lead singer Maurice Foley disappeared to join the Hare Krishnas, Stano set up his outsider stall early on. The Threat had Stano on synths, one of the first female bassists in Deirdre Creed and their debut single was produced by progressive trad musician Donal Lunny of Planxty. His solo career of improvised electronic music continued in this vein of the unexpected – sitting outside both the country’s mainstream and alternative rock scenes. Eschewing both live performance and the spotlight for studio collaborations for this LP he worked with a number of Irish musicians - Roger Doyle, Daniel Figgis and of course Michael O Shea.

This remix pack kicks off with the drum machine exotica funk of "Room" and runs the gamut of 80's pop experimentation via the new wave dream pop of "Emma Wild", dubbing out the haunted house vibes of "Seance of Klondalike", adding some menace to the gothic feel of "Melting Grey", stretching "Out of the Dark, Into the Dawn" into a skrangled baleric dubby house jam and closing it out adding a hypnotic repetitive punch to O'Shea's beautiful timeless playing on "A Dead Rose".

"Just when you thought it was safe to go back in the bassbins, Mysticisms brings the latest in its Dubplate series. After the success of his first digital dubb excursions on the version, Persian returns with a second 10” of reggae inspired electronics, covering Bass, Breaks, Digidub and now also, Jungle. Taking no prisoners with the massive opener Survival Dub, Persian marries classic breakbeats and toasting to bouncing, dance floor effect. THE party starter. This is followed by Smoke Mari, a looping steppas of FX and breaks to lay down the Dubplate clash. As ever the link between rave, breaks and sound system culture is explored, this time with the Roots’n’Lovers opening of There Is No Love giving way to a Junglist drop, before risin’ to a beautiful soul sermon. Finally, taking it all down, tings wrap with the deep, sampledelic dub of Zatoichi’s Troubles. With a bass to destroy many a speaker, it’s lanquidity morphs from the EP’s hedonism of sound clash styles to a gliding “tokers delight”. Smoke the Mystery. "

The Three Lives return with Across & Beyond, a 5 track EP taking their digi-dub explorations to unexpected dimensions.

Two Killer Roots tunes with extended mixes.

Limited Edition taken from the master tapes.

This is it. Poly dance theatre 006 arrives. Fresh arrival. For the 6th Poly Dance Theatre release, androo has decided to release exclusive dubplates from NS Kroo sound system (androo & baba). Yes. 2 tracks from the smoky, always intense and sometimes very special sessions of the NS Kroo sound system over the last 10 years. Exxxperienceee. Wave Dub style is a blend of synth wave, dub stepper and club elements. A side: Fast Dub, tribute to Kitachi, (Iration steppas). Indeed, NS Kroo didn't wait for the recent re-issues to play Kitachi tracks, and has been inspired by this vibe from the outset. Club meets Dub! Fast Dub is trance, it's raw, it's sporty, it's for the legs, it's good support (aducteurs), it's for nimble feet, it's a book whose last sentence ends on the first, it's repetition, it's different style, it's dance, it's wild, it's club rhythm, it's baba operator, it's androo selector, it's sound system vibes, it's NS Kroo in 2019, it's a discreet, slightly punkish non-chalance, it's distortion, it's "we don't give a fuck about codes", it's that and lots of other things... B side: Wave Dub Style Is Back. It's all in the title. This track is probably from 2014? Wave dub... A mix of new wave/synth pop and dub, with a club mix feel. Again, trance music, the kind you play when the night never ends to end, an epic end-of-session odyssey. Soft and strange synth with strong 808 rhythm. 2 mixes. 1st mix: pop synth experience. 2nd mix: raw trance club mix. Wave Dub Style Is Back was remastered by androo in 2023 with the support of poly dance theatre compagnie.

Wade "Jimmy" Dyce was an original member of Cultural Roots. He was a vocalist and played a key role in shaping the sound of the group. Cultural Roots emerged as a four-part harmony group for producer Donovan Germain in the late 1970s, releasing « Revolutionary Sounds » and « Mr Bossman » which counts among ‘Jah Shaka's favourite tunes’. Then they released « Hell A Go Pop », one of the Greensleeves label’s lesser-known classics. In the early 80's, Wade Dyce produced alone three songs at Chris Stanley's famous Music Mountain studio. Wade Dayce surrounds himself with the best musicians of the time, namely the Revolutionaries, but does not remember the exact formation apart from Sly Dunbar on drums and Bongo Herman on percussion. « Humble », « Money Mare » and « Hide & Seek » are three forgotten songs that can be described as killer roots from the middle of the 80s and which you can (re)discover again through this reissue on the original Moving On label. For this release, Jamwax worked with Parade Studio for this original and unique Disco 45 cover graphic creation. Today, Wade, now sixty-seven years old, is living in Salem, Massachusetts, where he graduated in 2010 as a mental-health specialist. Long live to the Cultural Roots !

The Truth and Vibes label is back with its highly anticipated second vinyl release, and this time, we’re pulling out all the stops to bring you a diverse lineup of both fresh faces and familiar talents who have already graced our previous release. Our journey begins with the talented producer and our good friend, Bukkha, hailing from Spain. A notable figure on the dub scene, Bukkha has been invited to play at Dub der guten Hoffnung in Graz already twice, solidifying our productive creative relationship. The genesis of this release traces back to a track known as “Jah Praise”, which we’ve cherished as a dubplate for many years. As the years rolled on, an exciting development took place when our brethren, Joyful Lion, contributed a mesmerizing saxophone performance. It was at this moment that we knew this track deserved to see the light of day as a full release. The creative journey didn’t stop there. We embarked on a quest to infuse this already captivating tune with even more depth and soul. Enter the remarkable singer Galas, who lent his powerful voice to the project, introducing a theme of “Repatriation” that resonated deeply with our vibes. But we weren’t finished yet. To complement the rich lyrics, we sought the talents of our friend Vale from Berlin, known for his exceptional horn skills. The harmonious melodies he crafted were so captivating that we couldn’t resist asking him to contribute some solo sections, resulting in a full horns version of the track. With all the pieces falling into place, we entrusted the track to Matt from Pressure Mastering, who added the final touches to bring out its true essence. As always, we’ve teamed up with Austro Vinyl, nestled in the green heart of Austria, to deliver a high-quality pressing on heavy 180g vinyl. The release comes adorned with full cover artwork, ensuring that the visual experience matches the sonic journey.

Wade "Jimmy" Dyce was an original member of Cultural Roots. He was a vocalist and played a key role in shaping the sound of the group. Cultural Roots emerged as a four-part harmony group for producer Donovan Germain in the late 1970s, releasing « Revolutionary Sounds » and « Mr Bossman » which counts among ‘Jah Shaka's favourite tunes’. Then they released « Hell A Go Pop », one of the Greensleeves label’s lesser-known classics. In the early 80's, Wade Dyce produced alone three songs at Chris Stanley's famous Music Mountain studio. Wade Dayce surrounds himself with the best musicians of the time, namely the Revolutionaries, but does not remember the exact formation apart from Sly Dunbar on drums and Bongo Herman on percussion. « Humble », « Money Mare » and « Hide & Seek » are three forgotten songs that can be described as killer roots from the middle of the 80s and which you can (re)discover again through this reissue on the original Moving On label. For this release, Jamwax worked with Parade Studio for this original and unique Disco 45 cover graphic creation. Today, Wade, now sixty-seven years old, is living in Salem, Massachusetts, where he graduated in 2010 as a mental-health specialist. Long live to the Cultural Roots !

A stunning cover version of Errol Dunkley’s ‘Movie Star’ originally released on Brooklyn label Witty in 1987. Produced by Paul Beecher, the 707 drums are phat & crisp and the keys shine brightly in the mix to complement the incredibly soulful vocal from Melody Beecher. Backed with Dub Version and an extended 12” mix, housed in a sky blue and red IOJ Island Disco sleeve with sticker designed by Bradley Pinkerton.

Shakaman on the drums, is all the credits you will find on this solo release of his, previously unreleased material he recorded deep in the unknown of his home studio. A pure honesty is expressed in the rawness of the recordings. Bypassing most conventions, “Coronation Binghi” is just drums and vocals pumped through time-travel inducing delays bringing you unprecedented levels of low end – highly percussive yet beautifully minimalist. “Chain Reaction” features a vocal and instrumental version with multi instrumental presence featuring bass lines, guitars and synths over Shakaman's iconic unprocessed drumming patterns.

Oregon sextet Elite Beat continue their dubwise world-groove mission with a two track 12" of what sounds like organic, in the moment live takes with an intro count to boot. Layers of psychedelic sax and drums ebb and flow alongside heavy low end, building on their compilation of 'healing and hypnosis' inspired jams Selected Rhythms Vol. 2. Despite being based across the ocean, big Jah Shaka dance vibrations occupy the A-side with a steady house tempo combining with the woodwind across ten minutes of proper body music. The slower, introspective approach to side B takes in elements of post-rock with flourishes of electric guitar yet grounds itself in the dub mentality through pulsing sub-bass and swirling synth work. The wide-reaching bed of influences present in Portland's bands, shops and labels shows itself time again in Elite Beat's work, evident through recent collaborations with Mdou Moctar and past outings here at Research.

"Double releases are a tradition in the house of Krachladen Records, the home of the new Sublabel Krachladen DUB. The 12" split EP „Dub Rosin Vol. 01“ will be released at the same time with 4x 7“ vinyl release „normal dub“ from a rocket in dub. The Dub Rosin EP opens a series of split EPs and compilations, which are reserved exclusively for DUB musicians and will be released 2-4 times a year at irregular intervals. On Dub Rosin Vol. 01, A and B side will be shared by the Düsseldorf IDM masters Graph with two and a rocket in dub with three previously unreleased tracks. For 15 years the Düsseldorf IDM duo Graph (Stefan Jürke & Jens Beyer) has been engaged in the search for sounds beyond trends within electronic music. They experiment with sound and rhythmic structures that are constructed and deconstructed with the help of digital and analog tools. They constantly contrast the precision of digital music tools with improvised textures, surfaces and "beats", thus creating extraordinary and always danceable soundscapes. For Dub Rosin Vol. 01, Graph have provided two brutal but at the same time very peaceful and atmospheric tracks in which they experiment with Dub elements in a refreshing way and remain true to themselves despite all innovations. Deep and deepest subbasses fly around your ears, embedded in a trippy and organic soundspace. The three tracks of "a rocket in dub" form a kind of bridge between the old and the new tracks (if music could talk, italic 32 vers. normal dub, KLD 001). Themes and harmonic schemes of the old tracks are reworked to versions, provided with new drums and percussion and thus updated. The tempo is a bit slower, but the hypnotic effect of repetition is still the main focus. The third short track was created as a friendly homage to Düsseldorf (for F.S.), a hint of a theme."

“This is one of the big bad dub album of the 1990's and have been off the shop shelves for over 20 years.”

Mysticisms' Dubplate series is back once again, this time with Nick Barber aka Doof at the helm. He was a 90s trance icon who here serves up some tunes that have previously only been available digitally. They were all recorded to tape and remixed and live dubbed on the desk so have an authentic feel to the melon twisting sounds. There are plenty of psychedelic twists and turns to the wispy synth leads and snaking hits here, all with heavy and cavernous low ends and plenty of future facing ideas. Each one is sure to set the dancefloor alight when dropped at the right moment.

1 december 1944, Thiaroye military camp, right outside of Dakar, Senegal. 1600 French soldiers of West African origin (Benin, Mali, Ivory Coast, Tchad, Senegal , Gabon, Togo etc.) have been quickly evacuated by the French Army during what was subsequentially called the ‘whitening of the colonial troops’ that happened before the armistice signature. The soldiers are awaiting to be paid for their war effort. Things go sideways, protests erupt, and the French military staff decides to open fire. The official number of casualties is 35, although various sources claim several hundred people died on that fatal day. Since then, several artists have grasped that difficult topic, screaming for recognition and reparation. Such is the case with a young Senegalese musician and singer named Maxidilick Adioa, with his very first single ever released, ‘Toubab Bile’, in 1987. At that time, Adioa had been living in France for a few years. He was considered a master percussionist, playing, recording and touring alongside the great Ivorian artist Alpha Blondy. He had just written a beautiful tune, ‘Nao’, for Aminata Fall, one of the biggest actress and singers in Senegal. It seemed like a good time to launch his solo career. Toubab Bilé remains Adioa’s biggest hit to this day, and one of the best African reggae tune ever recorded. Adioa ended up signing an album deal with Chris Blackwell’s Island records and toured the world endlessly during the following years. In 2012, François Hollande was the first French President to officially mention and pay tribute to the Thiaroye massacre in a speech.

Missed out on first pressing - waiting on repress

The definition of deep roots, here are a pair of almost never before heard tracks from the mythical Creole.

The A-side "Fishers of Man" is an extended mix, while the B-side "Walls of Jericho" is a vocal cut followed by a synth added version retrieved from dubplate. The vocal cuts are the band's personal rough mixes, which thankfully survived to now be heard. These tracks were meant for an LP that never materialized

* Rare cuts from the vaults of Nick Manasseh and Jeremy The Equalizer in the shape of `The Next Step’ and `Next Dub’, dating from 1998, backed with `The Ark’ and `Conspiracy Dub’, alongside The Equalizer on production duties, with two tracks dating from the early 90’s.

* All these tunes are tried and tested sound system classics and appear on vinyl for the first time.

Drawing inspiration from the depths of late 70’s NYC proto-rap disco instrumentals, Nigerian boogie, Jamaican dub and modern jazzy house - The Lahaar is a Trans-Tasman collaboration between Julien Dyne, Horatio Luna and Surprise Chef’s Lachlan Stuckey, featuring Mara TK and Toby Laing on vocals. The EP embarks on a 5-track rollercoaster - kicking off with “Doin’ It”, fast-paced jazz-funk peppered with marimba and organ riffs, balanced out by the siren vocals of Mara TK. “Step 2” suddenly brakes and swerves into cruise mode, repurposing the trumpets and dub echoes - picking up tempo in the soulful melancholia of “Work Work Work”. In the last two tracks the organs and guitars make a frenetic comeback by way of disco-house, ending with a nod to 70s cop movie funk.

Noted reggae vocalist Barry Biggs comes under the Emotional Rescue microscope here with celebrated LA digger Patrick Billard aka DJ Duckcomb remixing one of his cuts. First up is the original version of 'Illusion' which has big pianos over the clean digital dub. The soaring vocal is obscured by plenty of lush effects and melodies. After a version twists and contorts the original, the DJ Duckcomb Discomix slows things down and ups the dazzling disco vibes but keeps the dub dubby bottom end to ensure plenty of dance floor impact. This is a classy one as ever from this label.

* In-demand slab of revolutionary dub that was originally released on the Boom-Shacka-Lacka label in 1994, featuring three mixes of an instrumental sound system shaker in the shape of `Dub Revolution’.

* Highly regarded for their custom built dubplate cuts for Jah Shaka. The Disciples have a sizable following worldwide, particularly in the UK, France, Germany and Japan.

* Tracklist: A. The Disciples - `Dub Revolution'

B. The Disciples `Dub Revolution - Innovation Mix', `Dub Revolution - Chambers of Echoes Mix'

* A classic roots instrumental from the late 1970s from legendary trombonist Vin Gordon, who played on numerous Studio One classics, as part of the in-house band Soul Vendors as well as countless sessions with Joe Gibbs, Lee Perry and many more.

* Vin played on Aswad’s classic `Warrior Charge’, which from that recording session, `Kojo Hoy’ was born.

* Featuring Aswad Riddim Section - Tony Gad on bass & keys, Angus Gaye on drums and “Bammie” Rose on flute.

* Previously released by Partial in 2015 on 10” (prtl10005) which rapidly sold out. This issue features an extended dub version.

* Tracklist: A Vin Gordon – `Kojo Hoy’ B Vin Gordon – `Kojo Dub – Extended Mix’

Fresh heavyweight speaker-distressing business from The Disciples with a vocal track from the legendary Dixie Peach (Jah Tubbys, Fashion labels and many more).

Got to be Conscious’ was a massive underground hit back in 2002 and is well worthy of a reissue presented here by Partial Records.

Emotional Rescue is at it again with another fully licensed and remastered offering, this time bringing to wax Mataya's Golddigger with a previously digital-only 'tape Mix.' Zimbabwe-born and later London-based Mataya "Clifford" Chewaluza was a core part of the vibrant West London music scene, using his songwriting, production and multi-instrumentalist skills on albums for RCA and Virgin. He also dropped a few 12"s and this one was released in 1988. It's a cult curio with crashing 80s production, disco-tinged grooves and plenty of subtle African rhythm which includes a standout dub mix from Jura Soundsystem.

‘Nam Ton Tad’ is a sun-soaked amalgamation of groove-trenched reggae & traditional Thai molam essence. Rooted with Laotian origins from the Isan region of northern Thailand, this contemporary interpretation of ancient folk melody is both lush and intriguing" - Mixmag Asia Nam Ton Tad is the new EP by Thai-Dutch electro-molam-band Apichat Pakwan, and the 9th release on Animist Records. This single is a follow-up to their international critical-acclaimed debut album Esantronics, which was released in October 2019. The album was named Best Asian Album of 2019 by World Music Central. Apichat Pakwan is a Dutch-Thai band based in Amsterdam. Their music is a mix of morlam, electronic music, dub and hiphop. They perform with their own compositions, as well as with new interpretations of classic Thai and Lao folkmusic repertory. The music collective was founded in 2015 by Dutch musician Olivier Schreuder (electronics, compositions, traditional Thai instruments) and Thai musician Angkanang Pimwankum (percussion). They compose and perform with an alternating group of musicians from the Northeast region of Thailand, also known as Isan. The group was called "most innovative molam hybrid" by The Bangkok Post.

Emotional Rescue looks back again with a 2022 repress, digging deep in to the early 80s Bristol post punk scene of Pig Pag, the Wild Bunch and the Dug Out club. A short lived project of just 3 releases, Mouth trail-blazed leftfield percussive jams in the rich vain of Liquid Liquid and ESG but in their own jazz-infused way. Centered round the cultural melting post of the St Paul's district, it's pubs, clubs and blues parties threw together young and old to the sounds of dub, funk, jazz and soul and took the spark lit by punk rock and new wave and spawned music that still resonates today. Consisting of a floating line up based around main members Andy Guy and Rob Merrill, alumina included a young Nellie Hooper before he would go on to be a founding member of the Wild Bunch and on to produce the likes of Bjork, U2 and Madonna. Based around a hard tribal drumming, mixing guitar, trumpet, shouted vocals and effects, the thrown in the mix nature was inspired as much by avant-jazz than punk's do it yourself attitude. Here then, on one EP are their complete recordings, including as the title cut, their best and deepest, Voyage To The Bottom Of The Sea. Featured on a compilation LP from the legendary Y Records, its bottom heavy dub sound is augmented by female and toasted vocals riding a top a heavy stepper style riddim. This is followed by an increasingly dizzy array of percussion jams. Acab Part 2) is all skips and trumpets, while the versions of Take Your Coat Off perfect skat vocal / tom interplay, before the finale busts out the rockabilly influences in full effect with jagged guitar, skipping hats meets double bass punk style.

After the release of their hugely popular !Turn Up the Heat" debut album which reached No.2 in the Itunes Reggae Charts, featured the cream of the UK dub scene and was released through Trojan Reloaded in 2020, Reggae Roast are back with a brand new release, guaranteed to set dance floors alight this summer. The double A side release features true MC legend Ranking Joe from Jamaica, as well as Reggae Roast Soundsystem front man and award-winning vocalist Donovan Kingjay.
The lead track is a contemporary take on the classic Stop That Train" by Kieth & Tex with Donovan"s sweet vocal take on the original the perfect complement to Ranking Joe"s quick-fire lyrics.
Mr Bossman is a killer 90"s dancehall style track with Donovan lamenting the treatment received by workers from their bosses in their fancy cars and houses, while people like him are stuck in poverty. A sentiment felt by many across the land in these difficult times.
Reggae Roast have established themselves at the forefront of the UK Reggae / Dance- hall scene with a string of forward-thinking productions, with their debut album reaching No. 2 In the iTunes Reggae Charts. Reggae Roast built their following running one of the capitols most loved and long-standing Reggae Soundsystem parties.
This EP epitomises the sound that they have been championing for over a decade, witha nod to 80"s and 90"s nostalgia they are simultaneously bringing the music into a new era.
Ranking Joe is one of the original mic men to chant or chat lyrics on the mic. Along with artists like U Roy and Little Roy in the 70"s and 80"s, their style influenced a slew ofother deejays or Rappers who would talk on the mic and hype up the crowd. This technique of chatting on the mic was later adopted by DJs in New York like Kool Herc and it later developed into their own style: Hip Hop and later in the UK as grime. But before rapping ever existed Ranking Joe was one of the first to originate the style. His first release was on the legendary Studio One in 1974 and he has been active ever since with releases on Greensleeves, Joe Gibbs, Trojan, Ariwa and many more.
Donovan Kingjay is the Reggae Roast Soundsystem Front man and award winning vo- calist. As a figurehead of the UK Reggae scene his soulful voice, and charismatic per- sona make him one of the UKs most sought after singers. He has twice won Best UK Vocalist at the UK Underground Music Awards and continues to release consistently quality output through various labels across and UK and internationally.
Reggae Roast are in full flow working on a new album, and with the covid recovery look- ing promising this summer, they are bringing back there Soundsystem parties too.
Look out for Reggae Roast in a field or venue near you in summer 2021!

The next official reissue oozes the feelgood factor, a reggae disco cover of ‘Ain’t Nobody’ by Jamaican artist Yvonne Archer. For the first time since the original release in 1980 the full length original 12” mix gets the reissue treatment along with the Lovers Rock leaning ‘Checking Out The Way I Feel’.
On the flip Jura Soundsystem provide 2 edits, a main edit that pulls back on the electric guitar from the original and a Dub adding subtle delays and sparse use of the Vocal to let the groove work its magic. This is the first of two 12”s licensed from producer John Rubie that will appear on Isle Of Jura in 2020.