New releases this week: Reggae

Review: Polish record label Moonshine Recordings top up their ongoing crock of electronic dub come dub techno with a fresh one from mainstays Another Channel, whose name implies we actually had the ability to pick up the remote control and tune into any other dub station other than the Basic channel One all along. Teaming up with Prince Morella and Marina P on 'Nameless Woman' and 'Find A Way', Another Channel follow the tape-hissed early dub techno recipe to a T, shirking any residual desire to over-embellish for a neat pair of pure, squinty horizontal gaze-offs, with both singers riding the same instrumention. The instrumental 'Version Of Love' provides a versioned listen, highlighting the track's bulbous bubbles and highpassed vocal dancings-in-the-distance.

Review: Steve O'Sullivan recently launched the Blue Channel project as a kind of sonic companion to his similarly minded dub techno work as Blue Train, in the process paying tribute to Berlin's masters of the extended dubbed-out groove, Basic Channel. This is the second EP in an ongoing series and begins with a fresh 'Bluetrain Special Edition Dub' of 'Complete With U', a track featured (in its original mix form) on the previous EP. This take is more percussively propulsive and addictive - thanks to a locked-in dub house style groove - with warmer synth sounds and echoing vocalisations. It's basically a hat-tip to classic Rhythm & Sound singles of old, albeit with drums that more neatly fit into a wider variety of DJ sets. Over on side B, 'Traveller' is a fine slab of pitched-down vocal digi-dub with added ambient dub sonics.

Review: Greyscale unveils its latest endeavour, the Spectrum Series, as a way to continue to evolve its offerings and this time it is with something that makes a vibrant departure from its traditional black-and-white aesthetic. The inaugural release features the iconic Lithuanian dub track 'Kasdienybes Sventykla' by grad_u & Eazystyle MC as a way of commemorating its 15th anniversary. It came as a double CD in 2011 but now gets a first vinyl pressing on a nice 10" slab of wax. The track itself taps into the earliest roots of dub in the 70s and traces a line through the 80s with its heavyweight drums and endlessly echoing bass topped by great mic work. A pared-back instrumental features on the flip of this latest crucial drop from the dub dons at Greyscale

Review: The more time that goes on, the more every Dub Syndicate album becomes more appreciated. At the end of the 90s, dub music was at an all-time low popularity wise - the genre was going through changes and vinyl sales were dwindling. In 1997, Style Scott even started his own label Lion And Roots away from On-U Sound which had been the home of Dub Syndicate since they started almost 20 years prior. Mellow & Colly shows the group moving away from the more sample heavy earlier works to a mature dub sound that incorporated more electronics thanks to the Echo Beach label partnership that Style's label worked out. Sadly, Style passed away ten years ago this year but his music is still being felt thanks to reissues like this.

Review: This Best Of The Morwells album originally landed back in 1981 but has not degraded in any way over the ensuring 40+ years. It is a superb collection of vocal roots that first came on the American label Nighthawk Records and might be best known for standout hits like 'In God We Trust' and 'Africa' as well as 'Educate Your Mind.' The lyrics muse on plenty of still relevant socio-political topics while riding on nice deep rhythms with earthy drums and meandering leads. The band went on to become well-regarded and prolific session musicians in Jamaica and you might well have heard of them... none other than The Roots Radics.

Review: Prince Istari's earliest memories are of his mother playing the tranquil melodies of Erik Satie's pieces on the piano. Skipping school, he'd bask in the sun, absorbed by the serene tunes and years later in 2024, rediscovering his mother's sheet music sparked a creative resurgence. He transformed them into dub versions, crafting a tapestry of sound, and each piece's form dictated its direction, evolving from heavy dub to delicate piano and synthesiser blends. The finale, a relic from his past as Istari Lasterfahrer, features a distorted recording of his mother playing Satie to complete the circle. This special record comes in limited quantities of just 200 copies.

Review: It isn't too often that you can get two rare and desirable releases on one CD but that's just what we have here. Dr.Bird gives us these rare 70s examples of lesser known releases that have a strong cult following but are still being discovered. Delroy Wilson's Sarge from 1977 and Ken Boothe's Unlimited from 1977. Both releases are lauded for each singers soulful voice and music diversity with early ska and rocksteady infused into their reggae sounds. Both releases are hard to get original copies for a reasonable price so having them together is an added treat.

Review: Slave Call by The Ethiopians is a majestic exploration of the spiritual roots of reggae, led by deep Nyabinghi drumming and chanting. Leonard Dillon's Rastafarian beliefs are at the album's core, evident in every track, including a profound rendition of the Ethiopian national anthem. Max Edwards' Nyabingi drumming infuses the album with authenticity and is skillfully showcased by producer Niney Holness, who delivers a rhythm-heavy production while giving equal attention to vocals.The album blends traditional Nyabinghi elements with guitars, bass, keyboards, and horns, creating a rich reggae sound that maintains a dignified restraint. Holness' arrangements ingeniously reinforce the album's themes, exemplified by the title track's evocative depiction of slaving field hands. Other highlights include the driving urgency of 'Hurry On' and the soulful blend of blues in 'Culture.' Leonard Dillon's exceptional performance imbues each song with power and devotion, making 'Slave Call' one of his greatest achievements. With its cultural depth and musical excellence, the album stands as a testament to the enduring legacy of reggae's spiritual roots.

Review: Keith Hudson's Playing It Cool & Playing It Right is one of his most widely admired and loved for its soulful take on his dub template. Similar to Bullwackies who he collaborates with here, he was a unique innovator with a deeply rooted classical background. His early studio work involved esteemed musicians like the former Skatalites, and his initial releases produced hits for various reggae artists. However, Hudson's departure from this tradition is distinctive and entirely his own. His mature music ventures beyond Jamaica, and has found resonance in London and New York studio. His experimental style thrives in the LP format which has more time for him to really explore new ground.