After a year-long hiatus, Dub-Stuy heralds the return of good vibes with a new installment in their riddim series. This time, they take on one of the most iconic and instantly recognizable riddims in history with “Answer 2021 Riddim”. As usual, Dub-Stuy calls upon an international line-up of top features, led by legendary duo Luciano & Mikey General, Spain’s Sr Wilson and Brooklyn’s own Jonny GoFigure.
The Answer riddim, originally recorded by Clement “Coxsone” Dodd for Slim Smith in 1967, is undoubtedly one of the most versioned riddims of all time, and everyone from Dennis Brown to Frankie Paul has lent their hand to the tune. For this 2021 spin on the classic, DJ Madd invokes early digital productions ala Prince Jammy and Bobby Digital but with the signature Dub-Stuy twist: high-powered, heavyweight and minimalist production. Bouncy, rubber-band basslines and hypnotic snare hits make Answer 2021 Riddim danceable and upbeat, bringing to mind late summer nights dancing with friends as the selector rides the groove.
Leading the charge on the vocals, Luciano and Mikey General return to their top form, bringing us back to the heyday of late 90's roots revival. With their soaring harmonies and golden voices, “Redemption” calls for a return to conscious music while uplifting the listener, with an infectious hook. Sr. Wilson comes next, with his ‘Foodie session’, uniting the world over a shared love for street food cultures. Finally, hometown sensation Jonny GoFigure mashes up the dance lyrically on ‘A Different Answer’.
Answer 2021 isn’t just a riddim; It's a sonic cure to our collective anxiety in these uncertain times, bringing people together and inviting them to take a deep breath, close their eyes, and crank up their stereo.
Alpine Sound is a new production unit based out of Withington S.Manchester. Heavily inspired by the rich lineage of militant steppas producers that have come from the UK and beyond, they put their own unique take on the genre - keeping things heavy, meditative and ready for any dance. Their first eponymous single starts with Withy Step, a bouncy, sub-loaded and locally-inspired weapon designed to shake up the dancefloor. On the flip is All Bases, which gets heads down and legs gliding with the submerged atmosphere it creates. Both clock in at 140 BPM - rude DJs better get 2 kno!
Bukkha finally lands on LoDubs after over a decade of false starts and missed signals, and it's with a release he seemingly read our minds about wanting: A riddim album featuring some of the best toasting and instrumental performances yet on a release of its kind, rubbing it up with the likes of Dandelion of early Hyperdub renown, Jane Bee (the Ragga Queen of Germany) toasting in unison with fellow Jahtari Alumnus Roger Robinson, and Sarah Tobias, the current keeper of that classic Ska/Rocksteady/Roots Sax tone. Truly a melding pot of Roots-Centric sounds!
Introducing a brand new 45 from Soul Revivers entitled Look No Further / Further Dub.
For Look No Further, Soul Revivers enlisted the trumpet talents of Ms Maurice, bandleader of Afro-Jazz ensemble Kokoroko and member of jazz septet Nérija.
Echoing classic Glenn Brown horns cuts of the 70s, Look No Further drops heavy with plenty of skank. A swampy clavinet cuts in and out over rhythm king Adrian McKenzie’s super-tight drumming, setting the stage for Ms Maurice’s glorious, soaring solos.
Flip the 45 over for Further Dub, which is, as the title suggests, a heavier, live-on-the-mixing-board dub from Soul Revivers’ Nick Manasseh.
a1. Soul Revivers feat. Ms Maurice - Look No Further
On 18th April, 1980, after decades of anti colonial struggle, the Zimbabweian flag was finally raised at midnight at the Rufaro Stadium in Harare. Not long after, the words "Ladies and Gentlemen, Bob Marley and The Wailers!" rang out, and Zimbabwe's independent future began.
In the years that followed, Africa was to produce it's own reggae superstars, as the likes of Alpha Blondy, Majek Fashek and Lucky Dube swept across the continent and beyond, and there's no doubting Bob Marley's explosive impact on this particular narrative.
Marley's unswerving commitment to liberation and unity ranged from the sweeping spiritual sentiments of iconic hits such One Love and Redemption Song to the galvanising, focused tone of 1979's 'Zimbabwe', and his status as global superstar ensured that his (self funded) part in the countries' epochal celebrations meant that the history of reggae in Africa would always be viewed through the prism of his influence ( Wiki/African Reggae : "In 1980, world-famous Jamaican reggae musician Bob Marley performed in Harare, Zimbabwe, and that concert is often credited as marking the beginning of reggae in Africa")
But in fact, the recorded history of reggae produced in Africa stretches back over a decade before Marley's arrival on the continent, and showcases broad pan - diasporic interflows between the Carribean and Africa, with the UK and the US communities playing influential supporting roles, all helping shape the evolution and development of the genre in Africa from late 60's inception to Marley's arrival in 1980, and then well beyond.
Reggae Africa : Roots and Culture, 1972 - 1981 tries to capture a sense of that evolution, starting in 1972 as Mebussa's ultra rare 'Good Bye Friends' effortlessly captures triangular, transatlantic cultural interflows, with the short lived Nigerian group's bitter sweet chords echoing classic US soul, but laid over a gritty, skanking Jimmy Cliff - esque proto reggae rhythm.
Trying to work out the precise provenance of Black Reggae's 'Darling I'm So Proud of You' (1975) isn't easy, but involves Paris based / African focused label Fiesta, some proper OG co-branding exercise with Bols Brandy ( "Bols Brandy presents Black Reggae") - and deeply infectious, lilting Rocksteady.
By 1976, glorious Nigerian sister duo Lijadu Sisters are echoing the chunky roots of a Dennis Brown or U Roy on 'Bobby', and in 1977, bespoke Nigerian drummer Georges Happi is introing 'Hello Friends' with the soon to be universal signature reggae tom roll intro, before veering leftfield with snatches of spoken Afro - English vocal in between the hooky choruses.
Nigerian giant Chrissy Essien's 'I'll Be You Man' (1979) combines floaty Lovers vibes with catchy ska shuffle, and in the same year, Cameroonian afro-funk/disco heavyweight Pasteur Lappe' drifts seamlessly into skanking, Lovers infected reggae on 'Babbette D.O. ( Rastawoman )' (before a sprawling electric guitar solo reminds us how unselfconsiously eclectic so much African music of the era was.)
And finally bookending the compilation, in chronological terms, fellow Cameroonian Tala AM also swaps his funk and soul for the rootsy and infectious 'Hop Sy Trong' (1981), again highlighting the diverse and eclectic approach to this timeless Carribean musical genre taken by African musicians in the years before that Bob Marley year zero event in Zimbabwe.
Kingston Jamaica's well known and always forward operating Dancehall creators Equiknoxx in special collaboration with eclectic Twin Cities USA newcomers Feel Free Hi Fi. 4 tracks with 4 dub versions of experimental electronic dancehall.
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.
To many, Equiknoxx needs little introduction. The musical collective of Gavsborg, Time Cow, Shanique Marie, Bobby Black Bird and Kemikal has been operating on an international level for many years now. Their debut, 2016’s Bird Sound Power was met with critical acclaim. Since then Equiknoxx has released two more full length albums, many singles, collaborations and have consistently performed around the globe
During the inception of Feel Free Hi Fi as a Sound System in the Twin Cities, Equiknoxx productions were in heavy rotation. Their distinct approach to Dancehall, Dub and Electronic music felt like a sound that Reed and Maxwell had been waiting to hear for a long time. The initial connection with Time Cow via social media soon turned into a regular correspondence, hang outs in NYC and this musical collaboration.
The record is simple in premise but dynamic in resulting sounds. The record features original rhythm offerings from Gavsborg, Time Cow and Feel Free Hi Fi (in collaboration with W. Statler of Free Music). All rhythms were swapped and dubbed, creating eight tracks in total. A release with a basis in international correspondence and similar interests in sonic exploration, we kept it fun, we kept it simple, but we think the rhythms and the dubs stand up quite nice.
A1. Gavsborg (Equiknoxx) - 11am with Frankie Bubbler
A2. Feel Free Hi Fi - 11am Dub
A3. Time Cow (Equiknoxx)- The President Eats Children
A4. Feel Free Hi Fi- The President Eats Children Dub
Prophet Noir is a 6 track 12" of dystopian industrial dancehall experimentalism created by Twin Cities Sound System Feel Free Hi Fi featuring the vocal powers of eclectic Brooklyn MC Eddie Hill and vagabond lyricist Manic Times.
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.
Feel Free Hi Fi began in 2016 when Derek Maxwell and Shawn Reed met in Minneapolis. Reed’s vast Jamaican-centric vinyl collection met Maxwell’s passion for designing and building custom speakers and the collective was born. Their mutual appreciation for worldwide mobile sound system culture, music and history would be their driving force.
As the physical sound system evolved, the duo began performing live dubbed vinyl sets throughout the Twin Cities. The next logical step was the creation of original rhythms cut to dub plates. During this time of experimentation Prophet Noir began to take shape. Originally conceived as an instrumental project, the record took a different direction with the addition of Eddie Hill and Manic Times on vocals.
Bump 'n Grind Wax's newest relief channels a collective sigh of relief, one that promises to remind the world that joy and love can triumph through togetherness.
Bristol's sonic luminary, Rob Smith (aka RSD), has offered his support in this dynamic cover of Al Green's "Let's Stay Together." With a hint of lover's rock and a dash of neo-soul, RSD invites Denise Morgan to voice this timeless tune. On the A-side, prominent piano runs, synth stabs, and RSD's iconic drum section frame Morgan's deliciously-soulful approach to this classic. RSD brings the magic for the B-side version, "Let's Dub Together." With a blown-out bassline, Denise's tricked out vocal samples, and a thoughtful caressing of the track's timing, reverb, and echo, RSD adds his undeniable signature to the latest BnG Wax tribute.
A formidable architect behind the now-beloved "Bristol Sound," Rob has been an irreplaceable thread in the development of bass-heavy dance music since the 1980s. From raves to basements, lounges to sound system dances, Rob has pushed the limits of music technology to forge a vital link between the past and future. He is a pioneer who has explored the intersections of nearly every genre through dubbed-out breaks, drops, and quintessential remixes. BnG Wax is honored to have his fingerprints on one of our releases.
Al Wootton returns to ZamZam with two more stunning sides of deep dubwise for late and later. It’s been a prolific year and a half since his last ZamZam, with multiple killer 12”s and an LP on his own Trule label, a four-tracker for Livity Sound, and two thrilling EPs as Holy Tongue alongside drummer Valentina Magaletti. Informed equally by UK dub, garage, roots reggae and techno, Al Wootton creates unique amalgams that always hit, and this 7” adds to that legacy in fine style.
‘Every Knee Shall Bow’ opens with swimming percussion and echoing pads, ramping the tension before dropping into a potent, simmering 4/4 powerhouse, a perfect marriage of steppers and dub techno, at once visceral and cerebral, up front & deep, clear yet heavily atmospheric. Galloping drums, massive reverb splashes and FX, a wide-eyed drop into space… pure fire for the dancers.
B Side 'Every Tongue Confess,’ drops the tempo down to 120, pulling us into pure heartbeat territory with drum kit, bass guitar, live percussion and keys all played by the artist and dubbed hands-on-desk style. A deep internal grounation in the timeless Count Ossie to Rhythm & Sound continuum, this is true healing music whether on a proper Sound or at home on the hi-fi.
A big SKRS classic… Rare and sought after for many years, and now pressed up on vinyl for the first time!
ROOTPRINCIPLE was originally released on cassette in edition of 100 copies via NoCorner in 2014. – this previously hard-to-find album – to our ears one of Seekersinternational’s very best – is now available on vinyl for the first time, remastered and pressed up on high quality wax, served with a re-styled version of the original artwork from MYSTERYFORMS.
We’re really proud of this one, it was always one of our favourites from the NC catalogue, and somehow it felt right to give this one new life again, almost 7 years since it’s original release on tape, and having passed the test of time (with ease).
Made almost entirely out of chops from those reggae drum rolls we all cherish so much, and driven by vocal loops from the historic landscapes of Kingston, this SKRSINTL album goes to the deepest dubwise depths of rootical meditation, across 10 tracks, SKRS stylee.
Some might recognise the relation – in sound and vibe – to the more recent Bokeh Versions / NoCorner co-release with SKRS ‘RunComeTest’ – that’s because the tracks from that EP were made during the same era of sound search from the elusive SKRSINTL collective.
Anyway! Without further delay – read the original words to go with the sound, written by SKRS back in 2014, when we first dropped the tape:
“Machete pon left and a dagger pon the right The seeker sets about on an inner pilgrimage Hacking thru a dense tangle of circuit overgrowth and corrosion
The lush canopy, seen from above Belies the dread and danger lying-smiling in wait within Lions in sentinel; challenging those who profess their fidelity
Steel horn speakers call from towers on high while Drums rumbling from a distance approach Where time cuts to the chase, notions leave no trace…”
… Echo’d out, reverberant AIRHORN!
*Remastered Roots Version* Edition of 300, in printed sleeve. Comes with DL code. Re-mastered by The Stunt Man at Suite Sound Labs, East Vancouver. Pressed at Optimal. Sleeve art by MYSTERYFORMS. Layout by Studio Tape-Echo.
We met Bukkah in winter 2019 on a session with the Basskateers in Jena. Soon it was clear that we gonna work together on a record release for BCSM. Bukkah is well known for his lush bass music productions and soon came up with a heavy steppers riddim. Instantly we imagined some upfront vocals on this one so we called none other than microphone matador Longfingah to ride on the riddim. Longfingah loved the tune and brought some nice lyrics in his style and fashion to the production. Still Reppin' is made for soundsystem dances, shakin' up everything with his heavy bass and gives a big shoutout to all crews and veterans.
Flip the record to explore a version by Plug Dub Soundsystems Toni Wobble, who is taking the original production to another level by mixing an ultra heavy dub version in a Wobble style.
You are looking for a tune that will mash up any dance? Well, you can't go wrong with this one.
All tracks are mastered by sound expert LXC to guarantee you a fresh bass shower. Still Reppin' by Bukkha and Longfingah is out on limited 7'' vinyl and digital in October on basscomesaveme.
a1. Bukkha x Longfingah x Toni Wobble - Still Reppin'
We are delighted to announce our first 12" single release in collaboration with Lion Vibes Record Shop, mixed and produced by our brothers Brainless and Cultural Youths!!
On the A side we feature the Channel One Sound System anthem 'Genesis' featured in all four corners of the world by the legendary Mikey Dread!
On the flip we are proud to release 'Tribal Soul' an instrumental dubwise killer featuring Guru Pope live on Saxophone. TRUE SOUND SYSTEM STYLE!!
Acid Jazz Records continue their exclusive licensing agreement with Albarika Store, the legendary record label that defined the sound of Benin and influenced the entire region of West Africa and beyond.
'Kpede Do Gbe Houenou’ is a burning piece of Afro-funk from Benin’s finest, the all-conquering Orchestre Poly-Rythmo. With a killer horns line, imploring vocals and a driving groove, this has it all and is just waiting to ignite reopened dancefloors.
'Ma Wa Mon Nou Mi O’ is equally strong, if a little less intense, and features wonderful guitar work to the fore. Without question, this is essential Beninese music.
Both tracks were transferred, restored and mastered from the original 1/4 inch tape.
a1. Orchestre Poly-Rythmo de Cotonou Dahomey - Kpede Do Gbe Houenou
b1. Orchestre Poly-Rythmo de Cotonou Dahomey - Ma Wa Mon Nou Mi O
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