Author Ras Vorbei

As already mentioned in the comments on the "Charts 2025", there is some truth to the fact that many pretty good ones will be there in 2025. DubAlbums have been released. In some ways, it was a huge tidal wave that swept over us. Dubhas spilled over heads. And that's why it almost happened that "Balkans Dub System"With his album of the same name, he went unnoticed in the flood of music. Had I known that behind the "Balkan" Dub Had the name “System” concealed a new project by the very busy and versatile Croatian multi-instrumentalist Ognjen Zecevic, aka Egoless, this wouldn't have happened to me. Egoless has been active in the music industry since 2007. He initially joined the band Stillness from the Split-Zagreb region. This was followed by almost twenty years of an impressive career in the global bass, Dub- and Dubstep-dancing scene. His performances at Seasplash in Istria and in some of the UK's best clubs, as well as a tour of American and Canadian cities, made him known across the Atlantic. With his album "DubAfter “ternal”, he landed at the renowned British sound system label Deep Medi Music, which is owned by London’s leading DubStep-Innovator Mala is operated by Digital Mystikz. In Croatia, “Dubternal” was awarded the Elektor and Ambassador prizes for Album of the Year.

Shortly after all the awards, a new concept began to take shape for Egoless. This concept emerged precisely at the crossroads of East and West, with its turbulent history, complex past, and nomadic peoples. The Balkans have always been a melting pot of diverse cultures, shaped by centuries of migration, conflict, and vibrant exchange. From this diversity of traditions, languages, and religions arose the space for Egoless's new musical vision. The result is a seven-track album deeply rooted in the musical traditions of the Balkans and the Middle East. The new project and self-titled album by Ognjen Zecevic is titled "Balkan." Dub “System” cleverly combines roots Dub, Oriental Dub and world music into an acoustic fusion with traditional Balkan instruments, including the saz, santur, duduk, ney, kaval, darbuka, and bendir. The only additional musician was Roko Margeta, who played the Turkish ney and the Macedonian kaval, while all other instruments were played and mixed by Egoless himself.
Okay, projects like this aren't entirely new. We're familiar with similar sounds from Moreno Visini, aka The Spy from Cairo, but I still really like this album. Partly because it's simply something special.

Already in autumn 2022, “Augustus Pablo and Rockers All Stars: Lightning and Thunder" a fantastic collection of largely previously unreleased material from the Pablos' archives. Two and a half years later, Augustus Pablo's son Addis once again unearthed some treasures from the Rockers International archives for the French label Only Roots. The title of the vinyl LP "Augustus Pablo: King Tubbys Meets Rockers At 5 Cardiff Crescent, Washington Garden, Kingston" refers unmistakably to the address of the legendary Black Ark Studios. The new album is once again a treasure trove of largely unreleased pieces. The thirteen timeless riddims of the Rockers All Stars are said to have all been recorded at Lee "Scratch" Perry's Black Ark Studio and mixed at King Tubby's. In Goethe's classic, I hear Dr. Faust saying: "I hear the message well, but I lack faith." I feel the same way, because I hardly hear the typical Black Ark sound. On "Tide Rope Dub” Scratch’s craftsmanship is definitely noticeable. Nevertheless, the album delivers Dub-Versions of gems like “Keep a Good Dub” (Immortals: “Why Keep a Good Man Down”), “North Street Dub” (Hugh Mundell: “Run Revolution a Come”), “Home of Dub(Immortals: "A House Is Not a Home") and "Stop Them Jah" feat. Jacob Miller (riddim: "Who Say Jah No Dread"). Also of particular interest are two alternate versions of Pablo's "Unfinished Melody." Some tracks from the LP first appeared, if at all, decades ago on extremely rare, scratched 10-inch releases.
This compilation is not a mere reissue, but rather a collection of extremely rare recordings that have now been made available to a wider audience. I find it significant that the cover features a very young Augustus Pablo with his trademark melodica. However, the melodica is not heard on any of the tracks on this release.

Addendum on July 25.07.2025, XNUMX:
My last sentence is simply wrong! After another intensive listening, I have to revise my statement, because the melodica is in the “Home of Dub” clearly perceived – even if only briefly.

As part of his latest project “Lisabon by Bus”, Bruno Crux has taken the opportunity to indulge his passion for reggae, Dub and roots music to the fullest. His commitment and interest in Caribbean culture began in the late 90s as a drummer in the band Nature alongside Freddy Locks. In 2007, he released the first album by Lisabon by Bus, thus establishing his musical vision, particularly through collaborations with national and international artists. Subsequently, the collective "Fittest of the Fittest" was founded, which is characterized by the use of a completely analog sound system and specializes in presenting an authentic "roots sound."

With his recent album “Lisbon by Bus: Sincretismo", Portuguese drummer and producer Bruno Crux makes an impressive comeback. The mini-album features four instrumental tracks, each followed by one by Sr. Dubong mixed Dub-Version. The pieces combine world music sounds with reggae rhythms. The focus is on the phenomenon of "sincretismo" (sincretism), which arises at the intersection of different cultural and religious influences. The compositions demonstrate a connection from the former "end of the world", the "Finis Terra" in western Brittany, to the ancient mysticism of Axum in northern Ethiopia and from there across the endless Eurasian expanses to Mount Amba Gashen in the Ethiopian region of Amhara. It is a musical journey through various geographical locations, guided by reggae grooves, enriched with sounds from all over the world. The four instrumental pieces "Finisterra", "Aksum", "Eurasia" and "Amba Gashen" symbolize stations on this imaginary journey.
The pieces are instrumented by Bruno Crux on bass, guitars, piano, and percussion; Pedro Mighty Drop on drums and percussion; and Zacky Man on keyboards. Special guests include João "The Rooms" Gonçalves (piano and guzheng on "Finisterra," guzheng on "Aksum"), Ras Kamarada (guitar on "Aksum"), and Freddy Locks (guitar on "Amba Gashen").

Blanc du Blanc, who is that? I have to admit, I've never heard of this band name before, even though they've released two highly recommended albums ("The Blanc Album"; "Regatta du Blanc du Blanc") and an EP ("Wind of Change") in recent years. The band even collaborated with the legendary Lee "Scratch" Perry on "Wind of Change" - the Scorpions ballad - and yet they still sailed under my radar. Blanc du Blanc is a heteronym. On the one hand, it's an imaginary character who currently performs wearing a cape and mask. On the other, it's also the face of a group of ever-changing musicians from New Jersey who defy easy characterization and describe themselves as "created by an undercover artist, working as an agent for Monrovia."
It's a group of musicians, led by mastermind and bandleader Chris Harford. They perform undercover live and have connections to bands like Morphine, Bad Brains, and JRAD. Chris Harford is definitely no stranger to the American music and art scene and is truly a jack-of-all-trades. He's a singer, songwriter, guitarist, and painter and has released several albums with his band "Band of Changes" since 1992.

In the world of Dub / Reggae, musicians and producers typically rely heavily on old, analogue equipment and techniques. Not so with Blanc du Blanc. Unlike other bands' recent releases, which use almost historic equipment, the album "Before the Beginning" was clearly created in the digital age and is reminiscent of more modern producers like Bill Laswell.

Now let us come to the actual object of desire: The project “Scientist meets Blanc du Blanc: Before the Beginning“ (Soul Selects Records) is not just the meeting of two brilliant artists – it is the clash of worlds, frequencies and timelines. Scientist, the DubThe pioneer who has shaped the sound of generations takes the spectral transfers of Blanc du Blanc and transforms them into something earthly yet cosmic. He lets otherworldly sounds collide with deep-rooted Jamaican tradition. Scientist is in his element and delivers what the Dub-Heart desires: Hypnotic delays, interstellar reverbs and fat basslines that resonate through the galaxies. They form a portal to a new Dub-Dimension where the echoes of the past meet the future of sound. Scientist blends analog warmth with experimental drift, taking us on a sonic journey through space and time. It explores frequencies where the bass vibrates like cosmic waves.
Scientists' trademarks remain: live mixing and a focus on sound. These are consistently present, overlaid by more abstract contributions from Blanc du Blanc. Traditional DubMotifs are replaced by filtered synths, ambient textures, and subtle dissonances. This is definitely not about the rhythm, but about the mood. The structure definitely gives way to a tonal drift. For me, one thing is clear: this is music for hanging out and letting go.

Although the Gladiators' career spanned more than 40 years, in my opinion, they weren't at the forefront of Jamaican vocal trios. Nevertheless, the Gladiators masterfully navigated the evolution of Jamaican music, from rocksteady to roots music to modern reggae. Like many bands, they had their heyday from the mid-1970s to the early 1980s.

With the publication of “Gladiators: Roots Natty(Tabou1) For Record Store Day, reggae fans will receive a beautiful compilation of some of their early pieces from the heyday of the roots era, when Tony Robinson was still producing the Gladiators. The only exception is the opener "Give Thanks And Praise" – a rare Yabby You production. The lead vocals are by Clinton Fearon and the toast that follows seamlessly features DJ Trinity aka Junior Brammer, who passed away in April 2021. Most of the 11 tracks on "Roots Natty" are rare Jamaican singles and maxis that were previously unavailable on LP or digitally. The album also features original members Albert Griffiths, Clinton Fearon and Gallimore Sutherland. Overall, "Roots Natty" represents the essence of fine, timeless Jamaican music. The compilation undoubtedly contains one or two pieces that you have never heard before. Most people will surely know “Jah O Jah O,” one of the most rousing tracks on the album, with its dirty, fat bassline and instantly recognizable chorus. Less well-known are the Dubversion of "Till I Kiss You" or the ganja anthem "Light Up Your Spliff." With only 11 tracks in total, "Roots Natty" is a bit short, but I like everything about this release. Great Gladiators vocals, plus some bonus tracks.Dubs of "Give Thanks" and "Nyabinghi Marching." All previously unreleased recordings, extended versions, and Jamaican mixes that supposedly sound harder, dirtier, and bassier than what was produced for the rest of the Western music market.
In summary, these recordings, originally released in small, exclusive editions in Jamaica, perfectly represent the unvarnished, authentic energy of the Gladiators.

From the initial studio project of the first Dub Syndicate years, the band has changed fundamentally. Lincoln Valentine "Style" Scott became band leader and co-producer in the late 80s, stepped into the foreground and established Dub Syndicate as a fascinating live act at numerous festivals. Dub Syndicate became Style Scott's most important musical project. This was also the band's heyday. With a series of albums that combined the best of current Jamaican music with the wild studio experiments of British producer Adrian Sherwood, the pair created groundbreaking music that delighted dreads, potheads and ravers alike. Tragically, Dub Syndicate came to an abrupt end when Style Scott, one of Jamaica's most important drummers, was senselessly murdered in his home in Jamaica on October 9, 2014.

After "Ambience In Dub“-Box, which the early Dub Syndicate albums, "Out Here On The Perimeter“ starts right there, and continues the story from the end of the 1980s to 1996. The four albums from the “Strike The Balance”, “Stoned Immaculate”, “Echomania” and “Ital Breakfast” era have just been reissued on vinyl. Adrian Sherwood has also released a special bonus album “Obscured by Version“ (On .U Sound) with brand new versions of rhythms from that time.
“Obscured by Version”, which can be played individually or as part of the Dub Syndicate box set “Out Here on the Perimeter 1989 –1996” is Adrian Sherwood’s 2025 reissue and reinterpretation of material from this glorious period. The release stays true to the group’s original sound, deeply rooted in reggae and Jamaican music tradition, while pushing the boundaries of Dub with unusual echoes, samples and sound effects. Some vocals and rhythms will be familiar to fans of the original albums, yet everything sounds fresh and crisp like a brand new work in the style of the earlier works of Dub Syndicate. The quality is at the same high level. “Plains of Africa (Echo, Echo, Echo)” comes from “Echomania”, “Pleasurezone Transmitter” is based on “Dubbing Psycho Thriller”, a crazy, as always, slightly off-kilter performance by Lee “Scratch” Perry. “Intercommunications” comes from the great 1987 single “Night Train” – one of my absolute favorite tracks from Dub Syndicate. “Command Centre” is relatively easy to derive from “Roots Commandment” and “Alive And Burning Bright” is the original “Glory To God”.
With his new interpretations, Adrian Sherwood succeeds in paying a fitting homage to the long-standing friendship and creative collaboration with Style Scott. “Obscured by Version” sounds as fresh and innovative as all Dub Syndicate classic before.

The friends of reggae and Dub will be delighted with the re-release of this Dubalbum. Originally, “slum in Dub“ Released in England in 1978 by Burning Sounds and simultaneously in Jamaica by Gregory Isaacs on his Cash & Carry label under the title “Dub In The Slum”. The A-side of the Burning Sounds edition was the B-side of the Cash & Carry label and vice versa. Over the years, “Slum in Dub“ has been re-released at regular intervals. The latest vinyl release comes again from Burning Sounds. Like the original, the LP contains no bonus tracks and is released on colored vinyl.

Above all, “Slum in Dub" Dub-Versions of tracks from Gregory Isaacs' self-produced album "Cool Ruler" from 1978. From "Public Eyes" to "Aso", the originals are available on the "Cool RulerA new interpretation of the "Party Time" riddim can be found on "Nigger" and "Leaving" is originally called "Black Against Black" and is on Gregory's "Extra Classic". The penultimate track "Leggo Beast" will be known to some as "Spirit Of Umoja" by Dennis Brown or Augustus Pablo. The riddim is the Heptones classic "Sweet Talking". The album closes with "Embarrassment", the Leroy Sibbles & Heptones song "Love Won't Come Easy" from the old Studio One days.
The whole thing was mixed by the legendary Prince Jammy aka King Jammy at King Tubby's. The album was recorded together with the Revolutionaries at the Channel One Studio in Kingston. A prominent feature of “Slum in Dub“ is the exceptional sound quality and masterful mixing by Jammy. Jammy restricts himself more to the use of effects and is clearly restrained in the omission of instruments, so that the original melodic lines remain almost untouched. The subtle integration of fading vocal fragments, which are scattered sparingly throughout the tracks, contributes to a captivating listening experience.

“Slum in Dub“ is one of the outstanding albums from the heyday of DubEvery track is a real classic. The rhythms are infectious and the resulting soundscapes are simply spacey. This album shows once again that strong source material is still the key to a great album. Dubalbum, the “Slum In Dub“ is in my ears. Somehow the melodies seem to have always been there.