Category: Review

After more than three years, the Sicilian composer, musician and graphic designer Nicola Giunta has completed the second chapter with "The Thugs: Mighty Tiger" Dubs “ (Aagoo Records) released the album. The story recounts how The Thugs reach a pale green island where, as followers of the death goddess Kali, the protagonists survive an attack by the gigantic anaconda, speechless and bleeding. Searching for a place to retreat, they hold a mystical underground gathering. There, like a phoenix rising from the flames, a radiant, powerful tiger heralds the beginning of a new battle in which the white demons must be eliminated. Thus the narrative continues, which will be continued in 2023 with the project. "Holy Cobra" Dub" It began. An acoustic journey, a soundtrack, and an imaginary world of images through space, time, mysticism, and Dub were consistently developed with stylistic confidence, disregarding genre boundaries. The album, written and produced by Giunta, comprises nine tracks in which roots-Dub on Electro-Dub, Post-punk and psychedelia meet. Unlike "Holy Cobra". Dub“, where occasionally a live drumbeat could still be heard, at the “Mighty Tiger” DubGiunta exclusively uses drum machine riddims. The exception is the track "Underground Mystical Gathering," which uses a vinyl drum sample. Giunta explains his decision to use a drum machine as follows: "I needed a very straight rhythm. If you don't have a very good dub “Drummer, you have to use a drum machine.” With this, he gives the tracks a more straightforward, drier, and more mechanical feel, into which bass, guitar, organ, synthesizer, melodica, and percussion are integrated. On the new album, Andrea Davi plays percussion and also guitar on one of the tracks. Nicola Giunta, the creative force behind the project, takes on bass, guitar, organ, melodica, and (spoken) vocals. He is also responsible for recording, mixing, production, artwork, and layout. A particularly noteworthy innovation is the use of vocals. In “Mighty Tiger DubThere are no lyrics in the conventional sense in "s". Giunta uses his voice more as an instrument, improvising sounds and noises directly over the tracks. He was inspired by Damo Suzuki, the former singer of the legendary, brilliant, and visionary German band CAN, who passed away in 2024, and with whom he shared the stage in 2008. Deeply impressed by Damo's free and wordless vocal style, these experiences now find their musical expression. "Mighty Tiger" Dub“s” is a truly exceptional album where the voice doesn't form complete sentences, but rather serves to create onomatopoeic tension, presence, and atmosphere. It possesses a precise narrative structure and imagery that continues the Kali cult, the Thug sect, and narratives of anti-colonial resistance. Giunta seems to be at “Mighty Tiger” Dub"is absolutely not interested in the Dub-to strictly adhere to tradition; rather, he uses bass, sound, echoes and delays to bring a personal, multi-layered, cinematic narrative to life in the mind's eye.

Having already visited the “Holy Cobra” in 2023 Dub“I have praised him to the skies, so even the “Mighty Tiger” can’t praise me.” DubThe phrase "s" is convincing. Overall, it is a coherent work, contrary to all norms, and yet it offers everything that the DubA heart's desire. Nicola Giunta, together with Andrea Davi, delivers another daring and fantastic project to appeal to the bold and open-minded, positioning themselves outside the norm. Or, to quote On .U Sound: "Disturbing the comfortable and comforting the disturbed."

That Dub The fact that food is now produced everywhere in the world except in Jamaica is one of those sentences you eventually stop saying because it's so discouragingly true. France, England, Italy, Spain, Germany – indeed Europe, Scandinavia, America, Asia – the map of contemporary Dub It has long since spread across the entire globe. That's why people take notice when something new comes out of Kingston, even if the man who produces it originally comes from Sapporo.

Gacha Medz moved to Jamaica alone in 2008 and founded Gachapan Records. He worked with Mavado, Konshens, and Jesse Royal, and previously with Mighty Crown, Pushim, and Chehon in Japan. After Gachapan ceased operations, he founded Medz Music in 2015. Alkaline's "12pm" became an international hit the following year. This was followed by projects with Walshy Fire, Vybz Kartel, Popcaan, and Squash. He continues to live and work in Kingston. Dubplates up and releases at a pace reminiscent of Haris Pilton: trap dancehall riddims, lo-fi instrumentals, chill beats, and in between, again and again... Dub-Albums.

Since 2026, this output has had a framework: Ninjah Rockerz, a Jamaican-based project comprised of Flabba Holt, bassist of Roots Radics, Japanese reggae veteran Triga Finga, and Gacha Medz as producer and guitarist. No one explains how this collaboration came about—but anyone who's been producing music in Kingston for eighteen years doesn't need to organize it remotely. The band's credits are revealing: Gacha Medz is listed as producer, recording, mixing, and mastering engineer, as well as guitarist, on every track; Flabba Holt plays bass; and Triga Finga sings. One of them does practically everything except bass and vocals.

The album “Gacha Medz Dub" Released in August 2026, fourteen tracks in forty-nine minutes, co-authored with Sly & Robbie. And it's a stylistically very diverse album. The range spans from roots-DubThe album ranges from rock attitude to schmaltzy lovers rock, and anyone listening to it straight through will repeatedly lose their bearings. The sound suggests hand-played instruments – which is news these days – but its quality is inconsistent. For me, it's too smooth, too polished. It lacks organic depth, it lacks rough edges, and it's also somewhat soulless. The riddims are simply boring for long stretches. Gacha Medz is capable of much more!

Because his ability to do it is evident elsewhere. "Summer of Dub"The EP from July 2026 – six tracks, twenty-four minutes – consists entirely of iconic riddims, and that's precisely what makes it good. It's a simple pleasure, but a reliable one: revisiting the great riddims is always fun – especially as instrumentals or Dub.

The same applies to "Baddest Bassman", also released under the Ninjah Rockerz banner. The title is a tribute to Flabba Holt, and rightly so: His gameplay shaped the productions of Junjo Lawes and the in the early eighties. Dubs by Scientist. Hearing him again today, playing old riddims, is worth more than another album with new compositions.

It's also remarkable how well this works in Japan. The EP "Ninja Rockerz" reached number eight on the Japanese iTunes Reggae charts in June, and two tracks landed in the song charts. Distribution is handled by TuneCore Japan, including delivery to reggae specialist services like Club Zion. The Kingston-Sapporo axis is working.

And then there's the album. "Sly Forever" From the same crew. Sly Dunbar died on January 26, 2026, in Kingston, at the age of 73, nominated for a Grammy thirteen times and winning two. "Sly Forever" is a tribute to him, a collaboration between Flabba Holt and Gacha Medz. It's based on drum sessions that Gacha Medz recorded with Sly while he was still alive. Flabba Holt added new basslines to these sessions, creating an instrumental album. The focus is deliberately not on melody, but on the groove – the element that made Sly's playing so distinctive. This is more than just a gesture: it's archival work on a legacy to which the producer himself contributed.

In August, this was followed by "Sly Forever" Dub" credentials for Dub-Version, eight tracks, thirty-three minutes. Gacha Medz justifies it with a sentence Sly said to him during his lifetime: If he makes an album, he should always include a Dub-Version of it. You can consider it a nice marketing ploy. But you can also take it for what it probably is – the fulfillment of a promise.

Whether that works musically is debatable. Lemmi asked in his commentThe questions raised were whether this was a false flag operation against Sly Dunbar, and what had happened to "Real Rock." This objection is not entirely unfounded.

For those who want to know how far this cosmos extends: at the end of August, the following was published: "Dub Is My Life From Roots Radics, Ninjah Rockerz, Gacha Medz, and Triga Finga. By far the worst album from this production crew. Maybe they should just take their time. The material is there, the musicians are there. They just lack the patience.

On March 9, 2022, a blue plaque was unveiled at the house located at 142 Askew Road, Shepherd's Bush / Hammersmith, London W12, in honor of a man whom David Rodigan described as having made an "immeasurable contribution" to the development of Jamaican music in London. This man was George "Peckings" Price, a Jamaican music pioneer, businessman, promoter, and founder of one of the UK's most important Jamaican record stores – Peckings Records.

George Price was born in Kingston, Jamaica, in July 1927. A native of West Kingston, he was a passionate music lover and dancer. He earned the nickname "Peckings" because of a distinctive dance step that was said to resemble the pecking motion of a bird. In Kingston, Price worked closely with Clement "Coxsone" Dodd. Together, they ran a sound system and organized dances. In this early period, they primarily played American rhythm and blues, especially music from New Orleans. Coxsone traveled to the United States to acquire exclusive records for his sound system, while Price handled bookings, events, and the organization of the dances. This connection with Coxsone Dodd and Studio One proved crucial to Price's later business in the UK.

In May 1960, George Price arrived in England from Kingston, bringing a suitcase full of records. Among them were recordings by Coxsone Dodd and Prince Buster. At that time, Jamaican music production was still in its infancy, and a firmly established reggae scene in London was still a long way off. George Price thus became a key link between Jamaica and the growing Caribbean community in Great Britain. He sold and distributed Jamaican music to sound system operators and promoters. Later, he supplied legendary sound systems such as Coxsone, Jah Shaka, Fatman, and Hawkeye Records. Dub Vendor, Daddy Cool, and even the young David Rodigan. Peckings became the most important British contact for Studio One records in the 1960s. Several sources even describe George Price as the first, or one of the first, significant importers and distributors of Jamaican music in Great Britain.

Initially, records were sold from home, but with the opening of Peckings Records in West London in 1974, it became not just a record shop and label, but also a cultural hub. The shop connected Jamaican producers and artists, British DJs, sound systems, collectors, and the Caribbean community. During the 1970s and 1980s, it became one of the most important sources for reggae, rocksteady, ska, and sound system music in London. Many Jamaican figures from the genre, such as Coxsone Dodd, Duke Reid, Bunny Lee, Lee "Scratch" Perry, Prince Buster, Bob Marley, and Dennis Brown, were frequent and welcome guests of the Price family. George Price was apparently not just a record shop owner, but also a mentor and facilitator. His son Chris described his father as someone who generously shared his knowledge and contacts. His four sons joined the business over the years, and since George Price's death in 1994, they have run Peckings Records together. They built the family business into an internationally acclaimed reggae production company. Since the 1990s, Peckings has released nearly 100 singles and albums, including releases by prominent artists such as Bitty McLean, Peter Hunningale, Tarrus Riley, and Macka B.

So much for the myth of Peckings Records, a Jamaican cultural institution still found in London. Today, the shop is located just a few meters away at 81 Askew Road, London W12.

This album, released in August, contains 12 Dubs, which have never been released before. On Bandcamp, “peckings Dub“as “long awaited” Dub The album is described as such, which I certainly don't disagree with. There's no question that the included... DubIt deserved a little more passion, attention, care, editing, and information. You can argue about the sound, but not about the material. The album is really good, there's no doubt about that. It's just a shame that everything comes across as a bit "cobbled together," because "Peckings Dub“It basically has real potential.”

There are albums where the most exciting question is not how they sound, but whether you can trust what you hear. "Think" Dubby, Vol. 3" (Positive Reality Records) is one such example – and that makes things complicated, but also interesting.

Haris Pilton presents his third tribute to King Tubby. The titles leave no doubt as to where we are: “Hometown Hi-Fi” Dub“Legend of Dromilly,” “Return to Kingston 11,” “Osbourne’s Magic”—Osbourne Ruddock, real name, from Dromilly Avenue in Waterhouse. Pilton’s liner notes portray Tubby once again as the man who declared the mixing console an instrument and discovered that silence can hit harder than sound. He explicitly states that he doesn’t want to recreate the past, but rather engage in a dialogue with it.

In fact, the thirteen tracks perhaps pay less homage to Tubby himself than to the reggae sound of the 1970s as a whole. Some classic Studio One riddims are quoted, others are new, but built entirely in the spirit of this sound, so that while listening, one sometimes wonders what one is actually hearing. Are they all instrumentals or DubNo vocals, no excursions. The instruments sound strummed, the studio sound authentic, everything beautifully retro and analog.

And this is precisely where the irony begins. Because it could be that the exact opposite is true. Haris is known to be accused of having his music played by AI. He never officially denied it. On the other hand, his statements sound... DubIt's anything but generic – and anyone who's ever tried to get something out of a machine that smells so strongly of Kingston knows that it can't be achieved with a quick fix. So, the matter can't be proven or disproven. We can guess all we want, but we'll never know.

What seems more important to me is the question of how and to what extent AI is used. Anyone who generates an entire album at a prompt deserves to be damned. That's nothing more than AI slop, which I don't want to hear. However, anyone who uses AI as a tool—to have instrumental tracks played or to develop melodies—and then shapes the resulting material into good pieces of music through a human, creative process, can still be considered an artist in my eyes. I enjoy listening to their music and consider it a fully-fledged work of art. DubVolumes 1-3 are (for me) included.

In particular, “Think Dub“by, Vol. 3” is really enjoyable. It's more focused than much of Pilton's sprawling catalog, it stays true to its subject matter, and it sounds like someone who doesn't just quote the Foundation, but understands it. A good one. Dub-Album. That's all it needs to be.

Over 30 years ago, labels like Blood & Fire (1993) and Pressure Sounds (1994) reissued many highly sought-after classics from our favorite music genre in breathtaking quality. The struggle for survival of these two labels continued until around 2014, when they finally closed due to financial difficulties. It's all the more gratifying, then, to see other labels following in their footsteps. For example, 25 years after its last release, a true classic has finally been reissued…Ras Michael & the Sons of Negus: Rastafari in Dub“Re-released by Charly Records Ltd. An album originally released around 1977/78 exclusively in Jamaica on Tommy Cowan's "Top Ranking" label, whose original Jamaican pressings have been considered a holy grail among reggae and Dub-collectors. I wouldn't go that far, but with "Rastafari in Dub“is it already a Dub-Set with a rare Nyahbinghi atmosphere, best found on the "Herb Dub Collie Dub“of the Skatalites still to be found. In addition, “Rastafari in Dub“audible from the conventional Dub-albums of that era. Instead of relying solely on studio tricks, Ras Michael & The Sons of Negus Nyahbinghi fused drum sounds, chorus vocals, and deep roots rhythms into a stripped-down, meditative sound. Dub-aesthetics and thus created a uniquely spiritual and atmospheric listening experience. Thunderous, hypnotic percussion and echoing rhythms are fused into one of the most distinctive roots recordings of its time. At Cowan's suggestion, additional instruments were added to the Nyahbinghi Percussion, which made the album famous far beyond the "ethnic market." The first thing that catches the eye is Robbie Shakespeare on bass. Robbie doesn't just play; with his stoic, visceral bass lines, he gives the recordings the necessary cohesion. Then there's Chinna Smith on lead guitar and Peter Tosh, who plays clavinet and guitar. Well-measured saxophone sounds from David Madden and Glen Da Costa drift in like morning mist – not a single sax squeaks like an old watering can. All involved were not just session musicians; as architects of the sound, they were essential to the arrangements. The recordings were made at Dynamic Sounds Studios, Harry J's Recording Studio, and Joe Gibbs Studio. DubSix tracks from "Rastafari" were mixed, as well as two others. Dubs of “Kibir Am Lak” by Mervyn Williams, who is extremely rarely seen as Dub-Sound engineer appeared. The long overdue reissue faithfully restores the album's original design, including the distinctive cover art by Errol "Irie" Myrie, while also offering the best sound quality the album has ever received.
As already stated above: The “holy grail” of Dub is “Rastafari in Dub“In my opinion, definitely not, but at least a milestone that should be in every serious collection!”

For over 20 years, The Expanders have captivated a wide audience with their interpretation of golden-era reggae. Guitarists John Butcher (guitar, vocals) and Devin Morrison (guitar, vocals) grew up together and, by their own admission, were influenced by the record collection of renowned reggae archivist Roger Steffens, which forms a large part of their passion and "reggae knowledge." The Los Angeles-based band plays classic roots reggae from the 70s and early 80s with a healthy dose of Californian flair. The Expanders formed in the summer of 2003 and worked on their self-titled debut album of original compositions between 2006 and 2010, which was finally released in 2011 on Man-Like Records. Another key member of the band is graphic designer, sound engineer, and bassist J Bonner, aka The Dub Adventurer, who perfectly captured the "Jamaican retro sound" the band was aiming for. It's fair to say that his contribution to the Expanders' debut album made him an indispensable part of the band. J Bonner met the band in the mid-2000s when he was the bassist for the Aggrolites. Together, they began working on their first official studio recordings. J also designed the epic album cover with his wife, Nick Idem. The recordings for the recently re-released debut took place at Killion Sound Studio in Los Angeles. The album was then mixed at J's studio, where complete [unclear - possibly "mixing" or "mixing"] was also created. Dub-versions and two disco remixes of most of the pieces in the classic Dub-Mixings from the 70s and early 80s that have remained unreleased until now. That's why the Dub-community all the more so that the recordings “The Expanders: Merciless Dub – The Expanders Dubwise at J's“(Easy Star Records) finally released. It would have been a real shame if it hadn't been. This beautiful, somewhat martial cover is also by J Bonner.”

A brilliant album that practically begged for a re-release, is “Selassie I Rockers: 30 Pieces of Dub" (Jah Lion Sound System). A rather enigmatic project, compiled from various sources, which is precisely what makes for this highly diverse listening experience. Essentially an LP compilation, first released in 1983 by the Jamaican producer and singer Winston Curtis, who lived in England. Twenty years later, the English Jah Lion label re-released this mysterious work as a CD with two bonus tracks, including one... Dub from Dennis Brown's "Children of Israel". Following that are the "30 Pieces of Dub"Disappeared into obscurity once again. Now Winston Curtis is ensuring that this treasure resurfaces on vinyl. However! There is one small drawback, and I must elaborate on it. In my opinion, the tracks are incorrectly named:"
Thus, one finds “30 Pieces of Dub“The melodica instrumental by Desmond Craig, aka Bob Skeng, on the B-side of the single “African Children,” is originally titled “Jack the Ripper.” The “Africano Dub“Could be Dennis Bovell with or without Matumbi and should possibly/logically be “Englishman” Dub“ read. Behind the “Gone” Dub“Hidden within is Delroy Wilson’s song “Money” from 1978. A Dub Leroy Brown's "Color Barrier" is "No Dub Like Dis Ya Dub“and “Jack the Ripper” is the Dub to Gregory Isaacs' "Sacrifice". And so it continues merrily on: For the "Englishman" Dub“ is based on Leroy Brown’s “Gone Gone”, and in the “Fisherman Dub“, which is originally called “Fire Horns”, you can hear Vin Gordon’s trombone over the riddims of the Freddy Clarke song “Fight I Down”.
Okay, I sincerely hope I'm not causing any more confusion. This is merely an attempt to clarify a still extraordinary gemstone from the immeasurable treasure trove of... Dub!

The most embarrassing and perverse World Cup I've ever consciously followed—and I've watched sixteen—is finally over. I can easily live with Spain as deserved world champions—we should all start forgetting Marc Cucurella's once unpunished handball. No other team has displayed this level of quality and consistency on the pitch.

Incidentally, speaking of quality and Spain: Greensleeves released a special edition for the 1982 FIFA World Cup in Spain.Scientist: Wins the World Cup (The final King Tubby's Sessions)“It came out with a stunning cover by Tony McDermott, showing a Jamaican “Rasta” team playing against the “Three Lions,” the English national team, while Scientist is scoring a goal. So it was only natural to reissue this magnificent Dub-Album with its beautiful cover art as the starting point. An album that Scientist himself didn't even know existed. But that's a completely different story, which Helmut Philipps addresses in his book "Dub The conference is explicitly addressed. When I put the album on in 1982, my jaw immediately dropped. Even that heavy bass sound and Scientist's sonic experimentation in "Dangerous Match One" completely blew me away. First, listen to the original version of Johnny Osbourne's "Love is Universal," and then listen to what Scientist did with it. I think that's the best way to understand what a gifted sound engineer is capable of with the right material. An album by a triumvirate and dream team: The Roots Radics deliver their heavy, bass-heavy sound, which Scientist deepens even further with rich, precise effects. The original has ten DubVersions of songs created during the heyday of producer Henry "Junjo" Lawes. Songs recorded at Channel One's studio on Maxfield Avenue in Kingston, before the tapes were transferred to Scientist's King Tubby studio.

In summary, “Wins The World Cup” is a fabulous work by Dub Genres. Here you'll find great tracks from reggae history, recorded with then-up-and-coming singers like Johnny Osbourne, Hugh Mundell, and Wayne Jarrett. The powerful groove, the deep bass, the catchy melodies, and the recurring vocal snippets make "Wins The World Cup" an essential album. Dub-History.

Today, Scientist isn't even mentioned on the cover, let alone seen, and Junjo, as the referee, scores the goal – if that isn't a foul!

Many Jamaican musicians came to reggae from jazz or soul; this is something many people forget today. At the same time, they are and were highly accomplished musicians who often began their training at the Alpha School. What could be more fitting, then, than The Juks, a London-based rocksteady/reggae band who released their first album in 2020?Way Back“crossed my path and remained in my memory? The Juks are actually just Toby Kinder on organ/Wurlitzer and the multi-instrumentalist and producer Lenny Bignell on guitars/Wurlitzer/bass/melodica and drums, who combine jazz classics from the Blue Note catalog with the energy of early reggae and Dub connect. Their music moves between warm, harmonically interesting soundscapes and a constantly driving groove characterized by bass and drums. On their current release “The Juks: Blue Note Special“From the originals emerge multifaceted constellations and instrumentals that reinterpret jazz classics in a fresh and highly invigorating way. From early works like their first album, “Way Back,” to releases like “The Phantom,” the opening track of their current album, a clear focus is evident, manifesting itself in musical curiosity and a technically precise sound. The Juks thus cultivate a style that speaks to both head and hips, remaining authentically rooted in the reggae tradition while remaining open to jazz nuances and psychedelic influences.”

On "Blue Note Special," The Juks subject a decade's worth of material from the Blue Note catalog to a reinterpretation with reggae and Dub-influences. The collection brings together the seven 7-inch singles from their "Blue Note Breakbeats in Reggae" series, along with three other outstanding tracks. The ten tracks offer a brief journey of discovery through the legendary jazz label, founded in the USA in 1939 by German-Jewish emigrants Alfred Lion and Max Margulis. The sources of inspiration are unmistakable. The early reggae of the Pioneers can be heard, as well as nods to Ernest Ranglin, Jackie Mittoo, Count Ossie, Light of Saba, and Augustus Pablo, bridging the gap between these two musically rich traditions.
Lenny Bignell and Toby Kinder offer fresh interpretations of many of the greatest jazz classics ever released on the Blue Note label, while remaining true to their signature instrumental cover style. As an example, I've chosen Ronnie Foster's "Mystic Brew" from 1972. A jazz-funk classic, its melody gradually builds into reggae, interwoven with a rich bass, driving rhythm, and psychedelic guitar sounds.
I also like the guitar in Lou Donaldson's "Brother Soul," where it corresponds with the flute.
For me, once again a wonderful album, with beautiful, gentle melodies, rising wah-wah effects, improvised organ passages and a jazzy touch of cosmic keyboard playfulness.

I would also like to recommend the singles mentioned above to everyone, because they also contain the Dubto hear.

Nine materials that form the framework of our civilization: Cement, Petroleum, Plastic, Coal, Coltan, Steel, Smoke, Dust, Iron. Stepper Sons from Bordeaux have released their album “What We're Made Of“(No Chief Records) presenting such a tracklist isn't a decorative gimmick, but rather a deliberate statement. Coltan, for example—that rare mineral indispensable for smartphones and electronics, whose extraction in the Congo is linked to civil war, environmental destruction, and humanitarian disasters—simply appears in the track listing. No explanatory text, no footnote. The name is enough. Anyone listening knows what it's about. This is the self-conception of a band that, through its very name, has declared itself a child of the stepper and releases its music on a young, militantly independent French label: music as a stance.”
And the sound? Hypnotic steppers-DubSonically close to techno – Kanka would be the obvious comparison. But what distinguishes Stepper Sons from bad Steppers is that the hypnotic quality isn't achieved at the expense of boredom. A well-constructed Steppers track relies on the power of repetition – and therein lies the danger. Those who rely on the pattern without shaping it produce a metronome. Stepper Sons produce music.
The bass is overwhelmingly dominant. Extremely immersive, warm, hypnotic – listening at home, the dishes on the shelf rattle. This is no accident, but the result of a production decision: bass not as a foundation, but as the main voice. Here, nothing is overpowered.dubbt with bass in the background – here the bass is the event itself.
SKP DubA long-time collaborator from the same Bordeaux scene, appears on "Coltan"; the opening track "Cement" is remixed by Owl Trackers from the Paris area. The album demonstrates the network Stepper Sons operate within: a young, interconnected, self-organized French scene. DubCollective. Definitely a name to keep an eye on.