Hip-Hop Novedades

2 track Single from Stephen Cheng released by Sunshine/Dub Store Records

During the mid-1970s, the Aggrovators could do no wrong. This ace team of session musicians that was forged as an off-shoot of the Soul Syndicate were responsible for some of the biggest hits of the decade, recorded with Bunny Lee's rising stars, such as Johnnie Clarke and his rival, Cornell Campbell. Following on from the great Shalom Dub set of 1975, Rasta Dub '76 is another truly magnificent dub set culled from Aggrovators hits (by Johnny Clarke, Cornell Campbell and others), this time, the entire album was given a scintillating mix-down at King Tubby's studio by the great Prince Jammy, and the sonic excellence has stood the test of time. Another must-have for all connoisseurs of dub.

During the mid-1970s, the Aggrovators could do no wrong. This ace team of session musicians that was forged as an off-shoot of the Soul Syndicate were responsible for some of the biggest hits of the decade, recorded with Bunny Lee's rising stars, such as Johnnie Clarke and his rival, Cornell Campbell. Following on from the great Shalom Dub set of 1975, Rasta Dub '76 is another truly magnificent dub set culled from Aggrovators hits (by Johnny Clarke, Cornell Campbell and others), this time, the entire album was given a scintillating mix-down at King Tubby's studio by the great Prince Jammy, and the sonic excellence has stood the test of time. Another must-have for all connoisseurs of dub.

Cementing his reputation as the star toaster with the small but popular El Paso sound system, based in the Waltham Park area, Dennis Alcapone was one of the first deejays to rise to prominence following U Roy's breakthrough in the late 1960s. Born Dennis Smith in the rural district of Culloden, he became immersed in sound system culture after settling in western Kingston. Once El Paso became big on the sound system circuit, dental technician-turned-producer Keith Hudson brought him into the studio for his debut recordings, which led to a debut album for Studio One and hit material for Duke Reid, some cut in concert with his deejay sparring partner, Lizzy. Alcapone's longstanding links with Bunny Lee yielded the excellent Guns Don't Argue album, first issued in 1972, on which the toaster raps with style over some of Lee's all-time greatest rhythms, including Delroy Wilson's 'Better Must Come,' John Holt's 'Left With A Broken Heart' and Slim Smith's rendition of the Temptations' soul classic 'Ain't Too Proud To Beg.'

Cementing his reputation as the star toaster with the small but popular El Paso sound system, based in the Waltham Park area, Dennis Alcapone was one of the first deejays to rise to prominence following U Roy’s breakthrough in the late 1960s. Born Dennis Smith in the rural district of Culloden, he became immersed in sound system culture after settling in western Kingston. Once El Paso became big on the sound system circuit, dental technician- turned-producer Keith Hudson brought him into the studio for his debut recordings, which led to a debut album for Studio One and hit material for Duke Reid, some cut in concert with his deejay sparring partner, Lizzy. Alcapone’s longstanding links with Bunny Lee yielded the excellent Guns Don’t Argue album, first issued in 1972, on which the toaster raps with style over some of Lee’s all-time greatest rhythms, including Delroy Wilson’s Better Must Come, John Holt’s Left With A Broken Heart and Slim Smith’s rendition of the Temptations’ soul classic Ain’t Too Proud To Beg.

Born Roy Samuel Reid in Saint Thomas in 1944, I Roy was one of Jamaica's all-time greatest deejays. A natural-born toaster, his rhyming raps always sounded effortless, whether describing the harsh realities of the inner city, or making light of nonsense nursery rhymes. A former employee at Customs and Excise, he was first active on a sound system called Soul Bunnies in the rock steady era, moving to Son's Junior in 1968, and later, to the legendary Supreme Ruler of Sound, defecting to the rival Stereo sound system after that. Hits for Harry Mudie and other producers soon followed, and after the killer debut album Presenting I Roy impacted overseas, the toaster began spending frequent periods in London. His longstanding working relationship with hit-making producer Bunny Lee led to some of his most noteworthy albums during the mid-1970s, the 1977 set Can't Conquer Rasta is a superb 'showcase'-style album, on which the toaster blows hard lyrics over five of Lee's killer 'rockers' rhythms (recorded with the likes of Johnny Clarke), each complete with a corresponding Aggrovators dub on the flip, all mixed by Prince Jammy at King Tubby's studio.

Born Roy Samuel Reid in Saint Thomas in 1944, I Roy was one of Jamaica's all-time greatest deejays. A natural-born toaster, his rhyming raps always sounded effortless, whether describing the harsh realities of the inner city, or making light of nonsense nursery rhymes. A former employee at Customs and Excise, he was first active on a sound system called Soul Bunnies in the rock steady era, moving to Son's Junior in 1968, and later, to the legendary Supreme Ruler of Sound, defecting to the rival Stereo sound system after that. Hits for Harry Mudie and other producers soon followed, and after the killer debut album Presenting I Roy impacted overseas, the toaster began spending frequent periods in London. His longstanding working relationship with hit-making producer Bunny Lee led to some of his most noteworthy albums during the mid-1970s, the 1977 set Can't Conquer Rasta is a superb 'showcase'-style album, on which the toaster blows hard lyrics over five of Lee's killer 'rockers' rhythms (recorded with the likes of Johnny Clarke), each complete with a corresponding Aggrovators dub on the flip, all mixed by Prince Jammy at King Tubby's studio.

The house band of Bunny 'Striker' Lee was formed in the mid-1970s by some of Jamaica's most prominent and musically expressive session players. The shifting core line-up spun off from the Soul Syndicate and thus typically featured Earl 'Chinna' Smith and Tony Chin on guitar and Bernard 'Touter' Harvey on organ. Carlton 'Santa' was the main drummer, but Carlton Barrett of the Wailers band and 'Benbow' Creary were sometimes featured. Most crucially, on bass, Aston 'Family Man' Barrett shifted to Fully Fullwood (and occasionally, Earl 'Bagga' Walker), until Robbie Shakespeare took over, becoming the bandleader. The band was responsible for the popular 'flying cymbal' style that took Jamaica by storm, and you can hear it in abundance on this killer dub set from 1975, its excellent cuts of Cornell Campbell and Johnnie Clarke material mixed at King Tubby's studio—a must for all serious fans of dub.

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard...the Remix / Version cuts to an existing vocal tune. Sit back and enjoy this historic set of sounds. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

One of Jamaica's most highly-rated vocalists, Alton Ellis made an incredible contribution to the island's popular music. Blessed with a particularly emotive voice that brings shivers to the spine whether singing original material or cover tunes, Ellis was born and raised in Trench Town, the west Kingston ghetto area that gave rise to Bob Marley and the Wailers and countless other singers. Ellis and singing partner Eddie Parkins hit big in 1961 with the ballad 'Muriel' for Coxsone Dodd, and after Parkins moved to the USA, Ellis teamed briefly with John Holt, and then began fronting the Flames harmony group. He excelled in the rock steady style, christening the genre with 'Rock Steady' and 'I Have Got A Date,' bouncing between Studio One and Treasure Isle for a number of years. From 1971, he spent increasing period in London, but continued to record hits in Jamaica for various producers. The 1979 release Love To Share was arranged by the great Studio One keyboardist, Jackie Mittoo, who co-produced the album with Junior Lincoln, founder of the London-based Bamboo label, the disc straddles the line between lover's rock and roots reggae, remaining a lesser-known classic.

Brand New 2017 Edition - finally available again on this CD and alternatively on 2LP Vinyl for the First time (moll16lp). The legendary movie soundstrack based out of Kingston, Jamaica in April 2008, telling the story of the original vocalists and musicians involved. The sixteenth release on the Moll-Selekta label shares its title with a wonderful film, a heartwarming homage to the golden age of rocksteady. It documents the recordings being made for this very album at the Tuff Gong studios, Kingston, Jamaica in April 2008, telling the story of the original vocalists and musicians involved. Excerpts from an all star reunion concert staged in Kingston and older archive material complete the picture. Never before in the history of Jamaica, which already occupies a unique place on the world map of song, its sound embraced by western popular music, has such an illustrious collection of singers and players been assembled. The album showcases 15 rocksteady classics in sparkling, deeply inspired new versions, recorded in the studio which also played host to album sessions of a certain Bob Marley. Under the musical direction of Ernest Ranglin, a guitarist of considerable renown not only on the reggae circuit, but also on the jazz scene, mixed by legendary engineer Errol Brown - in Duke Reid's employ at the Treasure Isle studio in the sixties - and freshly arranged by Lynn Taitt.

At a time when bandleaders in Nigeria used titles as an affectation, Dr. Adolf Ahanotu was the real deal. He had a PhD in music compilation and Master's degrees in education and communication. He also played a mean tenor sax, an instrument he mastered touring Owerri with the Mirabels. Ahanotu's scholarly background is apparent in the impeccable arrangements and the way each track is labelled with its musical type. The banging opening track, 'Sensation' is disco, notes the helpful doctor. The legendary 'Ijere' is to be considered Remire or Afro Jazz. 'Litany of Freedom' is reggae, 'Cupid' is rock and 'Tropical Moonlight' classified as the blues. The mandatory ode to the nation, 'Happy Nigeria', is labelled as calypso. But these are not dry, scholarly pieces. 'Sensation' reeks of dance floor freakiness not the hallowed halls of academia. And listen to the pitch bend craziness on 'Injere'. Sure, Dr. Ahanotu had studied the rules. But he wasn't afraid to break them. From the freaked-out opening seconds of the title track you are left in no doubt: The doctor is in the house. Mastered and produced by Goddy Oku. - Peter Moore

The self-proclaimed funkiest band on the west coast of Africa, the Heads Funk Band, could arguably make that claim for the whole continent. Featuring the slick guitar of Felix 'Feladey' Odey, the slinky drumming of Eddie Offeyi and the swirling keyboard chops of Kevin 'Fortune' Coburn, nobody was funkier. And that's not even taking into account the dance floor monsters they were releasing at the same time as Akwassa. Cold Fire was their second album as the Heads Funk Band. Where their first album, Hard World, was in a hurry to get you on the dance floor, on Cold Fire the funk is given room to breathe. The title track has a dark ghetto groove, straight from the mean streets of New York. 'Got To Know' has a loose, feel good vibe. 'Put On Your Funky Shoes' and the instrumental, 'Funky Port Harcourt' live up to their names. With Feladey laying down a hybrid chicken scratch/wah-wah sound over Eddie Offeyi's assured drumming, and 'Fortune' Coburn supplying the free-range keyboards, this is a band at the height of their powers. Cold Fire is killer stuff and proof that in the mid-seventies Nigeria was producing the funkiest bands in the world. - Peter Moore

A new single by Pama International and it's again available only on a super limited edition 45 vinyl only. On the A side a superb version of "Man Next Door". The song has been originally recorded by John Holt with his group The Paragons in 1968 on Duke Reid's Duke label and since then it has been covered by numerous other reggae artists including Dennis Brown, UB40 and Horace Andy, becoming a massive hit thanks to Andy's more recent version with trip-hop superstars Massive Attack in their album Mezzazine. On the flip side you'll find the rock steady scorcher Austerity Skank that has already gained support on the airwaves by reagge ambassadords David Rodigan and Don Letts. In their first 10 years Pama Int'l recorded 9 albums, 3 BBCRadio 1 Maida Vale sessions, won the Rebel playlist on BBC6, and became the first new act to sign to Trojan Records in 30 years. Their collective nature saw them work with members of The Specials, Madness, Steel Pulse, Style Council, Galliano, Kasabian, Mad Professor, Toots & The Maytals, Jimmy Cliff to name a few.
Wacth out, the 45 is limited to 500 copies worldwide.

Early airplay and praise from Gilles Peterson, Alex Nut (Eglo), Rob Luis (Tru Thoughts) and Joe Davis (Far Out).

Melbourne composer/violinist Tamil Rogeon (The RAah Project, Harvey Sutherland & Bermuda) brings his most ambitious work to date. That's saying something when your previous works include composing a Stravinsky tribute for a 100-piece orchestra, soundtracking a concert screening of the drawn 2010 AFL football Grand Final for the Melbourne Symphony Orchestra, and the Red Bull Beat Suite, a unique work combining orchestra, turntablists, beatmakers and vocalists including Aloe Blacc and Ladi6! Rogeon's projects have earned acclaim from The Guardian, Resident Advisor and Motor City Drum Ensemble.

24 Hours in Lapa is a mesmerising 12-part song cycle built on Brazilian rhythms, an orchestral score and subtle electronics. Rogeon bases this sweeping, cinematic suite around the tragic story of Joseph Martin, a young expat killed by an off-duty police officer while celebrating his 30th birthday in the Rio party district of Lapa. Rogeon travelled to Rio to record Tiago Loei's percussion group, returned to Melbourne to write the score for Orchestra Victoria, then added vocals from sessions in LA, London, Paris and Melbourne. Guest vocalists include Heidi Vogel (Cinematic Orchestra), earthy soulstress Krystle Warren, globetrotting MC Raashan Ahmad, RAah partner Ryan Ritchie, crooner Bobby Valentine and ethereal backings from Ella Thompson (GL, The Bamboos).E

Early airplay and praise from Gilles Peterson, Alex Nut (Eglo), Rob Luis (Tru Thoughts) and Joe Davis (Far Out).

Melbourne composer/violinist Tamil Rogeon (The RAah Project, Harvey Sutherland & Bermuda) brings his most ambitious work to date. That's saying something when your previous works include composing a Stravinsky tribute for a 100-piece orchestra, soundtracking a concert screening of the drawn 2010 AFL football Grand Final for the Melbourne Symphony Orchestra, and the Red Bull Beat Suite, a unique work combining orchestra, turntablists, beatmakers and vocalists including Aloe Blacc and Ladi6! Rogeon's projects have earned acclaim from The Guardian, Resident Advisor and Motor City Drum Ensemble.

24 Hours in Lapa is a mesmerising 12-part song cycle built on Brazilian rhythms, an orchestral score and subtle electronics. Rogeon bases this sweeping, cinematic suite around the tragic story of Joseph Martin, a young expat killed by an off-duty police officer while celebrating his 30th birthday in the Rio party district of Lapa. Rogeon travelled to Rio to record Tiago Loei's percussion group, returned to Melbourne to write the score for Orchestra Victoria, then added vocals from sessions in LA, London, Paris and Melbourne. Guest vocalists include Heidi Vogel (Cinematic Orchestra), earthy soulstress Krystle Warren, globetrotting MC Raashan Ahmad, RAah partner Ryan Ritchie, crooner Bobby Valentine and ethereal backings from Ella Thompson (GL, The Bamboos).E

Years before Scientist and Jammy battled the space invaders, Tradition dreamt up a sci-fi jazz/dub odyssey in north London.
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Captain Ganja and the Space Patrolis one of the most singular dub albums that barely saw the light of day. A conscious effort to create a new breed of dub centred that around the cosmic synths and keys of Paul Thompson. Making use of an early Roland sampler, Tradition broke away from the standard drum / bass workouts that ruled the day. With the Captain, dub becomes an atmosphere, a feeling, not a formula - littered with babies cries, tribal chants, radiophonic noodlings and library soundtracks for space-age bachelor pads.

Originally issued by Venture Records in 1980, this small run was easily lost beneath the weight of their huge vocal LPs for RCA and everlasting lovers-tinged tracks like 'Movin On','Breezin' and 'Summertime'. The experimental strains in one of their early 45s led the BBC to approach them about contributing to the Dr. Who soundtrack, Captial Radio did likewise for the Hulabaloo theme. Neither saw fruition and this facet of the band's sound is easily forgotten by diehard fans.

These collections of Winston Riley's early reggae releases shine the spotlight on his superb vocal productions with the Shades, the Mad Lads, and of course the Techniques, and feature the impeccable lead vocals of Dave Barker

Winston Riley started his production career as a singer with an enviable track record, having formed the Techniques in 1962 and hitting the top of the charts two years later with the splendid 'Little Did You Know' for Duke Reid's esteemed Treasure Isle label. When the frantic ska beat slowed down and turned into rocksteady Winston remained the only permanent component of the Techniques, arguably Jamaica's finest vocal group.

As the beat changed yet again from rock steady to the faster reggae format, Winston's thoughts turned to production, and he decided to create his own 'Techniques' label. A serious man with a serious work ethic, the quality of his music was apparent from the start as he released hit after hit, producing and singing as part of the different combinations of singers and vocal groups that he worked with.

In 1970 he produced his biggest ever hit 'Double Barrel', a ground breaking track that went on to be the biggest reggae track of 1971, reaching the very top of the UK national pop charts in May, and peaking at number 22 in the US Billboard charts in August.

After this pop success Winston Riley continued working as he always had done, producing top quality reggae tracks with a host of Jamaica's finest singers and musicians. After opening his shop in Chancery Lane, he continued on his quest for the best throughout the 70's, 80's, 90's and into the 21st century, never failing to bring his decades of experience and peerless production skills to bear on whatever contemporary music he was producing.

These collections of Winston Riley's early reggae releases shine the spotlight on his superb vocal productions with the Shades, the Mad Lads, and of course the Techniques, and feature the impeccable lead vocals of Dave Barker

Winston Riley started his production career as a singer with an enviable track record, having formed the Techniques in 1962 and hitting the top of the charts two years later with the splendid 'Little Did You Know' for Duke Reid's esteemed Treasure Isle label. When the frantic ska beat slowed down and turned into rocksteady Winston remained the only permanent component of the Techniques, arguably Jamaica's finest vocal group.

As the beat changed yet again from rock steady to the faster reggae format, Winston's thoughts turned to production, and he decided to create his own 'Techniques' label. A serious man with a serious work ethic, the quality of his music was apparent from the start as he released hit after hit, producing and singing as part of the different combinations of singers and vocal groups that he worked with.

In 1970 he produced his biggest ever hit 'Double Barrel', a ground breaking track that went on to be the biggest reggae track of 1971, reaching the very top of the UK national pop charts in May, and peaking at number 22 in the US Billboard charts in August.

After this pop success Winston Riley continued working as he always had done, producing top quality reggae tracks with a host of Jamaica's finest singers and musicians. After opening his shop in Chancery Lane, he continued on his quest for the best throughout the 70's, 80's, 90's and into the 21st century, never failing to bring his decades of experience and peerless production skills to bear on whatever contemporary music he was producing.

The Rockers Sound (aka Steppas) came from the mid 70's and was created during sessions with The Revolutionaires band at Channel 1.
Drummer Sly Dunbar came up with a new 'Militant' style double drumming on the snare drum that seemed to add some credence to the political /Rasta based lyrics that were so prominent around this time.

So for this compilation we have pulled together some of the best cuts from this period when producer Bunny Lee was on the top of his game and the sound in town to get on board with was 'Rockers'...
So sit back and enjoy another period in Reggae's history that still sounds as good as when it was created way back when...
EVERYTHING ROCKERS....




D a4 | DEVIL'S THRONE - Junior Delgado

The Rockers Sound (aka Steppas) came from the mid 70's and was created during sessions with The Revolutionaires band at Channel 1.
Drummer Sly Dunbar came up with a new 'Militant' style double drumming on the snare drum that seemed to add some credence to the political /Rasta based lyrics that were so prominent around this time.

So for this compilation we have pulled together some of the best cuts from this period when producer Bunny Lee was on the top of his game and the sound in town to get on board with was 'Rockers'...
So sit back and enjoy another period in Reggae's history that still sounds as good as when it was created way back when...
EVERYTHING ROCKERS....

A] Track 1 CONTROL YOUR DAUGHTERS - Cornell Campbell

Lagartijeando is the name of producer, musician and DJ Mati Zundel. Born, raised and currently living in a small town on the outskirts of Buenos Aires called Dolores. From a very early age, he was musically curious- experimenting with percussion, charango, guitar, bass, voice, and beyond.

Strongly influenced by his travels through Latin America, Mati's signature psychedelic dance tracks latch onto everything from traditional folk sounds from the Bolivian altiplano to the jungle beats of Brazil. Mati hypnotically fuses his traditional influences (with an emphasis on shaman chant and charango loops) with contemporary electronic beats, creating a sound that once left NPR speechless.

Lagartigeando was signed to the infamous ZZK Records in 2009 (Chancha Via Circuito, Nicola Cruz, etc.) on which he released his first EP Neobailongo- a mix of cumbias with electro and dubstep elements. After releasing the EP, Mati soon took to the road and dove deeper into the music of the Andes, studying charango and various traditional folk styles. In 2012, under the name Mati Zundel, he released his first full length album Amazonico Gravitante, via ZZK as well as Waxploitation (Gnarls Barkley, Danger Mouse) in the U.S.

Some more miles later, Mati released his second LP Cardos Redondo also on Waxploitation, which featured 8 songs recorded across Latin America- an album he calls an 'imaginary sound map of Latin America,'

Freshly into 2017, Mati brings us El Gran Poder via Wonderwheel (Novalima, Alsarah & The Nubatones)- named after an important Aymara festival that takes place in Bolivia and Peru, purely to celebrate family. At these festivals, the community also celebrates their culture and the importance of the collective identity. Like these festivals, the album is a celebratory one, and will tempt any listener out of their seat. The album was recorded in Mati's town, Dolores, outside of Buenos Aires. Once again taking a huge variety of sounds- this time influenced by Brazilian house,afro-brazilian rhythms, and folkloric Andean music. All songs are written and produced by Mati, apart from Lunita, a danceable track written in collaboration with Barrio Lindo.

It's no secret that Idle Hands is a label built on a foundation of dub. From the earliest releases by Pev, Kowton and Szare through to more recent output from O$VMV$M and Christian Jay, the influence of Bristol's soundsystem heritage looms large in the myriad electronic music threads the label encompasses. Sometimes this influence is explicit, other times implied, but the principles of sub heavy, spacious music for both body and mind guide the stylistic arc of the label as a direct result of the label's long time immersion in roots and dub culture.

Andy Mac is an artist who echoes this spirit more acutely than most. His innate understanding of dub comes from a life spent collecting and playing the music, both as part of the Falling Up collective and as a DJ on his own terms. This influence has been felt in his previous productions, not least on theRegular & Irregulardoublepack he released on Idle Hands back in 2013.

Now Andy makes a welcome return to Idle to kick off a new series under the banner ofDiving Bird. So named after the avian population off the coast of his native Cornwall, these new productions are the result of a fertile creative period since taking some time out from the low end thrum of Bristol life. With sound sources including field recordings from multiple trips to West Africa, the series is the most pronounced distillation of his pure-hearted passion for dub, making a natural progression from the more mechanical angles of his previous work to fall into an pulse that refigures the pioneering work of Tubby, Perry et al in a modern context.

The meditative lilt of "Longships" sports whispers of Basic Channel in its strafing chord stabs, but there's a more organic, roots-minded finish to the percussion that stands distinct from contemporary dub techno. "HorseFlyDub" places steppers energy alongside haunting atmospherics, coming on both sprightly and introspective in the same beat. "10" pushes out into more experimental realms, weaving fragments of weather systems and folk musicians into a dreamlike beatless reverie that aligns with the recent forays into ambient music that Idle Hands has undertaken.

Striking a balance between distinct personality and deeply rooted authenticity, the first volume ofDiving Bird marks another bold step forward for Andy Mac, an artist who shifts his stance with each release and makes it sound completely natural.

10"

*As demands are being placed for more traditional Roots style Reggae, Dub and general productions, the 'Iron Sound' concept was developed. Alien Dread studio embraces both contemporary and traditional approaches to production using software based sequencing alongside outboard analogue devices to deliver an authentic and powerful Reggae sound.

Alien Dread returns with four new contemporary Roots Reggae Instrumentals, on a 10" Vinyl EP.
The EP features Alvin Davis's exemplary Hornz work on all tracks, supported by Asha B, Congos & Percussion, with Riddim Guitar from Steven 'Marley' Wright. All of the tracks were produced during
late 2016 at AD Studio Uk.


* 10'EP on Iron Sound label in ISR generic Picture Sleeve.
* Mixed By: Alien Dread
* Produced By: Alien Dread & ISR at AD Studio.

Klaus Wunderlich meets King Tubby on this spaced out living room jam by the Gl. Harlev Organ Orchestra, three seasoned veteran musicians from the Danish underground (Bo Marley, Analogik, 100% Max Akwaaba). The tracks, all one-take recordings done with just an old Technics organ, mutate through the various presets from the built in drum machine - tango bossa - while getting soaked in tape delays and subtle flute or guitar overdubs, driven by the surprisingly heavy basslines coming from the old organ speakers. Playing the organ turned out to be a three men job: Benjamin Lesak on the two-layer keyboard, Kristian Nordenthoft kneeling on the floor to operate the bass pedals by hand, while Jesper Kobberoe took care of the beats. Recorded live with only a simple microfon this document captures everything, from pure vibes to problems with a runny nose.

This re-issue of a lost gem from 2009 (as 'Bare Spil Noget Orgel' on Route 66) shows what can be done in just one day: you can make a whole record (including cover art)! Sleeve by Kristian Nordentoft.

'In Time' is the new album from renegade roots and reggae producer Wrongtom and Hackney's veteran breakbeat/jungle MC's the Ragga Twins. 'In Time' strips back the jungle, D&B, garage sound that the Ragga Twins are recognised for pioneering today, to take you back to the '80s reggae and dancehall landscape where they started out.
Throughout the record, the Ragga Twins recall and explore a 30-year-long journey, where they uncover prescient lyrics and stories of their youth. Wrongtom provides the beats and riddims as a perfect setting for this celebration of the dancehall and reggae scene.
Wrongtom met the legendary bredrin Flinty Badman and Deman in 2013, an initial performance at a festival ignited an unstoppable collaborative process and so followed the exchange of dub mixes, onetake recording sessions, and an old moth-eaten rucksack full of '80s lyrics. The album's title 'In Time' references the amount of work that went into the project, the analogue production process, and the seismic lyrics of the Ragga Twins past and present. I've been a fan of them since I was a teenager' Wrongtom recalls. The idea behind the project was to bring people together who have reggae in their DNA but don't strictly make it, so the Twins were the perfect fit for another Wrongtom Meets album'.
In his unique crossover career, multitalented Londoner Wrongtom had already become renowned as a purveyor of the underground to the masses through a stint as tour DJ and co-producer for Hard-Fi, and the hit Wrongtom Meets Roots Manuva reworks album 'Duppy Writer' which had brought him further profile and props as a remixer and collaborator.

'In Time' is the new album from renegade roots and reggae producer Wrongtom and Hackney's veteran breakbeat/jungle MC's the Ragga Twins. 'In Time' strips back the jungle, D&B, garage sound that the Ragga Twins are recognised for pioneering today, to take you back to the '80s reggae and dancehall landscape where they started out.
Throughout the record, the Ragga Twins recall and explore a 30-year-long journey, where they uncover prescient lyrics and stories of their youth. Wrongtom provides the beats and riddims as a perfect setting for this celebration of the dancehall and reggae scene.
Wrongtom met the legendary bredrin Flinty Badman and Deman in 2013, an initial performance at a festival ignited an unstoppable collaborative process and so followed the exchange of dub mixes, onetake recording sessions, and an old moth-eaten rucksack full of '80s lyrics. The album's title 'In Time' references the amount of work that went into the project, the analogue production process, and the seismic lyrics of the Ragga Twins past and present. I've been a fan of them since I was a teenager' Wrongtom recalls. The idea behind the project was to bring people together who have reggae in their DNA but don't strictly make it, so the Twins were the perfect fit for another Wrongtom Meets album'.
In his unique crossover career, multitalented Londoner Wrongtom had already become renowned as a purveyor of the underground to the masses through a stint as tour DJ and co-producer for Hard-Fi, and the hit Wrongtom Meets Roots Manuva reworks album 'Duppy Writer' which had brought him further profile and props as a remixer and collaborator.

- One of 2016's most acclaimed albums available on CD for the first time on Demdike Stare's DDS label. The album was voted #2 Best Album Of 2016 by both Resident Advisor and Fact!....

'If 2016 was the year dancehall truly permeated mainstream pop, then it was prescient for Demdike Stare to tap Jamaican production outfit Equiknoxx for their DDS label, where they showed off the island's most experimental urges. Bird Sound Power is an anthology of sorts, pieced together by Demdike's Sean Canty and Miles Whittaker alongside Jon K from material that dates back as far 2009, but still sounds totally contemporary. The meeting of minds between Gavsborg, a studio veteran, and Time Cow, a young whizz-kid, sits at the center of the album, and while members Bobby Blackbird and Kofi Knoxx make appearances, it's the interplay between youthful innovation and older dancehall expertise that makes these productions so essential.' FACT #2 BEST ALBUMS OF 2016