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If there is a year zero for the introduction of reggae music to Japan, you’d be forgiven for thinking it was 1979 when Bob Marley and the Wailers toured the country, trailed by an entourage of journalists, photographers and fans ready to spread the message of the music into all corners of Japanese society.

But the story of Japanese reggae is not a linear one, and the music that is collected on Tokyo Riddim 1976-1985 captures the moment J-reggae entered the broader public consciousness, merging commercial city pop style with an infectious backbeat, that has drawn comparisons with the emergence of Lovers Rock in the UK.

Rather than look directly to Jamaica, many producers and artists in Japan were inspired instead by the more approachable sounds of The Police and UB40, their reggae fix arriving pre-filtered through the lens of new wave pop from the UK. Playful and groovy, these album deep cuts have been overlooked for too long.

Among them are Miki Hirayama, the idol singer who borrowed the bassline from Bob Marley’s Natural Mystic on ‘Denshi Lenzi’, Chu Kosaka, who headed to Hawaii to cut the Jimmy Cliff-inspired ‘Music’ and Marlene, the Philippine songstress whose cover of Roberta Flack’s ‘Hittin’ Me Wear It Hurts’ owed much to her producer’s obsession with Sly & Robbie’s Compass Point sound.

Then there was Izumi “Mimi” Kobayashi, who enlisted the Babylon Warriors to perform on a dubbed-out version of her own track ‘Lazy Love’, the city pop-meets-new wave reggae sound of Miharu Koshi’s ‘Coffee Break’, Junko Yagami’s anti-apartheid deep cut ‘Johannesburg’ and Lily, whose ‘Tenkini Naare’ was produced by Ryuichi Sakamoto and closes out the compilation with a flourish.

While these stories may not always conform to neat narratives, they do provide a more accurate reflection of the indirect ways in which styles infiltrate one another and, in their naivety, have the potential to create something beautifully strange and entirely new. Previously only available in Japan, the tracks on this compilation are a testament to that curious alchemy.

Tokyo Riddim 1976-1985 is released on vinyl and as a full album download (no streaming), featuring original artwork by Japanese Fukuoka-based artist Noncheleee, whose cover pays homage to the iconic dancehall album art of Wilfred Limonious.

Released on 1st September, Tokyo Riddim 1976-1985 is part of Time Capsule's Nippon Series, a loose series of compilations exploring different musical scenes from Japan between the 1960s and 2010s.

Heavyweight Dub album by Alien Trackers, a new project by cosmic trumpet specialist Pablo Volt (STA) and Jahtari space ship mechanic disrupt, landing right in the sweet spot between soulful Black Ark-warmth, digital Firehouse dancehall hitters and Jahtarian Dub psychedelics.

A lazy day at a beach, in a galaxy far, far away... Feel the sand between your tentacles and splash in the emerald acid sea. Snorkel with plasma squids and shock eels. Marvel at the double suns during the magic twilight cycle and bask in their glorious gamma rays. Gaze into the depths of the local Vortex...

Coming on alien-green vinyl, with hand drawn art by David 8000 Farris, additional bass & guitars from Dubsworth, and an all four thumbs up-rating, 'Dubs from Vortex Beach' is landing in your orbit right now!
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(12" Lp Vinyl / 33 Rpm / Incl. Download) Music Mania And Indica Dubs Is Proud To Present The Next Release In Their Mania Dub Series. Following Multiple Classic Re-issues, We Now Bring You A Long Awaited Freshly Produced Dubplate Album On A 12' By Uk Dub Innovators, Alpha & Omega: Dubplate Selection Vol. 3.

Linval Thompson - Wicked Man

Vocals: Linval Thompson
Drums: Eduardo Fernandez
Percussion: Aurel Cade
Bass: Amando “Gottafunker” Gottardi
Horns: Soothsayers
Guitars: Vinney Ellis
Backing Vocals: Chardel Rhoden
Label: Roots Renegade Records (RRR017)
Produced & Mixed by Vinney Satta at Ellis Studios, Spain

Music Mania and Indica Dubs is proud to present the 16th release: Dubs Convention LP. This killer LP was originally released in 1996! This joint album features UK Dub legends; The Bush Chemists, and The Dub Organiser.

This gem shows the true 90s Dub vibes through the raw mixing skills used throughout the album. From the lightening sounding reverb on the snare, to the phasing phaser on the chords; this is the sort of original sound that shaped the Dub scene into the “steppers style” that it is today!

The original artwork of the cover and labels have been maintained to keep the authentic look of the original pressing from the 90s. As well as the original master tapes to keep the audio at the best quality possible!

Tony Benjamin (Reggae Regulars) versions the classic 1983 ‘Live In Love’ riddim - a Jah Shaka favourite… Gautrey Road Peckham 16trk - Dub Me Crazy part 3 style

OUT NOW!!

Following the frankly HUGE Benny L remix, UK dons Reggae Roast wind down the tempo for a deep and heavy dubwise remix, drawing on elements of dubstep for a real soundsystem stepper!

Black Vinyl 2025 Repress

Available on 7" for the first time, Webby Jay's 1979 version of The Dramatics soul hit, 'In The Rain'. Produced and sung by the late Webster Johnson aka Webby Jay, renowned session player and keyboardist for reggae band Matumbi. Sought after for the vocal and dub versions in equal measure, both tracks have been cut from the Arawak master tapes for this long overdue 45 issue.

Mysticisms is delighted to present the music from one of the inspirations for the whole Dubplate series, the lesser known, but admired Digi Dub label. Hailing from the late 80s / early 90s South-East London squat scene, the music of label head Lee Berwick and cohorts was unlike any other at the time. Not simply a retake on digital dub emanating from Jamaica, Digi Dub mixed the heritage of reggae with the alternative-culture of Britain to forge a unique version.

Inspired by punk and the early electronics of the likes of A Certain Ratio, Cabaret Voltaire and Throbbing Gristle, Berwick came to music production later, after first quitting a career as a computer programmer to travel through Asia, returning after several years just as electronic “computer music” was gaining a fundamental new lease in 1988. A regular at Jah Shaka gigs over the burgeoning rave scene of the time, he steadily built a studio centered around the Akai Sampler.

Based, at the time, in South-East London, it’s lack of underground “Tube” lines and challenging transport links, helped create its own social and music eco-system. Squatted houses, shops, clubs and parties all thrived around the triangle of Bermondsey, New Cross and Camberwell. After meeting Kenny Diezel and the Mutoid Waste Company, he started to formulate his “dubby electronic sound” by literally play live to thousands of wide-eyed Ravers at Mutoid Waste parties.

Recording as Launch DAT, the first tracks with Kenny formed, soon joined by Harry and Nick, the trio progressed from building a sound system to L.S. Diezel being created. Friends since their teens Harry and Nik progressed from playing in bands, jamming Sly and Robbie dubs to moving from the countryside of the Home Counties to urban Peckham and into the orbit of Mutoid Waste and the squat and party scene.

Progressing to include Atari S1000HD, Akai S3200XL, Alesis Sequencer and Roland 303, the sound expanded but the raw spirit remained. The early recordings with Berwick, in the beautiful “Lovers style” that is For The Love Of and its stripped-back instrumental “Stepper” dub accompaniment in Bad Boys, as well as an early take on take on the merging of digital dub and hip hop in Skunk Funk, all capture the essence of that London period.

However, the inclusion of the seminal Suicidal Dub, that appeared as the title to their debut album and was recorded on a bus a few years later after Mutoid had relocated to Rimini, Italy, offers a glimpse to the future. Heralded as a proto-dubstep classic it has long been sought after and its inclusion makes for the essential.

Mutate The Mystery.

A stunning re-envisaging of Sade ‘Cherish The Day’ in a upfront reggae style from singer Sailor Jane. It is produced by the great Michael Goldwasser. A side mixed by the maestro mixer Gregory Morris, the B side features a magnificent dub piece from Jallanzo The Dub Wizard.

The release comes on a criss 7inch housed in a beautiful picture sleeve designed by Madein876 Productions / Streets of Jamaica & formatted by Classic Blends.

Sailor Jane is out of Florida but has spent a lot of time in Jamaica honing her skills as a singer and musician. This track is taken from her album of Sade covers which is certainly worth checking out called No Ordinary Dub.

Born Osborne Ruddock in Kingston in 1941, he grew up around High Holborn Street in Kingston, before moving to the new Waterhouse district in 1955. His electronic genius grew from working and fixing radios and TV sets. A natural progression led to working with amplifiers, and starting his own sound system, 'Tubby's Home Town Hi-Fi'. A very competitive games i the late 60's. You were as good as the EXCLUSIVE records you played.
Tubby discovered during his time cutting discs for Duke Reid's Treasure Isle set up, that by dropping vocals/instruments in and out of the backing tracks, you could invent new versions of existing old tunes. These early versions tried and tested on his sound system went down so well that he invested in a four track mixing console with delay echo effects, sliders and phasing units and so began King Tubby's 'Studio Of Dub' at 18 Drummlie Avenue, Kinston 11 , Jamaica...His Home.....
This is where all the producers would bring their tracks for Tubby to put his magic over. Most tracks that came out in Jamaica from here on in would carry a 'Version' on it's B- Side more than likely a Tubby Dub.
One of the producers who used him the most was Bunny Striker Lee, who's labels Jackpot, Justice and Attack all carried Tubby's mixes/versions on their flip sides.
Our collection here, all taken from original master tapes you might have heard the tracks before but not these versions....Lost in the vaults till now. So sit back and enjoy the dub master at work.

RESPECT.... JAH FLOYD

Track 1 CHERRY'S DUB
We start off with a very early version of Eric Donaldson's 'Cherry O Baby'.
This version was recorded at Dynamic Sounds, in 1971 and has remained lost on master tape until now.

Track 2 FRENEMY DUB
This classic rhythm known as 'Mad Mad World' and 'Crying in the Ghetto' both voiced by Winston Jarret
got worked on by Tubby as an exclusive mix for his sound system. Released here for the first time featuring
the late, great Jacob Miller on dubbed vocal.

Track 3 FALLING FOR DUB
A version here of Cornell Campbell's 'My Whole World is Falling Down' Tubby in fine form.

Track 4 DUB ON THE STREET AGAIN
Yes my friend The Street Again finds Cornell Campbell's vocal dubbed King Tubby Style Nice Rockers drums from Sly Dunbar.


Track 5 DECEIVING THE DUB
Sly and Robbie dubbing up Delroy Wilson's ' So Long Jenny' with King Tubby at the boards

Collecting Orders for 2025 Repress

Takafumi Noda aka Mystica Tribe and Legowelt with their second Noda & Wolfers album on Nightwind Records

Once more, Japanese digital dub legend Takafumi Noda, aka Mystica Tribe, and Dutch synth wizard Danny Wolfers aka Legowelt reunite for their highly anticipated second album under the Noda & Wolfers project on Nightwind Records. EVIL FADES IN ECHO offers a unique concoction of digital dub, raw lo-fi electro and acid hall influences, creating a deviant captivating sound. Wild untamed synths clash with raw sloppy rhythm boxes. Seductive spring reverbs dissolve into clouds of space echo. Heavy intense bass crumbles on decaying fuzzy tapes while Noda's haunting melodica melodies elevate this LP to new heights!

SKA was the name given to the music that came out of Jamaica between 1961-1966. Based on the American R&B and Doo-wop records that the Sound Systems in Kingston Town used to play. However, the American records style started to mellow out, while the Jamaicans preferred a more upbeat sound. So the Sound System bosses became record producers to cater for this demand. Sir “Coxonne” Dodd and Duke Reid led the way putting the top musicians on the Island in the studio to make music unmistakably Jamaican. A lot of their early recordings were cut at Federal Records before they built their own studios.

Federal Records was the first domestic Jamaican studio, based at 220 Foreshore Road, Hagley Park, Kingston. It opened it’s doors in 1961 owned by Ken Khouri who first licensed American records to the island of Jamaica, before cutting his own tunes, which were some of the first Jamaican RnB and Ska singles. Ken Khouri initial studio was Records Limited but very basic so with the help of engineer Graeme Goodall built the new studio complex at 220 Foreshore Road which also contained a pressing plant and disc cutting room. The studio was not only the forerunner for Ska music but the music that followed and in 1981 Ken Khouri sold the complex now on the renamed road Marcus Garvey Drive to Bob Marley who renamed the premises Tuff Gong Studios whose legacy carries on today.

We have compiled some of the best SKA SOUNDS that came out of the Federal Vaults, with some of the best artists, musicians from the time. The great Lord Tanomo, Don Drummond, Rico Rodriguez, Roland Alphonso, alongside some lesser known artist. However, one thing is for sure, the quality never drops on this fine collection of Ska Hot Tunes……

"Fresh dub tune by the talented George Palmer, played by nuff Belgian sounds over the past year. In a heavy production by Mafia & Fluxy & Wandering Lion."

Killer female roots vocal on the tuff lick of the 'Java' rhythm that we released other cuts on (see above links). This tune was originally released on 12" on Park Heights' Son of a Gun label, under the name 'Park Heights Angel' aka Angel Hoytt. This is the first release on 45, and the A-side vocal cut is an alternate previously unreleased mix.

Time for the second release in our series with the super OG, Mr. Bobby Aitken. Bobby and his band the Carib Beats produced a whole lot of stuff for release thru WIRL back in the late '60s. One of the best is this great rocksteady adaptation of Curtis’ classic “Keep On Pushing”, with Lloyd (Robinson) and Glen (Brown) on vocals. On the flip side of this is one of the rarest Carib Beats tunes, titled “Soul Special.” This is a cool instrumental with some charming flute playing (we love flute!), only ever released as the flip of “Crying Time” (still available), a brutally rare 45 that only exists in tiny numbers as a UK test pressing, never making it to full release.

Here's the inaugural release in a new series from the archives of the late great engineer & producer Philip Smart. Philip's resume is impeccable - early friend and collaborator of Augustus Pablo, radio host and dj, first apprentice of King Tubby, and founder, producer and engineer at one of the major reggae studios of New York City history, HC&F. Many years back our brother label Goldshop did a series of 45 reissues of the dancehall classics from Philip's Eclipse label. We always wanted to go deeper, but time moves fast, and unfortunately, Philip left us in 2014. But everything in due course, and now with his estate we've gone thru the archives to assemble a fantastic series of releases. This first release is a must - produced by Philip during his time as engineer at Tubby's studio, this is an awesome rockers style take on the moody Paragons classic. The flip features a classic blueprint mid 70s Tubby's style dub, HPF in effect with the first Prince, Philip Smart at the helm. Originally released thru Brooklyn's legendary Keith's record shop back around the time it was recorded.

"Message Music by Daweh in a Mafia & Fluxy & Wandering Lion production. Hard hitting roots music!"

"Modern dub re-lick of the classic Dean Fraser tune, crafted by Dub Kazman (JP) & Wandering Lion in heavyweight style."

Here's the first dip into previously unreleased heat from Parish. Fire late '80s Everton Chambers, riding a wicked lick of the tonight riddim. Another one proving yet again that Parish is one of the finest labels of the era.

For us, this is a top five all time tune in the soul reggae canon and maybe Leroy Smart's best ever. An early one for Mr. Smart, this is the first cut of one of his most classic tunes, recorded in 1972 for producer Gussie Clarke and originally released on the early Tuff Gong label via Wailers' associate Alan 'Skill' Cole. If you're like me and you've listened to the original Tuff Gong 45 a million times, you may have noticed that the dub version was mixed from a different vocal take, with some lyrics not on the A side coming in to the dub mix. This alternate vocal take is also the one partially used for the 1979 remix cut on a heavily overdubbed rhythm. We had always desired to hear this other take in its original form, so naturally then we had to get the great Mr. Clarke to dig this one out of his archives to hear it as it should be. In comparison to the original released cut, it's a more spare take sans the opening harmonizing, and the lyrical changes give the tune a more pleading and less stubbornly declarative mood. For the B-side version we have an alternate mix again, which is actually the one Big Youth deejays over for his tune "Pride & Joy Rock." Consider this release a prime example of DKR's "never too much of a great thing" philosophy.

Matthew (son of Winston McCanuff) was one of the rising stars in the reggae scene around the 2010s, when he got cold-blooded murdered in 2012. "Be Careful” appeared on his debut album with the same title. On the B-side we have the original version. Later on an alternate version was recorded, which has a more “live” feel to it and also features a wicked dub.

New twelve inch of vintage Wackie's on City Line. The A-side features two of the best Wackie's deep roots tunes previously only released on compilation, which have long needed single release. Stranger Cole's somber "Capture Land" about the reality of squatting in the ghetto, followed by Wanachi's instrumental cut of the brilliant rhythm you might know from Azul's 'Black Rose.' The B-side features a really unique previously unreleased tune from one Moon Dread. Operatic, semi-acoustic and haunting, if you like early Ras Michael & The Sons of Negus, this tune offers a maybe less spiritual and more theatrical but still compelling take in that vein from about a decade later in the late 1970s. Comes in new Wackie's company sleeve.

Killer previously unreleased mid '80s Tetrack tune finally out on road. Astute dubplate fiends may have heard this played by Rodigan back in the day, and others may know the Mighty Diamonds' later recording of the song. But the original cut is this one, written by Carlton Hines and performed by his group, the great Tetrack. Here it is in pristine quality straight from Gussie Clarke's master tapes, and mixed faithfully in style to the original dubplate cut, by Music Works' associate Curtis Lynch. Comes on the lovely "Dubwise Made in Jamaica" version of the Music Works label, which was used exclusively for dubplates cut at Gussie's original studio back in the early to mid '80s.

We are overjoyed to present this album, another one from our bucket list and another one to set the record straight and illuminate the history of another much loved, but until now mysterious group. The Invaders made some of our all time favorite records - back in 2013 we issued five 45’s of their brilliant, sometimes plaintive, sometimes hopeful and sweet early roots music. Their sound touches folk and gospel in lovely subtle ways that elevate them above the many harmony groups of the early roots reggae era. Since the start of DKR we were striving to learn more about the group - and despite being able to license a portion of their output for reissue, and get anecdotes about them here and there, we were never able to connect with the group themselves. But we never gave up asking about them, and finally in 2024 we were able to link with Delroy “Bongo Pat” Forde, the surviving member of the group. Unfortunately other Invader, Lloyd “Paddy” Campbell passed on several years back. To hear and learn their full story, you need to check out this album and read the liner notes. This 13 song LP corrals much of their output - some of the tracks we previously issued but have been long out of press, some more never before reissued, and some great related solo works by the duo. And to cap it all off we’ve added two new voicings on a couple of our favorite vintage rhythms, by Invader Bongo Pat himself, live in 2024, singing two Invaders songs written way back in the early 1970s but never recorded back then. All together this is a long overdue document of one of the 1970’s finest groups and one dear to our heart.

Little John is one of the most loved and prolific 80s dancehall artists. He started as a child artist in 1979 and by the mid 1980s had recorded for every major producer. In 1984 at age 14 he already knew the ropes of the business and started to produce 45s on his own Romantic label, which he continued sporadically releasing tunes on up until 1993. For us this is one of the coolest looking labels of the latter 1980s, and has a handful of hard to find killer 45s, mostly obscure and mostly slept on. So naturally we needed to corral these for another all killer no filler compilation. True to his own roots, Little John’s label mostly features fresh youthman artists, though a handful of veterans, like Frankie Paul and Early B who are both featured here, also recorded for him. The ten songs on this comp are our favorites from the label, featuring a selection of killer rhythms spanning the heavy mid 80s style, the proper late 80s digital style, and the more uptempo early 90s style. Hardcore DKR heads take note - this features three cuts on that most hallowed 1987 digi rhythm.

Brixton Heights Records proudly presents the brand new single ‘Am I the Same Man?’, a soulful roots-reggae gem featuring a heavyweight all-star lineup including: Mafia & Fluxy on drum and bass respectively, the Ital Horns on brass, Gussie Clarke on mastering and Gaudi on falsetto vocals + BVs, dub mixing, piano and co-production alongside The Brixton Heights Orchestra.

Drawing inspiration from the timeless instrumental groove ‘Soulful Strut’ by Young-Holt Unlimited, the track channels vintage soul through a deep lovers-rock lens. A fresh and earnest reinterpretation of Barbara Acklin’s 1968 classic ‘Am I the Same Girl?’, this version flips the narrative with an adaptation on the lyrics voiced by none other than Gaudi singing in falsetto, resulting with a smooth, dub-infused love song that combines classic soul and international reggae into a modern masterpiece.
Gaudi is not stranger to falsetto-singing and backing vocals, in fact he has lent his distinctive vocal talent to albums by reggae giants such as Steel Pulse, Horace Andy, Lee “Scratch” Perry, Don Letts, Johnny Clarke, Mad Professor, Hollie Cook, Michael Rose, Creation Rebel, Africa Unite, Awa Fall, African Head Charge, Lion D & Capleton.

Mixed and co-produced by Gaudi at his Metatron Studio in London UK and mastered by Gussie Clarke at Anchor Studios in Kingston Jamaica, ‘Am I the Same Man?’ is more than a cover version, it’s a heartfelt transformation that captures the emotional core of the original song while creating a whole new vibe that speaks to today’s lovers and soul seekers alike.

The B-side presents a meticulously crafted dub version by Gaudi, produced exclusively with analogue equipment and vintage studio hardware. The mix brings forward the intricacies of the original instrumentation and enhances the lyrical elements through spacious delays and warm, analogue textures. Last but not least, in order to maintain the highest level of authenticity and an organic sonic texture, all recordings were done at 432Hz, tuned to resonate naturally.

Thompson Sound and Dubquake Records team up to offer O.B.F-style versions of iconic roots & rub-a-dub tracks from Linval Thompson's label. Gems from the 70s and 80s that’ve been reworked by Rico O.B.F using original recordings. Each release comes with a reinterpretation of the original vocal, dubs, and a mix with our dearly missed Nazamba pon the version!

After 'Curfew', 'Sweet Sensimilia' and 'Evening Love', here's 'Guide & Protect', the very last scorcher in this series: a reimagined version of Michael Prophet's 'Guide And Protect You', taken from his iconic self-titled album.

Special guest Mark Iration jumps on his own cut, 'Protection'. Prophet and Mark trade verses as if side by side, capturing their connection. A celebration of Prophet’s legacy. Protection brings together reggae’s past and future.

On 'Raw Born Reggae', Nazamba flows with absolute groove. It's a preview of his highly anticipated posthumous album, 'A Message from Zion', set to release in November.

First official vinyl showcase from Untamed Sounds Studio featuring Lucadread on vocals. Digi Killer style.

Untamed Sounds Studio was established in 2015 in Northeast Italy as a sound system, hosting regular events for several years. In 2019, the physical system was sold, and the project moved to the UK, shifting its focus to music production. Since then, Untamed Sounds has collaborated with a wide range of sound systems, DJs, and singers, particularly in the dubplate field, providing exclusive tracks to sounds across the globe. Whether it's roots, dub, digital, or year 3000 style, Untamed Sounds continues to staying true to its foundation, rooted in Jamaican music.

Produced and Arranged by Untamed Sounds.
Mixed by Dougie Conscious at Conscious Sounds Studio, UK.
Mastered by Dubfiles.

In truth, singing is not all that different from acting. Performing a song is very similar to playing a role in a theatrical production. A singer's delivery — the way they interpret and emphasize certain parts of a song — is much like what an actor does with their character.

That's why we often find singers who go on to gain popularity as performers — some on stage, but more often on the silver screen (film).

These are called 'singing stars' — vocalists who are also featured actors, usually given roles specially created to suit their primary strength: singing.

Among them, a few have become even more famous for their acting talents, which sometimes surpass their singing ability. However, the number who manage to do this successfully is very small. Oslan Husein is lucky enough to be counted among that small number. As his fame as a singer began to rise sharply, he also began his film career as an actor. It's true that he had previously appeared in a film, but only as an extra, alongside the orchestra he performed with.

Following that, he appeared in several other films, including Detik-detik Berbahaya, 1000 Langkah, Kasih Tak Sampai, Hadiah 2.000.000,-, Maut Menjelang Magrib, and Antara Timur dan Barat. Six films over a span of just about 2.5 years — quite an impressive achievement.

Over time, a number of songs that Oslan had performed in his films began to accumulate. Together with a few additional songs — also from films — there were eventually enough to compile into one long-playing (LP) record.

And so, accompanied by Jack Lemmers — who, for this project, created special arrangements and musical treatments unlike the usual (for example, the use of four guitars at once) — Oslan carried out the recordings at Irama studios.

By releasing this LP of songs from the silver screen, Irama took an exciting step forward and opened many new possibilities in its history. Because the world of recorded music and the world of film, wherever they are in the world, are like siblings — and they work best when they collaborate, shoulder to shoulder, in harmony.

Lewis Bennett meets Reggae veteran Linval Thompson, Sista Oona and King David horns in a heavyweight Dub cover of Bill Withers' 'Ain't No Sunshine'.

Released under license from Universal Music Works.
Artwork by Running Boxman Visuals.