[ aquarius records — Reggae Dub ]

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These high concept instrumentalists are most definitely not the first group to explore the subtleties of single chords; twentieth century classical music is rife with extended chord performances, and more recently San Diego rock minimalists Physics based their entire career on performing a C chord - it's just that Chord the group are the first to present their single chord process so overtly. They're called Chord to begin with, and each track is titled the specific chord that is being played/explored. And sure, there's some seriously academic stuff going on, the liner notes of their records reveal a deep understanding of music theory, but it's all in the application of the theory, after all we didn't pick this record up to LEARN anything!! Regardless, for whatever academic underpinnings are present, the music of Chord is in fact quite lovely, dark billowing swirls of deep drones and lush chordal whir, this particular chord was already explored on the group's Flora record, but here the group revisit it, and offer two sidelong explorations/reinterpretations/improvisations. The first, subtitled "Stasis", is not in fact as static as the title might lead one to believe. It's a slowly unfurling sprawl of layered low end drones, of subtly shifting overtones, lush textures, rumbling buzz, deep swirling shimmer, super hypnotic for sure, with the sound slowly building to a heavy buzzing SUNNO))) like dirge, but with headphones this wall of crumbling super distorted sound is revealed to be rife with ever shifting sonic colorations, the titular chord being pulled apart, making the inner workings audible, a blackened buzz transformed into a dense swirl of prismatic tonal thrum writ epic and majestic and surprisingly heavy. The flipside, subtitled "Kinesis", doesn't seem to offer up as much movement as the subtitle suggests, although we're now beginning to understand the subtleties of Chord's process, the kinesis here due mostly to the introduction of drums (courtesy of US Maple's Pat Sampson!), the guitars offering up a looped Reich like backdrop to some heavy drum pound, blustery and bombastic, with moments that shift toward more abstract and jazzy, the drums and guitars seemingly at odds, occasionally coming together in stretches of Necks like minimal groove, but more often than not, sparring wildly, before finally blossoming into a heavy blown out blissy psychedelic raga like outro, all soaring sunburnt guitar buzz and loping tripped out rhythmic pummel. Nice. LIMITED TO 300 COPIES!! Comes packaged in a silkscreened fold over sleeve, and includes TWO download coupons, one for the record proper, and another for a 2010 live set at the Empty Bottle in Chicago.

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For those of you who missed out on the first two solo singles from Al Cisneros, formerly of stoner metal heavies Sleep, and currently of heavy trance-lords OM, you might be forgiven for expecting this to fall somewhere right in the middle, maybe some minimal metallic heaviness, or droned out downtuned dirgery, and while Cisneros' solo sound does share some sonic similarities, this is not metal, nor not really even heavy, at least in the traditional sense. Fans of OM, no doubt hear the influence of dub on that group's sound, and if there was any ever doubt, well, all you need to do is give this a listen. Cuz it is DUB. Not 'metallic' dub, or 'doom' dub, just deep bass heavy old school reverb drenched minimal darkly psychedelic classic dub. Like the 7"s before, these two tracks find Cisneros creating his own strand of dubbed out musical DNA, one which while sonically similar to the dub that came before, also reminds us of other dub influenced outfits, in particular African Head Charge and Muslimgauze. Murky and minimal, these two tracks are heady and hypnotic, with thick, deep basslines, simple percussion, drums doused in echo and reverb, everything hazy and spacey and druggy, the melodies kind of washed out minor key, a whirring organ unfurling a 4 or 5 note melodic refrain, very mantra like, the whole thing looped and cyclical, in fact, both sides/tracks seem to be essentially the same song, which is more than fine, cuz this is the sort of hypno-dub space out you want to go on and on and on and on and on and on... Like his earlier 7" singles, housed in a plain white sleeve. And probably pretty limited!

The very first solo record from Al Cisneros, he of stoner sludge gods Sleep, and minimal doom heavies Om, and the first release on his Sinai label, which might have you expecting a sweet slab of downtuned heaviness, or slo-mo bass heavy minimalism, and actually you wouldn't be far off. But this is not metal, or doom, or even rock, this in fact a straight up DUB record. We're not surprised, as Cisneros has been ordering dub records from us for a while, but fans of OM at least shouldn't be that surprised either, as that group's sound was definitely heavily influenced by classic dub. And while Cisneros' first stab at pure dub is pretty excellent, it's also not hard to imagine it being reimagined as a proper OM track, but here, it's all dub, low slung woozy bassline, spare simple rhythm, what sounds like tablas, the vibe a little bit Muslimgauze, a little bit King Tubby, the sound lush and thick, rife with sampled vocals, chiming melodies, dark, droney, druggy and seriously dubby, crank the bass and blast this through your system. And of course it's a dub single, so the flipside is the 'version', most of the vocals stripped away, or doused in echo and delay and spent swirling into the ether, super minimal and mesmerizing, the focus on the groove of the bass, and the rhythm, totally heady and hypnotic, WAY too short on a 7", it's the sort of jam you want to stretch out forever. Here's hoping there's a dub full length in the future, but for now, grab one of these before they're gone, as they're extremely limited. Housed in a plain white sleeve.

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Two more tracks of swirling, murky, druggy dub from Sleep / OM frontman Al Cisneros, whose love of dub seemed fairly evident even in those outfits, but recently, Cisneros has been going full dub, on a handful of singles and eps. The time around, his take on classic dub remains darkly groovy, washed out and laid back, and like his other dub joints, definitely beholden to outfits like African Head Charge and Muslimgauze. The strange/cool thing about these two tracks, is that they sort of sound like the theme music from some obscure seventies cop show, but slowed way down, dipped in FX and stretched out into something way more lysergic and psychedelic. Like his other releases, Cisneros basically just lays down a simple, mesmeric drug-dub loop and lets it roll (we've compared his dub to a slowed down version of Finnish hypno-rockers Circle), tranced out and cyclical, with the variations subtle and minimal, this time around, the main loop/riff/groove is augmented by some distant drones, some hushed metallic swells, over which the ghostly, distorted, lo-fi vocals drift, ghostly and ethereal. It's fantastically murky and moody, as is the B side which is the dub version, stripping away the already minimal vocals, and letting the track itself just smolder and slither, a slowly swirling, head nodding dubbed out murk, that fans of classic dub will no doubt dig, with a sonic connection to Sleep and Om that seems pretty obvious to us. Druggy dubwise divinity that comes HIGHLY recommended. LIMITED TO 1000 COPIES!! And exquisitely packaged, with hand stamped vinyl labels, housed in a letter pressed chipboard jacket and dust sleeve, with a screen printed insert, all printed on a vintage 1910 press, with stunning artwork from artist David D'Andrea and released on his Samaritan Press imprint. Originally ONLY available on the OM tour, and from D'Andrea's website, we got a handful for the shop, but not sure how long those will last. Oh, and FYI, we also just got yet another Al Cisneros dub 7", entitled Lantern Of The Soul, released on his own label Sinai. We'll list that next time, assuming we still have copies. Those are only $5.98.

With another new 7", the mainman from stoner doom legends Sleep and tranced out mesmer-metal outronauts OM continues to dig deep into his love of classic dub, a sound that has most definitely informed even his most metal of musical endeavors. But unlike the other singles from Cisneros we've reviewed, this one sounds like a full band, a little less straight up classic dub, and more a sort of subtly dubby, psychedelic jazz, a groovy skittery rhythm beneath a sprawl of swirling synths, hazy and dreamlike, like some seventies cinematic psych, the soundtrack to some lost foreign thriller, droney and druggy, melancholic and moody, the sound breaking down sometimes to just bass and drums, darkly propulsive and hushed, but those ultra minimal moments are balanced by the rest of the track (a single song, spread out over two sides) that unwinds languorously, two sides of laid back and hypnotic, tranced out retro dub-psych-jazz bliss. Housed in a plain, white, jukebox style 45 sleeve, pressed on clear vinyl.

Solo single #2 from Al Cisneros, mastermind of tranced out psych-doom outfit OM, and former bassist for late great stoner sludgelords Sleep, who has never been shy about his love of dub, that dub-love influencing the sound of OM more and more with every record. But these self released 7"s seem to be a showcase for Cisneros to experiment with making proper, classic sounding old school dub, and it sounds as good as you might think. The A side here is a loping, looped sprawl of hypno-dub mesmer, that sounds more like Muslimgauze or African Head Charge (much like the OM dub remix 12"s reviewed elsewhere on this week's list). The melodies are woozy, Eastern tinged, the beat is a motorik, almost industrial sounding shuffle, the bassline languid and liquid, the A side here almost sounds like a single measure looped for the whole of the side, totally tranced out and circular, in fact it almost sounds like old classic Circle slowed away down, that same sort of head nodding murky groove. The flipside begins with a bit of ambient drift, but soon locks into a similar groove, the sound reminding us also of minimal techno / heroin house, but way more murky and hazy, clouds of swirling ambience shift slowly above that main loop that could go on forever, and for the length of these two sides nearly does. Like the first single, absolutely recommended, and also like that single, VERY limited...

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Another platter of fantastically druggy, droney dub from the man responsible for the stoner rock epicry of Sleep, and the minimal psychedelic drone-dirge of OM, but who has always (obviously) been obsessed with dub, and who recently decided to start doing some actual dub himself, and over the course of a handful of limited releases, has crafted some pretty fantastic stuff, with a sound that's not so much classic Jamaican dub, as it is informed by the sounds that that music influenced. Like on Cisneros' other dub records, we hear lots of Muslimgauze and African Head Charge here too, loping, minimal rhythms, deep, throbbing basslines, tons of echo and reverb, each track essentially a single groove, stretched waaaaay out, the sounds dense and lush and layered, rife with Middle Eastern strings and melodies, total trip out, drone dub dreaminess for sure. Darkly psychedelic, but infused with a deep sonic warmth, the sound laid back and mesmeric, most of the tracks here are woozy and washed out and seriously stoney, but there are moments, where things darken and get slightly more industrial, with a vibe reminiscent of the post dub excursions of outfits like Vatican Shadow or Silent Servant. Housed in a plain brown 12" sleeve, and most likely quite limited...

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Consisting of falsetto vocalists Cedric Myton and Roydel Johnson together with the Upsetters, the Congos released this amazing record in 1977, recorded at Lee Perry's Black Art studio. One of the best ever. Vinyl version is the deluxe edition with 2nd lp, "The Best Of The Rest", 11 Congos tracks from '79-'99, included.

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Pure 12" perfection! Originally released back in 2003 we're super happy this has been finally repressed! Carl Craig had just the right touch on these edits of tracks from the amazing Congos album Heart Of The Congos. This is exactly what you want in a 12", jams to be played over and over and over, Craig piecing together the already potent elements from those amazing originals into a more minimal yet totally sizzling new sound. If you don't have that Congos record yet, this could be the perfect gateway to an amazing album and if you already love that record like we do, this manages to be respectful to the originals, while taking them in totally new directions. Carl Craig proves once again that when it comes to edits and remixes, no one does it better!

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"'Tales of Mozambique' by the Mystic Revelation of Rastafari deserves the kind of attention and reverence which some people have before a monument in a holy room. Above all, this album depends on specific approaches which take account of and analyse all the historic parameters of the displacement of African blacks to the West Indies coasts. It is a journey which takes in the Maroons, Pan-Africanism and all the international struggles for independance, to the spiritual meeting of Nanny (Burru Queen), Howell and Lumumbaba (African Revolutionary) in a musical structure encompassing Burru, Mento, Reggae and Jazz rhythms... 'Tales of Mozambique' came out in 1975 and was an hommage to the independence of this African state, a fusion of Jazz, Nyabhinghi and Calypso, punctuated with interventions by the speaker, Sam Clayton. This masterpiece was not inspired by commercial considerations, but was intended to be the expression of the specific cultural features of Rastafarianism." (From the liner notes.)

Not sure how it worked for other folks, but discovering On-U sound back in the eighties was definitely a gateway into classic dub, the On-U stable of bands like African Headcharge, Dub Syndicate, New Age Steppers, those Pay It All Back comps, the On-U sound was an electronic dub rooted in punk rock, that while true to the roots of reggae and dub, also pushed the sound in stranger, more cosmic and psychedelic directions. For us the ultimate dub music came courtesy of another non-traditonal electro-dub outfit, the Bush Chemists, who pushed dub to it's very breaking point, slathering sounds in ridiculous amounts of delay, sending beats careening into the ether, rhythms constantly collapsing and crumbling, before reconstituting only to do it all over again, while all around, the vocals and other instrumentation got the same treatment, for a non pot smoker, it was about as close to stone-y musical bliss as one could get. But a close second in terms of tripped out psychedelic dub, was no doubt this one, Creation Rebel's Starship Africa, from way back in 1980, described by the label as some of the "greatest sci-fi dub soundtracks never put to film", which is really not that far off. We never really think about dub being space-y or psychedelic, but Starship Africa most definitely is, it's core sound is pure dub, upstroke guitars, wheezing melodica, woozy groovy basslines, swirling synths, and of course hypnotic rhythmic grooves, but in the hands of Creation Rebel, these sounds seem to blur into something else entirely, melodies shift, sounds blossom and expand outward like some exploding star, the drums occasionally splinter into fractured rhythmic shards, weird processed alien vocals hover in fields of reverb, the basslines thick and low slung, also seems to ooze and warble, anchoring all the other sounds, but in their own way stretching out to the heavens as well, and the tape speed constantly warbles, even slipping into an old school DJ style rewind, only to slip right back into another spaced out psychedelic groove. Just check out the sound samples. Total druggy, dreamy, drift off headphone bliss.

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The resurrection of dub reggae music and its influence on post-punk in the late seventies and early eighties didn't really take off in America as it did in Britain. It seems that the aura of Thatcherite austerity policies that were taking their toll on the impoverished lower classes and urban council-flat populace as well as the increasing population of young Jamaicans whose parents emigrated en masse to England after World War II due to a British labor shortage, caused a reinvigoration of the pounding rhythms, industrial echoes and rolling bass of dub as a music defined by struggle. You can still hear this sonic thread as it has evolved over the years through drum and bass, grime and dubstep. But Adrian Sherwood's On-U label was the first on the beat in the late seventies when he began to produce the first Creation Rebel albums which presented a heavy urban take on classic dub and reggae sounds and re-tweeked it with the stoned out spaciness of Tangerine Dream and the Grateful Dead. Collaborating with another Sherwood produced-group, New Age Steppers, a rotating collective of punk and reggae musicians that at one time included Ari Up from The Slits, Keith Levine from P.I.L (both featured here) and Mark Stewart (The Pop Group) amongst its members, Threat of Creation was released in 1981. Channeling the raw energy and urgent spirit of roots, punk and reggae, into a cerebral concoction of mind-expanding rhythms, pensive social dissatisfaction and scorching sonic decay. This is the first vinyl reissue since its release and it's as sonically hard-hitting and socially relevant as ever.

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Reissued courtesy of the Dug Out label run by Mark Ernestus of Basic Channel and Mark Ainsley of Honest Jon's comes this beautiful 1974 work of reggae roots spiritual music unlike any we've ever heard. Deep and heady, slowly unfolding over four long tracks (most of them exceeding the 10 minute mark, and all melding into one another), it carries an earthy psychedelic vibe that unfurls like incense smoke over an expansive desert. With rolling bass, nyabinghi (ceremonial hand percussion), piano and spaced out guitar washes that weave around the central rhythm and vocalist Ras Michaels spiritual incantation like singing. We can see folks who are into bands like Om, Bright Black Morning Light, Sun Araw, or the hippie head trips of early Dr. John or Bruce Palmer getting way into this. Probably one of the most mystically stoned Jamaican head burners we've heard in a long time. Amazing!

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The second cd from De Facto (featuring Omar and Cedric formerly of At The Drive-In... not to be confused with Mars Volta which is their other current project) comes by way of ReStart Records in El Paso, TX. We should note that of the eight tracks included, two

RealAudio clip: Nux Vomica / Coaxialreturn

Repress of the 1978 Dennis Brown produced, Prince Jammy engineered masterpiece of dub, now rendered obsolete by Blood & Fire's much cheaper Umoja / 20th Century Dubwise twofer sold under Prince Jammy's name.

If you can imagine a black metal DUB record, released on Chain Reaction, then this debut from Demdike Stare might be just what you're looking for. A collaboration between one half of the group Pendle Coven, and one of the guys who helps run the amazing Finders Keepers label, the duo craft suffocatingly dark drones, and stark skeletal minimal house music, fusing the two into some sort of mysterious rhythmic black beast. The sound dense and dark, grim and frosty, but infused with all sorts of world music elements, Middle Eastern folk, Indian soundtracks, Turkish psych, the result is really hard to pin down, super stark and dubby a la Pole one minute, then lush and Middle Eastern sounding a la Muslimgauze the next, but just as often, something much more spare and harrowing, buzzy and drone-y, and very very very dark. The record opens with "Suspicious Drone", which is just that, a dense, deep, throbbing chunk of low end rumble, but shot through with undulating synth pulses, and laced with muted effects, before, a super skittery rhythm is introduced, all wreathed in a haze of Goblin-y synth. The second track, "Haxan Dub", is as you might have surmised super dubbed out, spacious and spare, the beats clipped and minimal, until about halfway through when a second beat joins in, creating a strange stuttery offbeat, very darkly groovy. And then there's "Regressor", a super abstract sprawl of rhythmic clicks, echo reverbed ambience, and very little else, bar the occasional synth squiggle or disembodied sample, the result is truly haunting and weirdly gorgeous. And so it goes, the second half of the record is a bit heavier on the world music, with much of the music being made up of chopped and looped samples, or recontextualized motifs, like on "Trapped Dervish, where a fragment of fiddle and a reverb drenched snippet of female vocals, are blurred into a gorgeous expanse of murky rhythmic ambience, but "Haxan" gets all Chain Reaction heroin house-y, while "Conjoined" is all tangled rhythms, and layered drums, until "Ghostly Hardware" finishes things off in appropriately ominous fashion, a long buzzing low end dronescape, all whirring synths, crackling textures, and pulsing bass, never truly locking into a rhythm, instead drifting and floating ghostlike. So good. One of our favorite new electronic records for sure.

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Finally part three in Demdike Stare's strange and wonderful hauntological black dub triptych, a logical continuation of both Forest Of Evil and Liberation Through Hearing, a sprawling twisted landscape of sound, from lurching stuttering minimal sort-of-dubstep to looped and processed African folk music (??) to swirling glitched out electronics, to throbbing pulsing deeeeeep dronemusic, to reverb drenched post-rock-via-Chain-Reaction skitter to... well wherever these cracked sonic alchemists decide to dream up. The record opens with "Black Sun", a short stretch of some super minimal electronic dronemusic, all layered overtones and strange sonic shadings, which gives way to the chopped and looped and stuttery vocal driven "Hashshashin Chant" which takes tribal drums and traditional folk music vocals, and twists them all up, and tangling those elements with strange percussion, industrial buzz, the whole thing a dizzying chunk of hypno-electronic collaged psychedelic mashup weirdness, before slipping into the much murkier and minimal "Repository Of Light", which unfurls like some sort of Hawkwind-meets-Pole spaced out digi-dub drift. And so it goes, the sound flitting between impossibly realized miniature sound worlds, cinematic electronic ambience, ominously pulsing low end rumble, hazy glitchy dubbed out Jeckian smears, super blown out electronic big beat bombast, almost industrial sounding avant big band abstraction, roiling corrosive soft noise, bellowing foghorn-like melodies, warped and woozy scratchy old lp warblescapes and beyond. So gorgeously evocative, creepy and cinematic, abstract and otherworldly, druggy and dreamy, fantastically haunting and spine tinglingly stunning. Rumor is all three lps are getting reissued as a cd box sometime next year, but the vinyl tends to disappear pretty quick, so act fast...

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Wonderful! One of our favorite rocksteady vocalists who just might become one of yours. This posthumously released tribute album compiles a whopping twenty nine songs from Phyllis Dillon's early years spanning 1966 through 1971. The productions blend the traditional reggae and rocksteady sounds with the decade's smooth bright girl group pop. A perfect summertime album to be cherished. Absolutely recommended.

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THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. We're finally carrying my very favorite rocksteady (i.e. post ska, pre reggae) singer who had several hits in the late 1960's. Excruciatingly lovely, light, clear voice is part American soul stirrer, part Jamaican heartbreaker. Very highly recommended!

If it looks like a duck, and it quacks like a duck, then it must be the Twilight Circus Sound System. That's pretty much what The Dub Project is as near as we at AQ labs can authenticate. Facts: it's on M records; It was recorded at Studio Twilight in the Netherlands; it's got Ryan Moore's name all over it; it sounds like a new Twilight Circus album. Why he chose a new project title is anyone's guess, but listening to it back to back with say "Other Worlds of Dub" you can definitely hear how Moore's style has evolved to the point where maybe a new alias is necessary. The Dub Project, while clearly founded in reggae and dub, doesn't attempt to sound so Jamaican. If anything Moore is more increasingly sounding like the dance club is his inspiration. The steady thump, thump, thump of the bass drum in his rhythms sounds less Rockers and more 808 these days. One thing that hasn't changed is Moore's love of everything stoney, and you can't hardly listen to this album without getting cotton mouth. Great sweeping washes of rhythms run backwards, gobs of endless delay, dense reverb, and effects will soak your head. In at least one song -- "Joy", featuring vocals by Shyama -- Moore harkens back to the days of Horsie. Hazy Middle Eastern vocals showcase a track that's almost a little too Deep Forest for us. Fortunately this track is not representative of the entire album, which is actually quite good. Change, for the most part, has been a good thing for Mr. Moore.

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SORRY. The band name and album title are very apropos and as far as we are concerned this label has not yet put out a bad record. Supergroup features Bill Laswell, Spectre, Him (drummer from Rex), and Dr. Israel.

Roots reggae hits the dancefloor and ouch my tummy hurts. I'm sure this will soon be playing non stop at a cafe near you. I can't see sitting through it again here though.

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So is it a novelty record? Mmmm... Yes. As the title implies, "Dub Side of the Moon" is in fact a reggae rendition of Pink Floyd's seminal concept album. True to the original though, the Easy Star All-Stars have recreated the record in its entirety -- segues, back up diva vocals and all. If nothing else the All-Stars at least warrant an E for effort. And maybe a bit more. The production is excellent, not cheesy in the slightest. The rhythm section is top notch, and they use several classic Jamaican rhythms -- a lot of Sly & Robbie's Rockers variants here. Actually most of the musical transliterations are successful in their way -- much of Gilmore's guitar solos are replaced by horns and melodica, which works much better for reggae anyhoo. If anything it is some of the staccato vocal deliveries that sell the version short. The one exception to this is Ranking Joe's toasting over "Time" which is great. Kind of wish they'd just let him toast over the entire album. And in case anyone out there was wondering whether this version is Wizard Of Oz compatible, there are easy to follow instructions included to insure proper synchronization with the video.

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THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix.

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Oochie Wally" (Braveheart's).

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Get Ur Freak On" (Missy Elliott).

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Hip hop remix. Rhythm = "Ugly" (Bubba Sparxxx).