First up, original Wild Apache legend Junior Cat unleashes a rapid-fire lyrical assault on those who fail to respect the foundations and culture of real dancehall music. “See Di Bobo Dread” shows the cat is still in fine form, riding the depth-charger bassline of Naram’s Feline riddim with gruff finesse.
One night in 2011 King Midas Sound‘s Roger Robinson returned to Brixton from touring and inadvertently walked into the centre of the London riots. Through the flames and smoke he felt compelled to tell the stories of the people he saw rioting on the street that night.
With disrupt‘s dub soundtrack highlighting the triumphs and tribulations in the lives of the people of Brixton, the album unfolds like a documentary film, extending from the epicentre of the riots and rippling out from there.
Roger showcases all his poetry and singing styles over the sonic tower blocks and underground caverns of disrupt’s dub soundscapes, evoking the golden era of dub poetry of the likes of Prince Far I, Big Youth and Linton Kwesi Johnson – a time when dub poetry made you dance in the club but also made you think on the way home.
Done with lots of voltage, old school samplers, DIY synths, home made delays, dictaphones and even onboard computer mics this gritty disc will take you straight to Brixton’s streets.
Cover artwork by Elen G. / MyLord
ROGER ROBINSON NEWS
Maffi, Denmark’s deadliest riddim construction duo, is back with a vengeance and a fresh 6-track EP, filled with strictly original riddims that have been jammed live onto a Sansui multitrack cassette deck for that special extra grit.
Side A finds the Parisian father and son team of Colonel Maxwell and Junior Roy in top form – with Roy’s youthful melodies gracing the stone cold killer “Tuff Like We” and Maxwell issuing a gruff warning to all those who favour badness on “Bad Bwoy Style”.
On side B fast chat originator Peter King is vaguely recalling the lyrics from his forgotten classic “Bad Memory“, first penned for Fashion Records back in 1985. With this new voltage-driven riddim, the Maffi version won’t be forgotten anytime soon.
UK sound system legend Asher Senator then joins the fray with a self-titled lyrical lesson straight to the head of all those who fail to show due respect to the veterans.
With disrupt on dubbing duties and a jaw dropping hand-drawn sleeve by Kanato, Killah Tape is a crucial acquisition for any discerning selector or collector. Limited pressing!
Recorded on an original Naram riddim with an upful twist, these talented singjays have come up with a soundkilling anthem for the new generation – with the refrain “Dangerous, soundbwoy bite di dust, you haffi deh pon twitter if you waan follow us” sure to resonate over both dancehalls and social media networks across the land!
Naram and the Jahtari posse have formed an unlikely alliance with a mysterious gentleman named Colonel Mustard to launch a new label focusing on contemporary music that’s directly inspired by ruffneck 1980s and early 90s dancehall. Operating out of the harsh desert landscapes of Coburgistan, the Colonel is a hard taskmaster, and he’s put Naram and disrupt to work to cook up a trailer load of killer relicks and deadly original riddims.
With the Colonel’s impressive sphere of global influence, the riddims are finding their way to some of the wickedest artists from dancehall’s golden era – as well as brand new talents he’s unearthed to carry on the style and fashion. Watch the ride and don’t test, because the Colonel is stockpiling serious ammunition!
The first artist to grace the new Colonel Mustard imprint is the man Guinness Book of Records found to be the world’s fastest chatter back in 1989 – the incomparable Daddy Freddy. Riding a deadly Naram relick of the Bad Boy Wadat riddim, Long Way finds Freddy marching through an apocalyptic world filled with wickedness and corruption to deliver a frighteningly ruff sermon of righteous indignation against the evil-doers.
The debut release from the newest antipodean addition to the Jahtarian stables is a double-LP-length digikal reggae opus filled with gritty minor- key riddims designed to wreak havoc on the cogs of the Babylon system.
The project was born in a most unlikely fashion, after naram crafted an 80s horror film-inspired riddim on a battered iPod while on a bicycle trip across the Middle East. The March of the Gremlins riddim then somehow found its way into the hands of disrupt – thus kicking off a truly outernational collaboration.
Along with the kiwi riddim builder, Gremlins features a roll call of legendary UK veterans on vocal duties – with the triumphant return of legendary 1980s fast chat pioneers Asher Senator and Peter King alongside the ones like Jah Screechy, Sammy Gold and Speng Bond. It also marks the debut of Leipzig’s rub-a-dub songstress Jane Bee and exquisite cover art from King Midas‘ Kiki Hitomi.
Despite being named for a riddim built on an iPod, this album is heavy on authentic analogue niceness – with an arsenal of vintage synths and studio gadgets used to full effect. And with disrupt on dubbing duties in his secret lab, the release is tied together by a lush, haunting atmosphere that’s been faithfully recorded to tape.
Like the furry mogwai creatures from the 1984 film of the same name, Gremlins is bound to kick up rumpus after dark so don’t sleep on this one!
While for many of us the Nintendo Gameboy evokes fond memories of endless hours with Bomberman, Tetris or Legend Of Zelda for DISRUPT this ruff and tuff little buddy turns into a serious sound-killing tool.
Dub Matrix With Stereo Sound is the culmination of years spent refining the art of handheld gaming console-based riddim construction, using the LSDJ tracker cartridge and disrupt’s beloved Gamebwoy – especially modded up for maximum bass weight.
Featuring nine crisp cuts – each built strictly on the Gamebwoy before being dubbed out with disrupt’s superbly pimped up Korg Monotron Delay and mixed to cassette – this mini LP is not a joke ting. Heavily road-tested on Europe’s biggest sound systems (used as interludes during disrupt’s live sets), these dark and deadly riddims have been scientifically proven to mash up the dance.
If you’re a lover of extraterrestrial 8-bit dub, this may just be the holy grail. So don’t fanny about, bag this one quick – because like all Jahtarian output, this pressing is strictly limited!
Artwork by Fabrice Claude (Subactive Soundsystem).
In a match made in deep dub heaven, our next 12″ sees legendary Berlin-based mic chanter Paul St. Hilaire, aka Tikiman, meet the indomitable knob tweakers behind the Jahtari Riddim Force.
Opening with the cavernously deep Rhythm & Sound-esque Nah Ina It, Tiki strikes a lyrical blow against the myriad Babylonian forces creating schisms across our world. And no reprieve is granted to the evildoers when his conspirator, Raggamuffin Alex, issues a further decree on this epic Rootah disco mix in a devastating singjay fashion.
On the flip, toes can’t help but tap to the bouncing beat of Who Goes There, with Tiki flexing his fast chat chops alongside the swirling arpeggios of disrupt’s custom-built SID chip synth (check the video below to see how the riddim was made!). Tiki then drops back an octave or two on the sweet but ever-so-slightly demented riddim of One O’Clock Rock to keep things ticking over in a gruff rub-a-dub style.
And the finale, Love Jah Now, shows Tiki comes well versatile – with a vocal delivery nodding to the late, great Sugar Minott. The otherworldly dubwise atmosphere offers the perfect foil for a deeply conscious message.
Stunning artwork by Kiki Hitomi.
The next edition of Jahtari’s highly collectable 7” series sees Maffi return with a big bad thing called Heidi Riddim. Built from the DNA of Sleng Teng – Heidi flips the scripts on this most classic of classics by taking it to the black keys, in a minor key style and fashion. With its thick deadly bass line at the fore, Heidi has been specifically engineered to kill tin pan sounds and discombobulate Babylonians.
First in line to ride this creation is special agent 001, Speng Bond, who comes correct to warn all those foolhardy enough to think it’s wise to ride the White Horse and ramp with cocaine. On the version, Jahtari’s chief dubologist, disrupt, investigates just how far this dangerous new strain of Sleng Teng can be mutated.
With the other 7”, also pon Heidi, it’s all about old meets new: On the A side, with Run Di Session, the 16 year-old Parisian phenomenon Junior Roy demonstrates exactly why he has been creating such a wave amongst discerning dancehall fans lately. His distinctive vocal style bears uncanny similarities to the likes of Little Kirk and Yami Bolo at their prime, circa 1987.
On the flip, the veteran thoroughbred Lord Sassafrass gallops across the riddim with the same panache that saw him rule dancehalls across Jamaica in the 1980s. Lyrically, the legendary Sassa offers a compelling case for why the Horseman style he and his crew pioneered stands head and shoulders above the overhyped slackness being peddled by many today.
Coming straight from a solar powered shipping container in Australia is this heavy twelve by Melbourne’s number one sampling warrior Monkey Marc, who’s mashing up Hip Hop and Dub inna down under style like no other. With the analogue filter modules in constant overdrive mode, a groove not found on any map and a bass too deep to measure, this rugged masterpiece develops a complete life of it’s own. All faithfully recorded to cassette and then dubbed out to the max by disrupt – including a dub of Roots Manuva‘s “Who Goes There” (from his 4everevolution LP).