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).
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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.
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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.
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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).
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The master of the magnetic scrolls is back at the boombox with his second Jahtari EP, once again exploring the more rugged corners of the dub universe. On Side A ‘Where Is The Time’ creates a rhythmical space-time paradoxon straight away, with harmonies that stream right off a dysfunct flux capacitor module. Next up ‘Persian Pulse Width’ switches the tape heads into heavy current mode, driving a battery of damaged 8-bit-chips into a thermal meltdown.
Side B contains two special cuts of older Tapes gems: a 12″ extended dub mix of Vernon Maytone’s ‘Old Pan Sound’ that originally came out on a now hard to find 7″ on Tape’s Selah Wadadda label. And an ultra-heavy, extra-crackling cassette mix of the ghostly ‘Pipe Cleaner’ with haunting flutes by Diggory Kenrick that recently appeared as limited 7 on Meeuw Muzak. Serious voltage baked on tape here!
Deadly disc charged with raw sound system vibes by the man called Mr. Williamz on a bunch of heavyweight Maffi riddims, coming straight from the Copenhagen underground. With scorchers like “Sit Down Steady”, the must-have “Where The Man Come From” and the anthem “Dancehall Hobby” it becomes clear very quickly that this man’s favourite hobby ain’t stamp collecting…
To give it a nice sound-system-tape feel the tunes have been faithfully run to cassette and back, Tapes dubbed up the Kriminel Riddim live, the bassline in the Hobby Riddim is by Pupajim and disrupt rolled it all up into a big one in the end.
The Maffi helicopter finally takes off again for it’s next mission, this time with a Rub-A-Dub specialist team on board who are about to infiltrate unsuspecting dancefloors worldwide. Sensi expert Kenny Knots parachutes out first with a boom tune called “Herb From Grow” in his backpack, while special agent Speng Bond – with the license fi toast – is keeping up the vibes in the flying command center with “Tann Up Solid”. The Ninja MC team Rub-A-Dub Market, who usually run tings and sound system special ops code- named “Part2Style” down in Tokyo / Japan, are at the controls of the B-side with their track “Fever”.
Inside the suitcase on the backseat is the “Robotron Riddim”, the dub version of Ranking Levy‘s “Mad Man Syle” (from “Jahtarian Dubbers Vol. 3“). Three murdah Rub-A-Dub cuts on some rare, early Maffi riddims plus one Dub – for your ears only! All produced and dubbed up by disrupt in the Jahtari bunker, with a bomb of a cover from the Superhero team Ellen G. / MyLord, who also did the masterpiece sleeve for Mr. Willamz’ “Dancehall Hobby EP“.