Search "lower+dens+nootropics" 164 Items

A must for fans of RSW, On-U Sound, Nightmares on Wax and heavy sounds of dub. Politicians, Protesters & Thieves is an album of reggae-influenced, dense, digital dub full of topical themes echoed through Asquith’s signature voice—a concise, acerbic singing style that sounds urgent and sharp.

Upcoming album 'Fruit Of The Void' to be released later this fall. Kosmo Sound is a perfect balance of tight rhythms and extended melodies, and they constantly strive to push boundaries with their sound. Having worked together with dub legends Daniel Boyle and Alpha & Omega and having played as the support act for Adrian Sherwood, The Twinkle Brothers and Omar Perry, heavily inspired, they took refuge in the studio to record this album full of meditative sounds and dense grooves.

Upcoming album 'Fruit Of The Void' to be released later this fall. Kosmo Sound is a perfect balance of tight rhythms and extended melodies, and they constantly strive to push boundaries with their sound. Having worked together with dub legends Daniel Boyle and Alpha & Omega and having played as the support act for Adrian Sherwood, The Twinkle Brothers and Omar Perry, heavily inspired, they took refuge in the studio to record this album full of meditative sounds and dense grooves.

Not from Kingston for once, but from Cologne/Germany, they have almost 30 years of experience in offbeat music. Their rich groove of two tone, ska and dub doesn't need to hide from the greats they have already performed with. The band's anniversary album has a Madness feel to it, the Toasters send their regards and the Hotknives also make an appearance. No wonder the highlights of their career are as numerous as the steps in the famous Cologne cathedral, the Dom. The title track leaves no doubt that the silverbacks from the Rhine are `leader of the pack'. Skankparty Galore!

Cobra & The Brotherhood of the Grape is a celebration of friends making music together for many years. An album conceived in the Clot neighbourhood and recorded in Barcelona, Mallorca and Buenos Aires. An "All Stars" occasion where many of the musicians who have played in STA over 20 years have come together to contribute.

The album features digital dub, dark roots and other sunny and bright tracks. Experimental and electronic, but also analog and dense in textures, and delicate in showing it.

After 20 years of the first CD, STA follows their personal path to make Dub. A special mention deserves the album's art by Tomás Spicolli, an old friend and collaborator of STA. Cobra & The Brotherhood of the Grape is the sixth LP in vinyl format within a production that also has several CDs, 7'' and cassettes.

A completely self-produced album. All original riddims. Dub for adults.

Mad Professor, also known as Neil Fraser to his friends is renowned worldwide for his groundbreaking dub recordings, captivating live sets showcasing the creativity of dub sound engineers, and his collaborations with both reggae and non-reggae artists alike such as Lee Scratch Perry, Jah Shaka, Sade, The Orb, Massive Attack, Grace Jones and many more. Above all, he is celebrated for his prolific output in the genres of Dub, Lovers Rock, Reggae and more through his own Ariwa label and south London recording studio boasting an impressive catalog of over 300 releases, among other notable achievements. 

A few years back, we stumbled upon this outstanding Lovers Rock and Dub album which had a very unique raw sound and felt like a whole experience when listened to from start to finish. Alternate versions of the same tracks with different performers in varying styles, tape rewinds, it had us all wonder why it hadn’t gained wider recognition amongst Mad Professor's other releases. 

When we finally had the pleasure of meeting Neil at his recording studio, he revealed that this album was one of his earliest works. It was born out of a birthday gift from his wife—a four-track recorder that inspired him to venture into music-making after years of repairing and building electronics and audio equipment. When we asked him if he would be making music if not for that gift, he confessed that it was highly unlikely (!) 

Mad Professor further explained that this album, originally released in 1984, is a compilation of tracks recorded between 1979 and 1981, representing the nascent stages of his recording and production career, when the idea of establishing a studio and the Ariwa label were just beginning to take shape. He set up all his gear, including his first homemade four-track mixing desk, in the front room of his house in South London. With no prior studio experience, he positioned microphones where he thought they should fit and invited local musicians to collaborate. Errol Sly, Ranking Ann, Sergeant Pepper, Deborah Glasgow, Victor Cross, Sister Audrey, his backing band the Sane Inmates and a host of other talented local artists, some of whom would go on to become stalwarts in their respective genres, all contributed to this album, capturing the raw essence of Mad Professor and Ariwa's early sound. 

Knifeplay’s sophomore full-length, and first ever studio album Animal Drowning is a sprawling landscape of shoegaze and lofty slowcore. The album finds the band in a blend of folk instruments, walls of distortion, orchestral strings and delicate vocals, all carefully organized by Philadelphia engineer/producer Jeff Zeigler, known for his work with Nothing, Kurt Vile, and more. Though their sonic palette is vast, Knifeplay craft a cohesive aesthetic to carry frontman Tj Strohmer’s thematically heavy songwriting, which touches on loss of all kinds against the backdrop of a nihilistic world. These songs cry out with urgency no matter their ever-varied tempo and dynamic, each painting a unique vignette of tragedy. Yet the band’s dense, meticulously composed instrumentation exudes beauty, creating a lightness to balance the subject matter. With Animal Drowning, Knifeplay goes deeper into the sonic experimentation and brutally honest lyricism so beloved on their early bedroom recordings, creating an enrapturing experience that deftly builds on previous work.

A year on since the collaborative Mystic AM project in 2022, Rod Modell returns solo to Astral Industries with Ai-35. The album - entitled ‘Ghost Lights’ - comes as a gatefold 2x vinyl LP, showcasing the latest epoch of Modell’s signature soundscapes. Spread across four parts, ‘Ghost Lights’ draws out a wide, cinematic sound - with long arching contours, rippling textures and cavernous sound design. Woven with layer upon layer of hidden fragments and supernal transmissions, each chapter takes the listener successively deeper into the twilight zone. Harking to dramatic off-world topographies and interstellar spaces, the work glistens with opulent sound treatment and monumental grandeur. Dense pulsations move with oceanic force, marked by washes of celestial light and subterranean drones. Exercising another side to Rod Modell's typically atmospheric productions, this album comes with an ambitious framework and a more assertive sound. Featuring some of Modell’s most epic storytelling to date, ‘Ghost Lights’ delivers a powerful immersive experience.

Picturedisc, ltd. 500 copies

Limited edition of 300 copies on triple vinyl in a gatefold outfit.

TEKA as the musical mastermind behind “Vizion” has created hits for the likes of Lutan Fyah, Richie Spice, Ziggi Recardo, Trettmann and Megaloh and more within the last 15 years. In 2005, his “Crystal Woman” riddim got voiced by the energetic deejay Cali P among others – which led to a close work relationship. Since then, Cali collaborated with artists like Walshy Fire, Capleton, Equiknoxx, Swing Ting & Massive B. In late 2018, Cali P and TEKA launched “Vizion” on the freshly founded label LowLow as a new project exploring the hybridity of reggae and hip hop.

The two reggae protagonists use current styles from the international hip hop scene and unite them with their typical, heavyweight roots sound. The result is a warm, authentic hybrid of tracks, which blast both radio and sound system suitable productions through your bass bins, with an optimistic yet serious flavour.

Mowtown heavy hitter duo Freddie and Christine Perren's originally titled “Do It Baby” by the Miracles put through the production lens of Lee “Scratch” Perry, and the sweet goosebump inducing voice of Susan Cadogan, bound to upset. Original version accompanied by an extension for the hungry dancefloor, and for the extra adventurous jock we leave you with the entire track cut in reverse. Faithfully re-mastered with a extra care given to the low end, cut at 45 for maximum precision.

A) Natty Princess DUB

Tappa's works over Delroy Wilson's ‘Never will Conquer Me' rhythm to fine effect, to make

his ‘Natty Princess' cut. Vibestone are doing backing vocals on this lost dub cut.

B1) Rock YOU Rock

Tappa reworks this rare rhythm made famous by the Wailer's on their 'Bend Down Low',

to fine effect for his 'Rock you Rock' cut.

B2) DUB Hypocrites

Another Wailers rhythm 'Hypocrites' gets the Tappa treatment...

This album from an Italian-based production outfit on Aloe Vera Records celebrates the label's early years and the unique style of one of the imprint's key acts, The Officinalis's. They were known for classics like 'Si Comme' Si' and for blending. Naples and Jamaican musical cultures. Aloe Vera Records skilfully merged these worlds in their output and created a distinctive and recognisable sound that bridges past and present. These are all well-crafted sounds with warm low ends, rich bass and plenty of loved-up melodies that make it a nice escapist listen.

First time on 45 for the lone tune Leroy recorded at Wackie's, next cut to the killer Love Joys' "Studio Man" rhythm.

Back with another selection from the Don, one of our favorite artists. This one is as far as we know, the only tune he voiced for Bullwackie's, and it is of course killer. Only ever released on a compilation, now on 45 for the first time backed with dub of the rhythm, well loved from the Love Joy's tune 'Studio Man.'

Synth lovers rock at its best! Jamaican born and New-York based, Laury Webb is a singer, musician, producer, actor, former model and writer. He's been called both the Opera Dread and the Frank Sinatra of Reggae. Laury's musical career began with a role as keyboardist and later backing vocalist with the reggae vocal group The Meditations (with whom he continues to perform). Laury Webb posses a unique and eclectic vocal style. He has performed at some of New York city's premier musical venues, including Lincoln Center's Alice Tully Hall, The Village Gate, S.O.B.'s, The Ritz, The Lion's Den, Joe's Pub, Leopard Lounge, Kenny's Castaway, Central Park Summer Stage, The Baggot Inn and The Brooklyn Bowl. After enjoying years of being a back-up musician, Laury launched a solo career with his Tigerbone Band. During that period he recorded and releases singles "Woman My Queen" and "It Seems The Same". He was fresh out of college and touring with The Meditations, when he purchased a small organ for his girlfriend/mother of his two children for Christmas. By the time her birthday came around he was so broke and could not afford to purchase a birthday present for her so he gave her a writing pad and pen and told her to write down whatever came out of her mouth, and he sat at the keyboard and began playing and singing. “Woman My Queen”, was the result. “It Seems The Same” was begun in America but I did not finish writing it till the music was recorded. My cousin, Barry Biggs, worked with me on this one. We both sang on the backing tracks.

7 inch vinyl with a beautiful song -Leroy Sibbles

Russian ska reggae act's all dub outing, an inspired opus with beautiful solos, guitars, brass & percussion. Nine reinterpretations of standards by Miles Davis, Dizzy Dillespie, John Coltrane, Thelonious Monk, Henry Mancini and more, superb mix by Victor Rice. Heavyweight black vinyl.

Channel One production, Discostyle double header as originally released on the J & J label in 1980.

Both sides come complete with extended mixes running into the version.

On limited red vinyl and housed in Channel One's Super Charge inner sleeve in a quality art board spined sleev

picture sleeve

Official Cassette Week 2020 release. female fronted Russian ska/reggae act known world round release their first dub album on tape, limited edition of 50. A very jazzy, spacey project, dubbing up Miles Davis, Dizzy Gillespie, John Coletrane, Thelonious Monk, Henry Mancini and more.

Weekend Loving from Jennifer Lara is a perfect blend of boogie funk, roots reggae and lovers rock. Produced by Black Solidarity Records in 1985, this album is a masterpiece from the Studio One princess. Recorded at Tuff Gong and Music Mountain studios in Jamaica, the rhythm tracks are played by some of the best musicians from the island in the sun: Lincoln ‘Style’ Scott (Drum), Errol ‘Flabba’ Holt (Bass), Robbye Lyn (Piano & Synthetiser), Dean Frazer & Ronald ‘Nambo’ Robinson (Horns). This reissue was carefully remastered from Black Solidarity master tape, now presented as a double LP 45 rpm DJ friendly edition. The original Limonious artwork was reloaded and a bonus track was added to complete the set: ’In My Time’, an obscure slow synth groove, full of hope and melancholy.
Jennifer Lara was first taken to Studio One in 1969 by keyboardist Richard Ace, who was a session musician. She never left the Studio One family and became resident harmonist. She added backing vocals to the songs of some of the camp’s biggest names, including Delroy Wilson, Freddie McGregor, Dennis Brown and Sugar Minott. In 1974, Jennifer Lara recorded her debut album with Coxsone Dodd at Studio One in Brentford Road. The results of the sessions appeared on ‘Studio One Presents Jennifer Lara’, which was an instant success. Jennifer Lara was one of Clement 'Coxsone' Dodd’s protégés. One year after Coxsone passed, she died at the Kingston Public Hospital. She is survived by two children, daughter Ika and son Cheka. Jennifer Lara was a very likeable person, got on with everyone. She was involved in many benefit concerts to help to poor and the needy in Jamaica. May your soul rest in peace, we love you Jennifer.

Beautiful Song from the Studio One Archives (First Release 1969

company sleeve

This is one of Leroy Simmonds' best-known songs, with a melancholy voice that is irresistible. It was a hit in the U.K. at the time and was later remade by other labels such as Ariwa, but this is the first take. The reverse side is a Lovers Rock version of "Come On Sister," which also has a disco/funk take.

Nearly a decade since their last record, Jay Malinowski and Eon Sinclair better known as duo Bedouin Soundclash, return with their fifth studio album ‘MASS’ to be released Oct. 4th via Mr Bongo.
While pulling from their old catalogue of eclectic post-punk world-beat tendencies, the band journeys further into New Orleans jazz, afro-pop, electronic and gospel on their latest offering, reflecting a creative rebirth influenced by the cities and musicians that surrounded them. Co-produced by Bedouin Soundclash and legendary Philadelphia House DJ King Britt, along with musical direction from Ben Jaffe of Preservation Hall, ‘MASS’ spans two communities, recorded at Marigny Studio’s in New Orleans with the Preservation Hall Jazz Band, and in Vancouver at St. James Church with the children of the St. James Music Academy.
Mirroring the magnetic energy of New Orleans, ‘MASS’ is a dense sonic journey that incorporates an impressive array of musical influences including Big Band swing to New Orleans jazz, pop, electronica, and more. From the post-punk-soca of album opener ‘Salt Water’, the jangling Big Band swing-pop of recent single ‘Clockwork’, to the Talking Heads-channelling ‘When We’re Gone’, and the dubbing afro-pop gospel of ‘Holy’ that features Mike Dillon distorting his marimbas into another sonic dimension, ‘MASS’ is jam-packed with infectious melodies and summery feel-good vibes.

Composed in the aftermath of family tragedy, NY Graffiti’s Burden is an album full of peace anthems, psalms, dirges, and confessionals. In the pursuit of consolation, the tectonics of techno, dub, and post-club aesthetics are pushed past their margins onto new emotional plateaus.

Like the series of EP’s that NY Graffiti has released in recent years – including a split with Subtext affiliate UCC Harlo – Burden is an amalgam of dub-informed club music, acoustic emulations, and doom-scroll sourced social media chatter, filtered through the artist’s unique sonic palette that has developed over years on the fringes of New York’s contemporary club scene.

From the largely-improvised opener (and closer) “Approximation”, to the discord of the steppa-inflected track “98 Prayers”, and the dystopian ambiance of “Reach” (evoking early Hype Williams), Burden constantly reconfigures itself in search of catharsis. The album's seven tracks are dense and claustrophobic yet unexpectedly grounding. Amid the weight of grief, and the bleakness of our shared geopolitical realities, the NYC-based artist provides moments of solace that are intimate, direct, and revelatory.

Burden was initially released as a digital album earlier this year and is now available on vinyl through NY Graffiti’s own Peace Anthem Records and Switzerland-based Präsens Editionen. While the former has primarily focused on releasing NY Graffiti’s own projects, the latter is the publishing house of zweikommasieben Magazin and has released music and sound works by artists such as Anom Vitruv, Red On, Belia Winnewisser, Martina Lussi, Samuel Reinhard, and Magda Drozd

Nearly a decade since their last record, Jay Malinowski and Eon Sinclair better known as duo Bedouin Soundclash, return with their fifth studio album ‘MASS’ to be released Oct. 4th via Mr Bongo.
While pulling from their old catalogue of eclectic post-punk world-beat tendencies, the band journeys further into New Orleans jazz, afro-pop, electronic and gospel on their latest offering, reflecting a creative rebirth influenced by the cities and musicians that surrounded them. Co-produced by Bedouin Soundclash and legendary Philadelphia House DJ King Britt, along with musical direction from Ben Jaffe of Preservation Hall, ‘MASS’ spans two communities, recorded at Marigny Studio’s in New Orleans with the Preservation Hall Jazz Band, and in Vancouver at St. James Church with the children of the St. James Music Academy.
Mirroring the magnetic energy of New Orleans, ‘MASS’ is a dense sonic journey that incorporates an impressive array of musical influences including Big Band swing to New Orleans jazz, pop, electronica, and more. From the post-punk-soca of album opener ‘Salt Water’, the jangling Big Band swing-pop of recent single ‘Clockwork’, to the Talking Heads-channelling ‘When We’re Gone’, and the dubbing afro-pop gospel of ‘Holy’ that features Mike Dillon distorting his marimbas into another sonic dimension, ‘MASS’ is jam-packed with infectious melodies and summery feel-good vibes.

Foundation reggae artist Dennis Walks' much in demand Waste Time in Babylon becomes the latest 1980s digital masterpiece to be reissued on 45 from Death Is Not The End's 333 series. Produced by Prince Jazzbo for his Ujama label in 1987, the singer who first came through voicing tracks for producers Harry Mudie and Joe Gibbs in the early 1970s lends his vocals to the "Racecourse Rock" rhythm played here by the legendary keyboardist Winston Wright.

Limited edition of 300 copies on golden vinyl.

Reissued for the first time ever, Power Struggle is one of the grails of tropical record collectors. Incredible dancefloor disco, once edited by Roger Thornhill and now selling for close to $100. This is the first time the original arrangement of “dancing” has been re-released. No filler, a great listen from beginning to end, and one that doesn’t turn up often in good condition. Highly recommended, great from start to end.

“VP x Panja” <1st Time 45 Series>, an analog reissue project by Panja Records of songs from the world's largest reggae record company “VP Records”, has started! Two titles by Dennis Brown and Cocoa TEA to be released at the same time! This is a masterpiece of 90's Jamaican Lovers, but although a pirate 7“ version appeared in the early 2000's, it was never officially cut as a 7” and was only included on the album.

One of the greatest reggae singers of all time, Dennis Brown made an incredible impact during a career that spanned four decades, his reign cut short by his tragically early death from a collapsed lung in 1999, aged just 42. First released in 1995 under the title Take A Stand and also known as Temperature Is Rising, the album Love Is So True was expertly produced by Anthony Dehaney, alias Bunny Gemini, at the Record Factory studios in Kingston, then home to some of the better dancehall being cut in Jamaica. Along with saxophonist/arranger Dean Fraser and the Fire House Crew and ‘Rhythm Twins’ Sly and Robbie, the featured musicians include the stalwart keyboardist Ansel Collins of “Double Barrel” and “Stalag” fame, guitarist Lascelles Beckford and bassist Danny ‘Axe Man’ Thompson of the Gifted Roots band, trumpeter David Madden of Zap Pow, and keyboardist Dennis ‘Jah D’ Fearon. The keen musicianship brought forth by these players helped coax the best out of Brown on songs such as “Never Let Your Heart Be Troubled,” which rides a tough re-cut of the “Full Up” rhythm, and “Temperature Is Rising,” on a durable re-cut of the “Far East”/“Jah Shakey” rhythm; “A Little Respect” makes use of a bouncing update of “Pressure And Slide,” the meditative “Sea Shore” is on a great dancehall cut of “Real Rock” and the anti-rude boy “Gangster” is voiced on a beautiful dancehall interpretation of “Freedom Blues.” There’s even a dancehall take of the Beatles’ “You Won’t See Me,” delivered as only Dennis Brown can, as well as a likeable re-make of Dennis’ own “Have You Ever.”

Two-color cassette: Side A red (Volume 1), Side B white (Volume 2)

Atlanta emcee Tha God Fahim remains a true outlier, releasing new music at a remarkable pace without sacrificing depth or quality. Recently, the talented artist linked with Montreal producer Nicholas Craven for two masterful new EPs within the span of a month, drawing widespread praise in the process. Now, both volumes of Dump Gawd: Shot Clock King are available in one physical release. Featuring guest vocals from Your Old Droog, this two-part collection unites powerful creatives forces, with Fahim weaving consistently inventive street parables over Craven’s cinematic, soul-drenched production.

This Road' is the debut LP by one-to-watch Denise Sherwood, which features writing, production and instrumental contributions from Adrian Sherwood (On U Sound), Lee "Scratch" Perry, Mala (Digital Mystikz, Deep Medi Music), Mark Stewart (The Pop Group, Mark Stewart & The Maffia), Skip McDonald (Tackhead, African Head Charge, Little Axe) and Doug Wimbish (Living Colour, Tackhead). In addition to this extended family who came together to help her talent flourish, the album also features drums by the late Style Scott, who the singer lovingly recalls as my "my beautiful uncle." Portraying dark themes and damaged characters through an empathetic filter of bittersweet optimism, 'This Road' is a work of contrasts, which musically matches the mixed emotions felt in life. Bass pressure, contemporary club beats, nourishing roots music, sumptuous instrumentation and accessible, pop-schooled melodicism are woven together by her soothing but heavy-hearted voice, which is perfectly matured and full of depth. Saturated in vibes and an ingrained cognitive understanding of recording, 'This Road' is in part the product of childhood/teenage osmosis spent imbibing the sounds at her father Adrian Sherwood's On-U Studios. The impressionable youth gained an unparalleled education in music and also human nature, living in a house/studio where Lee Perry, Neneh Cherry, Jah Wobble, Big Youth, Little Annie, Style Scott, Tackhead, Bim Sherman and countless more made tracks. Like an epic coming-of-age movie focussing on Denise's part in the ongoing On-U chronicles - charting her changing roles as daughter, musician, mother, lover and more - it's little wonder 'This Road' is both contemporary and timeless, spanning time like a family tree.