Juno Recommends Dub: February 2025

Review: Hey, Mr. Music! The expertly rediscovered North West London soul singer Candy McKenzie (sister of Bunny McKenzie) hears her Trojan Records debut, and only album, reissued through MOV. "Upset" by Lee Perry of all people - the late great dub producer titularly "introduces" McKenzie as person of interest here - this sole LP from McKenzie, first unearthed in 2011 but recorded unmistakably in the 80s - betrays a nonconformist character, crossing blurrily between percussive lovers rock and bubbly new wave. McKenzie's vocal style is aplomb and vigorous, and is well contrasted to the otherwise soothing laryngeals of Perry's many other femme familiars, such as Susan Cadogan.

Review: Surreal, scratchy, corkboard dub dance beats for the in-betweeners and misfits of the world, laid down by Merseyside producer Ali Omar for Efficient Space AUS. Suitably named after that potently compressed and chunked form of cannabis known as hashish, the music here sounds about as sedatively stoned as is often the affective result of the drug. Omar brings a psychedelic, sample-based approach to the fold, with strobe-lit, basement smoke-clouds of kalimba, gong, vocal and async-bass all colliding on 'The Last Straw' and 'On Release', veering into floaty dub and red-eyed downbeat by the time of 'Poor Man Beggar Thief'.

Review: Latin Cumbia is one of the most lauded dance music genres of the 2020s so far, having been subject to many an electronic and club reinterpretation in recent times, after decades of obscurity since its origin in 70s South America. But what happens when its jerking rhythms are heard intermixed with dub reggae? Elijah Minnelli, with his unbeatable brand of bread-indued kookery, implies his possession of the answer, with a firebrand new EP on 7" yellow vinyl. 'Bebe Durmiendo Cumbia' ('Sleeping Baby Cumbia') is a somnolent take on the dragging, hemiola-laden sound by the producer, representing the neotenous infancy of the genre as it enjoys continued residence in the UK. The cumbia version is a wailingly minimal slumber, while the B-side represents a more traditional, psychedelicized live dub take, performed entirely by Elijah himself.

Review: This reissue highlights a classic work of dub, featuring expertly crafted productions by Prince Jammy with backing from some of Jamaica's finest musicians. The album's foundation lies in its deep basslines, intricate drumming and inventive percussion, creating a seamless blend of rhythm and atmosphere. Gregory Isaacs' voice appears sparingly, manipulated into subtle snippets, letting the instrumentals take center stage. Originally released in 1989, this record embodies smooth simplicity, layering reverb and echoes to build a soundscape that is both soothing and invigorating. Its breezy, island-inspired tones flow effortlessly through the tracks, each standing as a unique piece of artistry. Whether experienced as a laid-back listen or a study in dub's mastery, this album is a timeless example of the genre's magic.