Dubmission Records

Black Mountain Transmissions is an audio series by Misled Convoy, crafting long-form atmospheric dubs live in surround sound and then refined into stereo. The fourth edition, The Beings, is a multi-generational collaboration with ambient artist Ludus, first performed live at the final soundcloud.com/splorefestival, held in Tapakananga National Park, Aotearoa in February 2026. Michael Hodgson (soundcloud.com/misledconvoy) and Emma Bernard (soundcloud.com/ludus_music), performed an hour long live 4-way audio-visual show that traversed different themes and tempos, with the audio swooping around an audience lying on bean bags and mattresses while visuals were projected on to the ceiling. The quadrophonic recording data was then refined in the studio to create a stereo composition for ultimate listening pleasure. The Beings grows organically and dramatically, engaging the listener in a constant floating motion, with atmospheres changing almost as soon as they’re settled. Nothing lasts: melodies emerge and evaporate, notes chime and cascade, rhythms build and breakdown, basslines drop and disappear. Ludus’s keyboard flourishes bring character and body to Mike’s more abstract soundscapes, colouring in the edges and elevating the mood. Black Mountain Transmissions Volume 4 is a fluid, immersive collaboration where evolving atmospheres, shifting rhythms, and textured sound design carry the listener through a continually unfolding sonic landscape.

Black Mountain Transmissions is an audio series by Misled Convoy, crafting long-form atmospheric dubs live in surround sound and then refined into stereo. The fourth edition, The Beings, is a multi-generational collaboration with ambient artist Ludus, first performed live at the final soundcloud.com/splorefestival, held in Tapakananga National Park, Aotearoa in February 2026. Michael Hodgson (soundcloud.com/misledconvoy) and Emma Bernard (soundcloud.com/ludus_music), performed an hour long live 4-way audio-visual show that traversed different themes and tempos, with the audio swooping around an audience lying on bean bags and mattresses while visuals were projected on to the ceiling. The quadrophonic recording data was then refined in the studio to create a stereo composition for ultimate listening pleasure. The Beings grows organically and dramatically, engaging the listener in a constant floating motion, with atmospheres changing almost as soon as they’re settled. Nothing lasts: melodies emerge and evaporate, notes chime and cascade, rhythms build and breakdown, basslines drop and disappear. Ludus’s keyboard flourishes bring character and body to Mike’s more abstract soundscapes, colouring in the edges and elevating the mood. Black Mountain Transmissions Volume 4 is a fluid, immersive collaboration where evolving atmospheres, shifting rhythms, and textured sound design carry the listener through a continually unfolding sonic landscape.

Drawing inspiration from the novel Neuromancer, soundcloud.com/drewidub’s cosmic new single launches us deep in to the solar system. Interstellar Dub started as an experiment in minimal dub techno, but was eventually overwhelmed by dirty spring reverbs and phasing hi-hat delays. A heavyweight rhythm and a hypnotic bass form the foundation, while extra-terrestrial melodies and synthetic skanks add spice and colour to this off-world stepper. The jazzier 4 Chillies floats between dense, discombobulating dubscapes and a dynamic driving tempo, while Oceanic Dub enjoys a more relaxed pace with a chugging bassline and sublime flute, courtesy of long-time collaborator soundcloud.com/kristina-forrest-514233741 On the meditative Aphid Steppa, dreamy guitar and melodica licks interplay with snarling synths and a percussion based rhythm, propelled along by a solid bassline, before finally giving way to a deep space outro. The Meanjin / Brisbane based producer first came to prominence as guitarist and synth wobbler for dub reggae band soundcloud.com/kingfisha, but has slowly been building a profile for his dubwise productions, inspired by the UK steppers scene and Australia's outdoor bass culture, with releases on soundcloud.com/culturedub, Dubmission and soundcloud.com/sub-channels-records.

Drawing inspiration from the novel Neuromancer, soundcloud.com/drewidub’s cosmic new single launches us deep in to the solar system. Interstellar Dub started as an experiment in minimal dub techno, but was eventually overwhelmed by dirty spring reverbs and phasing hi-hat delays. A heavyweight rhythm and a hypnotic bass form the foundation, while extra-terrestrial melodies and synthetic skanks add spice and colour to this off-world stepper. The jazzier 4 Chillies floats between dense, discombobulating dubscapes and a dynamic driving tempo, while Oceanic Dub enjoys a more relaxed pace with a chugging bassline and sublime flute, courtesy of long-time collaborator soundcloud.com/kristina-forrest-514233741 On the meditative Aphid Steppa, dreamy guitar and melodica licks interplay with snarling synths and a percussion based rhythm, propelled along by a solid bassline, before finally giving way to a deep space outro. The Meanjin / Brisbane based producer first came to prominence as guitarist and synth wobbler for dub reggae band soundcloud.com/kingfisha, but has slowly been building a profile for his dubwise productions, inspired by the UK steppers scene and Australia's outdoor bass culture, with releases on soundcloud.com/culturedub, Dubmission and soundcloud.com/sub-channels-records.

Drawing inspiration from the novel Neuromancer, soundcloud.com/drewidub’s cosmic new single launches us deep in to the solar system. Interstellar Dub started as an experiment in minimal dub techno, but was eventually overwhelmed by dirty spring reverbs and phasing hi-hat delays. A heavyweight rhythm and a hypnotic bass form the foundation, while extra-terrestrial melodies and synthetic skanks add spice and colour to this off-world stepper. On the meditative Aphid Steppa, dreamy guitar and melodica licks interplay with snarling synths and a percussion based rhythm, propelled along by a solid bassline, before finally giving way to a deep space outro. The Meanjin / Brisbane based producer first came to prominence as guitarist for reggae band soundcloud.com/kingfisha, but has slowly been building a profile for his dubwise productions, inspired by the UK steppers scene and Australia's outdoor bass culture, with releases on soundcloud.com/culturedub, Dubmission and soundcloud.com/sub-channels-records.

Drawing inspiration from the novel Neuromancer, soundcloud.com/drewidub’s cosmic new single launches us deep in to the solar system. Interstellar Dub started as an experiment in minimal dub techno, but was eventually overwhelmed by dirty spring reverbs and phasing hi-hat delays. A heavyweight rhythm and a hypnotic bass form the foundation, while extra-terrestrial melodies and synthetic skanks add spice and colour to this off-world stepper. On the meditative Aphid Steppa, dreamy guitar and melodica licks interplay with snarling synths and a percussion based rhythm, propelled along by a solid bassline, before finally giving way to a deep space outro. The Meanjin / Brisbane based producer first came to prominence as guitarist for reggae band soundcloud.com/kingfisha, but has slowly been building a profile for his dubwise productions, inspired by the UK steppers scene and Australia's outdoor bass culture, with releases on soundcloud.com/culturedub, Dubmission and soundcloud.com/sub-channels-records.

Black Mountain Transmissions is an audio series by Misled Convoy, crafting long-form atmospheric dubs live in surround sound and then refined into stereo. The fourth edition, The Beings, is a multi-generational collaboration with ambient artist Ludus, first performed live at the final soundcloud.com/splorefestival, held in Tapakananga National Park, Aotearoa in February 2026. Michael Hodgson (soundcloud.com/misledconvoy) and Emma Bernard (soundcloud.com/ludus_music), performed an hour long live 4-way audio-visual show that traversed different themes and tempos, with the audio swooping around an audience lying on bean bags and mattresses while visuals were projected on to the ceiling. The quadrophonic recording data was then refined in the studio to create a stereo composition for ultimate listening pleasure. The Beings grows organically and dramatically, engaging the listener in a constant floating motion, with atmospheres changing almost as soon as they’re settled. Nothing lasts: melodies emerge and evaporate, notes chime and cascade, rhythms build and breakdown, basslines drop and disappear. Ludus’s keyboard flourishes bring character and body to Mike’s more abstract soundscapes, colouring in the edges and elevating the mood. Black Mountain Transmissions Volume 4 is a fluid, immersive collaboration where evolving atmospheres, shifting rhythms, and textured sound design carry the listener through a continually unfolding sonic landscape.

Black Mountain Transmissions is an audio series by Misled Convoy, crafting long-form atmospheric dubs live in surround sound and then refined into stereo. The fourth edition, The Beings, is a multi-generational collaboration with ambient artist Ludus, first performed live at the final soundcloud.com/splorefestival, held in Tapakananga National Park, Aotearoa in February 2026. Michael Hodgson (soundcloud.com/misledconvoy) and Emma Bernard (soundcloud.com/ludus_music), performed an hour long live 4-way audio-visual show that traversed different themes and tempos, with the audio swooping around an audience lying on bean bags and mattresses while visuals were projected on to the ceiling. The quadrophonic recording data was then refined in the studio to create a stereo composition for ultimate listening pleasure. The Beings grows organically and dramatically, engaging the listener in a constant floating motion, with atmospheres changing almost as soon as they’re settled. Nothing lasts: melodies emerge and evaporate, notes chime and cascade, rhythms build and breakdown, basslines drop and disappear. Ludus’s keyboard flourishes bring character and body to Mike’s more abstract soundscapes, colouring in the edges and elevating the mood. Black Mountain Transmissions Volume 4 is a fluid, immersive collaboration where evolving atmospheres, shifting rhythms, and textured sound design carry the listener through a continually unfolding sonic landscape.

Black Mountain Transmissions is an audio series by Misled Convoy, crafting long-form atmospheric dubs live in surround sound and then refined into stereo. The fourth edition, The Beings, is a multi-generational collaboration with ambient artist Ludus, first performed live at the final soundcloud.com/splorefestival, held in Tapakananga National Park, Aotearoa in February 2026. Michael Hodgson (soundcloud.com/misledconvoy) and Emma Bernard (soundcloud.com/ludus_music), performed an hour long live 4-way audio-visual show that traversed different themes and tempos, with the audio swooping around an audience lying on bean bags and mattresses while visuals were projected on to the ceiling. The quadrophonic recording data was then refined in the studio to create a stereo composition for ultimate listening pleasure. The Beings grows organically and dramatically, engaging the listener in a constant floating motion, with atmospheres changing almost as soon as they’re settled. Nothing lasts: melodies emerge and evaporate, notes chime and cascade, rhythms build and breakdown, basslines drop and disappear. Ludus’s keyboard flourishes bring character and body to Mike’s more abstract soundscapes, colouring in the edges and elevating the mood. Black Mountain Transmissions Volume 4 is a fluid, immersive collaboration where evolving atmospheres, shifting rhythms, and textured sound design carry the listener through a continually unfolding sonic landscape.

soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.

soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.

soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.

soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.

soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.

soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.

soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.

soundcloud.com/misledconvoy returns with Translations IV: a dubwise descent into deconstruction, mutation and reformation. For this edition Mike Hodgson widens his lens, working with artists across generations and geographies, from foundational reggae to unhinged ambient, Aotearoan electronica to New York avant-dub. Diving deep in to their aural architecture, Hodgson disassembles each track and reimagines them within his sonic world, respecting the original but resculpting them at the same time. He stretches soundcloud.com/italiksmusic and soundcloud.com/deepfrieddubband’s Crown into cavernous territory, with fragments of melody surfacing like coded messages from a collapsing empire. soundcloud.com/hallelujah-picassos’s classic Rewind is bent in a non-linear time experiment, its stuttering rhythms evoking broken tape machines and corrupted memory loops. Exodus is stripped back to rhythm and echo, held together by spacious percussion, low-end tectonics and snatches of vocals. For his remix of Tui Dada Dub, Hodgson weaves soundcloud.com/miho-1-1’s flute into tui calls as sub-bass rolls like distant thunder over the soundscape. The Hell on Earth remix of End of Times leans into the fractured electronic chaos originally created by industrial-dub pioneer soundcloud.com/davidharrow and underground icon Little Annie (Annie Anxiety), while The Second Cup version of Mushroom Tea Party extends the ritual, it’s submerged breakbeats and hallucinatory delays stretching the original into a darker after-hours ceremony. soundcloud.com/sec-edit’s militant roots statement is reframed by stripped back drums, industrial textures and a bassline that feels forged rather than played. soundcloud.com/toroa’s Te Tīmatanga speaks to origin, whenua and whakapapa, so Hodgson responds with restraint, expanding its deep atmospherics, spacious percussion and reverent bass weight to create a ceremonial extension. The remixes on Translations IV continue the journey of previous editions, taking us deeper into echo, further into the frequencies and ever closer to the bass.

With remixes by soundcloud.com/dubwar, soundcloud.com/shankaranewzealand and soundcloud.com/southlondonhifi, the Version Ah Get Tuff EP digs deep into soundcloud.com/dakini-records's Talisman cover, turning up the tempo and bringing the bass to the fore.

With remixes by soundcloud.com/dubwar, soundcloud.com/shankaranewzealand and soundcloud.com/southlondonhifi, the Version Ah Get Tuff EP digs deep into soundcloud.com/dakini-records's Talisman cover, turning up the tempo and bringing the bass to the fore.

With remixes by soundcloud.com/dubwar, soundcloud.com/shankaranewzealand and soundcloud.com/southlondonhifi, the Version Ah Get Tuff EP digs deep into soundcloud.com/dakini-records's Talisman cover, turning up the tempo and bringing the bass to the fore.

Makyo complements his stunning cover of Talisman's Things Ah Get Tough with two tasty remixes: a spacious and dreamy dub by soundcloud.com/23degrees plus a slinky futuristic cut of his own. “The first mix was about communicating the song and the lyrics as directly as possible" explains soundcloud.com/dakini-records "while this one was a trip into acid dub, where the only thing I thought about was the groove. That’s the beauty of dub - a song is never just one thing.” 23degrees's dub came about after hearing the first draft of Makyo's original remix: "We talked about doing different mixes, and the Final Judgement version resulted from that kernel of thought."

Makyo complements his stunning cover of Talisman's Things Ah Get Tough with two tasty remixes: a spacious and dreamy dub by soundcloud.com/23degrees plus a slinky futuristic cut of his own. “The first mix was about communicating the song and the lyrics as directly as possible" explains soundcloud.com/dakini-records "while this one was a trip into acid dub, where the only thing I thought about was the groove. That’s the beauty of dub - a song is never just one thing.” 23degrees's dub came about after hearing the first draft of Makyo's original remix: "We talked about doing different mixes, and the Final Judgement version resulted from that kernel of thought."

Te Tīmatanga traces the primordial origins of the universe, spiralling in and spiralling out in a series of never-ending beginnings like the double movement of creation. Recited in three parts - Te Pū, Te Aka and Te Whē — Te Tīmatanga begins with kihikihi, evoking the first rustling of Te Kore, and develops further within a soundscape of echoes and delays. The pūtātara signals the initial burst of potent energy, the kōauau and pūtōrino sing its ebbs and flows, and as the waiata inscribes through repetition, its oro reverberates out and begins anew the spiral of creation. Transversing the islands of Aotearoa, soundcloud.com/toroa is the new project of soundcloud.com/shankaranewzealand, soundcloud.com/te-manu and ngāio, whose music navigates the currents between worlds. As an expression of place, Toroa sonically weaves pūoro Māori, dub and storytelling in all its forms through waiata, taonga pūoro and live hiko. From the void of limitless potential to the illuminated world, we are woven together.

Te Tīmatanga traces the primordial origins of the universe, spiralling in and spiralling out in a series of never-ending beginnings like the double movement of creation. Recited in three parts - Te Pū, Te Aka and Te Whē — Te Tīmatanga begins with kihikihi, evoking the first rustling of Te Kore, and develops further within a soundscape of echoes and delays. The pūtātara signals the initial burst of potent energy, the kōauau and pūtōrino sing its ebbs and flows, and as the waiata inscribes through repetition, its oro reverberates out and begins anew the spiral of creation. Transversing the islands of Aotearoa, soundcloud.com/toroa is the new project of soundcloud.com/shankaranewzealand, soundcloud.com/te-manu and ngāio, whose music navigates the currents between worlds. As an expression of place, Toroa sonically weaves pūoro Māori, dub and storytelling in all its forms through waiata, taonga pūoro and live hiko. From the void of limitless potential to the illuminated world, we are woven together.

Te Tīmatanga traces the primordial origins of the universe, spiralling in and spiralling out in a series of never-ending beginnings like the double movement of creation. Recited in three parts - Te Pū, Te Aka and Te Whē — Te Tīmatanga begins with kihikihi, evoking the first rustling of Te Kore, and develops further within a soundscape of echoes and delays. The pūtātara signals the initial burst of potent energy, the kōauau and pūtōrino sing its ebbs and flows, and as the waiata inscribes through repetition, its oro reverberates out and begins anew the spiral of creation. Transversing the islands of Aotearoa, soundcloud.com/toroa is the new project of soundcloud.com/shankaranewzealand, soundcloud.com/te-manu and ngāio, whose music navigates the currents between worlds. As an expression of place, Toroa sonically weaves pūoro Māori, dub and storytelling in all its forms through waiata, taonga pūoro and live hiko. From the void of limitless potential to the illuminated world, we are woven together.

One of the downsides of the vinyl format is the limitations on how much audio will fit on each side and still sound great. The vinyl release of Ashtech’s Walkin’ Target album, produced and co-written by soundcloud.com/gaudi, is a great example of this, as four tracks had to be left off to allow the bass to breathe. The Walkin’ Dubs EP addresses this, with soundcloud.com/ashtech's orphaned tunes joined by two tracks that only previously appeared on compilations.

One of the downsides of the vinyl format is the limitations on how much audio will fit on each side and still sound great. The vinyl release of Ashtech’s Walkin’ Target album, produced and co-written by soundcloud.com/gaudi, is a great example of this, as four tracks had to be left off to allow the bass to breathe. The Walkin’ Dubs EP addresses this, with soundcloud.com/ashtech's orphaned tunes joined by two tracks that only previously appeared on compilations.

One of the downsides of the vinyl format is the limitations on how much audio will fit on each side and still sound great. The vinyl release of Ashtech’s Walkin’ Target album, produced and co-written by Gaudi, is a great example of this, as four tracks had to be left off to allow the bass to breathe. The Walkin’ Dubs EP addresses this, with the orphaned tunes joined by two tracks that only previously appeared on compilations.

One of the downsides of the vinyl format is the limitations on how much audio will fit on each side and still sound great. The vinyl release of Ashtech’s Walkin’ Target album, produced and co-written by soundcloud.com/gaudi is a great example of this, as four tracks had to be left off to allow the bass to breathe. The Walkin’ Dubs EP addresses this, with the orphaned tunes joined by two tracks that only previously appeared on compilations.

One of the downsides of the vinyl format is the limitations on how much audio will fit on each side and still sound great. The vinyl release of Ashtech’s Walkin’ Target album, produced and co-written by soundcloud.com/gaudi, is a great example of this, as four tracks had to be left off to allow the bass to breathe. The Walkin’ Dubs EP addresses this, with soundcloud.com/ashtech's orphaned tunes joined by two tracks that only previously appeared on compilations.

One of the downsides of the vinyl format is the limitations on how much audio will fit on each side and still sound great. The vinyl release of Ashtech’s Walkin’ Target album, produced and co-written by soundcloud.com/gaudi, is a great example of this, as four tracks had to be left off to allow the bass to breathe. The Walkin’ Dubs EP addresses this, with soundcloud.com/ashtech's orphaned tunes joined by two tracks that only previously appeared on compilations.

Makyo taps into his love of roots reggae for this deep, dark and dreamy cover of Things Ah Get Tough by the legendary Bristol band Talisman. The Tokyo-based producer transforms the original, while keeping true to the essence of the original, whose lyrics meditate on the greed and destruction caused when corporations benefit from a nation’s downfall. Makyo has charted his own course through the world of dub, often with an eastern or tribal twist, since the early 90s, working with collaborators like Bill Laswell, Natacha Atlas and Muslimgauze, but with this release, he’s entering a new phase. “I’ve listened to this song for years,“ notes Makyo, “and it just felt more relevant than ever when I started working on it in 2024, with all the wars, election madness, wildfires, inflation and nuclear posturing. The mood just seemed to reflect where people were at.” Having overcome crippling tinnitus and hyperacusis (to the point that he couldn’t even listen to music for several years), Makyo’s finding joy in the past whilst looking to the future, with this sparse and bittersweet version of Talisman’s tune the first in a series of contemporary covers he has planned.

Makyo taps into his love of roots reggae for this deep, dark and dreamy cover of Things Ah Get Tough by the legendary Bristol band Talisman. The Tokyo-based producer transforms the original, while keeping true to the essence of the original, whose lyrics meditate on the greed and destruction caused when corporations benefit from a nation’s downfall. Makyo has charted his own course through the world of dub, often with an eastern or tribal twist, since the early 90s, working with collaborators like Bill Laswell, Natacha Atlas and Muslimgauze, but with this release, he’s entering a new phase. “I’ve listened to this song for years,“ notes Makyo, “and it just felt more relevant than ever when I started working on it in 2024, with all the wars, election madness, wildfires, inflation and nuclear posturing. The mood just seemed to reflect where people were at.” Having overcome crippling tinnitus and hyperacusis (to the point that he couldn’t even listen to music for several years), Makyo’s finding joy in the past whilst looking to the future, with this sparse and bittersweet version of Talisman’s tune the first in a series of contemporary covers he has planned.

soundcloud.com/deepfrieddubband return with another knock-out selection of dub flavoured remixes. On the home front, they drop a cheeky breakbeat under soundcloud.com/isaac-chambers-music & soundcloud.com/dubprincess’s plaintive Let Me In, and remix local legend @soundcloud.com/thenomad, whose Check da Pitch features vocal contributions from not just @soundcloud.com/madprofessorofficial but also soundcloud.com/jetlag-jhonson from Fat Freddy’s Drop. Outernationally, they add a little oomph to soundcloud.com/100thmonkeymusic’s fabulous Fly Higher dub and give dub & bass treatments to the psychedelic sounds of soundcloud.com/youths & soundcloud.com/gaudi’s Ganjaman and soundcloud.com/numatica’s One Day It Will Happen.

soundcloud.com/deepfrieddubband return with another knock-out selection of dub flavoured remixes. On the home front, they drop a cheeky breakbeat under soundcloud.com/isaac-chambers-music & soundcloud.com/dubprincess’s plaintive Let Me In, and remix local legend @soundcloud.com/thenomad, whose Check da Pitch features vocal contributions from not just @soundcloud.com/madprofessorofficial but also soundcloud.com/jetlag-jhonson from Fat Freddy’s Drop. Outernationally, they add a little oomph to soundcloud.com/100thmonkeymusic’s fabulous Fly Higher dub and give dub & bass treatments to the psychedelic sounds of soundcloud.com/youths & soundcloud.com/gaudi’s Ganjaman and soundcloud.com/numatica’s One Day It Will Happen.

soundcloud.com/deepfrieddubband return with another knock-out selection of dub flavoured remixes. On the home front, they drop a cheeky breakbeat under soundcloud.com/isaac-chambers-music & soundcloud.com/dubprincess’s plaintive Let Me In, and remix local legend @soundcloud.com/thenomad, whose Check da Pitch features vocal contributions from not just @soundcloud.com/madprofessorofficial but also soundcloud.com/jetlag-jhonson from Fat Freddy’s Drop. Outernationally, they add a little oomph to soundcloud.com/100thmonkeymusic’s fabulous Fly Higher dub and give dub & bass treatments to the psychedelic sounds of soundcloud.com/youths & soundcloud.com/gaudi’s Ganjaman and soundcloud.com/numatica’s One Day It Will Happen.

soundcloud.com/deepfrieddubband return with another knock-out selection of dub flavoured remixes. On the home front, they drop a cheeky breakbeat under soundcloud.com/isaac-chambers-music & soundcloud.com/dubprincess’s plaintive Let Me In, and remix local legend @soundcloud.com/thenomad, whose Check da Pitch features vocal contributions from not just @soundcloud.com/madprofessorofficial but also soundcloud.com/jetlag-jhonson from Fat Freddy’s Drop. Outernationally, they add a little oomph to soundcloud.com/100thmonkeymusic’s fabulous Fly Higher dub and give dub & bass treatments to the psychedelic sounds of soundcloud.com/youths & soundcloud.com/gaudi’s Ganjaman and soundcloud.com/numatica’s One Day It Will Happen.

soundcloud.com/deepfrieddubband return with another knock-out selection of dub flavoured remixes. On the home front, they drop a cheeky breakbeat under soundcloud.com/isaac-chambers-music & soundcloud.com/dubprincess’s plaintive Let Me In, and remix local legend @soundcloud.com/thenomad, whose Check da Pitch features vocal contributions from not just @soundcloud.com/madprofessorofficial but also soundcloud.com/jetlag-jhonson from Fat Freddy’s Drop. Outernationally, they add a little oomph to soundcloud.com/100thmonkeymusic’s fabulous Fly Higher dub and give dub & bass treatments to the psychedelic sounds of soundcloud.com/youths & soundcloud.com/gaudi’s Ganjaman and soundcloud.com/numatica’s One Day It Will Happen.

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald. Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace. As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us” He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald. Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace. As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us” He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald. Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace. As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us” He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald. Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace. As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us” He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald. Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace. As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us” He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald. Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace. As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us” He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald. Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace. As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us” He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald. Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace. As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us” He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald. Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace. As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us” He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald. Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace. As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us” He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald. Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace. As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us” He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald. Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace. As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us” He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.