Boom One Records (BOR) is an independent label that focuses on Bass Culture: Reggae/Dub, Electronica, Cumbia, and International Roots Music.
BOR has an artist roster with bands and producers from the USA, UK, Jamaica, France, Italy, Argentina, Russia, USVI, Zimbabwe, Czech Republic, Ukraine, Netherlands, Mexico, and Japan.
Through our deep love and commitment to Bass Culture and its genres, we are moving cutting edge underground music into and through the 21st century. All the while, we are bridging the gap between the Roots of Reggae and the Future of Roots.
This July is all about unity and collaborations. We have new releases from Don Goliath/B. Davis, Yasus Afari/Dubsmith, and the Riverside Rockers remixes featuring Boom One Sound System, Dub Architect, Dubsmith, Doctah X, Piper Street Sound, and Righteous Dub.
Don Goliath and B. Davis team up for this heavy hittin’ conscious Rootstep riddim “Everyday We Pray”. A song about having faith, love, and strength in a time of war, vanity, and ego. Future roots vibrations for the nations!
Jamaican dub poet Yasus Afari and Philly’s Dubsmith have teamed up for “The New York Remixes”. Dubsmith has produced several crucial versions of “Let’s Talk New York” by Yasus Afari.
Direct from Japan, Riverside Rockers delivers another great album with the classic 70s roots reggae sound. “Dub As One” is the remix/dub versions of Riverside Rockers‘ “Move As One” EP. Featuring dub versions and remixes by Boom One Sound System, Dub Architect, Doctah X, Righteous Dub, Piper Street Sound, and Dubsmith.
With Summer in full swing, this June Boom One Records brings new releases from B. Davis (Roots Reggae), HOBL (Electro House), Doctah X (Reggae/Dub), and Piper Street Sound (Cumbia/Dub).
“No Limit” is HOBL‘s first LP released through Boom One Records. This full length project is one of electro bliss. Hard and danceable as we have come to expect from HOBL from his previously released works through Boom One, including “Electro Shock”, 2013. “No Limit” pushes the limits as it moves around and throughout HOBL’s various electro styles. “Sugar Night” is one you can party to, or chill to, but the whole rest of the album is not for chillin’! This is an electro house project in which each track can hold its own on the dance floor.
B. Davis‘ “Conscious Man” album is steeped in the heavy 70s roots reggae vibe. “Conscious Man” is a collection of songs recorded during the “Zion Audio” sessions that were not featured on the debut album. This release is heavy roots and contains Rasta spiritual hymns such as “Don’t Wake the Lion”, “Unto You”, and the title track “Conscious Man”. The word “conscious” meaning aware and awake, this album touches on the topics of faith, love, and the daily observations of life. Also a tribute to the infamous “Black Ark” sound, B. Davis brings a colorful and vibrant feel reminiscent to the infamous Lee “Scratch” Perry studio recordings of the 70s.
“Rise” is reggae with a twist, a little old with a little new. Doctah X‘s vocals are reminiscent of Lee “Scratch” Perry and the collaborations with vocalist Jah Lion and The Dank Horns adds a new exciting element to the release.
This EP of 6 Dub re-imaginings takes on Atlanta-based Roots Reggae outfit E.R.E. (Eclectic Roots Ensemble) album Feelin’ It. E.R.E.’s rootsy, old-school sound is taken to new depths. With PSS at the board, the tunes take on added dimensions, with 3 deep dubs and 3 Cumbia-Dub versions. Babylon Can’t Stop This Dub takes the original earnest riddim to the song Good Seeds and morphs it, adding space and dimension with huge reverbs and atmospheric effects. The nyabinghi style percussion and drums takes on density and rhythmic dimension with delays. Ray-gun synth stings take this heady tune into alternate realities. Babylon Can’t Play Cumbia the Cumbia-Dub version of Babylon Can’t Stop This Dub focuses on the rhythm section, especially the conga/bongo/binghi drums, with added Latin hand percussion. The tune retains its spacey, dubbed-out feel but acquires a trance-like marching pace via shakers and guiro. Down in the Valley was one of Feelin’ It’s more upbeat tunes. In Down in The Dubby, PSS plays with drummer Rod Breland’s up-tempo steppers beat with delays, sample/repeats, and Dub-style added pauses. Bakeem’s vocals are chopped, flanged, delayed, and artfully dropped in place to great effect. The Cumbia-Dub version of Down in the Valley called Down in the Valley of Cumbia-Dub features a lazy, sliding shekere feel and natural hand drums offset by twitchy tech-step shuffling of the original rhythm and pulsing key delays, punctuated by strategic vocal drops. Positive, one of Feelin’ It’s most dread riddims, made for perfect fodder for PSS’s way with f/x. In Positiversion, the plaintive, ascending melody shared by Paschal’s keys and the surf-rock tone of guitarist Dave Canis play nicely against walls of washed-out static hum and piling rhythmic complexity. Waves of accumulated delay noise and thunderous spring reverbs combine to otherworldly effect. Positiversion Cumbia combines interesting conga patterns, natural shekere, guira, and cabasa sounds with key-tone synth bass reconstructions that slowly degrade into sizzling bit rot.