Miles J. Paralysis was one of the marvellous musical people that I met in the magic castle at this year’s Convenanza Festival. The lizard was talking to Miles at the bar, on the Friday night. It was early doors. Lena Willikens was spinning. Working a slo-mo, drum heavy, electronic ritual. The Lizard said, “Rob, you have to speak to this guy. He’s says he’s from Bradford and into dub.” I was sporting a Pressure Sounds “Dub Specialist” sweat. 

To be honest, I wasn’t at my most cognitive / coherent. I’d travelled from the Japanese mountains to the festival via Tokyo, Frankfurt, Barcelona, and Valencia, had hardly slept and was already largely fuelled by booze. The music was loud, plus I am sadly a little deaf. I was leaning over, trying to get my good ear as close to possible to Miles, and he was going ”Roots”, “Man”. “Roots”, “Man.” I was nodding politely, smiling, pretending to know what he was talking about, and then slowly it clicked. Bradford. Rootsman. “Yeah, yeah, I have a lot of his shit!” “The Muslimgauze collaborations. The tracks on Leeds’ Soundclash. Weatherall used to play him too.” It turned out that Miles had a label and was in the process of licensing some Rootsman stuff. He then showed me his Bandcamp page – Crying Outcast – on his phone and everything suddenly fell into place. “Fuck me! You’re Miles J. Paralysis! I love those 12s. I’ve written about them on my blog.” Now it was Miles’ turn to be be polite, smile and nod, yeah, yeah. Underwhelmed. The way you do when some one tells you they have a blog. Then I showed him Ban Ban Ton Ton on my phone and he said, “Fuck me! Ban Ban Ton Ton. That’s you? I loved those reviews. Let me buy you drink”, and a friendship was instantly struck.* 

The reason I was so surprised that Miles was Miles was because he wasn’t anything like I was expecting. I’ll keep why a secret – since Miles was super happy that the “Folktronic” lore he’s woven around his releases has done the desired trick. Concealing his identity, and firing imaginations. 

Those two 12s – Folktronic and Turf Step – to my mind are pretty unique. In my reviews, I went for the usual referential fireworks and alliteration – but really they carve out a distinct, dark dance floor space. I’m really looking forward to the archival Rootsman record, and what the imprint does next. It seemed silly not to ask Miles for a few of his favourites. 

Magical musical selections by Crying Outcast’s Miles J. Paralysis.

Al Wootton / Rhythm Archives

It was difficult not to start this list with Al Wootton, who in my opinion, has been one of the most prolific and consistent artists this year. It’s hard to not look at Al as the benchmark for hard work and creativity, and amongst his accomplishments this year came “Rhythm Archives”, which for me personally, was the most inspiring, ear-catching and all-round mesmerising album of the year. No rules, texture-focused, driving energy, with an undercurrent of eeriness.

(Rob – Al was also incredible at Convenanza. I was up close to the stage during his live set and just watching the concentration and constant adjusting of the controls necessary to create his improvised dub textures was enough to leave me feeling exhausted). 

Giulio Erasmus & The End Of The Worm / Hard Sell

One of my most enjoyable listening experiences of 2026, “Hard Sell” is a proper hypnotic slide through the underbelly of dub-punk. Not having listened to much of Giulio Erasmus before this point, this was an eye-opening arrival for me. A journey through sloping, bending, slimy sonics, this album was an easy go-to for my many drowsy-eyed journeys this year. Unpredictable, not forced, and a true submerge into the delicately-crafted sludge.

Omid Geadizadeh / Like The Sea Knows Blue

I first caught the opening track from “Like The Sea Knows Blue” on Orpheu The Wizard’s NTS show, half asleep, but after hearing those nostalgia-inducing Santur strings I was wide awake, on the hunt to find where this beautiful mystery came from. A truly incredible EP, where the delicate timbres and melodies have that oddly familiar feeling; powerful and human. Middle-Eastern inspired dub at its finest.

Ali Omar / Hashish Hits

Eight absolutely stone cold dub-inspired flavours, which have been on repeat on many of my shows this year. Variation across the board yet intrinsically linked by a relaxing nature crafted expertly by the late Ali Omar. Shades of Muslimgauze and Unitone Hifi, this album explores the hazy and uncanny environments born from the meeting of Arabic and sound system culture to perfection.

Holy Tongue / Ambulance

Quite possibly containing the most memorable track of 2025 in my opinion, “Ambulance” is a deep and enchanting 7” from the incredibly talented Holy Tongue. I’ve been fortunate enough to see them live a number of times this year, and hearing “The Bigger Tutti” from the stage is a true marvel of energy. Steppers punk with a hint of creepy 80s soundtracks, performed by three fantastic musicians, this was the record that just couldn’t go wrong.

(Rob – again, Holy Tongue were incredible at the festival. A definite highlight, and, in my opinion, far better live than on record). 

Voice Actor & Squu / Lust

At least four releases from the irreproachable Stroom could have been added to this list, however, it’s the dream-inducing “Lust (1)” from Voice Actor and Squu makes the tight “lucky 7” cut. This descendence into tender and seductive surroundings left such a memorable imprint on me, and is something that I find myself frequently re-visiting. Beautiful space, motherly words and bubbling glitches. An ever special and emotionally powerful album.

Elijah Minnelli / Clams As A Main Meal

A latecomer, but with an impact as large as the rest on this list, Elijah Minnelli shook my whole world with this one. “Clams As A Main Meal” is an intimate voyage across the plains of odd folk-like instrumentation, unnerving shanty melodies and tumbling dub bass. While being just as fascinating as any of this year’s many explorations into the abstract side of reggae, Minnelli’s music really satisfied my uncanny, folklore itch. He’s creating quite the mythology here, and the quirky charm and playfulness really has me hooked.

*One of the things that travelling to Convenanza highlighted for me were the benefits of getting out and about and networking. Fate has had me pretty much a hermit for the last 5 or 6 years. While it is truly beautiful out / up here, and I have no regrets, those 3 days reminded me just how incredibly important, and productive, it is to actually physically meet people and connect.