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Artists
Deep Ragga
Artists
Deep Ragga
Lukie D
2006–2018
·
5 albums
Listen
2
/5
Genres
Liquid Riddim
Liquid riddim is a melodic, atmospheric strain of riddim dubstep that fuses the sparse, half‑time bounce and call‑and‑response bass writing of riddim with the lush pads, emotive chord progressions, and airy textures of liquid drum and bass. Compared with heavier festival riddim, liquid riddim favors fluid, legato bass timbres, glassy arpeggios, and generous reverb and delay. The result is a sound that remains dance‑floor friendly at 140 BPM yet leans introspective, dreamy, and sentimental, often using water‑like foley, silky supersaw layers, and soft vocal chops to enhance its “liquid” aesthetic.
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Riddim Dubstep
Riddim dubstep is a minimalist, loop-driven branch of dubstep that emphasizes hypnotic repetition, half‑time drums, and lurching mid‑range bass motifs. Instead of flashy, constantly changing sound design, it focuses on a few tightly sculpted “wub” phrases that evolve through modulation, filtering, and subtle rhythmic variation. Rooted in UK sound‑system culture and the Jamaican concept of a reusable “riddim,” the style typically sits around 140 BPM, pairing a powerful sub with syncopated, percussive bass stabs. The overall feel is dark, bouncy, and relentlessly dance‑oriented—built for double‑drops, blends, and long DJ transitions on large rigs.
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Deep Ragga
Deep ragga is a bass-forward, dubwise branch of Jamaican raggamuffin (ragga) that emphasizes darker textures, minimal digital riddims, and heavy sound‑system aesthetics. Built on drum‑machine and synth‑bass patterns rather than live bands, it carries the toasting traditions of dancehall deejays into a deeper, more subterranean mix: stark kicks and claps, minor‑key stabs, tape‑echo drops, and cavernous reverbs. Vocals typically ride the riddim with patois flow—topical, roots‑aware, or streetwise—while producers sculpt the negative space, dropping instruments in and out like dub engineers. Compared to mainstream dancehall, deep ragga is less glossy and more “version” oriented: riddims are recut for multiple performers, and the sound design is focused on speaker pressure, warmth, and hypnotic repetition.
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Old School Dancehall
Old school dancehall is the formative era of Jamaica’s dancehall, spanning the late 1970s through the early-to-mid 1990s. It grew out of sound-system culture and the shift from roots reggae’s band-centric, message-heavy approach toward leaner, bass-forward "riddims" designed for toasting (MCing) and crowd control. Early old school dancehall (often called "rub‑a‑dub") centered on live bands like Roots Radics driving minimalist, heavy drum-and-bass grooves, over which deejays delivered rhythmic, improvisatory chants in Jamaican patois. By 1985, the scene pivoted to digital with Wayne Smith’s "Sleng Teng" riddim, bringing drum machines and cheap keyboards into the dance. Lyrically, old school dancehall ranges from party-starting braggadocio, dancing instructions, and witty clash talk to topical commentary. Sonically, it emphasizes a sparse mix with offbeat skank, big subs, and dub-inspired delay and reverb—purpose-built for massive sound systems and a responsive, dancing crowd.
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Ragga
Ragga (short for raggamuffin) is a digital-era branch of Jamaican dancehall that foregrounds electronic rhythms, heavy sub‑bass, and rapid‑fire toasting in Jamaican Patois. It typically uses drum machines, sampled or synthesized basslines, and minimal harmonic movement, creating spacious, hard‑hitting “riddims” over which multiple deejays deliver contrasting versions. The style crystallized in the mid‑1980s after the pivotal “Sleng Teng” riddim popularized fully digital production, ushering in a new sound that was simultaneously streetwise, club‑ready, and globally exportable. Lyrically, ragga ranges from party‑starting “slackness” and braggadocio to social commentary, and its vocal delivery combines singing, chanting, and MC‑style flows.
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Lovers Rock
Lovers rock is a romantic, melodically rich branch of reggae that emerged in the United Kingdom during the mid-to-late 1970s. It emphasizes smooth vocals, tender lyrics, and polished arrangements over the heavier political themes or rugged rhythms often associated with roots reggae and dub. Built on reggae and rocksteady grooves but infused with the sensibilities of soul and R&B, lovers rock often features warm basslines, gentle one‑drop drum patterns, silky rhythm guitars, and lush keyboards or string pads. The result is an intimate, slow‑to‑mid‑tempo sound designed for close dancing and heartfelt expression.
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Dancehall
Dancehall is a Jamaican popular music style built around bass‑heavy, groove‑centric riddims and the vocal art of chatting or singjaying in Jamaican Patois. It emphasizes direct, energetic delivery, call‑and‑response hooks, and a party‑forward attitude, while also leaving space for sharp social commentary and witty wordplay. The genre is fundamentally riddim‑based: producers release instrumental tracks (riddims) that many different vocalists "voice" with their own songs. This culture encourages competitive creativity, rapid evolution of styles, and a constant stream of new versions. Tempos typically sit in the midtempo range, with syncopated kicks and snares and prominent sub‑bass. Since the mid‑1980s, digital drum machines and synths have defined much of dancehall’s sound, though live instrumentation and hybrid production are common too.
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Reggae
Reggae is a popular music genre from Jamaica characterized by a laid-back, syncopated groove, prominent bass lines, and steady offbeat “skank” guitar or keyboard chords. The rhythmic core often emphasizes the third beat in a bar (the “one drop”), creating a spacious, rolling feel that foregrounds bass and drums. Typical instrumentation includes drum kit, electric bass, rhythm and lead guitars, keyboards/organ (notably the Hammond and the percussive "bubble"), and often horn sections. Tempos generally sit around 70–80 BPM (or 140–160 BPM felt in half-time), allowing vocals to breathe and messages to be clearly delivered. Lyrically, reggae ranges from love songs and everyday storytelling to incisive social commentary, resistance, and spirituality, with Rastafarian culture and language (e.g., “I and I”) playing a central role in many classic recordings. Studio production techniques—spring reverbs, tape delays, and creative mixing—became signature elements, especially through dub versions that strip down and reimagine tracks.
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Show all 8 genres
Albums
2018
2
/5
Reggae Mix Tape Vol.2 (Mixed by DJ Wayne)
Lukie D
Deep Ragga
2018
1
/5
Cry Over You (Fix It Riddim)
Lukie D
Deep Ragga
2015
2
/5
Thinking Out Loud - Single
Lukie D
Deep Ragga
Old School Dancehall
2014
2
/5
All Of Me - Single
Lukie D
Deep Ragga
Old School Dancehall
2006
2
/5
Deliver Me
Lukie D
Deep Ragga
Old School Dancehall
Similar artists
2
/5
Thriller U
Deep Ragga
Lovers Rock
Ragga
2
/5
Delly Ranx
Dancehall
Lovers Rock
Ragga
1
/5
Various Artists
Afro-Funk
Alternative Rock
Ambient
3
/5
Terry Linen
Deep Ragga
Lovers Rock
Reggae
3
/5
Tony Curtis
Deep Ragga
Dancehall
Lovers Rock
2
/5
Jigsy King
Deep Ragga
Dancehall
Lovers Rock
2
/5
Kashief Lindo
Deep Ragga
Lovers Rock
Old School Dancehall
3
/5
Sanchez
Old School Dancehall
Dancehall
Lovers Rock
3
/5
Half Pint
Old School Dancehall
Dancehall
Lovers Rock
2
/5
Ras Shiloh
Old School Dancehall
Lovers Rock
Ragga
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Melodding was created as a tribute to
Every Noise at Once
, which inspired us to help curious minds keep digging into music's ever-evolving genres.