Few names ring as loud in dub and sound system culture as Iration Steppas. As the guiding force behind Iration Steppas, he’s been at the forefront of UK dub since the early ’90s, pushing boundaries, reshaping sound, and nurturing the next generation. With the release of his new album Dubs From The Foundation on the legendary Greensleeves Records, Mark sat down to talk roots, dub, legacy, and the unshakable power of sound system culture in 2025.

Mark, you’ve been known as the vanguard of dub for decades—how does it feel to see Iration Steppas still pushing boundaries in 2025?

I don’t really look at other people, I just do what I think is right for the dub scene, for the sound system scene, for the newcomers, for the oldcomers. Thats why the word means vanguard, we lead from the front, we just do what we do in our own belief to move forward, not following anybody else, just do what we do & what we believe in. It’s caught on and other people have copied our style, so yeah its pushing boundary’s.

For those new to Iration Steppas, how would you describe your sound and mission in the dub world?

My sound is clean, my sound is powerful now, I’m happy with it. If you want to hear it, you have to come and listen to it when we play with the sound system, because its a different thing.

Tell us the vision behind your latest project, your new album “Dubs From The Foundation”

Well the vision is I grew up in that world of Greensleeves, Channel One label, Phase One Label, Ariwa. But Greensleeves is one of my favourite labels from way back and its a honour to be asked to be a part of this project, defintley an honour. We country people don’t usually get asked to do things, if you don’t live in London its like they recognise you as nobody. But Iration Steppas – they have to acknowledge are somebody and we have done a lot for the reggae world, and Greensleeves have done a lot for me as collector of music & vinyl. I have a massive collection of vinyl and Greensleeves is one of the greater labels to ever have been out there you know. So give thanks to Greensleeves and all behind it.

How did you go about selecting the vocal cuts for the album? Any rare gems you’re particularly proud of unearthing?

There all gems man, there all gems from Greensleeves in that era, all gems. I love Michael Prophet, Al Campbell & Pablo from long long time. But the tracks I really do love is Busnah & Mr.Marshall & Perilous Time. I love all of them but Mr.Marshall is a tough track, there’s another cut by Prince Alla on dub plate. So its just one of them firing tracks. The drum beats are tough and Johnny Osbourne is a underated singer, but I rate him high, you know, along with Prince Alla and all them people. So that’s the gem. That’s a gem gem, a sound system gem, you know? But all tracks on there, Ranking Dred, Hugh Mundell & Ranking Toyan too.

Ranking Toyan as a DJ, whoa! Ranking Dred as a DJ, woii! In fact, they’re all tough, you know what mean? But I’m saying on a sound system, hey, mr.Marshall. Tough.

The second disc really takes us deep into heavyweight dub—what do you want listeners to feel or experience when they hear those versions?

The last answer I said before you know, to hear the vocals, because vocals in dubs you can’t go wrong, you are experiencing what they are talking about, what they are singing about, the positiveness they are singing about. then obviously the Dub wise is when you start getting up and you want to skank and dance and move and turn up the system in your car or in the sound, and the dub is a very important part of this album to tell you the truth, because just a vocal album, it’s just a vocal album, you know what I mean, but when you know you’ve got the dub to also play, that gives it the speciality, that definitely gives it the vibe and everything, yeah.

You’ve included giants like Augustus Pablo and Roots Radics—what was it like revisiting those dub classics?

Well, it’s not revisiting them. I play them regular. So it’s not revisiting anything, really. It’s things that I’ve grown up on. So I’ve always been there with them. They have always been part of my life. So it’s not like I’ve put them down and not heard them for 10 years. Them tracks, I play them virtually every time I play a session. I’m virtually playing them kind of tracks. That’s why it’s called Dub from the Foundation. Because these are foundation tracks. Without the foundation, there’s no stability. So the foundation has to come from me because that’s the era I was born in. You know what I mean? These tracks are special in a special way; it’s not just special for the album, is special in my life. You know this is what I grew up on. These guys here taught me to love this music from Jamaica, so yeah, all of them.

How do you think dub and sound system culture are resonating with younger generations today?

Without the younger generation in this dub world, it would in fact be kind of strange. Because for the older heads now, they’re kind of resting up now and chilling out in different ways. We need the young people to come through this door to respect this culture. And they do respect the culture. They love sound system culture. They love the way the black movement happened. You know what I mean? Because this is a black movement thing. Back in the days, we had no radio stations, no internet, no nothing. We had to go find our places in warehouses, anywhere where we could get a spot to run our music and appreciate it, and then it came live in the 90s for the for all nations. White, black, Asian, everybody love’s this music loves the culture and this is what’s making the heartbeat, making the blood flow through the veins. Because the sound system culture, because of the reggae music from Jamaica culture. When it hits you, you feel no pain. It’s one of them kind of thing there, you know.

What do you think separates a good sound system from a legendary one?

Well, it’s all about the system, isn’t it? It’s all about the system and the selector. If you’ve got a good sound system and a good selector, we call it Premier League, you know? Iration Steppas, Channel One, Aba Shanti. Many others are all in this Premier League because we’re playing out regularly. So to get support from people, you have to be playing out regularly to feel that vibration, I guess. There’s many sound systems out there, though. Remember that. There’s many sound systems out there. But you ask the question, you know, what do you think separates a good sound system from a legendary one? I love them all: legendary, old school or new school.

Remember, we learn from the old school. We’re middle generation. And they’ve got younger generation, which is the third thing. Each one teach one. Remember this, yeah? But when I say Premier League, it’s because Channel One, Aba Shanti & Iration Steppas are playing out regular. And I tell powers coming through now as a young sound. You know? There’s quite a few young sounds coming through now. Selectors and DJs, so I respect all of them-just do it the right way, take your time, and do things the right way, then that’s what makes you a good sound system.

You’re performing at Reggae Land this year—what can the crowd expect from an Iration Steppas live session?

Well, I’ve played at Reggae Land many, many times. And people that know Iration steppas, they know what to expect. They expect and they get good selection, good entertainment, and a good vibration. Every time.

Are you planning to showcase any material from Dubs From The Foundation in your set?

Yes

With decades behind you and still more ahead—what’s next for Iration Steppas? Any future projects you’re excited about?

I’m always excited. That’s what makes me do what I do because you have to have some excitement in you to do it. You can’t be boring. If you’re boring, you’re not going to get nowhere, you know? So, you have to have that kind of vibe in your body to make you carry on doing this job. Because it’s not easy. No, no, sir. It’s not easy. Going on aeroplanes, travelling the road, getting there early, leaving last. Getting to a place early and leaving last with the sound system. It’s not easy at all.

You can do a DJ set, catch an aeroplane, wait in the airport. Plane is delayed or not delayed and you’ve got to get there and food and dinner and sleeping and all on them things, it’s very hard, very hard, hard work so you know the future projects are in procession and I’m all excited about things so there’s many things to come ahead but I’m not gonna say nothing right now, just to enjoy dubs from the foundation right now, that’s what we’re talking about, there’s future projects to come but right now, Greensleeves dubs from the Foundation, tune in

What advice would you give to the next generation of dub producers and soundmen coming up in 2025?

Just take your time, do it for the right reasons, don’t rush it, feel it, own it, love it and try and do the thing your way. Obviously you learn from the elders & other people behind it but you can always be the future, but we need future people on this thing, but do it the right way, be exciting and be happy about it. Love the vibration of reggae & dub music you know? Dubs from the foundation music.

Finally, how would you sum up the spirit of Dubs From The Foundation in one sentence?

As Bob Marley would say, positive vibration. Positive. And mystical vibration, you know. Natural mystics. Love it.