Album lore

Reggae Hit L.A., issued in June 2007 on Hellcat/Epitaph, captures The Aggrolites at a moment when their "dirty reggae" ethos crystallized into something both immediate and steeped in tradition. The fifteen tracks draw from ska, rocksteady, and skinhead reggae, with the band’s loose, gritty approach emphasizing live interplay and rough-hewn grooves. Recorded with a rawness that befitted the Los Angeles underground scene, the album’s rhythms pulse with an urgency heard on cuts like "Free Time" and the title track, where bass and organ intertwine beneath punchy horns and spirited vocals.The Aggrolites’ blend of reggae rock and ska punk offers a testament to the enduring vitality of the genre’s roots, refracted through a Californian lens. Their work on Reggae Hit L.A. sits comfortably alongside the lineage of classic Jamaican reggae while staking out a distinct place in the mid-2000s revival, making it a vital artifact for those tracing reggae’s resonance beyond the Caribbean.

Album lore

Reggae Hit L.A., issued in June 2007 on Hellcat/Epitaph, captures The Aggrolites at a moment when their "dirty reggae" ethos crystallized into something both immediate and steeped in tradition. The fifteen tracks draw from ska, rocksteady, and skinhead reggae, with the band’s loose, gritty approach emphasizing live interplay and rough-hewn grooves. Recorded with a rawness that befitted the Los Angeles underground scene, the album’s rhythms pulse with an urgency heard on cuts like "Free Time" and the title track, where bass and organ intertwine beneath punchy horns and spirited vocals.The Aggrolites’ blend of reggae rock and ska punk offers a testament to the enduring vitality of the genre’s roots, refracted through a Californian lens. Their work on Reggae Hit L.A. sits comfortably alongside the lineage of classic Jamaican reggae while staking out a distinct place in the mid-2000s revival, making it a vital artifact for those tracing reggae’s resonance beyond the Caribbean.