this mix was a joy for me, as it allowed me to re-experience and even re-explore a large amount of my collection that I had neglected for so long. It also allowed me to experience it on a completely new level, like falling in love with something all over again!
While selecting the tracks I had great fun finding my favorite ones that dealt with both outer space (and the sci-fi laser sound effects!), but also tracks that were mixed with huge chasms of space between each beat and instrument.
They 70's Jamaican producers had an amazing talent at creating space in the sound for each of the instruments, then they would pad out the sound with heavy bass and abstract sound effects. It is a very subtle and minimalist art form within music, but I love it!
The first track is Beam Down from The Scientist, off his 1981 album The Scientist versus the Space Invaders. This could be my favorite dub album of all time. And it has one of my favorite album covers of all time too. The old school comic illustrations of the scientist fighting off the space invaders is pure genius, it even has a little icon in the top left like the old marvel comics. This track is a great example of a song that leaves loads of room for each of the sounds. The snares sound at times like there were recorded in a cathedral, then snap into a shallow level of reverd to let the guitar riff have its spotlight.
From here we move into the track Saturn Bombardment by Prince Jammy, off his album Prince jammy Destroys the Space Invaders. I thought it was quite funny that he released an album with that title after The Scientists one, an obvious little tip of his hat while giving a cheeky nudge in the ribs. This track is much brighter, while also much more hectic, filling the extra space created in the mix with dub sirens and laser effects. I have a soft spot for these though so I have no problems with them using the space available to them.
The third track is a b side of a Channel One 45" called Children of Babylon by Mike Brooks. The Channel One studios were a great source of bare bones minimalist instrumental dubs in the seventies. I spent many an afternoon listening to Channel One tracks in records shops and actually getting more engrossed in what was not being said as much as what was. Their dubbing techniques could be quite subtle, with some short reverb on the snare and a gentle delay on the melody, but it gave the beautifully crafted rhythms the time and space they needed to move around in. Something which the toasters of the dancehall would later jump on.
Following on from here, Jahtari Riddim Force brings us into the new millennium with the track Depth Charge. The guys in Jahtari are a treat for some one like me who loves the vintage electronic dub, but also has a hunger for something with a more modern sound. There 7" combines their signature use of 8bit sounds with samples from 80's sci-fi films. Still unforced in its production, yet like a lot of modern dub it is much busier than the productions of early 70's Jamaican producers.
Jumping back a bit to the eighties we take a look at the dub of the Billie Jean Riddim. Although this track is more of a eighties Jamaican dancehall tune than true dub, its great to be able to listen to the b-side and appreciate the song without relying on the melody of the vocalist. What we are left with is a truly minimalist piece of art, using almost only the early electronic snare samples and square baselines.
We now move across the pond to the sound of the 80s UK dancehall from Londons Unity sound. These guys were heavyweight specialists, but used only the most simplistic of sounds. To me this sound, when listened to properly on a good reggae sound system, is like standing beside giant lego blocks. Very simple and clean but the size of a sky scraper! The bass and power behind these could knock over the walls of Babylon all by themselves. With the proper volume of course;)
Slowing down the pace a bit is a the Rootah mix of the Elders track by dubstep crew Clouds. This borrows on the aesthetics of the Unity sounds era, but with a modern dubstep edge. They have also dropped a pitched down version of the vocals from the Kilimanjaro dubplate of Cocoa Tea's track Too Young in there too for good measure. A great 12" for anyone looking for new dubstep vynil.
Skream keeps us in the dubstep vibes with his track Kut-Off. This is off his debut album Skream!. He released it when he was only about 19. fair play to him, it was my favourite dubstep album for a long time and still holds ground today, two years after its release.
Disrupt from the Jahtari Riddim Force brings us The Stars my Destination from his debut ep called Foundation Bit, released on Werk Records. It was after buying this album that I was inspired to put this mix together, so I owe him a big thanks for helping me appreciate all this music again. I feel that as a producer he shows a great understanding for the space in which dub needs to exist to be appreciated properly. He progresses the sound to a modern level, while also using a brilliant combination of old school dub techniques.
The following two tracks are lifted from 80's dancehall 12"s deep in the back of my collection. They stand up brilliantly on their own even though they would have been mainly played as the vocal versions, you can see how this would have been a treat for any toaster or MC looking for something to chat over in a heavyweight dance in the clubs of London or Kingston. The synths for and vocoders in these have a great vintage electronic feel.
The following track uses The Studio One riddim classic Drum Song riddim. This has been given a new dub mix, but Im sure by who as it comes off a 10" pressing, and they don't have any little handy info sleeves! If you know please don't be shy to pass the info on. The vocalist is Natural Vibes with his version called Sweet Sensation.
The final track is from Kenny Knots called Jah Sunshine Thru. This is on the same riddim as Melt away by Max Romeo(untitled riddem), and is produced by the Hydroponics. A heavy dub with rolling effects that lets the mix wind itself down to a nice slow pace.
Hope you enjoy listening to it as much I did creating it:)
