wReck thiS meSS ~ Radio Patapoe 88.3
Amsterdam ~ Ethno-Illogical Psycho-Radiographies
2 February 2009 // 17.00-19.00
I’m an artist, a musician, a magician, a writer, a singer; I’m everything. My name is Lee from the African jungle, originally from West Africa. I’m a man from somewhere else, but my origin is from Africa, straight to Jamaica through reincarnation; reborn in Jamaica. Superman comes to earth ‘cause him sick and tired; I’m not sick and tired because I’m learning what goes on, so when we get frustrated, that is when the music come down by rain drops to support all here with a broken heart and don’t know what to do. I have been programmed; many people who born again must come back to learn a lesson…have you heard of ET? I am ET, savvy? Savvy?
• Lee Scratch Perry
When I say that dub is an attitude, it’s like the old lyric: “truth is a feeling, but it’s not a sound”. I find dub’s destruction of a structure a political as well as a musical statement. If you are trying to question things lyrically, you should also question musical orthodoxy.
• Mark Stewart in Robots & Electronic Brains Fanzine
Cirolini > Seven Sages of Mesopotamia
Adelphi > Jah Weybridge 
Evolutionized Form of ‘Americans’ > the Agriculture 
Salvation > Actuality 
The Day is Now Dub > Sam Ragga Band 
Elevate My Mind > Stereo MCs 
Ibis Dub & Stop Firing Dub > Sam Ragga Band 
Lonely Soldier > Gregory Isaacs 
No Conscience > Niney the Observer 
A Serious Version > King Tubby & the Aggrovators 
Walking on the Moon / Dub > Dubxanne vs Okada 
Spend, Spend, Spend > Slits 
Something Else > Sid Vicious & Sex Pistols 
Teledubgnosis Vs NIC > Teledubgnosis 
Freak Circus > Mark Stewart 
Happy Shopper > Audio Active 
Strange Cargo > Mark Stewart 
Turpin’s Ghost > L’Oeuf Raide 
Here To Go > Cabaret Voltaire vs Françoise Kervorkian 
Jamaican Heroes > Prince Far I 
My Way > Sid Vicious 
LSD: 3D Dub Version > Dimensional Holofonic Sound 
Without music you are all dead; with music you are alive. There is nothing music can’t do.
• Lee Scratch Perry
 Tales from Black Magheddo for Wreck This Mess , HTz, 2002.
 Mash Up Creation, Dubmission, 1996 .
 Once11 vs the Pyramid, Agriculture, 2004.
 Altered Connection 1 > HTz, 2001.
 In Dub, Echo Beach, 2008.
 Dubstars: From Dub to Disco & Disco to Dub, Echo Beach, 2008.
 17 North Parade, Pressure Sounds, 1997.
 Dub / Original Bass Culture, Metro, 2001.
 Police in Dub, Echo Beach, 2008.
 Cut, Antilles, 1979.
 Jubilee, Virgin, 2002.
 NiC in Dub, Hammerbass 2008.
 EDIT, Crippled Dick Hot Wax, 2008.
Electronicbeats: What was your main influence in creating the album?
Stewart: The 200 unreported wars going in the world today, and the shadow war.
 Pay It All Back, vol. 5, On-U, 1995 .
 Jarring Effects Home Experience #2, Jarring Effects, 2008 .
 One of the greatest lurking swaying hovering voices of all time.
 LSD3D, Play It Again Sam, 1993.
• When reading most dub reviews, most music reviews, you get the strong sense these days that they have all been cut and pasted from other sites. Too much of this reviewing is about presenting the illusion/image of supplying the consumer with ready information on the way to their purchase of whatever record. What most of these capsule reports miss is passion, emotional and personal involvement. The reason records are your favorite records vary but it rarely has to do with the things that reviewers mention in a critique.
The records you have bonded with are a result of an involved synthesis of timing, mood, sound, and circumstances. The records of your formative years when everything is pretty much “determined” for the rest of your life are an indication of this. I am astonished how many “bad” records I still like from my teen years. I am equally dumbstruck by how easily I have been able to uncouple myself from that pardigm of emotion + time = your heart’s soundtrack for life. Many if not most of my favorite records have been made in the last 15 years or I have been exposed to them in that period. This is interesting [for me] because it means there is an ability to outlive one’s primetime, those formative [bruising] years. That said, many of the records I do like come from this fusion of need, thoughts, dreams, past, and an insatiable desire to hear both new [renewed] sounds and sound that recall / retrieve a past. This is how I am now going to approach the almost impossible and still very painful – but I continue to do it – experience of writing about music. Write about it hard enough and you might be included as a kind of musician yourself.
I continue to find interesting developments in dub that breaks the mold, cracks thru the slack beats to create tensions of syncopation and a kind of speed vs slack rhythmic tension. The main interests remain the ability for dub thru very basic effects to continue to create an outsider sense of enchantment as if those engaged in making dub are on a journey that veers off the main broad tracks that insists on creating visual/video prostheses that must serve the sensory/mind rearrangements.
There is an element of dub that embodies the intrepid space research internally – seeking responses and answers to the conundrums of the space between our two ears. De Quincey, Baudelaire, Coleridge, Leary [at his best], McKenna, Burroughs, et al. Are some of the forerunners of what dub at its best seeks.
The best dub can come from anywhere – a lot of it comes out of France these days, but also Germany and Africa and Asia. That is why its importance continues unabated and yet remains off certain “hot” genre radars. It remains somewhat uncategorizable or [not exactly] uncorruptible, inscrutable, not so easy to exploit or drain its essences and repackage them as sonic fast food. There are plenty of examples to the contrary I know, dub cut off from all roots or simulated to sell hair extensions. Everything is exploitable and almost everything is recuperatable.
As I must always qualify when asked – I like 5% of all genres of music including country, indie rock, even post-disco, metal, whatever, including opera and classical. 5%. This is not a lot but it is more than you can ever hear in a lifetime and the need to listen to all genres is the same reason there is a UN – so that others will listen to others. But with dub I venture to say the percentage is higher. Maybe much higher.
Some of my favorite records of the past few years – past 15 or 20 years – have been dub productions. It began with Marley but I always found his sound thin, not multi-layered enough. I wanted deep investigative bass and echo and found that in yes Jah Wobble anchored PiL and Sandinista Clash which mirrored right back to Marley’s compatriots Far-I, Perry, Tubby et al. All of which funneled into On-U Sound, where my ears truly underwent a reconstructive process. The most radical sounds at On-U continue to satisfy, destabilize, make people uneasy on some gut level – not hatred, but some tactile detail in the sound.
• This show combined material I have liked for some time or people I have admired for over 20 years [Mark Stewart] and combines it with material that feeds off that legacy and/or builds upon it and/or diverges critically from it. The Sid Vicious was in “honor” of the death of SV SOOOO many years ago.