wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam
Ethno-Illogical Psycho-Radiographies: 344 [940*]: Dub Syndicate
PTP in the ether: 88.3FM
Where purity & puerility are synonymous
streaming via internet:
"This is what you shall do: Love the earth and sun and the animals,
despise riches, give alms to everyone that asks, stand up for the
crazy, devote your income and labor to others, hate tyrants
re-examine all you have been told at school or church or
in any book, dismiss whatever insults your own
soul, and your very flesh shall
be a great poem..."
o Walt Whitman
"Spoken word, white noises, trancy music that's what we're
all about. It's not like a Madonna or Prince thing."
o Style Scott
21 Augustus 2006
Sly & Robbie > Beans & Hawkman vs Noiseshaper 
Creation (Alternative Mix) > Dub Syndicate 
Emmanuel > Dub Syndicate 
Yes It's Bless (Alternative Take) > Dub Syndicate 
Shout It Out > Dub Syndicate 
Hey Geoff (Extended Loop Mix) > Dub Syndicate & Andy Fairly 
Walking on the Edge > Dub Syndicate 
Sound Clash > Dub Syndicate 
Pounding System > Dub Syndicate 
The Creator > Juggla vs Noiseshaper 
Let The Spirits Rise [the Mix] > Dub Syndicate 
Love to the Rhythm G. Rizo vs Noiseshaper 
Dubbing is a Must (Extended Loop Mix) > Dub Syndicate 
Lion King > Dub Syndicate 
Well Cold > Dub Syndicate 
Jah Dub > Noiseshaper 
Jah Rasta ( Single Mix) > Dub Syndicate 
Moving Together > Wayne Martin vs Noiseshaper 
Hey Geoff (Extended Loop Mix) > Dub Syndicate & Andy Fairly 
Noise Polluters > 2 Bad Card 
[* includes WTM & pre-WTM playlists from WFMU, Radio Libertaire,
Radio Patapoe and Radio 100]
* Sorry for huge delay. People on the list checked into psychiatric
institutions, went back to mainlining, turned to sports or late night
tv... I am sorry and feel responsible. In any case, there have been
many circumstances that have gotten in the way of sending playlists -
some good and some way bad. The good was that I was working on
shooting a yodel documentary and doing interviews in connection with
my recently released ROUGH GUIDE TO YODEL. The absolutely horrible,
tragic, gruesome reason is that KPN [the dutch equivalent of AT&T and
other corporate terrorist organisations] decided to cut off our adsl
line and so we were without regular connectivity for about 2 months.
This meant hundreds of hours feeling like a character in a b-movie
version of a kafka story but the human will wins out and i am back
 "Real to Reel" on Echo Beach <www.echobeach.de>. Some interesting
post dub material.
 "The Rasta Far I" on Collision <www.dub-music.de>. I wrote the
liner notes for this. I love Dub Syndicate but less when they try to
go roots and neglect the multi-noise engagement of Adrian Sherwood.
When they go simple they go limp, when they harness the
mega-cornucopia of the sounds that invade our consciousness they can
still be at the top of their game. Here some of the liner notes then:
"Dub music has a shady, impalpable side, embodying a subversive
strategy of subsonic beats, reality-distorting echo and effects that
disturb both your neglected cranial nerves and forgotten inner
organs. Dub reminds me of Robert Rauschenburg's famous act of art
terrorism (1953): The erasing of a Willem de Kooning drawing. Because
there is no raising without first razing! Dub simply undoes what too
much doing has done badly.
I'm also reminded of Mark Stewart's comment: "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."
Dub is reggae with the vocals and nonessential instrumentation
stripped away so that what remains can serve as the primary sonic
structure for a new endeavor in sound. Dub is the linear and
narrative gone kaleidoscopic. Away with speed, story, stress.
Knowing that 95% of all culture/music is junk, I know that reggae/dub
readily becomes a ready template for fast-food grooves that link
faux-exotic otherness - a quick dab of Rasta-speak - to Western
consumer trends. Dub sometimes gets mired in the Rastafari gospel,
the confines of roots that replicate authenticity, and dogma that
replicates spiritual depth.
Music needs to combine pleasure with adventure and devastation with
regeneration to avoid the limitations of commerce. Dub needs
explosive desire to expand the contemplative space between notes that
allows a glimpse into the very nature of sound as inspiration. Dub is
the sonic analogue to the dowser who with a Y-shaped stick detects
water, be it under pavement or presumption.
Dub's explosive desire was in full sensory view at my first Dub
Syndicate concert in 1995, in New York's S.O.B.'s with partner Nina.
Simply put, the evening was sanctified pyrotechnica with speakers
emitting deep, swelling, subterranean tremors - trenchant, dilated,
and insistent like a train pregnant with 100 bass instruments
rumbling through a dense fog into the cauldron of the solar plexus.
Opening act, the formidable deep-dub WordSound Productions [RIP],
seamlessly segued into Dub Syndicate live as spliffy beats and
spiraling riffs collided like swooping birds with Sherwoodian samples
that hovered about in the bluish ganja halo. Yeah, OK, perfect mental
weather conditions for transitional states of consciousness.
Me and Nina were stirring; me not quite dancing because DJs don't
dance, so the truism goes; they just provoke others to do so. Sure,
there've been concerts where I (and anonymous Xs) did something that
resembled dancing: pogo outings at Ramones gigs, some slam-dancing at
an Ivan Julian gig and to disturb Soho art openings, gangly abstract
spasms at punk funk [Ze Records] events, and sly slitherings in the
shady wings near a wall, while holding a beer, confined mostly to
head bobbing [sophisticated head-banging].
Ululating waves of bass lapped at our chests when suddenly - vertigo,
awe, breathlessness - somewhere between hangover and rite of passage,
Nina collapses like a punctured pleasure balloon. There she lay at my
feet, pretty heap of discarded unconsciousness. As I tried to revive
her, the gentle giant doorman carried her over to the entrance, where
his care and fresh air miraculously brought her to, slivers of
sensory data swirling around her flickering pupils. Diagnoses
abounded - lack of fresh air or food, exhaustion from extreme
bar-hopping, dehydration, second-hand ganja But I'm convinced that
immersive dub both recalls and instigates altered states of
consciousness by producing large vibrations in objects. It had
simply pressed consciousness from Nina's body. Further evidence that
evening: With Nina in upright revival, we watch a guy suddenly wither
and collapse, followed by a woman wilting gently away, legs of taffy,
eyes floating around in her forehead.
Dub is physical - "split heads and imploding ribcages" - it
dislodges wax from the innermost areas of our tympanic nerves -
fomenting disorientation, logic disintegration, blurring - sound
swirls both forward and back, and inside your head where sound can
wreak its havoc, invoke boundlessness, alter relationships to body,
environment, desire, and linear time. Or what Mark Turner describes
as "bonged-out enlightenment" via sound destabilization. Audio shaman
and some-time Dub Syndicate co-conspirator, Lee "Scratch" Perry,
believes dub is meant to "cause a confusion."
My earliest On-U memories: I'm bringing a stack of records to a
hipster party in late-1981 Manhattan where birthday boy Danny asked
me to DJ [kneel next to a personal stereo and place the lint-covered
needle into the right grooves]. I brought DNA, Delta 5, Bow Wow Wow,
Clash, New Order, Gang of Four, the Normal's "Warm Leatherette,"
PIL's Metal Box, African Head Charge's My Life In A Hole In The
Ground and various other records better left forgotten and
I remember a duel effect: PiL and AHC made people uneasy, it lured
them out of conversation, brought them to the brink of annoyance,
insisting I "change that shit." Their dance grooves were new yet
somehow familiar, rootsy yet something askew, unstable.
On the other end of the social interaction scale, I met a beautiful
woman and her 2 gay escorts that night. They were fascinated by me
[writer, lowly foot messenger] because of what I was playing. She was
the most beautiful woman I'd met in those first 3 years in NY. The
next day, Danny called, "You got an early X-mas present, XX left her
phone number for you." But I never called her. Chicken! Regret!
Months later I saw her photos in some chic magazine. Apparently she
was some "famous" model-designer type. On-U as pick-up music? Well,
yeah, but also as undeniable provocation against complacency - like
going fishing with dynamite.
In 1982, I started listening to the Vanilla Bean's [RIP] radio show
on WFMU: combustible mindwarp radio devoted to mayhem and On-U Sound.
Eventually, Frank became instrumental in bringing the On-U Sound
System to NY's then-happening Cat Club in 1986[?], which more than
any other single concert changed my relation to sound.
I once wrote that Tackhead ["Mind at the End of Tether"] changed the
way I listened to music. What I meant was how Adrian Sherwood, On-U,
Mark Stewart, AHC and Dub Syndicate collectively changed the way I
On-U Sound is a loose collective of great musicians who respond
dynamically to change and flux. Who is where and who was who in this
revolving-door ad hoc collective was all part of the mystery that I
did not want to unravel. This, along with the porous admixture of
styles, recontextualized samples, and guest musicians gave On-U its
distinctive strategy of intelligent mayhem and deconstruction. This
dynamic arrangement also seemed to mitigate flailing pop egos via the
notion of the collective good - the sound.
Dub Syndicate's collective of collaborators reads like a Who's Who of
dub: Bim Sherman, Bonjo, Keith Levene, Keith LeBlanc, Jah Wobble,
Mark Stewart, "Deadly" Headley Bennett, Dr. Pablo, Flabba Holt,
Prince Far I, Gary Clail, Marc Hollander, Big Youth, Gregory Isaacs,
Cedric Myton, "Scratch" Perry, Andy Fairly [RIP], U-Roy, Michael
Franti et al.
Dub Syndicate's involvement with things Rastafarian have always
yin-yanged between righteous roots / valid precepts and the need to
break out of the choking halo of ganja and hackneyed Rasta clichés
and deal realistically and critically with the post-industrial global
mind grab. Redemption through roots reggae dub and engagement to
create an uneasy dynamic tension between the return to Africa and the
more pressing quotidian invasive noises." [It goes on and on]
 "Strike the Balance" on On-U vinyl 1989.
 "Adrian Sherwood Presents the Master Recordings vol. 2" on On-U.
 "Adrian Sherwood Presents the Master Recordings vol. 1" on On-U.
 "Kingsize Dub Volume 1" on Echo Beach / Collision.
 "Chainstore Massacre" on On-U <onusound.co.uk>.
Notes on other Patapoe audionauts & nuts:
o Jonges v/d Vlakte [Boys from the Plains]: "De cottonpickin' Jongens
van de cottonpickin' Vlakte" play a piquant, illuminating, and
playfully irritating mix of faulty music, of near-misses, of obscure
failures, of world music that is not from this world 19.00-20.30
[Dutch time, subtract 1 hr for UK, subtract 6 hrs for US East Coast]
Mondays @ PTP
o Dr. Doo Wop is one of the most eccentric and stimulating radio
shows anywhere. Sartre, DeSade, Doo Wop and music from the gonads.
Now on Radio Patapoe on Sunday 17.00-18.00 Amsterdam time
o Solus: Minimal electro techno acid french hiphop / Thursdays 22.00
o Super Nova is a big potpourri of sounds influences and information
both local and elsewhere. Can you picture a sound? On Sundays
o Wildcat Radio: Anarchist organization presents radio as it should
be - in your ear. Saturdays 18.00-20.00.
o De Oktoskoop: Kinderen/kid/children/rugrats and other visionaries.
o POLYPHAKE PLAPPERLAPAPP: "polyphone audioerosion featuring
occasional beatweirdniks in an plaperlappap assemblage hosted by
F.Fiasko 22:30-?? Wednesdays
o Radio Worm: Rotterdam-based radio collective presents inventive
programming to baffle all preconceptions. Midnight Sundays and in
o HET PROGRAMMA: industrial lounge for collapsing people. Tuesdays 21:00
* Wreck This Mess-Paris @ Radio Libertaire, Paris 89.4 hosted by
Laurent Diouf 1/2 PanouPanou on Tuesdays 12:30-14:30 check
* Black Sifichi / Audiometric radio check <http://www.blacksifichi.com
Send all sound material for airplay and review to:
Wreck This MeSS
Dina Appeldoornstraat 11-3
1076 AX Amsterdam
o 2500± READERS-EYEBALL "LISTENERS" per WEEK
o Check out NEW excerpts from my erotic-dérive novel: Paris Sex Tete
on Parisiana <http://www.parisiana.com/
[Non-text portions of this message have been removed]