This album was my way of playing matchmaker for two disconnected idioms, helping them to shack up in a sweaty motel for a weekend and make something that isn’t quite the same as either of them, and is somehow more than the sum of its parts...
I made an album of Sun Ra dubs. Dub reggae basslines, fully unlicensed Sun Ra samples and enough Space Echo to fill up Jupiter’s Great Red Spot.
You’re welcome.
I had a ton of fun (and some truly fucked up dreams) while making it, and it was great to reengage with some proper guitar/bass playing after a long spell spent chiefly on electronic duties. I think the results are wonderful, rewarding, and can hopefully be seen as a fringe branch off of what Sun Ra inspired, rather than as an affront to his legacy. I don’t actually know if he ever met Lee “Scratch” Perry, but I feel like the two of them could be seen as some manner of kindred spirits. They’d certainly have been able to teach me a thing or two about trying to mix up cosmic free jazz and dub reggae, that much I know.
It felt appropriate, on a more serious note, to dedicate this album to the Kemetic forms of the moon, devoted as I am to our nocturnal illuminator. Sun Ra represents the dayside, the gold in man, while Khonsu-Djehuty is the silvery nightside in her velvet glory.
I made an album of Sun Ra dubs. Dub reggae basslines, fully unlicensed Sun Ra samples and enough Space Echo to fill up Jupiter’s Great Red Spot.
You’re welcome.
I had a ton of fun (and some truly fucked up dreams) while making it, and it was great to reengage with some proper guitar/bass playing after a long spell spent chiefly on electronic duties. I think the results are wonderful, rewarding, and can hopefully be seen as a fringe branch off of what Sun Ra inspired, rather than as an affront to his legacy. I don’t actually know if he ever met Lee “Scratch” Perry, but I feel like the two of them could be seen as some manner of kindred spirits. They’d certainly have been able to teach me a thing or two about trying to mix up cosmic free jazz and dub reggae, that much I know.
It felt appropriate, on a more serious note, to dedicate this album to the Kemetic forms of the moon, devoted as I am to our nocturnal illuminator. Sun Ra represents the dayside, the gold in man, while Khonsu-Djehuty is the silvery nightside in her velvet glory.