Yeah, things are moving along somewhat satisfactory at Camp Sellergren (more info about that when it’s been solved), and in the mean time I actually managed to put out a bonus release: Call Me Greenhorn‘s Armageddon Dub! Yup, the track was initially posted in it’s raw form on my SoundCloud some time ago, and even though my sentiments about it hasn’t changed a bit – it’s just too damn dark! – I gave it a spin and decided it worthy of release, albeit on it’s own and those who feel they can take it can feel free to do so. I still love what I achieved with it and the extra beef in its production is a result of getting heavy with that crazy Russian VST Molot.
Now, I already written about how this song came about – read it again here – so I’ll focus on the second track Trinity (Once Upon a Dub) that spent a good time just collecting dust on my computer. Starting out with some great drum fills The Jimmy C sent me, I set out to do a mix of heavy 70′s Jamaican dub and a sort of tribute to 1960′s Italian spaghetti westerns. (Yeah, I thought it sounded insane too, ha ha ha!) Anyway, add some great Lee Perry-esque horns courtesy The New York Brass – I just had to phase them! – and there ya go! The intro is pretty cool and really throws you off as it progresses into something completely different than what you’d initially expect.
The sleeve was actually quite simple to create. Immediately wanting to do something along the lines of the iconic graphics used by The Clash for their great batch of 7″ singles released between their first and second album (FYI: Complete Control, (White Man) In Hammersmith Palais, Clash City Rockers + the 1979 The Cost of Living EP), I googled ‘ruins’, ‘Armageddon’ (boy, is that movie popular!) and finally found some WWII photos on Wikipedia that looked fitting. Considered to be in the public domain, I made a collage out of various bombed out buildings etc., and wrapped it all up by adding the similar sort of crazy color schemes and fonts used by the band.
Now, I am aware that Dub is an assorted taste, but personally I love it and think it’s a damn unique art form or musical genre as it is the only one to my knowledge where the mixing console itself becomes the main instrument. The concept spans the world these days, but remixing actually has its roots in what geniuses like King Tubby and The Scientist were creating in make shift Jamaican studios throughout the 1970′s – in Tubby’s case using equipment he built himself! – so if you’re the slightest curious about this phenomena please do check them out!