After reading Paul Sullivan’s excellent Remixology (Reaktion Books, 2014), a history of dub music and dub aesthetics from Jamaica to their infection of electronic musics in cities and scenes around the world, it struck me that remixing is an interesting metaphor for cultivating mindfulness.
Dub pioneers such as Lee “Scratch” Perry, King Tubby, The Scientist, and others innovated ways of creating instrumental versions of popular songs. In the recording studio, these producers and sound engineers dismantled tracks and put them back together in altered forms known as “versions” or “dubs.” The technology they used in their work was the standard equipment of the studio from the late 1960s until quite recently: the multitrack mixing console, magnetic tape, and effects processing units. What Perry and others achieved with their best versions was nothing short of game-changing, especially for anyone interested in electronic music, groove, and remixing. In a way, those Jamaican dub pioneers were the first modern music hackers.
The notion of “life-hacking” is popular these days insofar as our interest in quantifying and optimizing ourselves physically, cognitively, and otherwise increasingly seems like a useful and progressive thing to do. It’s in this spirit that I suggest thinking metaphorically about the processes of the dub remixers as containing concepts that can be applied to our lives.
To start, consider some dub remixing techniques and aesthetics:
stripping things down.
The remixer mutes parts, silences voices, and reveals the essence of the music.
substituting one element for another, recontextualizing.
The remixer plays with different sounds, re-arranging and having them play new roles.
Stripping down the music the remixer reveals its bass and drum rhythmic backbone.
EQing to emphasize or shape sounds.
The remixer brings out various frequencies to reveal sound colors or timbres that were in the mix all along, just hidden.
creating space by adding reverb and delay effects.
The remixer builds a huge, immersive environment for the music, letting it bounce off virtual surfaces at various rates of speed and play.
noticing malleability, fungibility.
The remixer finds every musical element flexible to the nth degree, capable of shape-shifting and mutation.
engaging creativity, imagination, audacity.
The remixer uses the music–as much as the music uses the remixer?–as an experiment in re-design and thinking anew.
Practically speaking, how exactly would one apply these dub concepts to one’s life? I’m not sure. Scanning through the list though, I notice that they’re all fundamentally oriented around perception and altering elements–of music, of consciousness–with the goal of changing how they appear to our senses. This alone is music for thought and maybe useful advice in other realms too.
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