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The Strangeness of Dub

'Presence': prefigurations and pioneers

Programme one

‘Presence’: prefigurations and pioneers, real and imaginary


Dub is strange. A musical process and a sub-genre formed in the early 1970s and pioneered by Clement Dodd, Sylvan Morris, Lee Perry, King Tubby, Scientist, Jah Shaka and The Mad Professor, dub takes place through a kind of violence, an act of reducing archival audio documents to fragments and traces, yet is associated, in its sound system context, with communal reverie and meditative states.


A marginal music and a music of margins, first and most enduringly located on the ‘b side’, the underside, of phonographic recordings, dub is a sub genre of reggae music, subordinate and secondary to song-writing, musical performance and recording. And yet more so than reggae song writing, vocal or musical performance, dub’s influence reverberates across other genres of electronic music, even while never quite comprising a genre of its own.


Dub is also a sonic process, a way of making new music from existing music that is always present in all forms of electronically recorded music, as that which is waiting to be excavated and discovered for the first time. You can hear dub process in late 20th century and 21st popular electronic dance music, in the 80’s hip hop productions of Marley Marl and the Bomb Squad, in the techno of Basic Channel and Mika Vaino, in dubstep and drum and bass, and you can hear its conceptual pre-figurations in jazz and the avant garde music of Cage and Stockhausen.


And yet, in spite or perhaps because of its broad cultural resonance, dub has at its heart a concern with ideas of emptiness and silence, being and presence, space and repetition, and these ideas intersect with themes, especially in reggae, of Diaspora, and ‘race’, history and memory, longing and loss.


Join Edward George, on a journey into reggae, dub, versions and versioning that draws on critical theory, social history, a deep and wide cross-genre musical selection, and live dub mixing.


Edward George is a writer, researcher, and presenter of Black Audio Film Collective’s ground-breaking science fiction documentary Last Angel of History. Edward is a founder of Black Audio Film Collective (1982-1998), the multimedia duo Flow Motion (1996-present), and the electronic music group Hallucinator (1998-present).



1. Woman a come – Margarita Mahfood
2. Kiyongo – Bana Lupemba
3. Grounation – Count Ossie and The Mystic Revelation of Rastafari
4. Grounation Pt II/ Warm Up – Count Ossie and The Mystic Revelation of Rastafari
5. Cavalry – The Harmonising Four
6. Walls of Jerusalem – Vivian Jackson and the prophets
7. Prayer – Georgia Sea Island Singers
8. Jerusalem Dub – Yabby You meets King Tubby
9. One Foundation – The Wailers
10. Solid Foundation – The Congos
11. Hip Hug – Slim Smith
12. Hip Hug – Slim Smith
13. The Beatitude – Slim Smith
14. Chant to Jah – Doctor Alimantado
15. The time has come – Slim Smith
16. Precious Lord – Five Blind Boys of Alabama


Produced by Edward George and Camilo Salazar for Morley Radio