Remixology

Paul Sullivan is a writer and photographer whose work has been published widely, including in The Guardian, The Independent, The Telegraph, The Sunday Times, National Geographic and by the BBC. He is the author of many books on music, travel and culture.

• INTRODUCTION 1 THE KINGSTON CONTEXT 2 KINGSTON'S DUB PIONEERS 3 LONDON: SOUND SYSTEM CULTURE DIGIDUB AND POST-PUNK 4 NYC: DUB, RAP, DISCO AND ILLBIENT 5 LONDON II: UK RAP AND THE DUBCORE CONTINUUM 6 THE BRISTOL SOUND 7 BERLIN: GLITCH AND TECHNO 8 CANADA'S DUB POETRY AND DANCEHALL CONCLUSION References Bibliography Discography List of Interviews Acknowledgements Photo Acknowledgements Index

The first whole book dedicated to the story of dub (reggaes sparser, more wayward, brother), Sullivan takes us on a journey across continents . . . Covers everthing from beginnings in Duke Reids backyard right through to Londons myriad influences, Fran&#231ois K and the dub-disco, Basic Channel, Mark Stewart and Digital Mystikz. Thorough and thoroughly good. - MixmagSullivan is skilled at finding accounts of reggae from its earliest days, and there are several illuminating interviews . . . the books detailed, if not exhaustive account of dubs key junctures, and its later eruptions from London and New York to Berlin and Bristol, provides a solid foundation for a history thats often haunted by myth and rumour. The footnotes and bibliography alone make for fascinating reading, and it features a strong, probing discussion of UK sound system connections, including Saxons influence on fast chat deejays such as Smiley Culture and Asher Senator, and the epochal but unheralded 1987 Soul All Dayer Of The Century Clash. - The WireSullivans book does not pretend to be a theoretical analysis of dub as a musical form he is firmly on the journalistic side of popular music writing. However, Remixology is likely to prove very useful in academic debates about dub, electronica, rap, and DJ culture generally it provides a very clear, accessible history of a complex musical form, and it links each development to specific musical cultures first of all in Jamaica, then in the UK and US, and then the rest of the world (the book finishes with good accounts of dub-influenced music scenes in Germany and Canada, for example). Inter alia (and itself worthy of note) the book contains an excellent single chapter on the Bristol scene, which traces the evolution of Massive Attack, Tricky and Portishead from the early dub experiments of The Pop Group and The Wild Bunch sound system. - Years Work in Critical and Cultural Theory