To celebrate the 20th Anniversary of their long-player, Inner Space Outta Sound, Nightmares On Wax have entered a friendly clash with groundbreaking post-punk UK dub pioneers On-U Sound. Adrian Sherwood and his ever-evolving collective have reworked 8 of the songs for a new album, due in April, titled In A Space Outta Dub. 

The set proves to be something special for fans of both outfits. Those in the On-U camp will find an incredibly warm listen, that hits and sticks with seamless lush, languid groove from start to finish. Adding the rich, deep production, a signature of Sherwood’s later releases, to a selection of non-reggae numbers. Plus, naturally, healthy doses of his expert mixing desk trickery. Followers of NOW, though, will have their minds blown, since many of the tracks are totally transformed. Something you can only really appreciate if you know the OGs. 

The first teaser track was a terrific take on You Wish, now renamed You Bliss. Retaining the central Judy Clay / William Bell 60s Stax guitar sample, the new version span in brass, organ, smokey sax, Ray Manzarek “Riders On The Storm” showers. All swirlling about in a bass boosted, echo intensified, psychedelic, dubwise dance. Laidback and seriously stoned, it was very aptly a “Smokers Delight” and perfectly matched the release’s aquatic artwork. 

The second, Flippin’ Eck, transformed Flip Ya Lid. The original’s re-purposed rocksteady skanking was created from a rhythm guitar loop lifted from Lloyd Charmers’ Oh Me Oh My: A 45 released on Bullet, an offshoot of Pama, in 1970. Pama, coincidently, being the label where Sherwood first started his storied career. So for the On-U co-founder this was a bit like coming full circle. He, however, replaces Lloyd’s riff with rolling piano and bubbling Hammond. The beat now a gentle easy-listening-esque muzak drum machine pop – a la The Specials’ Stereotype. Beginning calmly, the track periodically bursts into sections of machine gun fire and laser gun blasts, countering Ricky Ranking’s jaunty whistling and plaintive vocal.

Throughout the album assorted, additional instrumentation – flashes of flute, jazzy, cascading keys, Wurlitzer whirls – drift in and out. Considerably contributing to the musicality and complexity of the slow, relaxed compositions. On Purpose is Soul Purpose, having lost its scratching to be reimagined as a saxophone serenaded, sun-kissed float. Ripples of resonant, reflective keys and gentle string strokes doing some further caressing. Positive Touch takes Me!’s opening wah-wah lick and, with assistance from singular bassist Doug Wimbish, turns it into something Tackhead-esque. African Pirates’ chants lead On The Seven Seas’ brass-blasted Afro-funk. Looking At You continues to make the most of Mozez’s I Am You vocal. Weaving trumpet and harmonica around his angelic sighs. Sweeter Still is The Sweetest, but with its bass heavy boom-bap swapped for a broken, sorta Stalag rhythm. Sherwood sending Sara Garvey through a voicebox and strategically placing honking horns and Jackie Mittoo-like swells around the song’s delay drenched shouts and hollers. Nyabinghi Dub is not, as its moniker might suggest, a grounation drum circle, but Passion reworked for muted, mellow blues harp and cello. 

In A Space Outta Dub can be ordered directly from Warp.