Magical musical musings care of the marvellous John Matthews.

Following his passing in 2021, a continuous stream of music, spanning new studio albums to expansive box sets, has been issued under the legendary dub producer Lee ‘Scratch’ Perry‘s name. Largely though these have emerged as weak, superficial collaborations cloaked as profitable cash cows which seem designed solely to taint his enduring legacy. However, hopes  for one final masterpiece from the dub pioneer were recently realised with the announcement of “Spatial, No Problem”. The project stems from a whirlwind 3-day session in 2019 at the Berlin studios of experimental electronic duo Mouse On Mars. There, Jan St. Werner and Andi Toma guided a revolving cast of musicians, alongside Perry, which resulted in a genre-blurring swan song that stretches far beyond traditional reggae. Why Perry chose to work with Mouse On Mars is a mystery, but upon arrival he transformed their studio into his own mystical laboratory. By covering surfaces with talismans and marker slogans, chanting, and cooking fish stews, he conjured the same eccentric magical energy that defined his iconic 1970s Black Ark sessions. The album title perfectly reflects Perry’s experimental ethos and is  born from his off-the-cuff, mysterious reply to Mouse On Mars asking if he knew how to work with spatial audio.

“Spatial, No Problem” begins with the fast (156bpm) motorik-driven “Rockcurry”, firmly establishing that Perry was fully committed to charting unmapped musical territory. The band play high pitched synths and wailing guitars whilst Perry’s vocals act as a complete antithesis of the music with great effect. As Louis Chude-Sokei observes in the album’s booklet notes “Perry’s wordplay is as important to his legacy as his innovations in the studio. Cracked and strained, scarred and stretched, his voice and the history that made it demanded the invention of its own space. That was the challenge during those days and nights in the studio in Berlin and in those years following to produce the album. To chart a space created by German and Jamaican colonial histories but to transform them with and through sound. To create a somewhere zone between Dada and Rasta.” 

The Middle Eastern vibes of “Hallo Shiva” follow with it’s deep bass line and dub effects. It’s the album’s most commercial sounding moment and features the repeated lyric “Pick a cherry in the rose garden, pick a cherry and I beg your pardon.” I have no idea what it means but Perry’s weathered chanting gives the track a hypnotic, ethereal feel. 

“Economic Train” sets an uplifting tone right from the jump, carrying those rich cultural vibes with the addition of striking tribal beats. The low-end groove of a baritone sax fluidly transitions into vibrant, brass-forward free-jazz phrasing. 

Next up is “Spatialee”, where pitter-patter rhythms meet Perry’s slow freeform delivery, locking perfectly into the experimental feel. As the track evolves, the joyful brass swells, giving the mix a vibrant carnival flavour. This improvisational spirit anchors the album, rewarding repeated listens, as the music’s intricate depth gradually unfolds, much like any great record.

“Fire Dali” introduces a post punk vibe and is reminiscent of Cabaret Voltaire or 23 Skidoo, in slow, repetitive bass funk mode. Perry’s words reference that other great dub legend, the Mad Professor, and the musical repetition makes the track feel quite long, as if it’s deliberately being given time to stretch and evolve. An album highlight.

“Yayaya” opens with Perry reciting the title over a deep bass line, slide guitar, and electronic effects. As the set’s most psychedelic track, it builds by introducing female backing vocals that create a lilting, dreamlike atmosphere.

“To The Rescue” blends scattered drums, picked guitar and electronics with Perry’s signature spoken-word delivery. “To the rescue here I come, to the  rescue with my bass and drum” adds immense charm to this enchanting track. Meanwhile, the slide guitar introduces a cinematic sense reminiscent of Ry Cooder’s iconic soundtrack work.

“Emergency, Emergency, state emergency in Jamaica.” So begins the final track, “State of Emergency”, as Perry appears to mourn the passings of Coxsone Dodd, Bob Marley and Duke Reid. Again, the music swells into a free-form jazz vibe, but this time it reminds me of a marching brass band playing a cover version of the Fun Boy Three’s “Lunatics” at a New Orleans funeral procession. Wailing female vocals and accordion add to the melancholy air, and this moody atmospheric track is a poignant way to end the album. 

“Spatial, No Problem” is an experimental, fun and exciting record, where Mouse on Mars perfectly fuse diverse musical styles alongside Lee “Scratch” Perry’s vibrant wordplay. It’s a triumphant, eclectic collage that serves not as an ending, but as a vibrant celebration of one of music’s greatest visionaries.

Mouse On Mars & Lee “Scratch” Perry’s “Spacial, No  Problem” can be ordered directly from Domino.