Tom Bailey is probably best remembered for his pop success with
the Thompson Twins in the 80’s. But if you’re reading this, then like me, you’re
probably more interested in reading about his International Observer moniker
and the Dub Reggae he’s released in the last decade.
1)
After achieving success with 80’s pop hits in the UK charts
you’ve now released four Dub Reggae albums and a number of E.P.’s, what was
your inspiration to compose music of this genre?
I
suppose that much of the work I've done in its various forms had its roots in a
time before the pop period of the 1980s. Success has a funny way of preventing
you from following experimental ideas, so a backlog of frustrated ideas builds
up. But when I got down to making dub records, it seemed totally natural. I
also did it along side projects involving North Indian classical music,
experimental electronica and film music, for example. It's just a series of
ideas which interest and inspire.
2) Traditionally Reggae
has revolved around the bass guitar and although your music contains deep bass
chords it is occasionally balanced with melodic strings and guitar. Was this a
pre-mediated sound you wanted to achieve? And do you play all the instruments
yourself?
I
play all the instruments, so I become fascinated by the way notes and sounds go
together, interlock, and play off each other. I know my dub sound is not
stripped as bare as some others - and maybe that's the reason.
Dub
is still an experimental form and has no fixed rules.
3)
You’ve just released the E.P. “More Tales of the Dungeon of Dub”
through Dubmission Records. As you’re progressing through these releases are
you exploring new technology? Or do you prefer to stick to more traditional and
tested methods?
This is the second set of tracks in the "Dungeons of
Dub" series and it's something Jasper at Dubmission encourages me to do
with tracks which, for one reason or another, not been released in other
formats. So there really is no plan for these tracks. Albums tend to be
different because there is often an overriding theme or concept for a body of
work which is done for a CD album release.
4)
You’re also involved in a multi-media side project with astronomer/visual
artist José Francisco Salgado could you tell us about this project?
The
BSP collaboration is with José Francisco Salgado who is and astronomer and film
maker. We started making events which show his films with my music, usually
with a live component, in order to close the perceived gap between art and
science. We've done many short films together and it's been great fun, partly
because it's a really creative collaboration which involves us both learning
about each others fields of activity
5) Which artists have impressed you lately?
I
live in an isolated place, so I'm really not as plugged into the latest things
as most people are but, as a chance example, I've been impressed with the
poetic qualities of an "Americana"
folk-group from the north of England
called Grassoline. Not my usual area of interest, but something that caught my ear.
6)
What tips would you give for any inspiring young producers
wanting to create dub reggae?
I
feel that dub is essentially a rebellious kind of music, so don't be afraid to
take risks and see where they lead you. Listen to the great recordings, but
also spend some time not listening to them so you can be relatively free of
influence. I think this is important for many musicians otherwise, we all
converge on the same sound and the world needs a broad range of art to address
all its concerns. I feel lucky to be involved in so many different areas of
music. I know it may mean I never master any one of them, but they inform each
other and suggest things which may never occur to the single-minded specialist.
So that's become my overall way of working.
Thanks
for the interest in International Observer and all the best with the blog.
Tom.
