The Women’s Meditation Tradition in Tibet

On sound and fear

Sound is often understood as generally having a privileged role in the production and modulation of fear, activating instinctive responses, triggering an evolutionary functional nervousness.
The power of sound to instill dread was well known to the heavily outnumbered Maroons, the tribal nation turned guerrilla fighters who claimed a number of astounding victories in their asymmetric conflict with the English colonialists in Jamaica during the
late eighteenth century.
The abeng, a fashioned cow horn, had two uses: by slave holders to call the slaves to the cane fields and a “traditional form of communication among the communities, warning them and sending messages across difficult terrain.”

The Maroons used the  abeng in tandem with their other special techniques—drum communication, the ambush, and camouflage—in order to outwit the British: “They embedded themselves in leaves and vines and melted into the surrounding bushes. The
British repeatedly walked into clearings where their surroundings would suddenly come
alive and close in on them.”

The abeng, as a system of communication, produced signals “reproducing the pitch and rhythmic patterns of a fairly small vocabulary of Twi words, from their mother language, in most cases called Kromantin (Maroon spelling) after the Ghanaian port from which many slave ancestors were shipped.”

Sentries stationed outside the villages would  use the different pitches to communicate the British approach, the extent of the weapons they carried, and their path. But the abeng also had another affective function: to scare the British with its “hideous and terrible” dislocated tones, sometimes managing to repel the invaders with sound itself. Gradually, as the British learned to assign a cause to its shrieking, high- pitched sound, their terror of Maroon ambush only intensified.

Found in 1738: Bad Vibrations, from:
SONIC WARFARE Sound, Affect, and the Ecology of Fear, by Steve Goodman.
Massachusetts Institute of Technology. 2010.

Thomas Roebers and Floris Leeuwenberg – FOLI

This reminds me of one time Bob Marley saying that reggae music comes from the rhythm of man chopping woods. This film is a “extraordinary blend of image and sound that feeds the senses and reminds us all how essential it is.”






The music industry in general seems obsessed with making one-dimensional
caricatures out of musicians. In any case, we were trying to decide how we’d do this live. I went back to how I used to begin with The Bug, and how I worked with Techno Animal-I’d break everything down into its component parts and then dub everything out, to the max. It wasn’t an easy thing to do. We weren’t getting much out of the first few shows.

By nature of the construction of the songs, the relatively deep, melancholy sound would be reduced to being background material to idle chatter, our input becoming an accessory to a night out, which is the opposite of what I love in music: its emotional or artistic content leaving you devastated.

By The Bug, from THE BUG by Jace Clayton.

BOMB, No. 114 (Winter 2010)



SCIENTIST DUBS KSET SCIENTIST SENDS KSET TO OUTTA SPACE..Man was there doing soundcheck for 4 hours straight, running cables, hooking up this and that until the sound was PERFECT! Billah soundchecking and first tune played Scientist gwan “That’s nice!” Jah Billah playing opening set of 140 BPM mix in lock dub to dubstep with digital soundsystem setup running dub sirens & lasers in endless tape delays. Dub chemist dubbing was top a toppa champion dub play live experience.


BRUCKA FF Big Oz & Jah Billah runing that place red playing a set of electro bashment moomba tunes. Should point we nah support male nudity art as such but college boys find it funny!