Else Marie Pade – Jacob Kirkegaard, EMP 10, (Digital album), DAC-DA2059, Dacapo Records, 2025

Jamaican sound clash culture has its roots in the 1950s and 1960s, when sound systems first began to emerge in Jamaica. These sound systems were essentially mobile DJ setups that would play music at outdoor parties, dances, and other events. They were an important part of the local music scene, and helped to popularize a variety of different genres, including ska, rocksteady, and reggae.

As the popularity of sound systems grew, so too did their competitiveness. DJs and sound system operators began to engage in battles or "clashes" where they would compete against one another to see who had the best music selection, sound quality, and overall performance. These clashes often took place in outdoor venues and were attended by large crowds of people who would dance and cheer on their favorite sound systems.

In the 1970s, sound clash culture really took off in Jamaica, as a new generation of sound system operators emerged, including some of the most famous names in the business, such as King Tubby, Duke Reid, and Coxsone Dodd. These sound systems were known for their powerful sound systems, huge music collections, and their ability to engage in quick-witted banter and insults, known as "dubplate specials."

During this time, sound clash battles became more intense and competitive, with sound system operators often spending large sums of money on rare and exclusive records and dubplates in order to gain an edge over their rivals. These battles became a major part of Jamaican culture, with fans and enthusiasts following their favorite sound systems and DJs around the country to attend clashes and other events.

In the 1980s, sound clash culture began to spread beyond Jamaica and into other parts of the world, as Jamaican immigrants brought the tradition with them to cities like New York, London, and Toronto. Today, sound clash culture continues to thrive in Jamaica and around the world, with new generations of sound system operators and DJs carrying on the tradition and keeping the spirit of competition and creativity alive.

The rivalry between sound systems is intense and the rules dictate that only exclusive dubplates are played, which are usually rare or specifically cut for the clash. These dubplates are unique cuts of certain popular tunes or other material. Watching a sound clash is good fun and the audience decides who is better by cheering the most, and the energy is usually insane. In this case, Rodigan acts as both his own DJ and MC, but sometimes other MCs are present and the selecta (DJ) is separate. In Jamaica, the MCs are called deejays and the DJs are called selectas. Sometimes there are even special dancers on stage to make the show even more energetic. Sound systems in Jamaica were popular because people couldn't afford to buy records or speakers, so they would play music in the streets for everyday people. Then, they began to develop a rivalry and a following. It got crazy in the 80s when dancehall became harder and more violent in its lyrics. The sound clash is all about who has the best records, rarest collection, and most unique dubplates cut by artists. The artists usually voice a special message into the dubplates, hyping up the selecta/sound system. Hip hop may have also copied some of this culture, but it's not clear whether it developed on its own or was copied from Jamaica.

(Motif-Radio) Reggae Pon Top # 35 track listing below:

SINGLES: DUB MASTER POPS- SO COOL HA'ANGANA- TRADING BREAD THE YUTES & TARRUS RILEY- BETTER DAYS KABAKA PYRAMID & PETER TOSH- MYSTIK MAN ROCKY DAWUNI & BLVK H3R0- NEVA BACK DOWN ISRAEL STARR FT. MILLION STYLEZ, RIDDIM CARTEL- COOL, CALM & COLLECTED EMPRESS NEPHTALI- HORIZON PAPA SAN- I SEE YOU KARBON- KING'S TOWN GEORGE PALMER & IRIE ITES- TIME WILL TELL KINGLY T- NEVER DROP MY GUARD JERRY HARRIS- CORRUPTION

RIDDIMS: IRIE ITES ROCKING TIME FRESH ISLAND RIDDIM TRIBUTE TO DENNIS BROWN RIDDIM BACK TO THE DAYS RIDDIM

DANCEHALL: AJII & DR. GANG- YOU MAKE ME HAPPY TOLLERANCE- DEAR MONEY CHRONIC LAW- LEADER JULIAN MARLEY- DON'T RUIN MY LIFE KABAKA PYRAMID &ANSWELE- LIFE IS EVERYTHING PERFECT GIDDIMANI- BEAM STALK IT'S DIA & CH CHING CHING- ALL RIGHT MR. LEXX- DONE A GYAL DING DONG- BAGGA GYAL CHARLY BLACK & RIA- FLEA MARKET RAS KWAME & MYX QUEST CAMIDOH FEAT KELWYN BOY- PULL UP RELAX RIDDIM RYGIN KING- CIRCUMSTANCES RYGIN KING- THERAPY

Omega Radio for June 2, 2018; #163.

Odd Nosdam “Trish”

Powell “Frankie”

Mumdance & Logos & Rabit “Inside The Catacomb”

Commodo “Fuck Mountain”

Kedr Livanskiy “Fire & Water”

Dalhous “DSM-III”

Lanark Artefax “Glasz”

Chris Clark “Diesel Raven”

Errorsmith “I’m Interesting, Cheerful, And Sociable”

Rezzett “Layla”

Bad Zu “Queen”

Drvg Cvltvre “United States Of Fuck You”

Monic “Deep Summer” (Burial RMX)

Suicideyear “Summer Hate”

Zomby & Rezzett “S.D.Y.F.”

Omar Souleyman “Heli Yuweli” (Rezzett RMX)

Nerftoss “Bender”

Fellony “Hostile”, “Try Not To Breathe” (dubplate)

Bengal Sound “Pablo”

Chino Amobi “Roma”

The tape containing Else Marie Pade's Svævninger, in Else Marie Pade – Jacob Kirkegaard, EMP 10, (booklet), DAC-DA2059, Dacapo Records, 2025 [© Dacapo Records, København]