When I went to dance parties in East London as a lad, there would be a lot of Jamaicans playing their music through huge bass reflex speakers, and they would blow your trousers right off. I used a Barefaced Audio 15" cab and an Ashdown full stack along with it, and they did the trick. The subharmonics are very rich on it, and it gets such a nice bottom end. It allowed the other instruments to breathe, and it brought out the musicality of what they were doing. When I was writing this tune, I wanted to keep my playing simple and maybe do something like a mantra or a Gregorian chant, where the notes slide down and it becomes very modal, with semitones and passing notes that made for an Eastern kind of vibe. How so? I play quite hard, but even when you get a low tone, there are a lot of dynamic possibilities from playing percussively, or playing very softly and stroking the strings. With a groove-centric mindset, the song album gives an expansive look into the talents of an ex-punk turned Zen master who rewrote the book of dub bass. What was it like reworking older songs and giving them new feels? It made the music believable again. It was a simple loop with a melodic line, and I just went with it from there. I ran a few tracks per recording, with one or two DIs, and then I used an amp with a mic. It overshadowed the other instruments a bit, so I went back and remixed it so it was right on the edge. It was the first time in years I could play a lot of this material and have fun with it, because of how good these guys are. I did this one really old-school, and very restrained, too.