#riddimates

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Damian Marley

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In Jamaican dancehall music, a riddim is the instrumental accompaniment to a song and is synonymous with the rhythm section. Jamaican music genres that use the term consist of the riddim plus the voicing (vocal part) sung by the deejay. A given riddim, if popular, may be used in dozens—or even hundreds—of songs, not only in recordings but also in live performances.

Since the 1970s, riddims have accompanied reggae music and through the 1980s, more widely known as dancehall. As seen in dancehall music, there is a voicing part – sung by the DJ – over some riddim that has probably been widely used in many other songs. There is a unique establishment in the combination of riddims and voicing.

By 1993, Jamaica finally established a copyright act, but producers still face difficulty in establishing profit. Through proper registration, many artists now work on negotiating their royalties and taking it more seriously. The unique nature of dancehall and riddims have been highly influential on the numerous remixes that now circulate throughout R&B and hip-hop music.

Some classic riddims, such as "Nanny Goat" and "Real Rock" both produced by Clement "Coxsone" Dodd, are essentially the accompaniment tracks of the original 1960s reggae songs with those names. Since the 1980s, however, riddims started to be originally composed by producers/beatmakers, who give the riddims original names and, typically, contract artists to voice over them. Thus, for example, "Diwali" is the name not of a song, but of a riddim created by Steven "Lenky" Marsden, subsequently used as the basis for several songs, such as Sean Paul's "Get Busy" and Bounty Killer's "Sufferer."

"Riddims are the primary musical building blocks of Jamaican popular songs.... At any given time, ten to fifteen riddims are widely used in dancehall recordings, but only two or three of these are the now ting (i.e., the latest riddims that everyone must record over if they want to get them played in the dance or on radio).... In dancehall performing, those whose timing is right on top of the rhythm are said to be riding di riddim.

The bass culture of Jamaican sonic sensibilities is characterized with less emphasis on melody and large emphasis on the drum beats and low frequency bass vibrations to draw attention to the social grounding to the culture. These aspects of Jamaican music are expressed visually through the Dancehall choreography and its African inspired folk traditions, which emphasize earthly connection through flat-footed stamping and “bumper-grinding sexually explicit choreography, where the bass note is struck by the body itself—displaying its fecundity and celebrating its fertility”. This bass culture is also embodied sonically by the music's heartbeat, the bass lines often described as riddims, produced in the late 1960s and early 1970s. These riddims offer a sonic foundation on top of which different other sounds are incorporated to form innumerable versions.

African in origin (see clave (rhythm) and bell pattern), riddims can generally be categorized into three types. One of the oldest types of riddim is the classical riddim providing roots reggae, dub, and lovers rock with instrumentals, such as Bam Bam, produced by Sly & Robbie. The second type is the ragga riddim backing raggamuffin and dancehall songs, such as the Juice riddim, produced by Richard "Shams" Browne. The third type is the digital riddim, such as Sleng Teng, Punaany Riddim & Duck Riddim produced by King Jammy.

A number of riddims take their name and influence from African-Jamaican religious drumming such as the Kumina riddim, created in 2002 by Sly and Robbie, and Burru.

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Riddim >>>>>>

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FIRST UP IS THE NEWEST COUPLE OF TRACKS. Starting with L, my first and hopefully only Square 4 track, I cooked it up while I was waiting for ubereats last night. I also had the opportunity to create the Stream Start music for one for my friend DemonDelights' twitch streams so here's that

And here come the big ones I'm most of the way through, Supernova, Pon!!! and Yokaimatsuri. The first of which (also the closest to finished) is a colour bass track I started after the release party for Constellate with Chime and the windy bois and Pon!! is a track from 2018 that was built off a sample of Nekomata Okayu from an animation by Otoufu-san! I got back onto the project about a week ago, and after using MORE Okayu x Otoufu samples I built up the second drop and placeholder outro! Yokaimatsuri on the other hand leans more into my weeby influence and takes from Japanese folklore and themes blending them into a heavy tearout track!

Next we have da lil guys, Goat Gang and Spiral. Goat Gang is a few months old and was meant to be a lil fanart type beat for DemonDelightrs again. Spiral was directly inspired by Junji Ito's Uzumaki and the spiralling melody. Both are in a stage where they're just the first half of some drops

And that's really it for stuff I'm happy to post here atm, hopefully I'll be able to pump out some more stuff soon, sorry for the long post ily y'all 🖤

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Where are the New York & Japan fans ?

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