After the passing of Lee “Scratch” Perry, a deluge of recordings appeared claiming to be the “final” project of the Jamaican icon. These came from musicians and producers from an incredible range of genres—trip hop, dub, ambient, rock, reggae. However, his last official album project took him to Berlin, Germany where he landed on the doorstop of electronic pioneers Mouse on Mars (aka Jan St. Werner and Andi Toma). If he was coming, which one of his personae would arrive? The Upsetter, Pipecock Jackxon, The Super Ape? Maybe Inspector Gadget?

Behind these masks was Rainford Hugh Perry, often described as one of the single most important figures in the history of Jamaican music. Producer, engineer, label owner, performer, his impact traced ska to rocksteady to roots reggae, to sound systems, to dub, to Bob Marley and Junior Murvin and Max Romeo and The Congos and so many other legends. Generations passed through him and his ears. And beyond them his influence included punk, funk, electronic music, hip and trip hop as well as his own uncategorizable career as explorer of words, sounds and esoteric concepts.

Mouse on Mars are recognized as one of Germany’s most defining and versatile electronic music projects. Across more than 3 decades, they’ve released over 10 albums including Niun Niggung (1999) and Idiology (2001) - the former was declared the Album of the Year by The Wire – several EPs, and an imagined film score for Werner Herzog’s Fata Morgana. They’re also known for their work with Stereolab, Bon Iver, Tyondai Braxton, The National, Matthew Herbert, Modeselektor, Tortoise.

Spatial, No Problem. is the story of what Lee “Scratch” Perry left behind in Berlin in his encounter with Mouse on Mars. It’s a story of spaces mixing, and cultures morphing towards a different kind of future.