A heavy nod to the theorised inventive alter-ego of Robert ‘3D’ Del Naja.
In April, it was reported that Massive Attack had encoded Mezzanine into DNA to mark the 20th anniversary of the seminal 1998 album. Now, the album is being made accessible within the type of a matt black spray paint can.
According to a press launch, a restricted variety of spray cans will comprise the DNA encoded audio inside matt black paint and every can will comprise roughly a million copies of the album.
Addressing the novel storage technique, Massive Attack’s Robert ‘3D’ Del Naja – who in keeping with the press launch is “also referred to as a graffiti artist” – mentioned: “It’s a inventive solution to retailer your again catalogue, though DNA-encoded spray paint is unlikely to be adopted by road artists looking for anonymity”.
The advanced encoding course of is defined intimately in by Dr Robert Grass of Zurich-based firm TurboBeads. “This digital bitstream of the album (0s and 1s) was first translated to 901’065 DNA sequences (A, C, T and Gs), every 105 characters lengthy”, says Grass. “The 901’065 particular person sequences have been then chemically synthesised leading to an artificial DNA pattern, which absolutely represents the digital bitstream of the album.”
Then, so as to “assure data stability”, the DNA sequences have been encapsulated in “artificial glass fossils”, which have been added on to the spray can. According to Dr Grass, every can “accommodates at the very least zero.1 micrograms of the artificial DNA, which is equal to 1 million copies of the album.”
Whilst it stays unclear as as to if it’s attainable to truly take heed to the trip-hop masterpiece on this format or not, the selection of a paint can appears to make reference to the long-running idea that Del Naja is actually thriller graffiti artist Banksy.
Last yr, throughout an look on Scroobius Pip’s podcast Distraction Pieces, Metalheadz legend Goldie might have let the connection slip, when he referred to Banksy by the title “Robert” throughout a dialogue concerning the commodification of graffitti. The drum ‘n’ bass luminary has not addressed the attainable slip-up – however he hasn’t gone out of his means to disclaim the connection both.
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