Posts Tagged ‘Remix’

33.3 Music Collective – 27th January 2021

Christopher Nosnibor

Beauty in Chaos’ ever-shifting lineup sees more evolution for the fourth single of their latest album, Out of Chaos Comes… a set of remixes with even more guest artists contributing. Originally featured on The Storm Before the Calm in summer of 2020, the track, composed by Michael Ciravolo – who’s credited not as the core member but the curator of the Beauty in Chaos project – with The Mission’s Wayne Hussey.

The story goes that ‘Along with BIC producer Michael Rozon, Ciravolo set out to strip down the ominous tone of the original especially for this remix release. After hearing Wayne’s wife Cinthya’s rendition of The Smith’s ‘Everyday Is Like Sunday’, the idea emerged for her to sing this new version along with Wayne’. This is actually one of three versions of the song which feature on the album, and it very much does date the dark, brooding vibe out and replace it with something altogether more smoky and sultry.

And so we have six minutes of sedate – and sedated – seduction, stripped back and slowly blossoming into a melodic chorus. The accompanying video highlights the low-level lighting mod it evokes, and finds Mr and Mrs Hussey showing off some quality rugs as well as some nicely contrasting outfits.

Quippy comments aside, this is a subtle explorations of contrasts which also tips a nod to the lyrics, and very much highlights the light and dark and shadowy hues evoked by the song. Rendered as more of a pop ballad by the remixing, the chaos is very much calmed to emphasise the beauty, and it works well.

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Beauty in Chaos feat. Cinthya Hussey (single cover)

Following the release of their hard-hitting ‘KOMPROMAT’ album in late 2020 via Schubert Music’s recently founded Atlantic Curve label, Leeds-based trailblazers I LIKE TRAINS have shared a series of deepfake remixes of the album’s lead single ‘The Truth’.

Formed in 2004, I LIKE TRAINS is David Martin (vocals/guitar), Alistair Bowis (bass), Guy Bannister (guitar/synths), Simon Fogal (drums) and Ian Jarrold (guitar). For this experiment, the band reunited with long-time visual collaborator Michael Connolly to create a series of ‘deepfake remixes’ for ‘The Truth’.

"As our album KOMPROMAT deals with themes of information and how data misuse has led to this nightmarish present, it feels apt to see how artificial intelligence would rework our music. It seems to think we should be more melodic, throw in a few key changes and also consider using panpipes. The future of music is pretty nightmarish too it seems," says David Martin.

“The audio in these three vignettes is an AI model trying to continue ‘The Truth’, generated using the OpenAI Jukebox. I revisited my auto edit system from ‘The Truth’ & ‘Dig In’ promo videos and poured on more nightmare fuel," says Michael Connolly.

A resonant and timely rally against the powers-that-be, this ominous offering is the latest leg of the expository musical quest, following singles ‘Dig In’ and ‘A Steady Hand’, both of which also offer videos by Michael Connolly – congnizant reactions to a world that has changed beyond all recognition.

Check ‘The Truth (Angels Are Coming AI Mix)’ here:

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Undogmatisch – UNDOGMA3 – 19th January 2018

Christopher Nosnibor

This all sounds very complicated, both in terms of concept and execution. This is the first in a series of releases which contain remixes of tracks from the album Madame E, by Mirco Magnani and Ernesto Tomasini. So far, so straightforward. Madame E is ‘a free reinterpretation of Georges Bataille’s short novel Madame Edwarda (publ. in France 1941), in which Eroticism, Religion and Death are interlaced.’ Bataille is by no means an easy read. And while I’m yet to hear Madame E, ‘Plaisir’, at least in its remixed form, is by no means an easy listen.

Pink and white noise and strains of feedback which register in the range of bat-hearing jostle against jolting ruptures of panoramic bass frequencies and irregular, thumping, electronic beats. It pulsates and throbs and bristles and jars. With soaring, semi-operatic falsetto vocals drifting over the ever-swelling electro-industrial grind, it comes on like a deranged and super-intense hybrid of Scott Walker and Whitehouse. Maybe that could be a future project, by way of a counterpart to Walker’s collaboration with Sunn O))). Or maybe tis already fulfils that ultra-niche gap in the market.

So where’s the complication? Well, this release is credited to Ken Karter, the remixer, for a start, despite it containing music originally composed by Mirco Magnani and Ernesto Tomasini. So, this release is the first in a series which sits under the banner of MADAME E. Rèintérprétations et Remixes, which will be released periodically as one-sided 12” singles in limited editions of 10 – which is barely a test pressing – and digitally. These are designed to ‘include different points of view from artists somehow close to the album’s topics and atmospheres’. And after the last remix taken from the album, the whole remix series will be published as an album titled MADAME E. Rèintérprétations et Remixes.

I’m not entirely sure of the purpose of the individual digital releases, but that’s a question of economics and practicality. This is clearly less about practicality and convention than it’s about art.

It’s a release which invites meandering dissections and deep, analytical appraisal. It’s a release which likely deserves it, too. But there’s a time and a place, and a work so deeply invested in intertext and context. We’re in the realms of critical theory and reader reception, with a work which purposefully challenges its own place and function. But when high art meets populist electro tropes, anything goes. And with this, anything goes.

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Plaisir

22nd September 2017

Christopher Nosnibor

Ummagma really do have some impressive friends and fans. The Canadian dreampop duo’s lush, textured shoegaze has garnered them not only and admirable fanbase and favourable critical reception, but has placed them into direct contact and collaboration with a number of their heroes.

The ‘LCD’ EP, which follows up their ‘Winter Tale’ maxi-single with 4AD dream pop pioneer A.R.Kane earlier this year, features four tracks, including the new original title track ‘LCD’, and reworkings of Ummagma songs two legendary British musical figures in the form of Cocteau Twin Robin Guthrie, and Dean Garcia of Curve and, latterly, SPC ECO.

The lead track is a classic slice of 90s-tinged dreampop with tangents ago-go: a slippery funk-infused groove envelops what sounds like two independent drum tracks which interlace and intertwine, while synths bubble and grind. It all comes together to create something strangely nebulous and at the same time compellingly propulsive despite its lack of obvious form.

Dean Garcia’s SPC ECO mix really accentuates the spaciness of the track, stripping it back to a sparse frame around which echoed notes and voices drift. Gloopy beats reverberate around dripping synths and elongated drones to conjure a rich atmosphere. Garcia takes a similar approach to the minimal drift of ‘Back to You’, which takes a turn for the darker as its resonant bass tones hang in a rarefied air, cloud-like and barely tangible yet present.

What Robin Guthrie brings to ‘Lama’, which originally featured on their debut album, is a real sense of appreciation of the original, and an accentuation of the nuance. He also provides not only a new arrangement and mix, but additional guitar work, which renders it more of a collaborative piece than a straight remix. There’s something magically organic about it, and as Shauna McLarnon’s soaring vocal tops off the sonic soufflé perfectly.

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Ummagma – LCD EP

PIG mark the release of new album ‘The Gospel’ with a UK tour, for which the Lord of Lard Raymond Watts has enlisted former KMFDM colleagues En Esch and Günter Schulz, Greg Steward aka Z.Marr (formerly of Combichrist) and Galen Waling (Left Spine Down/16 Volt).

The ‘Swine & Punishment’ tour is jointly headlined with Mortiis. Dates are as follows :

10.03.17  NOTTINGHAM Rescue Rooms

11.03.17  GLASGOW Ivory Blacks

12.03.17  NEWCASTLE Think Tank

13.03.17  YORK Fibbers

14.03.17  SHEFFIELD Plug

15.03.17  MANCHESTER Ruby Lounge

16.03.17  BRISTOL The Fleece

17.03.17  NORWICH Epic Studios

18.03.17  LONDON The Garage

Tickets can be purchased here.

PIG and Mortiis have recently reworked one of each other’s songs for new remix records. PIG’s is entitled Swine & Punishment and will be released in May. It also features remixes by the likes of Chris Vrenna (as Tweaker), Kanga, Skold and Marc Heal of Cubanate (as MC Lord Of The Flies).

Meanwhile, you can watch the video for ‘The Diamond Sinners’ here:

York/Manchester-based noise-punk band SEEP AWAY have unleashed a remix of their debut single, ‘Trudge’ by US industrial heavyweights Cyanotic as a free download, one day after the track was debuted on Regan! Cyanotic mastermind Sean Payne had this to say about working on the track: "It’s like grimey UK hardcore on top of digital bangery: angry robot style!"

The collaboration came about following initial interest from SEEP AWAY drummer, Dom Smith: "I’m a massive fan of industrial and alt-electronic music, and the rest of the band are all about finding new ways to develop the sound, so Cyanotic was a natural choice – Sean’s work, and his label Glitch Mode’s output has always been awesome. I’m really proud of this."

Cyanotic’s previous remix and production credits include: Front Line Assembly, Chemlab and 16volt. For more information on the band, visit: https://www.facebook.com/Cyanotic

SEEP AWAY have announced a small number of shows recently with more to be announced, check them out below. The band will also be recording a new single, and EP for release later in the year:

February 24 – Fulford Arms, York (w/ One Way Street)

April 15 – Fulford Arms, York (w/ InTechnicolour)

May 20 – Star And Garter, Manchester (w/ Deified)

The new single can be found streamed and downloaded for free here (and don’t ask what’s going on with the page formatting, it’s all gone screwy. We’re working on it.)

Seep Away Online