The dome is not just a spectacular over-budget millenium disappointment. It is also a village hall style venue in Kentish Town where, a mere three days ago, FOUR TET spun the aural deliciousness that is ‘There is Love in You’. Support and DJ setting courtesy of NATHAN FAKE and CARIBOU, the latter playing new tracks from the masterful new LP ‘swim’. If it were opposites day I would say that no-one smiled and everyone could have enjoyed it more. You do the maths.
FOUR TET – Plastic People
CARIBOU – Odessa
– Kieran Hebden in the round. Nice.
Filed under: 1 | Tags: Andrew Bird, Bat For Lashes, Edward Sharpe and the Magnetic Zeros, Gossip, Metric, Nathan Fake, Patrick Wolf, The Big Pink, The Cribs, The Horrors, The Low Anthem, Yeah Yeah Yeahs
‘Come on, chaps – let’s have a listen to that new joint from Chrysalis. Thompson’s gone on a pimp juice reccy. Last one to get crunk is a wet blanket’
Indeed. Well, there’s nothing like gathering in Norwegian woollen jumpers, lighting pipes and giving the last 12 months in music a right going over. That’s exactly what we’ve spent the last month doing. We now have a massive pipe tobacco dependance, broad 1940s accents and a penchant for calling each other by surname only. More truthfully, 2009 has been a sensational year for Chrysalis artists. Much lauded albums released, big gigs played, festival crowds won over, new artists signed, ads synched, tv spots spotted, Mercury prize nominations nominated, picnics played, Letterman’s performed, end of year lists invited.. So with that in mind for your aural (and sexual?) pleasure (no, probably not) here compiled are our musical revelations of the year. The ones that will endure in our minds for the longest into the new decade and beyond. Of course the choosing was very difficult. But 2009 according to Gareth, Sophie, David and Will was all about this:
Gareth ‘I’m the boss so I’m not putting anything here’ Smith:
YYY’s ‘Zero’ – Is the bit about a minute and a half in when the song is launched into orbit that makes me smile. On the tube. At randoms. YOU KNOW WHAT I’M TALKING ABOUT.
THE CRIBS ‘Cheat on Me’. Effortless, honest and unpretentious.
EDWARD SHARPE AND THE MAGNETIC ZEROS ‘Home’. A singalong stroke of brilliance by a band of 15 smiling people on stage – a cult you want to join.
Sophie ‘S’aink S’aink’ Urquhart:
THE BIG PINK ‘Too young to love (Unkle Remix)’ – Ridiculously cool track in itself. The Unkle remix just gives it that special s’aink s’aink. Pure ear joy.
THE LOW ANTHEM ‘Charlie Darwin’ – This song makes me want to smile and cry simultaneously.
GOSSIP ‘Four Letter Word’ – I love the insanely catchy synth bassline in this track which makes me feel like I’m at an 80’s discotheque every time I listen to it, which is a lot.
David ‘Why use one word when fifty will do’ O’Bryan:
BAT FOR LASHES ‘Daniel’ – Despite being drenched to the core at her Somerset House gig, seeing her perform a flawless rendition of this mystical pop song of Fleetwood Mac proportions is a definite gig highlight of ther year for me.
NATHAN FAKE ‘The turtle’ – I love techno when it’s for the head, like Aphex Twin. I love techno when it’s for the dancefloor, like Dubfire. But when you have techno that’s for the head AND the dancefloor in one song, it’s perfection. This song is just that.
PATRICK WOLF ‘Hard Times’ – His show at the Palladium is one of my favourite gigs of the year… seeing him sing this song in a giant glitter cape, whilst spinning like a pagan dandy, is one of my music highlights of the year.
Will ‘I grew attached to it’ Theakston:
THE HORRORS ‘Mirrors Image’ I have listened to this song 7,863 times this year. I marked each play by dropping a small paper effigy of the band in my ‘I love the Horrors bassline’ hope chest. That’s not weird.
METRIC ‘Satellite Mind’ The greatness of this song and Metric’s album should be screamed from the rooftops. We’re not allowed on our roof anymore, so I’ll scream it from a, er, blog.
ANDREW BIRD ‘Fitz and Dizzyspells’ If you could open a can and summer came out this song would be the accompaniment. LOVE the bird.
Oh, and without further ado..
– The mighty Nathan Fake in action. And what Mozart might have used if he were born today.
What makes a great remix? Since remixes first started appearing on the disco and early hip-hop scene 30 years ago they’ve morphed into a check-box for most music marketing and A&R people. The intervening years have generally seen the creative life sucked out of them. Where they were once used to add a new dimension to a track, or to create more life on the dancefloor, or to throw a new artistic slant on a piece of music, they now tend to be part of a marketing ‘tick box’ and not much beyond that – A way to make sure that as many different audiences hear a song, irrespective of the musical merits behind it. There’s nothing wrong with this, of course, and some good music does come out of this, but every now and again a remix will come along that is beyond a mere ticked box, but actually manages to flatten those boxes, or to create a whole new set of boxes.
The remixes that actually change the landscape of remixing are few and far between. Of course what constitutes a defining remix can be debated all day, but there are some that unquestionably are. You can count the Coldcut remix of Erik B and Rakim as part of that group, the Boris Dluglosch remix of ‘Sing it Back’, the Armand Van Helden remix of ‘Professional Widow’, the Timo Maas remix of ‘Dooms Night’ and the Soulwax remix of ‘Standing in the Way of Control’, as a few examples. All of these remixes offered a new way of approaching the concept of the remix, and created a new remix landscape whilst doing so. They’ve not only brought the song to a new audience, but they’ve actually found something in the piece of music that didn’t exist before. They’ve heightened an intensity or a sound, or have thrown a musical curve-ball into the mix, and in doing so have pushed the song into a new dimension.
We’re lucky enough to publish a few of these classic remixes (including the previously mentioned Soulwax ‘Standing in the way of Control’ remix and Boris D’s ‘Sing it Back’ Remix), as well as what is possibly my favourite remix of the past few years. This is the James Holden remix of Nathan Fake’s ‘The Sky Was Pink’. For me, this is an example of a remix that came out of nowhere and changed the language of the remix. The original Nathan Fake version is an aching, darkly dramatic piece of music, which is glorious in its own right. The James Holden remix, however, not only takes it to the dancefloor, but manages to fill it with many opposing factors that really shouldn’t work, but somehow fit perfectly. It manages to have a steely techno icy-ness, brought by the glitchy bleeps and heavy synth sounds Holden adds to the mix, whilst still retaining a very human warmth and emotion. The rythyms Holden uses are often arhythmic, sounding as though they’re falling over themselves (and no doubt causing many people experiencing the track on the dancefloor to lose their balance too), and often making the track feel out of sync in some way. Yet everything feels in its right place and the track has caused many different types of dancefloors to unite in a single rhythm. The melodic lines swing in and out of the mix, often unpredictably,and despite managing to confuse the listener with its seeming randomness still somehow conveys Fake’s original melodic phrases to perfection. It is essentially a remix of stark contrasts, that not only ticks all the boxes, but forces new boxes out of nowhere. I could listen to it all day. And night. It’s clear that many people agree with me – since its release in 2006 its style has been imitated by many in dance music and beyond. As we’d say in the Valleys: it’s STUNNIN’!
Talking of current remixes that float my boat, here’s my top 3 current favourites on Chrysalis:
// WHITE LIES Death (Chase and Status Remix) // GOSSIP Heavy Cross (Fred Falke Remix) // HOWLING BELLS Cities Burning Down (Disco Bloodbath Remix) // and, of course… NATHAN FAKE The Sky Was Pink (James Holden Remix) // MOLOKO Sing it Back (Boris Dluglosch Remix) //
– David O