H
Kotya - lovely - has it's place - easy to use in a mix and, one imagines, very worthwhile doing so
Goodbye Girl (Fairmont Remix) - see above
When The Past Was Present (Pachanga Boys Purple Remix) - hitherto my experience of the Pachanga Boys was that they offered up either fabulous tunes or stuff to be quickly glossed over and moved on from. For the first time this has me somewhere in the middle - nearer the better end of the spectrum to be fair but then they have set their own bar very, very, high.
Makin' A Living - instant heroin tune and onto the all-time classics list - used it in the first subsequent mix I could and am forever grateful for it being flagged up.
Cafe Del Mar (Roberto Rodriguez Suvilahti Remix) - cannot help but invite comparisons to the infamous Ricardo Villalobos, genre-defining, minimal, version - (also on Spot) - very pleased to say that this one wins the battle of 'how-best-to-understate-the-original'. A quick scan of one hard drive reveals I have at least 17 different remixes of the original and, for what little it's worth I'd go with the Nalin & Kane, the Humate Remix, and the Oliver Leib LSG Remix.
D
Noah's Ark (Moby Remix) - new to me - listened to both this and the original and have to say they're worlds apart - original is pleasant - Moby's effort is much better and shows what he can do (with other people's material)
The Poison Tree (David Lynch Remix) - again, listened to both a couple of times and it is as clear to me that, as much as I dislike the original, David Lynch should stick to what he made his name doing...
A Case For Shame - sounds like a track that didn't quite make it onto 'Play' which suggests it's either not very good or a great example of an artist's mining of a very narrow but deep seam - let's see...
The Perfect Life - when I first ran through the album a few weeks back this was the most immediate track for me - I like the gospel element of it a lot but, again, it could've featured on Play - the fact that its subject matter describes a life of drugs, injections, overdoses, guns and violence I choose not to see as miserable, or depressing...
A Long Time - sounds quite a lot like another track that didn't quite make it onto 'Play' - production is probably 'bigger' than it would've been in the 'Play' era but, on the strength of this album (which I have in FLAC and have given several listens through before this evening), the lad is in danger of becoming the Cliff Richard of his epoch - found an MOR niche and is exploiting it for everything it's got. His occasional remix work suggests he's capable of much, MUCH, more...
... but fair play to him - still by MILES the most common DHS artist - would personally prefer to hear him put out something 'edgy' under his own name.
And so to mine...
I'll keep this brief as I've already broadcast four of these five on mixlr - the exception being the first one...
Quiller - the sound of a 70s porn film being recorded on top of a grand piano - Bill Brewster unearths another absolute gem...
Flashlights - Daniel Avery has recently released what is arguably this year's best album but this, predating it, merely served to point the way to what was coming - used this early on my 'Spiced Ham' mix
In Order To Trance - (Hrdvision Remix) - Early 90's rave meets the deep house of 2012 and goes BOOM. Jokers Of The Scene have ab-so-lute-ly been the discovery of the year for me - their range is vast but their quality never really seems to dip - on my mixlr01 session in May and was my main contender for tune of the year until I found out it was released in December 2012...
Parade (Dominik Eulberg Remix) - (the temptation at this point to write on and on and on and on about this track is very strong - but the facts of the matter are it speaks for itself so I need actually say very little). IMMENSE. (as used in mixlr04 in October)
Tides (Dixon remix) - (as used in mixlr05) - best remix (out of dozens so far) of anything by The xx - including Sasha's effort - everything about this is simply spot on - the percussion build, the melodic mood, the introduction of the synth-strings, the placement of the lyrics - above all 'the-tension' - and then the fade to mix out over - understated brilliance
S
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