Generally, I'm not a fan of remixes. For whatever reason, I just can't find the appeal of them -- even if they are good. I guess it's a matter of disinterest in someone else's reinterpretation of another artist's work. I am a fan of cover songs, but, let's face it, covers are an entirely different story. As for mash-ups, I am a fan of those, as well.
Over time, my dislike of remixes has subsided a fair amount, if only because over the past year or two I've become increasingly attracted to electronic music (electropop, electronica, DJ duos, etc.). Nevertheless, if I receive a submission that's a remix, I tend to pass over it, because for however much I've taken to electronic music, for me, remixes are still an unappealing medium. Though, I'd love to hear someone make a remix of something like Vera Lynn's "We'll Meet Again" or any big band stuff from World War II.
Not a fan of remixes. But, then I heard a La Boum Fatale remix and a Touchy Mob remix of two songs I had never heard before. Turns out, I quite enjoyed them.
Mimas - "Vader In Burgos" (La Boum Fatale Remix)
Mimas are a Danish math rock/post-rock/indie pop band -- apparently though, they have, in the past, labeled themselves "Death Indie." Having no familiarity with the original version of "Vader In Burgos," what struck me about La Boum Fatale's remix was the fragmented collection of sounds that unite to accentuate the rhythm. It was also its warped, backwards sounds that got me hooked. The remix sounds twisted without being dark or eerie -- instead, it's actually playful and infectiously upbeat as it progresses. What's more, La Boum Fatale add a lot of depth and adventure to the direction of the music, which happens to make it quite alluring. The original is more ethereal, and, well, forward.
Hear the original here
Sinnbus will release Mimas’ second full-length Lifejackets in Germany/Austria/Switzerland June 10th.
Hundreds - "Solace" (Touchy Mob Remix)
Hundreds are an electropop duo from Hamburg, Germany. Once again, I spun this remix without hearing a single note of the original. I really liked the sparsity and minimalism of the first minute, as it perfectly sets up the more layered and busier measures that follow. By around minute number three, one of the lead voices is looped, stretched on one note that's elongated and stuttered along. As more and more electronic blips, bleeps, etc. enter the fold, that singular voice acts like an anchor to keep you grounded inside the hive of layers; it's also a hook that pulls you deeper and deeper into it all, without you even knowing it. Touchy Mob extends the original, more pop-oriented version.
Hear the original here
Hundreds released their self-titled debut album in Europe last month via Sinnbus.
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