Track of the week:
‘Cavalier’ by Silver Columns (Time and Space Machine remix)
I don’t know much about Silver Columns, that always puts a damp on me trying to differentiate between who is responsible for which parts, but I am acquainted with The Time and Space Machine fair enough, and this does sound like a remix he would do. I love the easy and fresh start, not so into the beat that comes after, but it fits the song. I love the vocals, though I will be the first to admit that they might not be the best vocalists around (or at least are not showcasing that here), but sometimes it is more in the delivery, and I love that rather drowsy thing they do. I was waiting for a Benga like turning point after a stretched vocals only bit, but it stayed rather restraint, a bit more hypnotic than climactic. But hypnotic is good, and it is an atmosphere he sustains towards the end. I love the added, soft piano, that is such a peaceful sound between the hypnotic beat, lovely. He could’ve rode that sound home, and perhaps I would have preferred that over the new beat ending and returned vocals, but oh well, it’s still a good remix anyhow, definitely worth the listen. And at least the vocals return, that’s a plus.
‘We Still Got The Taste Dancing On Our Tongues’ by Wild Beasts (Gatekeeper Gregorian Disco Edit)
So the question is, how can those voices be implanted in a remix? That’s at least what I always think when I chance upon a Wild Beasts remix. This time it is Gatekeeper Gregorian who takes a stab at it, and he pretends this is a disco edit, but not in a conventional sense anyhow. Yes, there is a hint of disco in here, but it is disturbed by an omnipresent beat. Basically only the ooh-waa-oooh-waa-aah vocals are used, none of that actual singing words nonsense, who needs that, right? Or if it is used it is unrecognizably transformed. I’m not too keen on this remix, and I actually like the original, but upon hearing this one for the first time I had to check whether my boxes were not malfunctioning, and if you have to do that you know something is wrong.
‘Something I’m Not’ by Penguin Prison
I didn’t like the first Penguin Prison song I heard, and this one doesn’t sound much like that one thankfully. I remember the other one as overly slick, and this one isn’t. I guess it is a pop song more than anything. Not like Beyoncé pop, but indie pop with a definite pop leaning. So it finds itself in the same waters as loads of other bands, and I’m not sure it really finds a way to distance itself from the pack. Those “Geez, you’re…” bits are not really the best lines around. I also don’t find his delivery terribly appealing, though when he belts a bit during the chorus you can hear he has a nice enough voice to work with, but he does not channel it in a way that attracts me personally. But other people might beg to differ. At the end they constantly repeat the same sentence and do the same thing instrumentally, and I can’t help but think if they make a build up out of that instead of a repetition, that is, if they go from soft to hard or from slow to fast or whatever, that it might be a nice climax for the dancefloor. As it is now I’m afraid for me it is a rather forgettable affair.
‘Mind Reader’ by Kingdom (CFCF remix)
Oh my, this sounds, erhm, clubby. The start, not like other CFCF remixes. That scratching to repeat the vocals, that is kind of like my pet peeve really, so the starting minute is not really what I was hoping for. Especially not from CFCF, who can make absolute killer remixes, but I’m afraid this is not going to do the trick for me. Perhaps he was thrown off by those Shyvonne vocals and thought, hmm, I have to do something hipperdy hop like with those, which is always the wrong conclusion to draw. For the first time in two years it is painful to sit through something by CFCF. And my gosh, it is never ending.
‘Ghosts’ by CANT (Class Actress remix)
The hypnotic beat is probably the first thing everyone will recognize. At to that the drowsy vocals and you have the starting atmosphere, but Class Actress soon gives it a little something something. It gets increasingly danceable and dance floor friendly. So that is effective layering for you. I was fully expecting the thing to explode after the second series of vocals, and although it was not as climactic as I thought it would be a dance friendly beat is thrown in there to appease everyone on the dance floor. Sometimes you shouldn’t toy with expectations, and Class Actress delivers there. Two thirds on the way it gets a bit techno-ey with the beat, and to offer some relieve some synths are added which do the trick for me. Admittedly not for everyone on the musical spectrum, but for people a bit into deep house and techno this might well be a nice five and a half minutes.
‘Quiet Please’ by The Heels of Love
Catchy as fuck, that’s what this track is by The Heels of Love, whom I don’t know, but there are worse ways to introduce yourself to, well, me, but probably to more people as well as I’m not sure they have a huge following at this point (although, admittedly, I’m not sure about anything since I don’t know anything about the band). So the focus is minimized to this song, and gosh, this is lovely. At 1:30, that sound which comes in, terrific! I think it is a synth or something, but it doesn’t matter, it’s brilliant, and the band keeps adding instruments to make it even more dancey, even a piano. And some whispery voices, but I’m not sure they really impact the song much since they’re so infrequent. Naturally, as the song is a good seven minutes long, the sound gets stripped a bit just to build it up again. At one point there is not much of anything there, but you know that like any good dance song they get it going after some additional whispery vocals. Perhaps a bit too soon, as I wouldn’t have mind the first part to go on a bit longer and then have the strip down so they could ride the momentum of the build up home completely. Now the last bit sounds a tad flat compared to the rest of the song. Minor stuff though, as I do fancy this tune.