September 1, 2006

Lawrence - Along the Wire

Hector Rodriguez: The idea of a few micro-goth remixes by Superpitcher and Troy Pierce of Lawrence’s already gloomy music did not initially seem to be my idea of “fun summertime listening.” Don’t get me wrong, when the evenings are longer and a good chill pierces the air, there is nothing I love better than a little melancholic night music, but hey, it’s August and it’s hot out. But I may have to re-examine my expectations, as both mixes are winners, Pierce’s mix uses his dark, prickly palate to mold the image of a darkly tuxedoed gent out for a turn on the techno dance floor, with all sharply pointed lines and insistently smooth rhythms. Superpitcher’s mix is positively exuberant in its own vaguely trancey way, it could be the sunrise track for a particularly dark and mystical night—no matter what the temperature happens to be.

Nick Sylvester: We’re past the point of protesting the original cut, I guess. When symphony orchestras tune up before the Big Show, and all the horns are blowing long tones with minimal concordance, and the timpani guy is rolling away on the timpanis, sometimes all the notes together blur into this noxious, smoggy-brown cloud of noise, shifting shape but never moving too far from its generative spot—this is the noise Lawrence so generously has given his remixers to work with, not to mention some shitty rhythm tracks and pensive, needlessly nervous high-pitched synth riff. Superpitcher finds a dark loop within the “Wire” cloud he likes, sticks the hard, exploding Superpitcher drum sounds over it as opposed to the soft, baby’s-ass-round Superpitcher drum sounds, and pretty much calls it a day. Exhausting like his M83 remix, Supepitcher’s “Wire” lacks the boundless melancholy, but considering what he had to work with, etc., etc..

Troy Pierce has the b-side, which deals in wriggling, fragmented, bass-grooving mini-hooks not unlike what his Minus labelmates Magda and Heartthrob tend to do. A nice contrast to Superpitcher’s soaring MOR glum, and his Black Boots remix does a fine job tweaking Lawrence’s needling synth line into something of an autumn drizzle. But he’s ultimately an on-the-beat loop guy, pulling the drums in and out on pretty predictable measures, and aside from his incidental flourishes, said drum loops sound pretty plastic.

Ladomat 2000 / LADO 2179-0
[Listen]


May 19, 2006

Remute - Please Say Something

Christopher Just’s remix is the one to check here. That is, if you like huge invasive 4/4s and vulgar distorted basslines, plus squeaky noises and triumphant string breakdowns which sound a bit like Daft Punk making trance music. It’s soiled a little by a slightly annoying outro, with contains a stupid vocal sample that sounds a little like “yip, yo, yip yip yo” and the tempo of this will be recognised by clubbers as the “asshole with a whistle” riddim, but these are mild irritations: this record will probably be pretty big.

Ladomat 2000 / LADOMAT 2185
[Ronan Fitzgerald]


September 22, 2005

Lawrence - The Night Will Last Forever

Lawrence’s second single from his latest album gets the remix treatment here by John Tejada and L’usine bookending the original mix with a B-side thrown in for good measure. L’usine’s mix is the preferred, working some micro cuts and putting a slamming bass underneath. In fact, it might even trump the original. “Happy Sometimes” is the aforementioned B-side, and it’s business as usual for Kersten, riding a morse code backing to guide its two-pronged melodic attack. Sublime romanticism as always.

Ladomat2000 / LADO 2175-0
[Todd Burns]