I mentioned this mix in an earlier post, and at the time thought it had never been released. Imagine my joy to find it at last on the 2004 compilation Anthems. It seems it was hiding all the time, masquerading as “Liewerk: The Kraftbach mix”. That’s cute, and I suppose if you look at it squinty-eyed it does seem a bit Kraftwerk-ish. I must say I find that just a tad disrespectful though, because this is very much a Daniel Miller mix, and arguably he is an even more pure electronic musician than the formerly flute-tootling Düsseldorfers.
I’m glad it was finally issued though. It was a landmark mix for me and I think it still sounds good.
Here’s an interesting project from a few years back, release number five of the FRKWYS project from Brooklyn label RVNG Intl. FRKWYS is a series dedicated to the idea of intergenerational collaboration; on this record the four “old hands” were Stuart Moxham, Alig Fodder, Stuart Argabright and myself, and the “youngsters” were this very cool and unique band. Thanks again to Dan Selzer for putting my name up for this.
Here’s a fairly recent mix which has just become available, from young guns-about-town Dogfeet. Their front man, the multitalented Jamie Cripps, was tragically lost to us a couple of years ago. This youngster could do it all…write, sing, paint, perform, and he was a kickass drummer to boot. His death left a very deep wound.
The band have soldiered on though and their live show is thoroughly recommended.
Download the track from their Bandcamp page and thrill to the widescreen savagery of Dogfeet!
Here’s my audio and visual reinterpretation of Erasure’s “why can’t we all just get along” opus. For this clip I have mangled the song’s original rather excellent video, with hopes that my liberties will be excused by those involved.
The remix was done almost exactly 30 years ago at the dawn of 1987, around the same time as Daniel Miller’s legendary lost Laibach mix, which would account for the presence of his EMS Vocoder 2000 in the studio.
The edit of this mix is unusual in that there is no edit at all for the first couple of minutes. Having looped a few bars of backing vocal over the rhythm section I enjoyed the resulting chord inversions so much I just let it run, even though the results were a tad dissonant for an Erasure track. In fact I got a phone call from Flood after delivering the mix, to warn me that this one “might not fly”, as he could imagine Vince Clarke gagging somewhat on the jazzy chord shapes. But it did fly, Vince didn’t gag…and here it is, pop pickers!
A couple of remixes didn’t make it to the earlier part of this blog because, unaccountably, nobody had posted them on YouTube. I now intend to rectify that by posting them myself, starting with this mighty effort from 1990 which I did with Psychic TV refugee John Gosling, aka DJ Sugar J.
Bassomatic were a kind of R ‘n B version of Torch Song, with soul diva Sharon Musgrave on vocals, on the first album anyway. They had a big hit with Fascinating Rhythm and this was the follow-up.
This clip was cobbled together from another video for another song, so it doesn’t exactly sync up, although sometimes it does. John Gosling (really nice guy for an Arsenal fan) makes a brief appearance somewhere in the middle.
This mix was the last one I did before the big move to sunny Southern California. Obviously somewhat influenced by the first Gulf War that was raging at the time, it’s also an interesting summary of all of the styles I’d worked on in the previous 8 years.