Because we care (because you do) [Aphex remix]

Two interesting remixes of Window Licker by dirty house favorite Trentemoller.

Funny - how many times has the seminal remixer Aphex Twin been remixed himself? That's a question I'd like an answer for, as well as audio proof like the two tracks below to back it up. I welcome any fellow Hey Studenters to chime in.

Enjoy - this shit kicks.

Window Licker (Trentemoller Remix 1)

Window Licker (Trentemoller Remix 2)

Serge x Herbert

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I got in to "Bonnie and Clyde" after downloading some Gainsbourg comp. I'm pretty sure I've heard it somewhere before, but I'm very much more in to it now. This Matthew Herbert remix of the song is excellent.

Serge Gainsbourg - Bonnie and Clyde (Herbert's Fred and Ginger mix)

Serge Gainsbourg - Bonnie and Clyde [this is an m4a, sorry]

The Remix

Much discussion has been made of “the remix.” Commonplace as it is, the remix by some is not considered to be an art form, seemingly just an easy rehash of an original. Remixes can be, in their own right, sometimes better than original, or at the bear minimum accentuate those parts of the song that really get you. While some have certainly bastardized the remix (putting a cheesy euro-dance beat to a top 40 song is NOT a remix), others have done what they should do: make the song better.

Which brings me to the most influential and original remixer: Tom Moulton. Though not a DJ, Tom Moulton created the remix during the height of the 1970s disco scene, accentuating disco singles’ greatest aspects in order to keep the party going and groove locked. Before Moulton, disco music was relegated to songs that followed the standard pop formula, being short and punchy and ending in around 3 minutes. Tom Moulton changed this, remixing songs to a structure that laid the groundwork for dance music today. Moulton’s mixes saw songs as taffy, stretching and elongating them so that their crescendos built and built and climaxed just at the right moment, much like dance music functions today.

“A Tom Moulton Mix” is a compilation of Moulton’s greatest remixes. Packed with soulful disco and funk, the compilation illustrates the importance of Moulton’s mixes, containing remixed cuts from disco/funk stalwarts such as Isaac Hayes and Grace Jones. Rather than being 3 minutes in length, the cuts on “A Tom Moulton Mix” are on average 6 minutes, much like electronic music is today. Tom Moulton’s mixes don’t explode but burn slowly, with the musical components stretched and stretched until the groove is completely locked. One of the compilation’s cuts, Orlando Riva Sound's “Moonboots,” is a perfect example, a reverb-heavy track with an infectious wah-wah guitar loop and steady drumbeat, punctuated by sparse vocals.

Ultimately, what Moulton proved more than anything was that the remix does in fact have artistic and often very influential merit, recreating a song and often making it more palpable for a wider audience. The remix has come a long way today, meaning something different for everyone that does one. For certain dance music producers, a remix can sometimes just mean a simple addition or subtraction of a musical component. For others, such as Aphex Twin, the remix is a complete recreation, often lacking any trace to the original thereby becoming a brand new creation. Yet the ultimate goal of the remix is to make a piece of music public, allowing the music community to share and rethink it with their unique and individual visions in mind. This increases the exchange of ideas and thought between musicians, allowing greater creativity among the music community.

Moonboots - Orlando Riva Sound

More, More, More - Andrea True Connection