This is probably one of my favourite remixes of the past year. Most remixes I tend to keep for a few months on Soundcloud and then delete once they’ve out stayed their welcome.
The things that I look for in a remix and aim at for myself as a guiding principal is to do something that takes it away from the original an steers it in a new direction. This doesn’t necessarily mean put it in an already existing genre that would be acceptable but to really try something. there are some songs where this is a possibility. Sometimes it means trying two, three or however many versions until you arrive at one that seems to resonate. However there are just as many lying buried on a hard drive that failed to even get off the ground.
I like voices. I especially like voices that have some sort of quality to them, some sort of grit. Clearly Lissie has this and it really comes out. If you get a chance to just listen to the voice without the music then you’ll probably hear this quality. She’s got a sound that’s very reminiscent of many female artists, especially from the 70s.
Anyway, the remix type I opted for was one where I tried to keep the vocal performance in its entirety with as few edits as possible other than the insertion of space to allow for new sections of differing length. SI also wanted to integrate the acoustic and electric guitar parts at some point, played, I assume, by Morgan Page and piano. To these I overlayed some more acoustic and electric guitar parts and additional piano.
The overall aim was to make something of a heavier acoustic ballad track that was the opposite of the original and its electronic setting. Within this overall style aim was the drive to create something that allowed for a developing narrative to emerge as the song progressed. As much as I like voices, I also like sounds and instruments. I think it’s great when producers are comfortable not to succumb to the ‘tyranny of the voice’ and not allow anything else to come through.
I think my attempts are evident in the following sections. The middle, starting at 1’59” and the extended outro starting from 3’36”. They’re all demonstrative of my aim and working practice. The process is less refined or defined in the beginning, partly because I’m working on capturing a feeling or sense of something I’ve associated with the song. Many of the sections are built over time and generally jammed through and then refined.
Anyway, I hope you’ll have a listen to all versions of this track. Page still has the files available on Splice if you fancy doing your own remix.