Various Artists “re-c-c”

re-c-c
Various Artists “re-c-c”
.x.
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After c-c released his first album (“Muse Ick Fact Or Y“) in 2007 a few unsolicited remixes trickled in, which started this snowball rolling. The result is a collection of 36 remixes/reworkings/reinterpretations by artists from a wide variety of mostly electronic genres of c-c’s hamfistedly recontextualized & regurgitated sounds, essentially remixes of remixes. What was broken has now been pieced together in to new forms — some fixed, some further broken, the sum of the new versions eclipsing the source. This collection of remixes works as a diverse & fascinating compilation in its own right, the common source material often a loose thread that disappears from audibility altogether.

Features remixes by The Viirus, Dim Past, Undulations Marcel, Hifi Envelope, Chefkirk, Johan Ess, jde, Christopher Byler, DJ Deadfinger, SatisHouse, Local Duo, 3P1L3PT1C F1T, Jukka-Pekka Kervinen, Ghost Fields, Tom Smith, Big Whatever, Travis Johnson, Textual, Adikt, Kragle, Rauh, Oddknock, Luminous In Nummer, Cult Cosmos, Black Stabbath, Newton, Isabelle Gunn, Frog, DJ SKA, Jody Luna, Xingu, AG Davis, Bánh Mì Soundsystem, p.sparrow, & c-c.

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To Live and Shave in L.A. “The Grief That Shrieked to Multiply” 3xCD


To Live and Shave in L.A. “The Grief That Shrieked to Multiply”
MonotypeRec
3xCD + bonus downloads

The project began in March 2007, when Important Records asked me for a To Live and Shave in L.A. album. I assembled a 33-minute collage of “Noon and Eternity” outtakes and, with the swarthy assistance of Graham Moore, sent copies to fellow artists we admired. Along the way, Important became less so, their bottom line ruptured by too many ambient-industrial beer coasters. MonotypeRec stepped up after Jakub and I met in Warsaw in 2008. By 2010, we had a final tracklisting. The creation of the artwork and a host of other unavoidable delays shoved us to the back of the release queue. Now, five years and ten months later, copies of “The Grief That Shrieked to Multiply” are resting contentedly on our guestroom carpet. Good fucking things come to those who interminably wait… – Tom Smith

Assembly and mix by Tom Smith
Comprising remixes by:
16 Bitch Pileup, Aaron Dilloway, Achim Wollscheid, Alexandr Kibanov, Alexei Borisov, Andreas Brüning, Andy Ortmann, Anton Nikkila, Aprox., Astrid Hagenguth & Pit Noack, Audiomat, Blevin Blectum, C. Spencer Yeh, Carlos Giffoni, Chrissy Murderbot, Core of the Coalman, Cornucopia, Dave Philips, Dino Felipe, Don Fleming, Don Hassler, Duran Duran Duran, Dylan Nyoukis, Elizabeth Peyton, Evil Moisture, Family Battle Snake, Graham Moore & Nutchild, Howard Stelzer, Hull Curve, Ironing, Isaac Linder, Jared Louche, Karmakumulator, Kasra Mowlavi, Kevin Drumm, Komora A, Krapoola & Noish, Kristin Calvarese, Larsen, Magas, Medroxy Progesterone Acetate, Micose & the Mau Maus, Mink Marie, Newton, Olga Nosova, Otto Von Schirach, Panagiotis A. Stathis, Patrick Spurlock, Philippe Petit, Raionbashi, Richard Devine, RM74, Rudolf Eb.er’s R&G, RWL, Sickboy Milkplus, Staplerfahrer, Stefan Roigk, Sudden Infant, Terminal 11, The Teknoist, Thee Majesty, Toecutter, Torturing Nurse, Tree Creature, Truth Serum, Ulle Matzen, Weasel Walter, William Fowler Collins, Wolfram, Wouter Jaspers.

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FUN – My Castle of Quiet session remixes

funwfmuremix

Inasmuch as they bring the spirit of lighthearted enjoyment to their renderings in the avant-garde, the members of FUN are not jokers, nor are they schlemiels or shlamazels. Exhibit B in this particular case, these remixes of source material from their original My Castle of Quiet session of 15th December, 2010. I thought immediately that this was a great idea, and I wish I’d thought of it myself, but no, ’twas the FUN boys and a few of their colleagues in the noise universe that rendered these re-imaginings, which, depending on one’s perspective and/or mood of the moment, can prove more entertaining even than the original sets themselves.

Think of FUN as an urban-American brothers Rupenus, where everything—especially one’s own work—becomes cut-up fodder to be dealt with accordingly. And, in the spirit of the remix (as we all originally became acquainted with that term and process), several of these tracks have a beat, and goddamn if you can’t dance to it.

For example, “Untitled (Unicorn Hard-on Remix)” is a glorious recall of NDW pop rhythms, while “We Gonna Fun You (Ironing remix)” is dancehall with a peg-leg. “Untitled (Tom Smith remix),” starting at about the 9-minute mark, is straight-up house music, metallurgist-style, the beat supplied by a harnessed and regimented fragment of tonal buzz. So, for those of you who “hate noise” (and are still reading this post), these FUN remixes may be just the thing to bridge your gap.

The other tracks cover perhaps more expected territory, but are no less engaging, and more than foot the bill of being revisitations of the original source session. Being able to ponder such a wealth of alternate camera angles upon one’s own creations gives away that FUN are indeed having fun, but not merely fun—there’s real artistry at work here.

– Wm. M. Berger

Further reading:

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