OVERVEIW:

Though structured with a linear story to tell, this compilation transcends the need for linear listening because of its uniquely varied content. Play it backwards or forwards, or one at a time over weeks and you will still get the very same tingling effect from it. Spanning between pensive breaks, evangelic gabber (yes, you read that correctly), industrious techno heartthrobs and even subtle odes to synth wave - there’s a track here for every lover of electronic music. Needless to say, this is one for the heads. 

SPOTLIGHT:

When it comes to compilations, we like to highlight a few songs that have stood out for us at Zwart Goud. We felt that the following songs left a particularly fond feeling and showcased unique talent from the given artist:

A4. Slow Disco (EOD Remix)

B3. Pills (Bjarki Remix) 

C1. Slow Disco (Nina Kraviz Gabber Me Gently Remix)  

C4. Dancing With A Ghost (Pearson Sound) 

EP 1:

A1. New York (NK Remix)  

The compilation is brought to life with a gentle but eerie vocal which opens out into kicks that set a steady heart-beat for the song. The kicks, reminiscent of thuds on a punch bag, are interrupted only by string chords and staccato vocals that break the flow of the track in moments of harmonic interchange. The vocals continue to meander in and out with what can only be described as a sassy edge to them. As the song progresses, choral vocal snippets introduce a dreamy element, this emphasises a well pronounced theme of other-worldly-ness that continues through-out the EP. An open ended, yet refined introduction by the lady Nina herself.

A2. Masseduction (Midland Remix) 

Having opened with a sense of ambivalence in the first track, Midland’s remix drives towards the structural familiarity of a minimal techno/house sound. Following an introductory Japanese vocal snippet, the song builds on foundational kicks and subtle hi’s that would warm any club speakers and provide a good building block for an opening set. After four minutes of enticing wiggle and wobble, the song swings into full effect; feet tap and arms invariably begin swaying to the rhythm. You can be sure this one would certainly disarm any crowd members who are reluctant to dance. Progressive, subtle and most certainly energetic, a stand out remix from Midland.  

A3. Sugarboy (Emika Allegiance Mix) 

Flipping the record over, we are met with gentle introductory pads and a much slower bpm that delineates the flow that the A side has just worked to build. It’s fair to say this track is a very original and creative take on the St Vincent version of the song. Lead synth notes seem to build an arpeggiated escalator to what might only be described as an electronic heaven when the track finds its motion after the brief introduction. The style of this songs stands apart from the rest of the compilation and suddenly opens the LP to a new territory, rendering the listener incapable of predicting what might come next.  

A4. Slow Disco (EOD Remix) 

After the disarming nature of the track that comes before, expectations for the compilation are once again readjusted as soon as this song begins. This track seems to contain a time lapse back to an era of electronically made disco. It creates mental imagery of a slow revolving disco light at a roller disco and would be ripe material for a potential music video. Amusing symbolism aside, there is certainly a feeling of nostalgia in this remix, with the original vocal pitched up for a more soothing effect and the 80’s kick, snare combo giving a feeling of familiarity, the track carries a sense of fond memories and places itself at a distance from the rest of the LP. An energetic, yet nostalgic take on the original. 

EP 2:

B1. Fear The Future (PTU Remix) 

This feature gallops its way into the second LP of the remix compilation. With good use of hallucinogenic panning and a sturdy techno beat to it, the remix combines quality sound design with a structure more similar to familiar late-night techno. The song invites a welcome romp and stomp compared to the experimental predecessors on the first LP. However, for its genre it is unusually short, a mere three minutes which is likely to make it less accessible for those DJ’s whose preference is longer blends and subtle transitions. 

B2. Young Lover (Roma Zuckerberg Remix)

A familiar face from Nina’s ‘Trip’ Label, Roma Zuckerberg delivers a fast paced, yet well separated approach to St. Vincent’s ‘Young Lover’. Each element of the track seems to have its own brief catwalk at some point as other elements take a back seat. Subtle and understated, this one is the mark of an experienced producer and could certainly work nicely as looped overlays on top of other songs in a set. It could also be one for keeping a steady pace and has the power to create space in a set for the possible reintroduction of some higher energy. A structurally and technically sound piece.

B3. Pills (Bjarki Remix) 

Once again, we meet a break in the momentum as Bjarki shows off his creative flair. With tinges of IDM and soothing vocal pads, the remix finds a middle-ground between dubstep drums and experimental electronica soundscapes. At a high BPM in the late 130’s you could see this one slipping into faster sets as a breath of relief and a potential opening to grant a change in set structure. The tracks outros with a loop that certainly has provocative indications and keeps a sturdy structure that would complement a mix-out into a variety of genres. Bjarki has once again taken a us by surprise and it’s fair to say we are unquestionably impressed. 

B4. Fast Slow Disco (Steffi remix) 

Coming in just past the half way mark of the LP, Steffi gifts us with a uplifting take on St Vincent’s ‘Slow Disco’. Resonate drums and Moroder-like uplfiting synths carry the track towards a glimpse of something more euphoric for the first time in the compilation. Staying somewhat true to the St. Vincent vocal, this one does justice to original while also adding a bit of Italo flavour. It certainly showcases a side of Steffi’s production that we are perhaps less familiar with. 

B5. Young Lover (Laurel Halo Mix) 

The abrasive kick, hi hat layering enters almost sarcastically in its vigour, given the softer nature of the song prior. A sense of tension builds from the offset and a monotonous low end of the EQ drives the track towards increasingly erratic arpeggiated synth lines. Whether intended to or not, this song could certainly cause a frenzy either in a club, or simply in the mind. The track provides a new, more aggressive vigour to the compilation and bares resemblance to the more relentless sound that one might hear in a Kraviz set. 

B6. Pills (Population One Remix) 

Population One takes in a haunting direction with this ghostly, slow burning remix. Keys reminiscent of an organ echo constantly above the rest of the track, dancing between the left and right speakers until the song breaks down into an isolated to and fro of subtle low-end bass notes. As you expect the track to fade out, the bass drags itself back up to audible volume and reintroduces those airy organ-esque synth leads and the song plods on with a curiously encapsulating monotony. A slow and progressive build towards what is to come next in the comp. Well refined and cautiously subtle, this is a song for those audiophiles out there. 

EP 3:

C1. Slow Disco (Nina Kraviz Gabber Me Gently Remix) 

Bringing a heart-beat back to the compilation Nina takes a totally unique approach to a Gabber formula and brings us a eerily beautiful interpretation of St. Vincent’s ‘Slow Disco’. The ‘Gabber’ drum sequence has an almost tribal/ceremonial constancy to it that doesn’t let up for the whole song, but is equally gentle and tight enough to fall into the background and then raise itself back to the fore whenever necessary. The vocals add a layer of silk to the expression and also build a subtle groove and as the song begins to sing. With the reverb acoustics of a church, the vocal cuts create an ethereal and as described, gentle effect. Perhaps the first time we have seen ‘gentle’ and ‘gabber’ in the same title; a very pleasant surprise indeed. 

C2. Smoking Section (MALA Remix) 

Perhaps taking influence from St. Vincent’s frequently labelled ‘futuristic’ approach, MALA brings a somewhat futuristic dubstep ensemble to the table as the compilation starts moving towards its closing expression. Oscillating bass-sweeps articulate themselves with bold clarity and vibrate through the St. Vincent vocal which precedes them. The song breaks only for brief reintroductions of the looped bass piano melody. As a whole it carries a certain spaciousness in the drum pattern; with gaps for reverbed snares and moody kicks that pleasantly stutter the songs flow. As it finally heads towards closure, the newly introduced vocal reminds us ‘It’s not the end…’ as we eddy towards the last few tracks of the compilation. MALA showcases a somewhat new style here, but there is no question when it comes to richness of sound and comprehensive song structure. 

C3. Smoking Section (Jlin Remix)

Bouncing in with yet another new genre for the compilation, Jlin has put his typically fresh touch on this remix. The song certainly has a contemporary sound to it, with drums that might find a home somewhere between glitch IDM and Trap. Using the more uplifting octave of the original harmony, the song opens on a lighter note. Glitches and vocal loops lead into heavier kicks until the track finds a steady motion past half way. It ends with a surprising mix up of 4/4/ kicks which rotate in and out of a broken rhythm as it plays its way to closing. The one may take you by surprise. 

C4. Dancing With A Ghost (Pearson Sound Remix) 

As we flip to the final side of the compilation, we are greeted with a remix by non-other than the Hessle Audio co-founder, Pearson Sound. The song segues through introductory reversed vocal loops and dramatic pads that underlay ethereal horns. The tone is set after a long and pensive opening and the sharp breakbeat drums finally enter. Playing with harmonic delays and crisp, but sparing drums, Pearson Sound has lived up to his expectation while also showing a side of his production that is more progressive and understated. The vocal continues to play through with various effects on it that keep it somewhat subdued under the other layers. The latter parts of the song make way for glacial sounding creeks that add an ominous air and pave the way for the potential of something darker to follow, were it played in a set. This remix has been carefully thought out from start to finish and bears the mark of an experienced and confident producer. 

C5. Savior (Buttechno Remix) 

After the relief of the last song and its general progressiveness, this final remix opens with excited and rich acid lines that carry into a classic techno kick structure. Intermingled with this is finely chopped vocal snippets that seem to mimic machine noises, “beep beep” they go, and lo and behold, we strap in our seatbelts for something a bit heavier. The acid overlines grow more and more excitable, leading the song forward with an enticing zest. Simply structured cutting hi hats venture in and out of the song for added energy when necessary and each element takes nothing from the others. Rich and full in its component, we expected no less from the Berghain regular. Having released under Nina’s label last year, I’m sure her expectations were reached with equal warmth. This remix closes the LP with rich sound and a well nurtured energy.