Artist: Winter North Atlantic
BOLTLP011: A Memento for Dr Mori - Remixes
Release date: 25th November 2010
CD and Digital
All tracks ©Boltfish/The Artists
Boltfish Recordings 2010
A special release of commissioned remixes based on Winter North Atlantic's 2009 album "A Memento for Dr.Mori". With one remix of each track, presented in the same running order as the original album, 'A Memento for Dr Mori - Remixes' offers an alternative take on the initial release, regenerated by 11 unique artists.
Fieldhead (Home Assembly, Static Caravan) weaves chopped twinkling acoustics around crackling, dusty tones and crisp electronic beats in his remix of The Maid.
Dextro (16k, Highpoint Lowlife) whips up the pace of Cuts and Tears into a swirling sea of dense dreamy textures and rhythms.
The Gentleman Losers (City Centre Offices, Büro) bring out the inherent organic warmth of Occam’s Razor in a subtle ambient treatment laced with beautiful environmental recordings.
Paul Sleaze (Giovanni Chrome Recordings) takes the brief processed vocal track Fallen Fruit and builds it into a gorgeously funky slice of upbeat electronica.
Damien Shingleton (Boltfish Recordings, Benbecula) rebuilds the guitar and electric piano lines of Bokor with glitchy stuttering beats and a dark wobbling bass.
Mint (Boltfish Recordings, U-Cover Records) enhances the dusky Western twang of The Flute Player with soaring string pads, hypnotic piano melodies and crunchy beatwork.
Cheju (Boltfish Recordings, Distant Noise) performs intricate edits on the acoustic guitar and keyboards of Fall of Stone and layers them with glowing synths and glitchy drum patterns.
Bracken (Anticon, Mobeer) transforms the fuzzy keyboard tones of Kinay 816 with wistful vocal layers, brushed drums and dubby textures.
Animat (Big Chill Recordings, 4mg Records) brings a lovely chilled, loungey vibe to Guidonian Hand with warm synth strings, downbeat drum patterns and some cheeky vinyl samples.
John Ashton (Arctic Monkeys, Last Shadow Puppets) develops the melancholic ambient feel of Opportunity Mist, submerging its melodies in a treatment of droning, buzzing textures, from which a crunchy drum machine emerges.
The Declining Winter (Home Assembly Music, Mobeer) takes the vocal track Barrel Organ and stitches its instrumental elements into a delightful blend of softly intertwining electronic and acoustic patterns and melodies.
"Unsurprisingly the idea of a commissioned remix album by an enthusiast release label Boltfish reveals a plethora of diverse electronica talent to refashion A Memento for Dr. Mori. Akin to great remix albums it is a matter of the refashioned version outstripping the original. Although it does not hold together as a whole entity as in the case with single artist remixers applying their touch to a whole work, it has the veneer of a coherent whole not always available with remix projects. The original is a fusion of electronica with acoustic and instrumental sound sources which include “electric and acoustic guitars, accordion, melodica, harp, recorder, violin, thumb piano, ukulele, vocals, and recordings of old super 8 projectors and other random noises. These are combined with vintage analogue keyboards, electronic textures and treatments, understated glitchy edits and downbeat broken beats inspired by IDM and abstract hip hop.” Quite a lot of data for remixers to get their teeth around and its very surfeit combined with multi-instrumentalist approach of Ed Carter lead to a large range of possible results as a data set and an interesting diverse range of sounds pique the creative interest.
Fieldhead’s remix of ‘The Maid’ opens this 11 track album, hiss and crackle in the background of bright electronic beats imitating a xylophone, cut up with hip-hop techniques and crisp beats. Dextro takes on ‘Cuts and Tears’ making a fast shuffling multi-layered event which has the sense of a pianoforte on speed amongst synth washes and skittering effects. ‘Occam’s Razor’ is in the good hands of ‘The Gentleman Losers’ who apply field recordings, a slow beat, a melancholic air, excellent guitar work, almost exotica for the northern climes and an understatedly smooth production. Paul Sleazes ‘Fallen Fruit’ utilises heavy echo and reverb on the vocals to create the slightly disturbing psychological effect, over a complex slow electronic funk. Damian Shingleton weilds the beat and shaker with wonky bass in ‘Bokor’, along with a melodic acoustic guitar line it moves the slower warped end of the dance floor. ‘The Flute Player’ is one of the crisp clear winners on the album, cut down to essentials by Mint and whose production and effects create a classy hip-hop instrumental with classical intonations. Cheju’s take on ‘Fall of Stone’ is acoustic guitar, stuttering cut up technique and a synth tones layered amongst the bright electronic twinkling. ‘Kinay 816’ is wrought into a down beat jazz number with glitched out narcotic feel and truly fucked up sampling especially on the background singer samples which make it sound like some ritual singers being slowly tortured. Animat’s version of ‘Guidonian Hand’ has an eastern feel amongst the beats, not elicited by the instrumentation but the structure is almost Carnatic, it is a slow shaking intricate vibe. ‘Opportunity Mist’ has a slightly ominous touch by John Ashton, long slow indecisive tonal sequences struggle to gain a coherence and then gradually find a severely warped groove. ‘The Declining Winter’ end the album with it’s remix of ‘Barrel Organ’ taking diverse parts and creating a sparse and eclectic sound part hollow part full, resounding guitar and electronic tones along with a strange hollow thud that elicits a feel almost of futuristic hillbilly.
The remixers choices have obviously been tempered by the use of Boltfish stable artists yet the range of talent from further afield gives added flavour to the album. It is a well-made affair by an artisan producer of instrumental and electronic work turning to those whose work he admires to enhance the results. "
"You can appreciate 'A Memento for Dr. Mori Remixes' all on its own without having the slightest idea of what the original sounds like."
"A surprisingly good album, and recommended."
"Treat time! The rather splendid last album by Winter North Atlantic on Boltfish has been remixed track for track by a bunch of people you all like. By people such as Fieldhead, The Declining Winter, Gentlemen Losers, Bracken, Cheju and lots more (well five more if that constitutes a lot). And there's only 100 of these babies. Yikes! As ever with this kind of thing the tracks tend to sound a lot more like the remixers than the original artist but I guess that's the point of a remix. No point it sounding the same as the regular version. That would be unfuckingbelievably stupid. I particularly like the Dextro mix which is all twinkly and nice.... The Damien Shingleton mix has a bedroom electronica feel to it smothered in a cheeky dubstep wobble. I like it!"
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