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Mix Tape #15 : Late Night

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It’s been a while since the last mix tape, and i’ve decided to return to the theme of the the first two mixes, music particularly suitable for late night listening.

Steve Peters‘ work is always fascinating, and his field recording project Here-ings is a masterpiece. i wrote about it at length early last year, and its profound sense of hush, allowing the space and its environment to speak, is unparalleled, and a fitting way to start this sonic foray into the night. Lovesliescrushing have dominated my listening in 2010; their lavish 2CD box-set Girl. Echo. Suns. Veils. arrived a few weeks back, and earlier this week Crwth (Chorus Redux) arrived. As the title suggests, it’s a retake of Chorus, their superb classic from 2007, as laden with velvet gentleness as the original (the CD comes with a voucher to download the original free of charge, so you get the best of both worlds). Ambrose Field‘s Being Dufay was one of my best albums of 2009, and the whole release is arguably best heard at night, when everything else is still; this is especially true of “Sanctus”, which emerges from the solo voice into some breathtakingly beautiful textures. sc140 was a project in conjunction with The Wire magazine, where composers wrote short snippets of Super Collider code, no longer than the length of a tweet (140 characters). The result is a mixed success but Nathaniel Virgo‘s contributions are invariably engaging; the pink noise in this track, punctuated by deep booms takes on the transparency of a field recording, all rain and thunder. Read more

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Mix Tape #8 : Versions

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After far too long a hiatus, here’s a new mix tape, this time exploring some of my favourite cover versions. To be clear, none of these tracks are what i’d call ‘remixes’, which i think of as a separate, quite different discipline; these are good ol’-fashioned covers of some great original songs.

t.A.T.u.’s version of The Smiths‘ “How Soon Is Now?” stands out on their first album, 200Km/h in the Wrong Lane, partly because it’s the only cover version, but more because of how utterly good it is. While i always was a fan of The Smiths, i’d actually far prefer to listen to t.A.T.u.’s rendition of it, their vocals somewhat less restrained than Morrissey’s. “Here’s Where The Story Ends” has been covered by many artists, and i’ve included the most recent, by Tin Tin Out featuring Shelley Nelson. Their version of the song is rather passionless, but this remix of it (the “Canny Remix”) saves the day, a dance version that shows off Nelson’s superb voice admirably. An old classic, “Blue Moon”, is given a fantastic big band treatment by Cybill Shepherd, taken from the soundtrack to the 80s TV series, Moonlighting. Shepherd’s voice is simply astounding, in what is my favourite version of this timeless song. Tori Amos makes several appearances in this mix, simply because she takes a more imaginative approach to her covers than any artist i’ve come across, always presenting the song in a new light, teasing out new connotations from the original. First up is her utterly deconstructed version of 10cc‘s epic ballad, “I’m Not In Love”, taken from her album of covers, Strange Little Girls. All sentimentality has been stripped, the music standing bare and heavy, with a palpable sense of menace; it’s beautiful and gently horrifying all at the same time. Read more

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