Wednesday

touching opening ceremony

can't be bothered to write anymore today. i want to go to bed soon. you'll have to take laurence's word for my weekend.


so here's the new song, written and performed by dildano, produced by dj gallow slutt. unfortunately you can't here the original on line, but you can buy it from dilano's website.

from dj gallow slutt's diary:


touching, opening ceremony


the track starts with an outtake - i'd been listening to the track through with massive delay and reverb on the backing vocals (to accentuate the mad wails) and found this wierd haunting laughter at the end, left off the finished mix. so what's remixing but emphaising that which was subtle in the original, rejigging the balance? i hope the intro isn't too similar in effect to 'my superb'. i just wanted that first line to ring out in it's purity and optimism. we then enter a lofi section, i was thinking of doing something quite dubby, and this is how it turned out. then i run out of song, and from there on it's into the wilderness of my imagination.

i have to say, i scared myself during the recording of this song, and maybe i will scare you too. during what i might now call the 'degree absolute' section, i really felt like number six in 'once upon a time' (the penultimate episode of the prisoner). after a terrible journey home in which misery upon misery was piled upon me (i won't bore you with the details here) i came home, recorded the beat boxes, and then added the 'squeeze...hold... games' vocal line, and as the recording went on, just started moaning and howling down the microphone in a cathartic cleansing. later, in bed, someting really wierd happened..i suddenly started feeling awful, really mentally sick, then images of crocodile jaws flashed into my mind and i got heart burn.

this song demonstrates a couple of things i have been meaning to try out in other contexts; the beat boxing, which i'd like to try on the TOTF cover of 'the national anthem', and the synth sound which has been fashioned for 'new boyfriend'.

we then go into the electro section of the song, which was my original idea for the remix. i fancied going map capsule markets style at the end with a fat fast beat, but my hands don't seem to be able to make those anymore.



frost bitten

this is not really a remix, since i didn't have the source files to edit. the song is by my attorney. again, it is a song i loved so much that i wanted to contribute to it (it's funny but true, that's how love works - it's selfish). however, when thinking about what i wanted to do with the track - which consists of nothing but one guitar, found sounds and many, many vocals - seemed the kind that paul oakenfold would do a drastic 'perfecto mix' pillage of, making it 'safe to play in the clubs' so that e'd up dazzlefucks high on wkd and sash! could recognise it on the radio or something. so this remix consists of the full song (painstakingly time stretched to a steady beat - you wouldn't notice from the original but there are subtle changes in the speed of the playing, which made arranging the track initially a knightmare) with a horrendous drumbeat and synth line vomited over the top. it's meant to a be tounge-in-cheek, and knowingly kitsch, without actually being bad, which is why i didn't shout 'are you ready, malaga?' over the top and sing along to the last chorus in an attempt to 'liven up' the song further. i might add that for the album though. i'm particularly happy with the arpeggio at the end.



my superb


this song was written and performed by mr peter hawkins, aka dandy o. howitzer. you can download his original post-disco-metal version at his website. i really felt the song, and had to do something with it. the acoustic thing is basically a total reaction against the bleeps and distortion of the original (and an attempt to return the song to it's 'girl from ipenema' roots), as is the spacious intro. i could have got two remixes out of it by splitting the two styles apart, but why do that when i could put them into a single obfuscation? stripping down to the bare vocal and then building back up was the equivelent of knocking down a building except for the roof, but having been recorded to a regular, mechanical, beat meant putting all the acoustic guitars on (there are more than you think, and miking up was a hassle so they all blend into a hissy mixture) was easier than it could have been. i added some subtle vocals, and then joined in singing with the ending as did Rachel Weston.
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