The remix has become a fascinating musical outlet for many producers and electronic acts, primarily as it is most often a medium with which the remixers can expand upon or further define their signature sound and style.

For the now defunct electronica duo Funkstorung, whose remix work was much in demand by artists as disparate as Jean-Michel Jarre and Wu-Tang Clan, this meant liberally applying their glassine tones and skittering beats while sprinkling in elements of the original song, usually a keyboard or bass hook.

The most well-known of their remixes is their reinventions of Bjork’s lilting ode “All Is Full Of Love” (one of which is featured on this collection). The original whispers through the stratosphere, pushed gently along by strings and harps. In the hands of Christian de Luca and Michael Fakesch, the song is no less rhapsodizing, but instead lumbers along in a fuzzy, rattling haze. The Icelandic singer’s voice is often pushed far into the background, singing from a cavernous hold within the high tech high rise that the duo built atop the lush forest she once resided in.

The remixes don’t seem as revelatory as they did when they first were released in 1998 — especially in retrospect of the groundbreaking work that all three artists have done since — but it is still gratifying to be reminded how unafraid Bjork is of having her music turned inside out on occasion and how smart she is in choosing who gets to do the imploding.

The majority of the other tracks on this posthumous collection don’t do much to take a song apart, preferring (most likely at the remixee’s behest) to make sure recognizable elements are there so as not to worry the artist’s fans. For example, The Raveonettes’ “Love In A Trashcan” maintains the original’s rockabilly guitar licks and disaffected vocals, but matches them with a tinny, pop-lock beat that threatens at times to disintegrate into a million pixels. Elsewhere, the original fluttering, music box backing track of Lamb’s “Heaven” is eschewed in favor of a gurgling shuffle while still retaining Lou Rhodes’ slinky vocal track.


Leave a Comment

Your email address will not be published. Required fields are marked with *

Recently on Ink 19...

  • Demons/Demons 2
    Demons/Demons 2

    Synapse Films reissues Lamberto Bava’s epic ’80s gore-filled movies Demons and Demons 2 in beautiful new editions.

  • Sylvie Courvoisier and Mary Halvorson
    Sylvie Courvoisier and Mary Halvorson

    Searching for the Disappearing Hour (Pyroclastic Records). Review by Bob Pomeroy.

  • Payal Kapadia
    Payal Kapadia

    Earlier this year, director Payal Kapadia was awarded the Oeil d’or (Golden Eye) for best documentary at the 74th Cannes Film Festival for her debut feature, A Night of Knowing Nothing. Lily and Generoso interviewed Kapadia about her poignant film, which employs a hybrid-fiction technique to provide a personal view of the student protests that engulfed Indian colleges and universities during the previous decade.

  • Roger’s and Hammerstein’s Cinderella
    Roger’s and Hammerstein’s Cinderella

    A classic children’s tale re-imagined by America’s greatest composers.

  • Taraka

    Welcome to Paradise Lost (Rage Peace). Review by Bob Pomeroy.

  • AFI Fest 2021
    AFI Fest 2021

    The 2021 edition of the American Film Institute’s Festival, was a total success. After mounting a small virtual festival in 2020, AFI Fest came roaring back this year with a slate of 115 films representing over fifty countries. Lily and Generoso rank their favorite features from this year’s festival which include new offerings from Céline Sciamma, Miguel Gomes, and Jacques Audiard.

  • Comet Of Any Substance
    Comet Of Any Substance

    Full Of Seeds, Bursting With Its Own Corrections (COAS). Review by Carl F. Gauze.

  • Poetic Song Verse
    Poetic Song Verse

    A study of how poetry crept into rock and roll.

  • Foreigner

    Is it really Foreigner with no original members?

  • Mixtape 171 :: Scarcity Is Manufactured
    Mixtape 171 :: Scarcity Is Manufactured

    For a quarter century, Deerhoof have been a benchmark for the contrasting dynamics of sweet and sour, spiked and pillowy, and all manner of sounds that should not get along but quite obviously do.

From the Archives