The Blinkhorn Batch is a deliberate and meticulous selection of new dark, deep, and occasionally sinister sounds followed by a classic production of the same style. This ongoing series of posts is curated by Blisspop author Patrick Blinkhorn.
Hunter/Game’s rolling bass driven remix of Weval’s “Gimme Some” sets the stage for this post. Italian producers Hunter/Game add elements in a deliberate manner over the course of the remix. The result: an appropriate edition to the Kompakt Total 15 release that is perfect for building tension on the dance floor.
Bremen, Germany based artist Stephan Bodzin gave us his take on fellow German producer Marc Romboy’s track, “Hypernova.” Bodzin’s remix is full of dark timbres and builds in intensity as the track progresses. The track is out on Systematic Recordings on 8/28/15.
Next up is the Tallmen 785’s new Stead Fast EP on the elusive label, Rhythm Nation Records. Kansas born but now Berlin based, Tallmen 785 has more than twenty years of musical training. His productions are essentially techno, but they have a distinct Tallmen 785 flair to them. All four tracks on this EP are well done and one (“Frog Maschine”) was premiered on Boiler Room’s SoundCloud, but my favorite of the bunch is the earth shaking “Stead Fast Drum Machine.”
Swiss producer Bastian Bux gave us some deep house fire with “Tempus Fugit (Original Mix)” on Suara. The synths along with the melodic and rhythmic statements in this track will drive fans of the Cityfox / Adriatique / Tale of Us sound to dance.
Closing out the “fresh” section of this first edition of The Blinkhorn Batch, Brazilian artist Alex Justino gives us his take on deep take on Radiohead’s “Everything In It’s Right Place.” Justino uses vocal effects and synth design to a spectacular effect in what he is calling a Re-edit of the original.
Hold on to your seats, because this classic is a doozy. Max Cooper’s Remix of Pig & Dan’s “Tears of a Clown” is one of my all time favorite remixes. The track in its entirety is over ten minutes long, but Cooper still manages to captivate the listener’s attention for the duration. Perhaps the most impressive feat Cooper pulls off in this remix is the restraint he shows in the track structure. Cooper designed a face-melting bass synth and he uses a captivating distorted electric guitar sample, but he somehow manages to wait three and a half minutes to bring the bass in and then five and a half minutes to bring the electric guitar in. Cooper’s purposeful track design gives the listener an exquisite aural experience. Here’s a clip of the original remix, but I highly recommend you stream or purchase the remix via another medium for the full effect: