Various Artists - The DFA Remixes Volume 2 (DFA / EMI)
4/5
By: Chris Pratt
Tim Goldsworthy and James Murphy, the Anglo-American duo that comprise Death From Above have returned with the second instalment in a series of compilations bringing together some of the remixes which helped establish them as one of the most in-demand production teams in the world. Whereas the first chapter, released earlier this year, based itself on a rather tired, formulaic selection of raw material - predominantly indie-dance staples such as Le Tigre, Soulwax, Radio 4 and Fischerspooner - just a brief glance at the broader tracklisting for this sequel suggests that a more interesting and rewarding listen awaits.
Uncharacteristically subtle electronic swells herald the beginning of DFA's take on electro poster boy Tiga's 'Far From Home', an unabashed mid-80s-esque melody which soon picks up the duo's crisp four-four backing. Though the song stretches just part the ten-minute mark and retains the same basic rhythmic components throughout, plenty of separate instrumental parts as well as the endearing vocal line fade in and out fending off the monotony - an addictively cheap-sounding synth part and some energetic hi-hat work are especially gratifying. The last couple of minutes descend into an arrhythmic succession of buzzes and blips, nicely contrasting with the accentuated thump and growl of the pumped-up version of Junior Senior's 'Shake Your Coconuts' which follows, the infectiousness of the original's vocal exuberances teaming up beautifully with unannounced, Sonic Youth-shaped feedback lacerations and a big, noisy bass line.
The cool minimalism of Murphy and Goldsworthy's take on N.E.R.D's 'She Wants To Move' is one of their most intriguing efforts to date and, especially when juxtaposed here with the looser jams of 'Shake Your Coconuts', exhibiting the duo's range and propensity for confounding the listener's expectations. All that is retained from the original is Pharrell Williams' self-assured purr: gone are the frenzied flamenco strums and squealing Santana licks in favour of glossy machine-funk propelled by a tried-and-tested disco-punk bass guitar workout. A contemplative reworking of 'Colours' by electro-pop men of the moment Hot Chip is next, and the first so far to fall short of expectations. Featuring a twee vocal melody line typical of Hot Chip's work and a fairly unremarkable synthetic accompaniment, the song doesn't seem suited very much to either a thumping club soundsystem or a more thorough listening at home, though the spluttering budget drum-machine sound will hopefully return one day to accompany better things.
Luckily, the standard is quickly stepped back up with another highlight - a neo-disco re-imagining of Nine Inch Nails' 'Hand That Feeds' that ingeniously marries shimmering synth-arpeggios with Trent Reznor's sandpaper-throated menace - the moment when the drums and bass drop out to make room for Reznor's howls around the five-and-a-half minute mark only to come crashing back in should provoke dancefloor mayhem in even the most lifeless of nightspots. Although it irreverently apes 'Billie Jean,' the rather mundane reading of Goldfrapp's 'Slide In' fails to hold onto the listener's attention past the first string-assisted chorus and even an extended latin percussion breakdown doesn't warrant this ill-advised thirteen minute dullard. 'Destination Overdrive' by vocoder-addicts Chromeo provides this compilation with its most full-on freak-out as ferocious, square-wave bass slides and skittering percussion frequently punctuate an otherwise unexceptional vocal part.
At thirteen minutes and thirty four seconds, 'In A State' by James Lavelle's UNKLE project supplies DFA with their lengthiest remix here, and also an interesting choice to round off a generally great anthology. Commencing fairly discreetly with treated choral waves and minor-key electric piano before introducing the trademark cow-bell and bass-drum action whilst maintaining a more restrained tone than usual, the song soon locks into a hypnotic pattern, continuing with the repetitive foundations but fluidly shifting and switching around the other components. Then just as the big four-four drop seems inevitable, the song - and the album - frustratingly yet admirably grinds to a halt.
With this collection, DFA have proved themselves the undisputed masters of interesting
dancefloor-friendly sounds, and are clearly at their unapproachable best when working their disco-shaped magic on material that is a far as possible from their own field. As long as they keep choosing their collaborators wisely and don't descend too deeply into the self-repetition they are sometimes guilty of, it seems Murphy and Goldsworthy can only continue to progress and keep giving the concept of the 'remix' the good name it deserves.
Artists in this article: Various Artists
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