Remixed

"Bendik Giske's killer Beatrice Dillon-produced 2023 album gets a well-deserved addendum with this suite of all-killer-no-filler reworks from Carmen Villain, aya, Hanne Lippard, Hieroglyphic Being, Wacław Zimpel and Dillon herself. 

Giske's clearly got his ear to the ground; his last remix record was an invitation for Laurel Halo to put her stamp on 'Cruising', while 2018's 'Adjust EP' roped in Deathprod, Total Freedom, Lotic and Rezzett. Now comes this new LP of remixes and it's one of the best we've heard in aeons. Carmen Villain boots things off with a remix of 'Slipping', following her excellent (and way, way too underrated) 'Nutrition EP' with a giddy, subtle roller that sounds as if it's been constructed using only Giske's raw stems. His breaths and leathery key presses - already amped up by Dillon's detailed recording - are magicked into a dubby concrète groove that’s enhanced with the sparest melodic elements: echoing rainforest-at-night horn blasts and lopped off decay trails that help fuel the momentum. 

aya's revision of the same track takes a different approach, forming forceful overlapping polyrhythms from Giske's clanks, using the gamelan-like arpeggios for melodic weight and repetition. The result is a constantly shifting, hypnotic trancer that's achingly organic - more Raja Kirik than Paul Van Dyke. Polish clarinetist and producer Wacław Zimpel, meanwhile, supplements his trippy recent collaboration with James Holden on a similarly levitational wrinkle of 'Slipping' that twists Giske's quivering sequences with microtonal synth prangs and gusty echoes. But it's Jamal Moss who plays fastest and loosest with Giske's source material, calling back to April's psy-house stunner 'Dance Music 4 Bad People' with a powdery, sexualised banger that buries the breathy 'Start' stems underneath neon synths and brittle drum loops. 

"I'm a digital nomad," Lippard deadpans over Giske's 'Not Yet'. "I'm addicted you know that." It's a typically dry treatment from the conceptual artist that unexpectedly amps up the hypnotic qualities of Giske's original, adding her circuitous charm to his concertina-ing sax sequences. And to tie things up perfectly, Beatrice Dillon returns with her diaphanous remix of 'Rise and Fall', built to emphasise the radically different approaches of each artist. "

- Boomkat