We love a bit of Dark Sky here at BM HQ. We also love HP, TNT, P2P, THC and S&M. Some say we’re one of the biggest proponents of acronyms this side of the Great Firewall of China. Do they even have acronyms in China?
The cat’s already out of the bag in terms of this lush groover of a remix. Accuse me of being somewhat off the ball and I’ll do it. I’ll kill this kitten that I have with me here. Although he’s getting on pretty well with his musical adaptation of The Da Vinci Code so I might just leave him to it.
Dark Sky are (still) touring, check their SoundCloud.
Forthcoming on Virgin records as one of the five remixes on Emeli Sandé’s Daddy [Remixes] EP, which also features the likes of Ifan Dafydd and Cyantific, Disclosure’s deep house interpretation of the original is rather deep and also rather housey too. I’m not kidding. Driven by a classic synth stab that would inspire even the most hardened criminals to drop their knives and dance, it has been a good tune to start the week with. Last week my alarm clock radio combo (AM/FM, just saying) woke me up with Kelly Clarkson warbling like an injured bird and I could see the mini storm cloud forming above my head…
Uploaded to his Soundcloud account earlier today, this Synkro remix of The XX’s ‘Night Time’ is an incredible specimen of beautifully nocturnal garage vibes. Deeper than James Earl Jones’ voice, it conjures images of fluorescent light trails and rain prismatically glistening under city illuminations. But that’s just me. For you it may evoke laughing clowns spinning disembodied on a swirling multi-coloured hypnotic background. Still, despite your deep-seated and bizarrely triggered childhood fears, I absolutely love it.
Jamie Woon posted this remix of Lana Del Rey’s ‘Video Games’ on Twitter late last night and because I’m such a loser I pretty much saw it as soon as he added the damn thing. Fortunately, I was being fairly lazy at the time so didn’t get around to posting it until today and now it kind of looks like I’m not online 24/7…which I’m…er…obviously not (it’s more like 22/7). With regard to the actual tune, Lana (I originally wrote Lara here) Del Rey’s voice is nice, so are her lips and so is Woon’s take on the pensive source material. The added percussion gives it a bit more drive than the original and the warm synths and bassline, while slightly detracting from the melancholy, make it feel more substantial and overall, a lot warmer and more positive. Listening to this version makes me less nostalgic-with-a-tear-in-my-eye and more nostalgic-with-a-satisfied-smile-on-my-face. Beautiful.
I recently posted an amazing Dark Sky remix of ‘Ice and Arrows’ which made the hairs on the back of my neck stand to attention like soldiers saluting a fallen comrade. This new Skream remix, whilst not quite as good, adopts a different approach and consequently evokes an altered landscape of emotion. Wittily dubbed ‘Skream’s I Ain’t Got a License Mix’, it’s an epic and heavy yet fairly simple rework of ‘Drive’ from Alpines’ recent Night Drive EP and inspires more of a deep melodic rib-cracking vibe. Think disconsolate female vocals meets the frequency of Barry White snoring (low, lower than that) and you’re about halfway there. Drenched in Skream’s distinct style, it unsurprisingly reminds me of his massive if a little overplayed ‘In for the Kill’ remix, although to be honest I think I actually prefer this.
Out now as part of their Night Drive EP, this Dark Sky remix of the beautiful Alpines track ‘Ice and Arrows’ is a deep and bassy affair which flawlessly continues the EP’s theme of midnight music. Pockson’s haunting vocals are supported by cathartic bass, nocturnally sparkling synths and that unmistakable crossover dubstep/garage vibe, producing a powerful and emotionally stirring result. Basically, what I’m trying to say is that it’s amazing and I can’t stop listening to it. Clicking play feels like opening a bag of Mini Eggs and trying not to eat them all…must listen again, must replay, must fight urge to dance so surrounding people do not feel uncomfortable.