23 July 2012
|Contrast (Original Mix)||Sunny Lax|
|Contrast (Oliver Smith Remix)||Sunny Lax|
|Contrast (Nitrous Oxide Remix)||Sunny Lax|
|Contrast (Sunny Lax's Insane Mix)||Sunny Lax|
Contrast (Original Mix)
Ending his two-year journey into the void, LM was welcomed back with one of the highest honours, clasping the semicentennial (& semihemimillenial) milestone, & celebrating the always underappreciated act of remixing. The 2011 OM was first seen in the Anjunabeats Volume 9 Sampler. LM deserved every second of this.
It's always special when they announce that every minuscule submicroportion of the song has been shaped & pampered. SL did that with his opening electrohums & their concording beat. Silence is not that great per se, but the spaces between what really matters really matters. Every interstice is a valley into time, refilling our dose with every rollsnap back into motion rapture. The effects pile on, hinting at greater futures, & compiling a twist of monumental neurolatry. The drop is a time-freezing nigrolith, steeling the air around it, while taking the ladders down to hell & the snakes too. Wonder at how the tune snakes its way through without arousing suspicion, then takes charge with the underwater tsunami.
From silent waters comes a twanging instrument to burn the clouds, the saturnian irradication of the double-stringing spinal fluid that eventually spikes & pricks upwards, this alternating vernality caroused & carressed by harder, chameleonik hits, the pulls mainstaying over the climbing, strangling vines of the tune. We heard of paradise when the farrago of farragos darkened & harkened to the lightning record. There are too many parts to Contrast to describe them all, from electrowhines to vocals, & countless more. & each is a panchromatic, panurgic panoply.
Untapped heights are reached & thrashed. The smoothest kickfunk emphasises the shadow within shadows that is Anjunabeats' apical crowning.
Contrast (Oliver Smith Remix)
Even though his OMs around this time outgrossed lice, this remix cemented his place in our hearts more than lices' cement could. Occasionally, we have styles that were never seen before, & will never be seen again. Smith's chilled death-acoustica is one. More than just a chillout conversion, this replaces the twangs with proper whangs, twisting up & around on an unstripped beat upgraded to nature, taking us back & forwards at once. His paleosophy takes us to one of far too few afterplays, & it intracascades & correvolves in quick, soft tumbles.
Contrast (Nitrous Oxide Remix)
After the techpaced slog that addresses the dissimilarity by including the OM twangs on rushed, rushing underpablum, we hear an MK ultrapowerful, earnest Urness. What is sound? Is it mere vibrations of air? Or, is it, as KP shows us, a metametism, the DNA to our DNA? A path to other realities? It's much more. Krzysztof confirmed it with another of his transsimplified heavenshatterers that we would see more of the year after. A 4-4-8 or an 8-4-4 never leaves the vertebra alone. & when the moon falls into the ocean, it brings the heat of space with it. Have you ever felt liquid nitrogen? Not the ridiculous movie nonsense, but real LN; which despite acting slowly, still hurts. Earthshakes are terrifying. Nitrogen hypergeysers from moonquakes, however, are already here, in this nitric acid house, refreshing seismology. The nitrogen rain returns home in a hurricane: he couldn't resist making it even better, since he added to the colossal fall of Chan a khanate of pianomongering, keys falling like knives do, in all the right places. Even with so few notes, this unearth instrument repudiates even its own existence to defy possibility, & freeze the oceans into space.
We're emoving to Triton.
Contrast (Sunny Lax's Insane Mix)
Coming down from Tritonquakes, LM liked to describe his material differently, but this one-time adjective is a warning. After the OM pasting, we are smacked into the acoustic, abacus-washboard drosstrash. Never try to apologise for something if you can prevent it.